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The real Jewish history behind Netflix’s ‘Transatlantic’ and the WWII rescue mission that inspired it
(JTA) — While the United States swung its door shut to most refugees during World War II, a young American in France saved thousands, including some of the 20th century’s defining artists and thinkers — such as Marc Chagall and Hannah Arendt — from the Nazis.
The rescue mission of Varian Fry, which went largely unrecognized during his life, is the subject of Netflix’s new drama “Transatlantic,” launching Friday from “Unorthodox” creator Anna Winger.
Starring Cory Michael Smith as Fry, the seven-episode “Transatlantic” aims to recreate his operation in Marseille after the Nazis defeated France and before the United States entered the war. Winger has injected several imagined romances, war efforts and characters into the fictionalized series, including one posed as Fry’s lover, named Thomas Lovegrove (played by Israeli Amit Rahav). Although Fry’s son has said that he was a “closeted homosexual,” no such person is known to have existed.
Winger believes these inventions will invite Netflix viewers to learn more about the true story.
“The people who lived through these stories are dying out,” she told the Jewish Telegraphic Agency. “My job is to bring this to a wide audience, to people who don’t know anything about it.”
The story behind the series
The real Varian Fry, a 32-year-old journalist and suit-clad Harvard graduate, showed up in Marseille with $3,000 taped to his leg and a list of 200 names in August 1940.
After France surrendered to Germany, Fry was among 200 Americans — including journalists, artists, museum curators, university presidents and Jewish refugees — to create the Emergency Rescue Committee at the Hotel Commodore in New York. This group was concerned with Article 19 in France’s armistice with Germany, which required French authorities to surrender any individuals demanded by the Germans.
The private relief organization drew up frenzied lists of anti-Nazi intellectuals who were trapped in France. With the help of first lady Eleanor Roosevelt, the ERC obtained some emergency visas and sent Fry to lead the rescue efforts in Marseille, a port city in the southern, unoccupied part of France.
What he found there was impossible to manage alone. His mission began in his room at the Hotel Splendide, where long lines of refugees waited in the morning before he woke up and at night after he went to bed. They sometimes walked straight into his bedroom without knocking, Fry wrote in a letter to his wife shortly after he arrived.
Gathering a small devoted staff, including Frenchmen, refugees and American expatriates, Fry moved his office to Rue Grignan and later Boulevard Garibaldi. Outside of Marseille he rented the Villa Air-Bel — colorfully recreated in “Transatlantic” — to house eminent writers and eccentric Surrealist artists waiting for visas.
The group developed legal and illegal branches, with the cover organization offering humanitarian relief while a behind-the-scenes operation flouted the law to help refugees escape. Using Marseille’s lively black market, the staff found hiding places, forged documents and bribed officials. Bil Spira, a Jewish Austrian-born cartoonist, forged passports for the ERC. (He was caught and deported to Auschwitz, but survived.) Resistance fighters Hans and Lisa Fittko devised an escape route to Spain, guiding refugees across the Pyrenees mountains on foot.
By the time he was forced out in October 1941, Fry’s shoestring operation had enabled 2,000 Jewish and other anti-Nazi refugees to flee Europe, including such towering artists as Chagall, Max Ernst and Marcel Duchamp, and intellects such as Arendt, Heinrich Mann and André Breton. It has been estimated that 20,000 refugees made contact with the rescue center in Marseille.
Fry’s illegal efforts made him plenty of enemies from his own country, who accused him of interfering with American neutrality in the war. He angered the state department, officials at the American consulate in Marseille and ERC members in New York. In August 1941, he was arrested by Vichy police and sent back to New York.
Fry died in 1967 at the age of 59. Only a few months earlier, he had received the Croix de Chevalier de la Legion d’Honneur, France’s highest decoration of merit — and the only official recognition in his lifetime. In 1994, he became the first American honored by Yad Vashem, Israel’s Holocaust memorial and history authority, as Righteous Among the Nations.
The Emergency Rescue Committee merged with another relief organization and became the International Rescue Committee in 1942. It is still in operation today and currently led by a Jewish CEO, former British politician David Miliband.
What’s in the show, and why some are against it
Some of Fry’s colleagues are fictionalized in “Transatlantic,” including the Jewish Berliner Albert Hirschman (Lucas Englander), who would become an economist in the United States; the Chicago heiress Mary Jayne Gold (Gillian Jacobs); and the Jewish Austro-Hungarian activist Lisa Fittko (Deleila Piasko). American diplomat Hiram Bigham, who gave Fry crucial help and even hid writer Lion Feuchtwanger in his home, is also a character in the show.
Throughout the seven episodes, rescue missions swirl around a series of fictional love affairs. In addition to Fry’s relationship, a triangle unfolds between Hirschman, Gold and the fictional American Consul Graham Patterson. (There is no evidence that Gold romanced either with her comrade or with any American consul in Marseille.) Lisa Fittko has an affair with the fictional character Paul Kandjo, who organizes armed resistance to Vichy.
Gillian Jacobs as heiress Mary Jayne Gold. (Anika Molnar/Netflix)
Several wartime plot points are also invented, including a prison break at Camp de Mille and Gold’s collaboration with British intelligence.
The degree of fictionalization has angered some people close to the real history. Pierre Sauvage, president of the Varian Fry Institute, called the show’s trailer “shocking.” Born in 1944, Sauvage survived the end of the Holocaust in the French village of Le Chambon-sur-Lignon, although his Jewish parents were turned down by Fry’s overwhelmed committee. He became close friends with some of Fry’s fellow rescuers in their later years, including the late Gold, Hirschman and Fittko.
“Are there any red lines?” he said. “Can one fictionalize at will, with no concern for the reality of the story, for the false impression that people will get — and for the way it affects the private lives of the families of people portrayed?”
Sheila Isenberg, who documented Fry’s operation in her book “A Hero of Our Own,” has described the series as a “travesty.” Thomas Fischer Weiss, a child survivor who attempted Fry’s escape route through the Pyrenees at 5 years old, also said the historical events needed no embellishment.
“I think you should tell it straight,” he told the JTA.
The legacy of the ‘troublemakers’
Sauvage believes that if Fry and his associates were alive today, they would like to be remembered for their convictions.
“These were people who were sort of in your face,” he said. “People who knew clearly what they felt and expressed it. They would often describe themselves as troublemakers. Mary Jayne [Gold] said about Varian that he was an ‘ornery cuss’ — it took orneriness to stick to your guns.”
That orneriness was critical at a time when many Americans were apathetic to the plight of European Jews — a 1938 poll in Fortune magazine found that fewer than 5% believed the United States should raise its immigration quotas for refugees. By the summer of 1941, it was too late to open the doors. The German policy of expelling Jews had changed into extermination.
According to Sauvage, America’s refusal to accept more refugees had something to do with that shift.
“The Nazis could legitimately come to the conclusion that the world wouldn’t do anything about the murders and wouldn’t really care all that much,” he said. “What the Varian Fry mission symbolizes is people who cared.”
Varian Fry with Miriam Davenport in the first offices of the Centre Américain de Secours in Marseille in 1940. Davenport, a friend of Mary Jayne Gold, also worked in the rescue effort but is omitted from “Transatlantic.” (Varian Fry Institute)
After their year in Marseille, the rescuers settled into more ordinary lives. Hirschman became an economist with appointments at Yale, Columbia and Harvard. Lisa Fittko ended up in Chicago, where she worked hard in import-export, translation and clerical jobs to earn money, eventually joining protests against the Vietnam War. Gold divided her time between New York City and a villa on the French Riviera.
They all remembered the rescue mission as their finest hour. Speaking with Sauvage, Gold called that year “the only one in her life that really mattered.”
A refugee story for troubled times
Fry’s rescue mission inspired Julie Orringer to write “The Flight Portfolio,” a 2019 novel that became the basis for “Transatlantic.” Orringer was captivated by the image of a young man arriving in Marseille, idealistic and unprepared for the depth of anguish he would find.
“The task was way too big,” she told the JTA. “He realized quite early on that he was going to ask for help, that he was going to have to turn to others who had deeper experience. And in collecting this group of incredible individuals around him, he assembled a kind of collective mind that really could make a difference under the very difficult circumstances that he faced.”
She believed that Fry left an example for the inexperienced. “If you‘re the kind of person who wants to take action on behalf of refugees, but doesn’t know how to do it, ask for help,” she said.
Winger, a Jewish Massachusetts native who has lived in Berlin for two decades, conceived of making a series about Fry in 2015. Germany saw an influx of more than a million migrants that year, most of them fleeing Syria’s horrific civil war. She optioned Orringer’s book in 2020.
“I thought a lot about the fact that people like us — artists, Jews, both — had to leave Berlin as refugees, but now there were so many people coming to Berlin as refugees,” said Winger.
Then, just as she started filming “Transatlantic” on location in Marseille, a new war broke out in Europe.
“The war in Ukraine started three days into the production and there was a whole other wave of refugees coming to Berlin,” she said. “Suddenly we were making it in another refugee crisis.”
Russia’s invasion of Ukraine hit close to the show, whose cast and crew hail from across the continent. Winger’s cinematographer is married to a Ukrainian woman. In Berlin, she saw thousands of refugees crowding into the central train station, some without shoes, food or plans for shelter.
“I think it gave us all a strong sense of purpose,” said Winger.
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The post The real Jewish history behind Netflix’s ‘Transatlantic’ and the WWII rescue mission that inspired it appeared first on Jewish Telegraphic Agency.
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A nose is a nose is a nose: A Brooklyn artist’s quest to paint 100 Jewish noses, including mine
I have never been good at resisting advertising, but one day last July, I came across a poster aimed at me like a heat-seeking missile: “Are you Jewish? Do you have a nose?”
Check and check.
The flyer went on: “Looking for noses for the 100 Jewish Noses Project, a series of 100 Jewish nose paintings.”
Strange forces were afoot on Franklin Avenue. I had seen a lot of papers taped to poles in my time, but never one that had seen me so clearly. The page was dominated by a painting of a nose, a handsome Romanesque specimen with an oily sheen. Below, the mystery artist invited me to “Submit your nose here” via a tinyurl link. I didn’t need to be asked twice.
After I filled out a Google Form that asked some basic questions (name, genre of Jewish heritage, availability to come to Brooklyn for reference photos) and a few more nasally-reflective inquiries relating to my nose-job status and my general relationship with my nose, I found myself in artist Goldie Gross’ Crown Heights apartment, preparing to do some modeling for the first time in my life. Gross was reserved but generous with her laughter. Her loose black dress, mane of golden-brown crinkly curls and red nail polish lended her a certain Jew-ne-sais-quoi.
“I don’t think there is such a thing as a Jewish nose,” said Gross once we had sat down on her couch to talk, “and so I wanted to do a series that captures the full range, the diversity of the Jewish nose across one hundred paintings.”
There are Jewish noses hanging on Gross’ living room wall. Well, paintings of Jewish noses. Noses of every conceivable style, from the aquiline to the Asiatic, the beringed to the bulbous. Gross began painting (not just noses) in 2012, when she was 15 or 16, before going on to earn a BA in Art and Business at Baruch College and an MA in Art History at NYU’s Institute of Fine Arts. The 100 Jewish Noses idea intrigued her because it fulfilled a trifecta of artistic goals.
“I wanted a longstanding series that would take time, that would be something on the easel, and that would allow me to master something that was also relevant to the current moment,” she told me.
To Gross, the stereotype of the “Jewish Nose” has cast a huge, humped and hooked shadow over Jewish collective self-esteem for centuries. And, Gross pointed out, unlike wearing a yarmulke or claiming the title “People of the Book,” the “Jewish Nose” is not a feature that the Chosen People chose to be known by.
“It goes back to the 12th or 13th century, just a way to differentiate Jews as ‘other,’” Gross said. “The Nazis really ran with it. A ton of Nazi propaganda has the big nose as this way to ‘other’ the Jew. This propaganda has, I think, become part of our cultural identity. We’ve accepted this image of the Jew as a big-nosed, unattractive person as an actual reflection of who we are and how we view ourselves.”
Like endocrine disruptors sneaking into the bloodstream, these nasal prejudices have been encoded in the Jewish cultural genome and passed from generation to generation. “Asking people to submit their noses, I asked people to write about their relationships with their noses. And so many people have bad relationships with their noses,” Gross said. “They’re like, ‘I hated it growing up, I was bullied, my family made fun of me.’ Or conversely, ‘I have a small nose; I was always proud of it.”
Proud of it? I snorted indignantly through my not-inconspicuous schnozz. Those tiny-nosed Jews — they might laugh now, but they would never, ever build the true grit demanded by a plus-size honker. I almost pitied them.
But as Gross positioned me in direct light and prepared to snap some nose pics, a bit of my bravado wore off. I thought of younger, bat-mitzvah-age Clara, who would have had the same reaction to an iPhone camera pointed at her nose as an AK-47. She would rather have posed nude for a remake of the “Draw me like one of your French girls” scene in Titanic than pose her nose.
Like many girls in middle school, I celebrated my entrance to womanhood by selecting at least one arbitrary physical feature to rag on. I picked my nose (not like that). For years, I fretted over my nose. I pinched and poked it. I spent many enriching hours flaring my nostrils in front of the mirror, amazed and horrified by the width I could achieve. I wished for a more unobtrusive nose, like Keira Knightley’s — or, failing that, Voldemort’s. Never mind that with a Korean-American mother and a Jewish father, looking like Voldemort wasn’t even phenotypically possible.
I don’t remember a revelatory flash that made me accept my nose. My father tried to inspire me by telling me about the “Black Is Beautiful” movement from the 1960s, but I struggled to apply it: “Jewish is … Jewtiful?!” By and by, I became too busy to worry about my nose. Noses receded into the rearview mirror as I sped down the highway of life.
Yet I wonder whether things might have changed for me if I had seen a project like Gross’ sooner. Even if I didn’t suddenly start reveling in my nose’s beauty, I might have seen that nature is creative and full of variety. There’s beauty in that. Around six months after I posed for Gross, she sent me a message on Instagram; my nose was finished. And there it was, Nose 14 of 100, nestled among its Jewish brethren. I blinked at it like a caveman examining his own reflection in a puddle. Could that be me? Yet there my Jewish nose was, one nose among noses beaked, beringed, button and bulbous. Paint me like one of your Jewish girls, I thought.
The post A nose is a nose is a nose: A Brooklyn artist’s quest to paint 100 Jewish noses, including mine appeared first on The Forward.
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Trump, on eve of new ceasefire talks: ‘Israel never talked me into the war with Iran’
(JTA) — President Donald Trump insisted that “Israel never talked me into the war with Iran” on his social network Monday, apparently seeking to tamp down a series of reports — including from members of his own administration — that the Israeli government had manipulated him into striking the Islamic Republic.
In the same post on Truth Social, Trump added that his own reaction to the Oct. 7, 2023, Hamas attack on Israel contributed to his decision: “Israel never talked me into the war with Iran, the results of Oct. 7th, added to my lifelong opinion that IRAN CAN NEVER HAVE A NUCLEAR WEAPON, did.”
Trump is facing growing backlash to the Iran war that had been launched with joint U.S.-Israeli strikes, with members of his own party joining a chorus of voices opposing it. A key point of contention is to what degree Israeli pressure played a role in the president’s decision to go to war, with the GOP’s anti-Israel wing maintaining that Trump was manipulated by Prime Minister Benjamin Netanyahu, and Secretary of State Marco Rubio initially suggesting that Israel had forced the president’s hand.
Anti-war protesters have often linked the strikes either to Trump and Netanyahu equally, or portrayed Netanyahu as Trump’s puppet master.
A recent report in The New York Times also indicated that Trump had trusted Netanyahu’s assessment that regime change in Iran would be swift, rather than dissenting views among his own generals. The war has continued for nearly two months, with Iran’s blockade of the Strait of Hormuz undercutting the world’s oil supply. The Trump administration is currently eyeing an exit ramp, with polls showing that Jewish Americans are largely opposed to the war even as they support its aims.
But in his new post, Trump continued to confidently declare that regime change in Iran was a possibility.
“Just like the results in Venezuela, which the media doesn’t like talking about, the results in Iran will be amazing,” the president wrote. “And if Iran’s new leaders (Regime Change!) are smart, Iran can have a great and prosperous future!”
Trump’s post comes days after another that appeared designed to combat the perception that he was not in full control. A day after announcing a truce in the Israel-Hezbollah fight in Lebanon, which reportedly surprised even members of Netanyahu’s cabinet, he posted, “Israel will not be bombing Lebanon any longer. They are PROHIBITED from doing so by the U.S.A. Enough is enough!!!” White House officials, responding to confusion from the Israelis, later clarified that the prohibition did not extended to strikes that are considered defensive.
The new post comes as Trump has sent competing signals about the future of the ceasefire, which is set to expire on Tuesday. Over the weekend, he both indicated that he believed the ceasefire would be extended and warned in a different post that the Iranians must comply with his demands or he would target the country’s civilian infrastructure.
“We’re offering a very fair and reasonable DEAL, and I hope they take it because, if they don’t, the United States is going to knock out every single Power Plant, and every single Bridge, in Iran,” Trump wrote. “NO MORE MR. NICE GUY!”
Iran has said it has “no plans” to attend talks meant to extend the ceasefire scheduled for Monday night in Islamabad, Pakistan. Netanyahu, meanwhile, told Israelis on Monday that he stands ready to return to war if needed.
This article originally appeared on JTA.org.
The post Trump, on eve of new ceasefire talks: ‘Israel never talked me into the war with Iran’ appeared first on The Forward.
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If Iran Won’t Deal, Trump Must Make the Cost of Refusal Unbearable
A US Navy sailor signals an F/A-18E Super Hornet on the flight deck of the Nimitz-class aircraft carrier USS Abraham Lincoln in support of the Operation Epic Fury attack on Iran at an undisclosed location, March 4, 2026. Photo: US Navy/Handout via REUTERS
The ceasefire with Iran is expiring. The talks collapsed after 21 hours in Islamabad. Iran has closed the Strait of Hormuz. Trump himself, speaking aboard Air Force One, put the choice plainly: “Maybe I won’t extend [the ceasefire]. So you have a blockade, and unfortunately, we’ll have to start dropping bombs again.”
That is the right instinct. But dropping bombs alone is not a strategy. It is a continuation of what has not worked. The question before the administration is not whether to apply pressure, but what kind of pressure actually changes Iran’s calculus. The answer requires being honest about what the war has so far failed to accomplish, and clear about what must follow.
Start with what the strikes achieved and what they did not. The United States and Israel killed Iran’s supreme leader, wiped out much of its senior military command, and damaged its nuclear facilities. These were historic accomplishments. But US intelligence assessments say Iran’s regime likely will remain in place for now, weakened but more hardline, with the Revolutionary Guard Corps (IRGC) exerting greater control. As one analyst put it: “When President Trump says he has changed the regime in Iran, he’s right in one sense: he’s changed it to a much more radicalized regime.” The war shifted who holds power in Tehran, but it did not shift what that power wants.
The IRGC, which now runs Iran more openly than at any point since 1979, looks at the nuclear question through the lens of survival. Analysts say the IRGC will be looking toward the example of North Korea, noting that the country has not been subject to attacks precisely because it possesses a nuclear deterrent. Former Supreme Leader Khamenei’s fatwa banning a nuclear bomb died with him, and for any military whose conventional deterrence has been degraded, the ultimate deterrent is now “a very attractive prospect.”
This is the central strategic reality the Trump administration must accept: Iran’s incentive to acquire a nuclear weapon has increased, not decreased, as a result of the war. Bombing alone will not change that. Only a combination of measures that makes the pursuit of the bomb more costly than abandoning it can.
The first requirement is maintaining the naval blockade unconditionally, regardless of Iranian announcements about Hormuz openings. Iran has been selectively admitting ships from China, Turkey, Pakistan, and India under bilateral arrangements while blocking others, converting the strait into a political instrument rather than surrendering the leverage it provides. A blockade that can be circumvented through side deals is not a blockade. It is theater. CENTCOM must enforce the blockade against all sanctioned traffic without exceptions, including Chinese tankers, and Trump must be prepared to make that enforcement the hill his presidency stands on, economically and diplomatically.
The second requirement is activating European snap-back sanctions immediately. Secretary of State Marco Rubio urged European countries on April 18 to quickly reimpose sanctions, warning that Iran is approaching nuclear weapons capability. This call should not have been made publicly as a request. It should have been delivered as a condition. Washington has leverage over European access to American markets and defense cooperation that it has consistently refused to use in Iran policy. That reluctance must end. A European sanctions regime that closes off the money that the blockade does not reach, will give Iran no economic off-ramp that does not run through US terms.
The third requirement is the most uncomfortable to name. The Iranian people have already done the work the administration hoped bombing would do. Surveys conducted inside Iran show that Iranians believe protests, foreign pressure, and intervention are more likely to bring about political change than elections and reforms. The regime is militarily weakened, culturally weakened, and economically weakened, with a plummeting currency. Protests that began in December 2025 over economic conditions grew into nationwide demonstrations in all 31 provinces, with hundreds of thousands participating and calls shifting from economic grievances to the overthrow of the Islamic Republic itself. This is the most significant popular uprising Iran has seen since 1979, and it is happening right now, under the weight of the war and the blockade.
Trump called on the Iranian people to take their government at the outset of the war. He should not abandon that call as a diplomatic inconvenience. Materially supporting the opposition, providing Internet access to circumvent the regime’s blackout, and making unambiguous public commitments to the protesters that American pressure will not cease while the IRGC shoots demonstrators in the street are actions within the administration’s power. They cost nothing militarily and they impose a political cost on the regime that no bomb can replicate.
A deal that leaves Iran with a five-year enrichment window and underground missile cities under reconstruction is not a deal. It is a countdown. Trump knows what the alternative looks like. He should pursue it.
Amine Ayoub, a fellow at the Middle East Forum, is a policy analyst and writer based in Morocco. Follow him on X: @amineayoubx