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A lackluster exhibit gives short shrift to Claude Lanzmann’s legacy — and to the Shoah’s victims

For reasons both political and cultural, it’s a worrying moment in history when New York City dedicates valuable gallery space to pale echoes of exhibits from German-speaking museums. That is currently the case, though, for The Recordings: Voices from the Shoah Tapes — the new exhibition at The New York Historical (formerly The New York Historical Society) and Documents of Injustice: The Case of Freud at the Austrian Cultural Forum NYC.

The Austrian Cultural Forum is a tiny vertical glass and aluminum skyscraper a block away from MoMA in New York’s Midtown East. Built in 2002 on a plot of a townhouse and with that aesthetic in mind, it is a hidden gem. On the ninth floor overlooking St. Patrick’s Cathedral, a single room represents the Freud Museum’s current exhibit of the trove of documents testifying to the legal appropriation of the Freud families’ assets and the murder of Sigmund Freud’s sisters (Freud, his wife and daughter Anna escaped from Austria to London, where he died 22 days after Hitler invaded Poland.) The minimal exhibition comprises six wall banners, a single display case of documents, and a TV screen with four intercut testimonies from Yale’s Fortunoff Video Archive for Holocaust Testimonies. In the videos, Jewish women who grew up in the same district as Freud’s famous Berggasse 19 address bear witness to the sudden absence of legal and social protection after the Nazi Anschluss in March, 1938.

Barely a mile north at the Historical, a bewildering series of absences dog the small but potentially important Shoah exhibit — itself a splinter of the concurrent display at the Jewish Museum of Berlin — Claude Lanzmann: The Recordings.

The most striking absence in a show dedicated to highlighting the audio tapes Claude Lanzmann recorded during the research for his documentary film, is the lack of the film Shoah itself in all its 9-hour sobering majesty: not an excerpt cycling on a wall monitor, not a related screening or two in the auditorium while the show is up — nada. The several stations all have screens showing transcripts and translations next to headphones where two visitors at a time can listen and one larger screen has video testimony that Lanzmann chose not to use.

As Lanzmann told me when I interviewed him for the Forward, at the heart of Shoah are some crucial silences. The Fortunoff video at ACF spells that out a little more in the dedication at the end of the testimonies: “You cannot interview the dead.”

The Recordings, for their part, bear witness to some of the sounds and testimonies that were available to Lanzmann as he embarked upon his filming but chose not to use. The film itself is so arresting, and so epic in scale that, for example, he could exclude all of his research on the atrocities in Lithuania without significantly affecting the final 9 hour-long monument. As the descendant of Lithuanians and after historian Simon Schama’s trip there for PBS, the newly-public testimony from witnesses Lanzmann interviewed in Lithuania at NYH is deeply arresting.

According to Louise Mirror, CEO of NYH, the institution chose to host this shadow show as the United States heads to its 250th birthday to promote democracy “by showing what democracy isn’t.” But that’s at least one step too far into negative space — promoting democracy by showing one instance of fascism, an exhibition for audio tapes that are not on display, tapes that were research for the documentary Shoah that were not used for the documentary. So, yes, the film shows the indifference of the populations of Europe to the (murderous) removal of Jews, but the NYS’ show’s deferrals and absences do not serve that same idea.

Unlike the modest but appropriate setting of the Freud room which, sharing the same name as the Viennese show, is explicitly a satellite show,vThe Recordings has its own name and is jammed into the first third of a single long exhibition hall with Stirring the Melting Pot. That latter is a putatively companion exhibition of NYH archive photos showing the multicultural history of New York City. The logic is clear, explicit even, but not good — New York has always been a place of refuge: where Jews, Hungarians (Jews and not), Ukrainians, Ethiopians (Jews and not), Italians and many others could make a new home.

It’s scant solace for the ethnic cleansing of Europe and this unfortunate juxtaposition shows an almost obscene disproportionality.

Any significant exhibition about the Shoah must center loss in some way or other. The multi-year catastrophe we call by that name was the unthinkably vast systematic destruction of a European civilization and murder of its people by a modern, developed, mechanized European nation state. The extent of the civilization is essentially unrepresentable, its annihilation is unfathomable, and the bureaucratised slaughter of millions incomprehensible. So not only do we feel grief and horror at the inhumanity of it, but we also feel loss at our own inability to grasp the enormity of the events.

To put up a few neighborhood photos of the New York “Melting Pot” after listening to the negative space defining the yawning abyss at the moral heart of modern culture feels a little like bringing a box of chocolates to the Tree of Life shivas. It’s inadequate and inappropriate, if you want to do a Holocaust exhibition, do it properly, if you want to promote democracy, do it properly.

The occasion for the exhibit, apart from America’s birthday, is the 100th anniversary of Lanzmann’s birth, 80 years since Auschwitz was liberated and 40 years since Shoah was released. Lanzmann left all his archive to the Jewish Museum of Berlin, where the main show is, but little or none of that material has either physically or spiritually come to New York. Sadly, though there are significant moments of horror and enlightenment, this show is a poor commemoration of a great man, a catastrophic historical loss and an immense cultural achievement.

The post A lackluster exhibit gives short shrift to Claude Lanzmann’s legacy — and to the Shoah’s victims appeared first on The Forward.

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He works at a Holocaust museum by day. How’d he end up in ‘Marty Supreme’?

Heading into his audition for Marty Supreme, Isaac Simon was nervous. But not for the reasons you’d expect.

“I was taking a long lunch break from the museum,” he said, “and at the time I was three or four months into my job.”

Appearing in a Josh Safdie movie was something Simon, who runs internship programs at the Museum of Jewish Heritage, had genuinely never dreamed of. He wasn’t an actor, or an aspiring one. He’d never taken an acting class or been in front of a camera.

But two years after he was scouted at a baseball card convention, Simon was invited to try out for the role of Roger, a cocksure amateur who gets hustled on the ping-pong table by Timothée Chalamet’s Marty Mauser. Standing 6-foot-9 with ice-blue eyes, low eyebrows and flowing brown hair, Simon had the look, the paddle skills and, clearly, the temperament to land a pivotal part in an Oscar-bound — and richly Jewish — cinematic hit.

“I don’t get starstruck,” Simon, 31, said. “I get excited.”

Isaac Simon wore a Museum of Jewish Heritage pin to the premiere. Photo by Theo Wargo/Getty Images

The slew of non-actors who feature in Marty Supreme alongside A-listers like Chalamet, Gwyneth Paltrow and Tyler, The Creator has already become part of the film’s lore. Safdie and veteran casting director Jennifer Venditti have a penchant for casting street regulars; among the first-timers in the movie are basketball legend George Gervin, viral TikTok and YouTube personas and the guy from Shark Tank.

But perhaps none had as personal a connection to the film’s story of post-war Jewish striving as Simon, a native New Yorker whose graduate study at Queens College focused on the development of Holocaust studies in the U.S. In Marty Supreme, which is loosely based on the story of real-life midcentury table tennis star Marty Reisman, one of the protagonist’s best friends is a Holocaust survivor; one of the film’s most arresting scenes is an Auschwitz flashback.

Simon’s day job is, of course, at the largest Holocaust museum in New York. The fateful coincidence of his casting, Simon said, was “like a bizarre lottery ticket I was able to cash in.”

A fateful encounter

The story of Simon’s star turn begins in the summer of 2022, when Venditti spotted him at a baseball card show in Long Island. Venditti was there with Safdie; Simon — then still in grad school — was there with his dad.

Venditti said they was there to cast extras and non-actors for a baseball-related movie, and asked if she could take a two-minute video of him talking about himself. He obliged, and in the recording told her where he was from (New York City) and what he was doing at the show (chasing the famously rare T206 tobacco card series).

“I thought to myself, ‘Wow, could I really have been at the right place and the right time for something I wasn’t even expecting?’” Simon recalled. Then two years passed, and the run-in faded from memory.

It was not until the summer of 2024 that he received an email from Venditti: “Isaac Simon audition opportunity – scouted at card show.” No script was provided and nothing about the project was disclosed — just a date and a location.

On his elevator up to the audition, he heard the hollow bouncing of a ping-pong ball. Having seen a headline about Chalamet being attached to a Reisman biopic a few days earlier, he realized what the next few minutes might entail.

“The first audition was a total blur,” Simon recalled. “I remember playing ping pong with the assistant casting director and he was like, ‘Oh you’re good!’” At a subsequent callback, he played out a few improv scenarios — some light trash talking, or being cheated in a game. A few weeks later, he got called in for costume fittings.

He hadn’t solicited any acting tips, or studied film prior to his audition. But his work at the museum, where he trains educators on how to teach the Holocaust in 90 minutes, had prepared him.

“Because teaching is a performance, there is sort of an inherent performative quality to the work I do,” Simon said. “And so I think that that lent itself well — or at the very least, it didn’t hurt — to the work I was being asked to do for Josh.”

“Marty Supreme” director Joshua Safdie (R) gives direction to Tyler, The Creator at the bowling alley where Simon’s scene was filmed. Courtesy of A24

‘Cast for a reason’

Having run through his lines with his dad and his girlfriend, Simon headed upstate that fall to play Roger — and play opposite Chalamet. (This time, he took two days off of work.)

Roger, the reigning hotshot at a humdrum bowling alley, features in two scenes. In the first, he’s goaded into wagering $40 against Marty, who’s feigning amateurism, and loses. He reappears a few minutes as Marty fills up at a nearby gas station, realizing he was hustled by the reigning American champion; he and his pals want their money back.

Walking into the converted Bowlero where they shot the first scene, Simon was floored by the set. “Each individual looked like they were from the 1950s, and yet their outfit was distinctly their own,” he recalled. Miyako Bellizzi, the costume designer, had fitted him in a striped button-up and faded blue work pants; Simon’s hair was slicked back and to the side.

He hadn’t met Safdie before he got to set, and his cues from the Uncut Gems co-director were limited.

Over the course of his scenes, there were times when he wasn’t sure he was doing what Safdie wanted. Here, it was his inexperience that Simon drew on. “I kept reminding myself that I was cast for a reason, and I was cast as a non-actor for a reason,” he said, “and what I’m bringing to this experience is inherently different than what a trained actor would be. Therefore, if I were a trained actor, I would not be what Josh was looking for in the scenario.”

He didn’t have too much time to banter with the film’s stars during the shoot; most of his time on set was spent with other bit-players. But when the camera was shooting other actors, Safdie wanted to keep the sound of live table tennis in the background, so he had Chalamet and Simon play each other off-camera.

As to who had the upper hand? “We’re probably about even,” Simon said.

“Marty Supreme” casting director Jennifer Venditti has a penchant for scouting non-actors in public places. Courtesy of A24

Jewish mythmaking

Even after the shoot, Simon couldn’t quite believe it was real. He told almost no one outside his family, superstitious that the scene would get cut. But then the premiere arrived. “It was surreal,” he said.

He’s now seen the film nine times — yes, all the way through — indulging friends who want to see it with him. And his acting has won some praise, with one X post calling it an “incredible underrated performance” liked more than 2,000 times.

Simon likes the movie, if you couldn’t tell, echoing its director and star in calling it a love letter to New York. The film, Simon said, touches on Jewish identity in a way that reminds him of his own family and their experience in this country.

“The way in which it captured intergenerational relationships in Jewish homes in post-war America, in New York specifically, felt very autobiographical for the way that my relatives talked amongst each other,” he said. “There’s a love there that transcends.”

As a Holocaust educator, Simon felt the movie handled that theme appropriately. He found the honey scene — an Auschwitz flashback too intense to explain here — moving, and the Holocaust humor tactfully dispatched. He loved the yiddish.

Yet Simon still couldn’t wrap his head around his own involvement in such a fitting project. His work passing on the history and memory of the Holocaust to future generations was already meaningful before he got an IMDB page.

“So to be cast in a film and have a speaking line,” he said, “and it just so happens that that film is also this incredibly Jewish film — which has direct references in the scene at Auschwitz — is equally bizarre, but also really beautiful, and oddly perfect.”

The post He works at a Holocaust museum by day. How’d he end up in ‘Marty Supreme’? appeared first on The Forward.

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Trump’s new Gaza plan marks a radical break from Israeli policy — can it succeed?

The United States has in effect broken with Israeli policy, cleverly engineering the Palestinian Authority’s return to Gaza.

President Donald Trump’s plan for the second stage of the Gaza ceasefire, the launch of which was announced Wednesday, involves the creation of a transitional Palestinian technocratic authority with strong ties to the PA. This collapses fictions Israel has sustained for years: that Gaza can be stabilized without the PA, which was ousted from the territory by Hamas in 2007; that the PA is no better than Hamas; and even that Palestinian governance itself is illegitimate, a belief held by the most extreme Israeli nationalists.

Reality has finally prevailed, and that reality is that the PA, flawed though it is, remains the only Palestinian political body capable of replacing Hamas in Gaza.

The logic expressed by those, like Israeli Prime Minister Benjamin Netanyahu, who aim to keep the PA out of Gaza, has brought Israel to the brink. Splitting Palestinian governance between Hamas and the PA, long Netanyahu’s strategy, led to unmitigated disaster, and public anger is at a boil.

Which means that the PA must return to Gaza not only for the sake of Palestinians, but also for Israelis. The Zionist project must be steered away from permanent war, international isolation and internal decay. That means finding a way to work toward a sustainable future with the Palestinians — which almost certainly means, in turn, accepting the PA as their legitimate government.

Decades of misleading rhetoric

Since the establishment of a ceasefire, brokered by Trump’s administration, in September, Hamas has reasserted control over large parts of Gaza. Militarily weakened, it survived politically — because Israel still refused to empower any viable Palestinian alternative.

That return to the status quo in many ways serves Netanyahu’s agenda. Keeping Hamas in power allows for a state of permanent emergency and despair about the chances for peace — the very forces that Netanyahu has, for decades, successfully turned into political capital. “There is no difference between the PA and Hamas” became a mantra — as if a political bureaucracy and a theocratic militia that massacres civilians and rejects coexistence on principle could be legitimately compared.

Now, as long as Hamas rules Gaza, its very presence constitutes an emergency narrative that Netanyahu can use to delay the accountability over his responsibility for Oct. 7: Wartime is no time for politics.

The Palestinian Authority, by contrast, has been treated as dangerous because it represents a measure of pragmatism.

The PA, ineffective as it has been, could be the basis of a functional political framework that would force Israel to confront the need for separation from the Palestinians, real borders, and eventual Palestinian statehood. That’s especially true because there’s the potential for actual peace with a Palestine run by the PA, which already coordinates with Israel at enormous political cost in the West Bank, where its security forces arrest militants and dismantle extremist cells.

New governance for Gaza

The technocratic committee put forward to govern Gaza under Trump’s second phase plan is formally nonpartisan, but its personnel and legitimacy are largely drawn from the ranks of the PA, with Ali Shaath, a former PA deputy minister, set to lead the effort. Others come from the same institutional ecosystem, because there is simply no other reservoir of Palestinian administrative experience. The PA has publicly endorsed the framework. Israel must now also meet its own obligations under the Trump plan — no matter how distasteful its leaders might find the plan’s endorsement of the PA to be.

That means, chiefly, that Israel must declare clearly that once Gaza is stabilized by the technocratic committee, it is prepared to enter negotiations toward a Palestinian state, with final borders to be determined later. Israel can openly state its intention to retain major settlement blocs in the West Bank and seek long-term security arrangements in the Jordan Valley. But it should also affirm in principle its readiness to recognize a Palestinian state and guarantee access arrangements in Jerusalem.

These statements would not resolve the conflict, by any means. But they would go some way toward restoring credibility.

To get there, Hamas must surrender its weapons in Gaza, with an international stabilization force present to keep the peace. The best chance for disarmament is if the weapons are handed to Palestinians. By default, the PA security forces will be the best candidates for the job, as the new technocratic government lacks a security arm. Hamas’s senior leadership should probably be allowed to exit into exile.

To build a Palestinian consensus in this direction, regional powers — Qatar, Egypt, Saudi Arabia, the United Arab Emirates, and Turkey — must make reconstruction conditional on disarmament. The choice must be unmistakable: real recovery without any trace of a Hamas militia – or years in tent cities.

If all this is achieved, the real work begins. Areas under the new authority must visibly improve. Adequate housing, electricity, water, education, employment, and free movement must return in ways Palestinians can measure. The comparison with Hamas rule must be obvious.

Reformations in the PA — and Israel

Such a process with the PA should also be made conditional.

As existing U.S. proposals suggest, the PA must be required to undertake concrete reforms, including by overhauling educational materials that appear to condone violence against Israelis and ending payments to the families of imprisoned militants.

Senior PA officials have already signaled willingness to move on both fronts. These are achievable changes,

The payoff would be immense, potentially including normalization with Saudi Arabia, broader reconciliation of Israel the Arab and Muslim worlds, the gradual erosion of the global delegitimization campaign against Israel, and renewed international cooperation — especially in confronting Iran’s nuclear program, ballistic missiles, and regional militias. In time, Zionism would once again be seen as a serious national project capable of difficult, mature decisions.

The catch: Little of this is likely to happen under the current Israeli government.

That is the central truth of 2026, an election year: a change of leadership in Israel is not optional for anyone who wants a better future. The disaster of the Oct. 7, 2023 attack was the culmination of years of strategic failure, ideological paralysis, and the reckless empowerment of Hamas. This is what happens when complacent societies repeatedly elevate unfit leadership in the face of existential danger.

So Israelis must decide: will they support a government that thrives on permanent conflict, or endorse the possibility of peace?

The post Trump’s new Gaza plan marks a radical break from Israeli policy — can it succeed? appeared first on The Forward.

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California’s Gavin Newsom Proposes Budget Increase for State Universities Amid Federal Funding Threats

California Gov. Gavin Newsom in Sacramento, California, US, on Aug. 8, 2025. Photo: REUTERS/Carlos Barria

California Gov. Gavin Newsom, a rumored potential candidate for US president in 2028, has proposed hundreds of millions of dollars in new funds for state universities amid the Trump administration’s policy of canceling federal grants and contracts held by institutions which it accuses of failing to combat campus antisemitism.

Newsom previously sought to cut funding to the University of California (UC) and California State University (CSU) by 8 percent during the 2025-2025 fiscal year (FY), before dropping that figure to 3 percent. Then on Friday, the governor proposed a new budget which would increase next year’s appropriation by $350.6 million for UC and $365.7 million for CSU, raising the state’s general fund for the schools to $5.3 billion and $5.6 billion, respectively.

“The budget introduced today by Gov. Newsom continues to provide critical support for the university and our students,” UC president James B. Milliken said in a statement responding to the news. “State support is more important than ever, as we face tremendous financial pressures stemming from rising costs and unprecedented federal actions. UC campuses rely on funding stability to serve students and maintain the academic and research excellence that has made UC the world’s greatest research university.”

He added, “An investment in UC is an investment in California’s future. I look forward to our ongoing partnership with Gov. Newsom and the legislature to ensure that our students have what they need to succeed at UC and beyond.”

The move, even as it defers $129.7 million for UC and $143.8 million for CSU to a later date, gives the schools breathing room as they fear the Trump’s administration’s confiscation of funds. Last year, for example, the administration impounded $250 million from the University of California, Los Angeles (UCLA).

US President Donald Trump ordered the money canceled in August after determining that the school exposed Jewish students to discrimination by refusing to intervene when civil rights violations transpired or failing to correct a hostile environment after the fact. He ordered the move even after UCLA agreed to donate $2.33 million to a consortium of Jewish civil rights organizations to resolve an antisemitism complaint filed by three students and an employee.

UCLA was sued and excoriated by the public over its handling of a “Gaza Solidarity Encampment” that an anti-Zionist student group established on campus in the final weeks of the 2024 spring semester. Witnesses said that it was a source of antisemitism from the moment it became active, and according to the lawsuits, students there chanted “death to the Jews,” set up illegal checkpoints through which no one could pass unless they denounced Israel, and ordered campus security assigned there by the university to ensure that no Jews entered it.

Many antisemitic incidents occurred at UCLA before the institution was ultimately sued and placed it in the crosshairs of the Trump administration.

Just five days after Hamas’s Oct. 7, 2023, massacre across southern Israel, as previously reported by The Algemeiner, anti-Zionist protesters chanted “Itbah El Yahud” at Bruin Plaza, which means “slaughter the Jews” in Arabic. Other incidents included someone’s tearing a chapter page out of Philip Roth’s 2004 novel The Plot Against America, titled “Loudmouth Jew,” and leaving it outside the home of a UCLA faculty member, as well as Students for Justice in Palestine (SJP) staging a disturbing demonstration in which its members cudgeled a piñata, to which a picture of Israeli Prime Minister Benjamin Netanyahu’s face was glued, while shouting “beat the Jew.”

On the same day that UCLA settled the suit, the US Department of Justice’s Civil Rights Division ruled that UCLA’s response to antisemitic incidents constituted violations of the Equal Protection Clause of the Fourteenth Amendment of the US Constitution and Title VI of the Civil Rights Act.

“Our investigation into the University of California system has found concerning evidence of systemic antisemitism at UCLA that demands severe accountability from the institution,” Attorney General Pamela Bondi said in a statement at the time. “This disgusting breach of civil rights against students will not stand: the [Department of Justice] will force UCLA to pay a heavy price for putting Jewish Americans at risk and continue our ongoing investigations into other campuses in the UC system.”

Newsom has positioned himself as an ally of higher education throughout its clash with Trump. In August, he demanded that Harvard University president Alan Garber resign rather than reach a deal with the Trump administration that would restore federal funding to Harvard in exchange for the school’s agreeing to conservative demands for addressing campus antisemitism and shuttering diversity, equity, and inclusion (DEI) programs.

“You don’t work with Donald Trump — only FOR Donald Trump,” Newsom protested, writing on the X social media platform. “Looks like Harvard has chosen to surrender. Alan Garber must resign. An absolute failure of leadership that will have demonstrable impacts to higher education across our country. He should be ashamed.”

He added, “California will never bend the knee.”

Newsom had days earlier criticized Trump’s effort to combat antisemitism and reform higher education, denouncing it as “disgusting political extortion.”

Follow Dion J. Pierre @DionJPierre.

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