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Disney+ series ‘A Small Light’ tells the Anne Frank story from the perspective of the woman who hid her
(JTA) — The short life of Anne Frank has inspired generations of filmmakers and television producers. The list of past productions range from “The Diary of Anne Frank” (1959), whose director George Stevens witnessed Nazi occupation as a U.S. army officer, to the Academy Award-winning documentary “Anne Frank Remembered” — featuring the only known footage of Anne — to the Emmy Award-winning dramatized miniseries “Anne Frank: The Whole Story” (2001).
On Monday night, viewers will get another TV version. But “A Small Light,” an eight-episode series premiering on National Geographic and streaming Tuesday on Disney+, tells the story from a new perspective: through the eyes of the woman who hid the Frank family.
Miep Gies was an independent 24-year-old with a busy social calendar and a dance club membership when she began working for Anne Frank’s father Otto in 1933 at Opekta, his successful jam business in Amsterdam. As Jews were rounded up and deported from the Netherlands in 1942, her Jewish boss asked if she would be willing to hide his family in an annex above the office, and she did not hesitate.
“A Small Light” stars Bel Powley as Gies, Joe Cole as her husband Jan Gies and Liev Schreiber as Otto Frank. It’s named for a quote from the real Gies, who once said that she did not like to be called a hero because “even an ordinary secretary or a housewife or a teenager can turn on a small light in a dark room.”
That metaphor had literal meaning for the Frank family and four others in the secret annex, who spent two years in a dark 450-square-foot space behind a hinged bookcase. Gies, her husband and four other employees of Otto Frank secretly kept eight Jews alive while running his business downstairs. Gies brought them food and library books, using black market ration cards and visiting several different grocers to avoid suspicion. Anne Frank said in her diary, “Miep is just like a pack mule, she fetches and carries so much.”
In the series, the “dark room” is seen less than Gies’ frenzied bicycle trips across Amsterdam, as she tries to sustain the appearance of a normal life. Her secret pushes her away from friends and family, while her marriage strains under the weight of ever-looming disaster. The creators of “A Small Light” sought to recreate a hero as a modern, flawed, at times even annoying person.
“She’s not some kind of saint,” executive producer Joan Rater told the Jewish Telegraphic Agency. “She had moods, she had a new marriage, she wanted to hang out with friends. She wanted to take a day off and she couldn’t.”
“I think everyone can relate to Miep,” said Powley, an English-Jewish actress known for starring in several British shows and in American films such as “The King of Staten Island.” “She was just an ordinary person in extraordinary circumstances.”
Although “A Small Light” is rife with tense scenes and suspense, the producers fashioned it with young audiences in mind. The show conspicuously avoids the explicit violence and horror typically expected of its subject matter, leaving out concentration camps and murders. Rater and co-creator Tony Phelan wanted children like their own to watch the series. While they were writing it, their daughter was the same age as Anne was when she was writing her diary.
Some young viewers have seen Anne’s story being swept up in literary purges across U.S. school districts, as part of the debate over what should be taught in American classrooms. Earlier this month, a Florida high school removed an illustrated adaptation of her diary after determining that references to her sexuality were “not age appropriate.” The same edition was previously yanked from a Texas school district, although it was reinstituted after public outcry. Meanwhile, a Tennessee school board banned “Maus,” Art Spiegelman’s Pulitzer Prize-winning graphic novel about his father’s experience in the Holocaust, after objections over curse words and nudity last year.
The name “Anne Frank” has long been synonymous with Holocaust education as her diary remains one of the world’s most-read books, with translations in over 70 languages. But the “relatable” rescuer presents another appealing way to teach children about one of the most wretched chapters in human history, said Brad Prager, a professor of German and film studies at the University of Missouri.
“It is the message that people like to hear,” Prager told the JTA. “If you ask a fourth-grader why we watch TV and movies — well, this is so that you can learn to do the right things, or you can learn that in certain circumstances anyone can be a hero.”
Liev Schreiber plays Otto Frank and Amira Casar plays Edith Frank in “A Small Light.” (National Geographic for Disney/Dusan Martincek)
A broader lens on the Netherlands during World War II is less palatable. The Germans and their Dutch collaborators implemented a highly effective system of persecution: Between 1942 and 1944, about 107,000 Dutch Jews were deported primarily to Auschwitz and Sobibor, then murdered. Only 5,200 of them survived.
Although Gies did everything she could to save the Jews in her care, the unwritten ending to Anne’s diary is well-known. Three days after her last entry in August 1944, Dutch police officers led by SS officer Karl Josef Silberbauer raided the annex. Gies escaped arrest by observing that she and Silberbauer shared a hometown.
“My luck was that the police officer in charge came from Vienna, the same town where I was born,” she said in a 1997 interview with Scholastic. “I noticed this from his accent. So, when he came to interrogate me, I jumped up and said, as cheerfully as I could, ‘You are from Vienna? I am from Vienna too.’ And, although he got very angry initially, it made him obviously decide not to arrest me.”
In a valiant last-ditch effort, Gies walked into the German police office the next day and attempted to buy her friends’ freedom. She was unsuccessful.
Gies found Anne’s notebooks and papers strewn on the annex floor. Without reading them, she gathered and tucked the writings into a drawer, hoping to return them to their owner. Germany had all but lost the war already, with Allied troops less than 250 miles from Amsterdam.
The Franks were packed on the last train ever to leave the Westerbork transit camp for the Auschwitz extermination camp. Otto was separated from his wife Edith and daughters Anne and Margot on the Auschwitz platform. In October, the girls were transported to Bergen-Belsen, and Edith succumbed to starvation in January 1945. Her daughters died of typhus a month later, when Anne was 15 years old.
Some studies have suggested that knowledge about the Holocaust is diminishing. In 2020, the Claims Conference found that 63% of Millenial and Gen Z Americans (ages 18-39) did not know that six million Jews were murdered in the Holocaust. More than 10% did not recall ever hearing about the Holocaust, while 11% believed that Jews caused it. Another Claims Conference survey reported that despite living in the country where Anne hid from the Nazis, a majority of Dutch people did not know the Holocaust took place there.
“In a time that antisemitism is on the rise and there are more displaced people in the world than there ever have been before, it couldn’t be a better time to re-explore this part of history, but through the lens of this ordinary young woman,” said Powley.
While “A Small Light” celebrates the power of the individual, the fate of Anne Frank also represents the failure of the whole world, said Prager. By centering Gies’ perspective, he said, the series risks making Anne a peripheral character in her own brutally aborted story.
“When you decenter Anne Frank, one thing is that you lose the Jewish perspective on the persecution,” he said.
Otto Frank, the sole survivor from the annex, appeared at Jan and Miep Gies’ doorstep after the war and ended up living with them for over seven years. In July 1945, Gies watched as he received the notice that his children were dead.
“He took it in his hands and suddenly he became eerily quiet,” Gies said in an interview for the Anne Frank House. “You cannot explain it, it was a silence that speaks. I looked up. He was white as a sheet. And he handed me the letter.”
Gies read the piece of paper, stood up and opened her desk drawer. “I took all the diaries, with all the separate sheets and everything and handed them over to Mr. Frank,” she said.
She told him, “This is your daughter Anne’s legacy.”
In 2010, Gies died at 100 years old. Every year on Aug. 4 — the day the Franks were arrested — she stayed at home, drew her curtains and did not answer the phone or doorbell.
Powley believes the show’s angle gives a fresh perspective on “your mom’s dusty copy of Anne Frank’s diary.” She approached the role of Gies with a heavy sense of responsibility.
“I feel a deeper connection to this story than I have with other projects,” she said. “This offer came to me on Holocaust Memorial Day and it immediately had that special feeling to it. My grandma, the Jewish matriarch of my family, died during COVID. I feel that she would be proud.”
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Homeland Security hires social media manager whose posts raised alarm for promoting ‘white-nationalist rhetoric’
(JTA) — The Department of Homeland Security has hired a new digital communications director whose social media content for the Labor Department reportedly raised alarm bells inside the department and beyond for promoting white supremacist rhetoric.
Peyton Rollins began his new role at Homeland Security this month, The New York Times was the first to report this week. Tricia McLaughlin, the Homeland Security spokeswoman, did not confirm the move to the newspaper, but Rollins’ LinkedIn profile shows that he began working at the department this month.
Rollins, 21, has been identified as the staffer responsible for posts at the Labor Department that have been decried as making veiled antisemitic and racist allusions. He also claimed credit for a large banner of President Donald Trump’s face that was hung from the Labor Department’s headquarters, which its critics said echoed fascist stylings.
During Rollins’ time at the Labor Department, its social media pages have featured a range of slogans including “the globalist status quo is OVER,” “PATRIOTISM, NOT GLOBALISM” and “Patriotism will Prevail. America First. Always,” which featured an image of an American flag with 11 stars, the number that appeared on some Confederate flags.
One post on X in November, which featured the phrase “Americanism Will Prevail,” spurred hundreds of negative comments because it appeared to use the same typeface used on the original cover of “Mein Kampf.”
Staffers at the department were alarmed, according to the New York Times. “We’re used to seeing posts about things like apprenticeships, benefits and unions,” a former employee, Helen Luryi, told the newspaper. “All of a sudden, we get white-nationalist rhetoric.”
In his new role, Rollins will oversee the Homeland Security social media accounts, including its X account which has been accused of tweeting antisemitic dog whistles.
Rollins joins a growing list of hires under the Trump administration who have faced allegations of promoting extremist rhetoric.
In March, DHS hired speechwriter Eric Lendrum, who has previously promoted the “Great Replacement” theory and likened conservatives in the United States to Jews in Nazi Germany. In May, the Pentagon also appointed Kingsley Wilson, who has repeatedly echoed antisemitic rhetoric online, as its press secretary.
Last year, the appointments of Darren Beattie as the acting undersecretary of state for public diplomacy and public affairs in February and Paul Ingrassia in May to a senior legal role drew criticism for the pair’s relationships with white supremacists.
The post Homeland Security hires social media manager whose posts raised alarm for promoting ‘white-nationalist rhetoric’ appeared first on The Forward.
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The Israeli government wants you to stop calling Oct. 7 a ‘massacre.’ Yes, really.
The Oct. 7 attack was a massacre. But Israeli authorities would prefer you not call it that.
The Prime Minister’s Office demanded that a bill establishing a national memorial for the incursion remove the term “massacre” from its title, with Minister Mickey Zohar explaining that since Israel is “strong,” no one can “massacre the people of Israel.”
In other words: To accurately describe what happened when Hamas struck Israel on Oct. 7, 2023 —killing almost 1,200 and kidnapping 251 hostages — is unpatriotic, signals weakness, and is, somehow, leftist.
This is not really a matter of semantics. It’s an attempt to control language in order to distort reality. And it’s tied to the Netanyahu government’s vast project of evading accountability for the many military and political failures that contributed to the horrors of Oct. 7.
Their method is time-tested. Early versions of it appear in classical sources, in which rulers often rename actions to soften their meaning.
King Saul masks disobedience as a religious act. King David cloaks the fact that he planned the death of his romantic rival Uriah in the language of war.
Ancient Greeks observed that political conflicts alter not only reality but also the meaning of words. Thucydides described how during civil strife, recklessness was called courage, moderation was branded as weakness, and caution was treated as betrayal, illuminating how language could be inverted to serve passion and polarization.
In ancient Rome, the phenomenon assumed a more formal character. The emperor Aurelian gave himself the title restitutor orbis, meaning “restorer of the world”; he framed a series of brutal conflicts he embarked on to reunite the Roman empire as an act of correction, rather than conquest. It was a formulation that wrapped violence in a mantle of legitimacy and proper governance.
As political systems evolved, so did linguistic sophistication. During the French Revolution, the Reign of Terror was overseen by a body called the Committee of Public Safety. The Nazi regime called its deportations of Jews to concentration camps “resettlement” and described some executions as “special treatment.” Stalin did not cause famine; there were “grain procurement difficulties.” Mao Zedong did not preside over catastrophe; he launched a “Great Leap Forward.”
George Orwell identified this mechanism with unmatched clarity in his novel 1984. His fictional government’s “Ministry of Truth” serves the function of degrading language until truth becomes inexpressible, with the slogan “War is peace. Freedom is slavery. Ignorance is strength.”
The contradictions are deliberate. Their purpose is to train citizens to accept inversion and surrender their independent grasp of reality.
Orwell’s deeper insight was that the corruption of language precedes the corruption of politics. When words lose precision, accountability dissolves. Reality becomes malleable, and loyal followers will believe whatever they are told. If aggression is always “defense,” repression always “order,” and censorship always “responsibility,” there is little limit to what rulers can do.
The American novelist Kurt Vonnegut put it even more sharply — beautifully, even — in 1973’s Breakfast of Champions: “In nonsense is strength.”
This phenomenon is not confined to totalitarian regimes. Democracies, too, are tempted to soften language when confronting failure. Even — and perhaps especially — in Israel.
Thus, the killing of civilians becomes “harm to uninvolved civilians,” phrasing that distances attention from human reality. Torture becomes “moderate physical pressure.” Extrajudicial killings become “targeted prevention.”
Set aside the question of whether these measures are ever justified: It’s essential to note that the language itself undergoes distortion for political ends.
The Netanyahu government has a specific goal behind this approach. Avoiding the word “massacre” in describing Oct. 7 fits into its broader strategy of evading responsibility for the disaster itself.
Netanyahu has refused to accept any blame since the first hours after the attack, including by arguing that no investigation into his actions could take place during wartime, while prolonging the war as much as possible. At the same time, his allies attacked the Supreme Court to justify avoiding a state commission of inquiry with real authority.
To refuse to call Oct. 7 a massacre is to suggest it was somehow less brutal or devastating than it was. So let us dispel the nonsense.
A massacre involves the deliberate killing of a large number of defenseless people. It does not imply permanent strategic defeat. It does not preclude a military response afterward. It does not suggest inherent weakness. It describes a specific act: the intentional slaughter of civilians under circumstances in which they cannot defend themselves.
On Oct. 7, 2023, armed Hamas militants invaded Israel and committed a massacre, almost unopposed by Israeli security forces, in a crushing national collapse. Families were shot in their homes. People were hunted down, executed, or burned. Hostages were taken. Most of the victims were civilians. It was hours before the public heard anything from the shell-shocked Netanyahu.
Call it what it was. Truth combined with moral clarity, over time, are a nation’s deepest source of strength. Resistance to accurate language serves to dull the recognition that something profoundly shocking occurred — something that demands deep reckoning and change, not a continuation of the morally bereft and misleading status quo.
The post The Israeli government wants you to stop calling Oct. 7 a ‘massacre.’ Yes, really. appeared first on The Forward.
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ADL retracts Tumbler Ridge shooting antisemitism claim
The ADL published and then retracted a claim that the alleged mass shooter at a school in Canada maintained a social media account with antisemitic posts, a day after it posted the erroneous information on its website.
The organization wrote Thursday at the bottom of an updated page about alleged Tumbler Ridge Secondary School shooter Jesse Van Rootselaar that it had incorrectly concluded that an X account containing the posts belonged to the alleged shooter. Nine people were killed in the shooting, including Van Rootselaar.
“A preliminary investigation uncovered an X account appearing to belong to the shooter. Upon further investigation, that X account has been found not credible. References to it have been removed,” the correction read.
Authorities in British Columbia said they could not speculate on the motive of the shooter.
The ADL, the most prominent U.S. antisemitism research and advocacy organization, had posted the claim Wednesday on its website. The Forward has reached out to the ADL for comment.
The error, from the ADL’s Center On Extremism, comes amid broader changes in the ADL’s approach.
The ADL’s original post said that on Sunday — two days before the attack — an X account connected to Van Rootselaar posted, “I need to hate jews because the zionists want me to hate jews. This benefits them, somehow.”
“The Tumbler Ridge shooter’s X profile photo also featured an image of the Christchurch shooter superimposed over a Sonnenrad, a neo-Nazi symbol, and a transgender pride flag,” the ADL wrote in the original post, referencing an antisemitic mass murder in New Zealand.
It did not link to the profile or include images of it, leaving the claim difficult to verify.
The Center On Extremism is a flagship program that has been overhauled in recent years as the organization has shifted toward a greater focus on fighting antisemitism. In September, it deleted its Glossary of Extremism, which had contained over 1,000 pages of background information on hate groups and ideologies. It said at the time that the entries were outdated.
The post ADL retracts Tumbler Ridge shooting antisemitism claim appeared first on The Forward.