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How a Jewish schoolteacher from New Jersey made it to Hollywood and Broadway at the same time
Robert Kaplow, a retired high school English teacher, has been publishing a monthly newsletter in Metuchen, a small New Jersey town a few miles southwest of Menlo Park, where Thomas Edison set up his laboratory. Kaplow can’t match Edison’s thousand plus patents but the 71-year-old writer has had an impressive creative output. Over the years, he’s churned out a play, a screenplay, nine novels and hours of radio comedy that gained a cult following on NPR.
One of his novels, Me and Orson Welles, was turned into a motion picture. His screenplay, Blue Moon, began life as a monologue and tackles the tragic end of lyricist Lorenz Hart’s life. Kaplow worked on Blue Moon over the course of 14 years.
The film, directed by Richard Linklater, presents the unraveling of Hart’s musical theater career and serves up a glimpse of his sad personal life. Hart was gay but he wasn’t completely comfortable with his sexual identity. Based on actual correspondence that Kaplow bought at an estate sale, the screenplay presents the lyricist as a man infatuated with a college woman half his age. The movie opens with two quotes about Hart in an epigraph. The first describes the lyricist as “alert and alive and fun to be with.” The second refers to him as “the saddest man I ever knew.”
‘An extraordinary teacher’
Kaplow taught English and film at Summit High School in New Jersey for 34 years.
“He was an extraordinary teacher,” said Sally Ball, who was a high school student of Kaplow’s in the mid-1980’s and is now a published poet and an English professor at Arizona State University. “He lived the life of a writer. He really made a literary life seem like a living thing to me.”
Kaplow scored autographed pictures for his high school students of the actor Zac Efron, who starred in Me and Orson Welles. The 2004 novel was turned into a feature film by Linklater. Set in the 1930’s, it told the story of a New Jersey high school student who manages to snag a role in Welles’ groundbreaking production of Julius Caesar.
While he was teaching, Kaplow also made a mark in public radio with his alter ego, a comedic character named Moe Moskowitz. The wisecracking, loud-mouthed Moskowitz was the polar opposite of his soft-spoken creator. Billed as “America’s favorite entrepreneur,” Moskowitz brightened the airwaves on Morning Edition with wacky ideas and get-rich-quick schemes.
A gorilla comedian
Kaplow’s first foray into comedy and drama took place when he was ten. Encouraged by his father Jerome, he donned a full-face gorilla mask and casually looked out the window of the family sedan on the drive to the beach. The sight of the little gorilla in the backseat caused the occupants of other cars to do a double-take, which was often followed by an explosion of laughter.
That comedic impulse showed no sign of abating during his adolescence. On the first page of his prayer book, a Reform siddur, Kaplow provided a divine inscription: “Bob – Best of luck in the future (as if I didn’t know!) – God.”
In high school Kaplow and his friends, inspired by the trippy, multi-track comedy of Firesign Theater, wrote, performed and recorded what he called “little satirical theater pieces.”
When Kaplow attended Rutgers University, he spent most of his time in a band called The Punsters, which produced a weekly radio program of the same name. It featured a half-hour of original comedy, some of which Kaplow would eventually recycle for NPR.
‘The only prayer I know’
At family gatherings, Kaplow’s father, a car salesman, was always the life of the party. At the local White Castle where the counter women were Haitian, Jerome Kaplow would pretend he was a native French speaker when he ordered. And he performed cameos on his son’s radio comedy segments on NPR. When Jerome went to the hospital for an echocardiogram and a technician asked what he did for a living, the elder Kaplow replied: “I’m retired, but I used to be in show business.”
“My father had an ironic, absurdist sense of humor,” Kaplow told me. “I picked up so much from him.”
Jerome lived to 94, deriving much of his sustenance from Milky Way candy bars and gefilte fish, according to his son. Even when he could barely walk, Jerome insisted on going to shul on the High Holy Holidays.
“My father didn’t attend services because he was deeply religious,” Kaplow explained. “He attended because his father was deeply religious — and he felt the need to honor his father’s convictions.”
Religious observance seems to have declined with each generation of the Kaplow family but Robert Kaplow told me he does regularly go to the cemetery to place stones on the graves of his grandparents, mother, father and sister.
“Sometimes I mutter Shema Yisrael,” he told me. “It’s the only prayer I know.”
‘Kaplow’s gift’
When Kaplow was with The Punsters, they recorded a song titled “I Dreamt I Dreamt of Gefilte Fish,” in which Kaplow mimicked Bob Dylan singing about eating nothing but gefilte fish. In the 70-second ditty “Batman’s Going to a Bat-Mitzvah,” the caped crusader, we learn, is going to chow down on “rugelach and arugula.” A Moskowitz Home Companion,” Kaplow’s parody of A Prairie Home Companion, was sponsored by the fictional “Moskowitz’s Frozen Knishes.”
Kaplow says he was fired from NPR three times — first because Moe Moskowitz was deemed to be a Jewish stereotype, second, according to veteran Morning Edition producer Barry Gordemer, because “some people in the building didn’t think Moe was funny,” and lastly because Kaplow used the network’s logo without permission on a self-produced CD of his Morning Edition comedy segments. You can still find that CD (Cancel My Subscription: The Worst of NPR) on YouTube.
Jay Kernis, Morning Edition’s founding producer, was in Washington, D.C. when Kaplow was being interviewed about the song he sent in, “Steven Spielberg, Give Me Some of Your Money.” Out of the blue, Kaplan started talking in his Moe Moskowitz voice. Kernis called the control room in New York when the interview had concluded and asked Kaplow if he wanted to contribute original comedy to Morning Edition on a regular basis.
Kernis noted that back in the days when NPR aired original comedy and commentary on its newsmagazines, contributors tended to last a couple of years. Then, he said, either NPR producers or the audience grew tired of them. Kaplow lasted 17 years.
“Robert was inventive and he was funny,” Kernis told me. “He was a great performer and a great sound producer.”
“Moe Moskowitz always made me laugh, but also sometimes put a catch into my throat,” Weekend Edition host Scott Simon wrote in a text. “Robert has a gift — an art, really — for putting character into what might otherwise seem a caricature.”
‘An old-fashioned human being’
Kaplow and Richard Linklater kept in touch after Me and Orson Welles had its theatrical run in 2008. When Kaplow mentioned that he had written a monologue about Rodgers and Hart, Linklater asked to read it and, afterwards, shared it with the actor Ethan Hawke, who he tapped to play Lorenz Hart.
Kaplow completed the first draft of the Blue Moon screenplay in the Summer of 2011. In the ensuing years Linklater and Hawke worked with Kaplow on revising it, right up to and during the shoot last summer in Ireland where Kaplow joined them on set.
“We were a good band together,” Hawke told me.
The film takes place on one night in 1943 at Sardi’s, the theater district restaurant, as Hart’s songwriting partner Richard Rodgers basks in the opening night raves of Oklahoma!, Rodgers’ first collaboration with his new writing partner Oscar Hammerstein II.
Hart was struggling with alcoholism and depression during the time the film depicts. He died eight months after the Oklahoma! opening at the age of 48.
“It is hard for us to look at people in pain,” Hawke told me. “People in pain often behave badly, so they’re unlikable. But we have all been that person. We’ve all struggled with the green-headed monster of jealousy. We’ve all been worried that our best days are behind us.”
Linklater said one of the triumphs of Kaplow’s screenplay is that it managed to convey empathy for Lorenz Hart.
“I’m proud that 82 years later we’re honoring him and his contribution to our world,” Linklater said of the lyricist. “There’s no one else like him.”
Hawke described Robert Kaplow as “an old-fashioned human being,” which isn’t surprising given Kaplow’s love of the American songbook, especially its golden age. When he was in his 20’s, Kaplow was so enamored of the Tin Pan Alley era that he wanted to write music for theater.
“When you look at the songwriters of the 1930s and 40s, with the exception of Cole Porter, they’re almost all Jewish,” Kaplow told me. “Rodgers and Hart, Kern, Arlen, Julie Styne and Sammy Cahn. I don’t have an explanation for why, but I feel a little bit like I’m part of that. Whatever that cultural DNA is, I have a little of that.”
The post How a Jewish schoolteacher from New Jersey made it to Hollywood and Broadway at the same time appeared first on The Forward.
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University of Sydney Fires Staff Member Over Antisemitic Abuse of Students
Illustrative: An anti-Israel protest at the University of Sydney in Australia, April 26, 2024. Photo: Dean Lewins via Reuters Connect
The University of Sydney in Australia has dismissed an employee who was filmed shrieking at Jewish students over their support for Israel, a tirade in which she described them as “depraved” and inhuman.
“They’re shredding children!” staff member Rose Nakad screamed at the students in October, repeating pro-Hamas propaganda Hamas falsely accusing Israel of targeting Palestinian children in Gaza. “You are a f—king filthy Zionist. Nothing to do with being a Jew, you disgusting, depraved person.”
On Monday — just one day removed from the Bondi Beach massacre in which gunmen opened fire on Jews celebrating the start of Hanukkah in Sydney, hospitalizing dozens of people in addition to the 15 individuals who were murdered — the university denounced Nakad’s conduct as “distressing and utterly unacceptable.” It had previously suspended Nakad, signaling its appreciation of the gravity of her misconduct amid a global surge in antisemitism.
“The behavior that took place on our campus in October this year was deeply distressing and utterly unacceptable. We immediately suspended the staff member pending a formal process and have now terminated their employment on the grounds of serious misconduct,” the university said in a statement.
“This decision followed careful consideration in line with our clear expectations of behavior and our obligation to make sure our campuses are safe and welcoming for all,” the university continued. “Hate speech, antisemitism, and harassment have no place at our university and when our codes of conduct are breached, we do not hesitate to take disciplinary action.”
It added, “We continue to work on making our campus safe for all and if our codes are breached, we do not hesitate to take disciplinary action.”
In footage obtained by Sky News, Nakad approached several students celebrating the Jewish holiday of Sukkot. She asked if they were “Zionists” and continued to harass them as they asked her to leave.
“A Zionist is the lowest form of rubbish,” Nakad said to the students, according to the video. “Zionists are the most disgusting thing that has ever walked this earth.” The staff member described herself as an “indigenous Palestinian,”
Australia had seen its share of antisemitic outrages before the Bondi Beach shooting, as previously reported by The Algemeiner.
In December 2024, for example, the home of Lesli Berger, former president of the New South Wales Jewish Board of Deputies, was vandalized, having been graffitied with a swastika. Next to the infamous Nazi symbol the vandal spray-painted the words “Jordan Gayter,” believed to be a misspelling of the German phrase for “Juden Gatter,” or “Jewish Gate.”
In November 2023, mere weeks after Hamas’s Oct. 7, 2023, massacre across southern Israel, a Jewish man was assaulted by an anti-Israel mob because he took down an advertisement of a pro-Palestinian rally. Someone then thumped him on the back of his head, knocking him to the ground. Then three men joined in and proceeded to punch and kick him while calling him a “pro-Jew dog” among other names.
The onslaught concussed the man and, causing other injuries, fractured his spine. He reportedly spent four days in the hospital and later told a local media outlet that he is “very lucky” to be alive.
In one notorious episode in the immediate aftermath of the Oct. 7 attack, hundreds of pro-Hamas protesters gathered outside the Sydney Opera House chanting “gas the Jews,” “f—k the Jews,” and other epithets.
The explosion of post-Oct. 7 hate also included vandalism and threats of gun violence. For example, a male assailant repeatedly punched a Jewish man while screaming “dirty rotten Jew c—t”; a group of young men jumped a Jewish boy, whom they called a “dirty Jew”; and pro-Hamas protesters “spat on, threatened, and kicked” an elderly Jewish woman during a demonstration held to raise awareness of antisemitism.
Anti-Israel sentiment has also led to vandalism. In June 2024, the US consulate in Sydney was vandalized and defaced by a man carrying a sledgehammer who smashed the windows and graffitied inverted red triangles on the building. The inverted red triangle has become a common symbol at pro-Hamas rallies. The Palestinian terrorist group, which has ruled Gaza for nearly two decades, has used inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. According to the Anti-Defamation League (ADL), “the red triangle is now used to represent Hamas itself and glorify its use of violence.”
Now, in the closing weeks of 2025, antisemitism in Australia has led to the deadliest terrorist attack in the country’s history.
Australian officials said they identified the mass shooters at Bondi Beach as Sajid Akram, 50, who was killed at the scene, and his son Naveed Akram, 24, who was in critical condition in a hospital. The younger suspect reportedly came to the attention of Australia’s domestic intelligence agency in 2019 for his ties to a Sydney-based cell of the Islamic State (ISIS) terrorist group.
Follow Dion J. Pierre @DionJPierre.
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Tributes Pour in for Jewish Director Rob Reiner, Wife After Couple Found Dead, Son Arrested on Murder Charges
(From left) Rob Reiner, Michele Singer, Romy Reiner, Nick Reiner, Maria Gilfillan and Jake Reiner attend the Los Angeles Premiere of ”Spinal Tap II: The End Continues” at The Egyptian Theatre in Los Angeles, California, US, Sept. 9, 2025. Photo: REUTERS/Aude Guerrucci
Dozens of people in Hollywood have expressed profound sadness following the news that visionary Jewish filmmaker Rob Reiner and his wife, Michele Singer Reiner, were found dead in their Los Angeles home on Sunday night and that their middle son is being charged with murder.
Reiner, 78, was born in the Bronx, New York, in 1947. In the 1970s he co-starred in the sitcom “All in the Family” before becoming the famous director behind movies such as “This Is Spinal Tap,” “Stand by Me,” “The Princess Bride,” “When Harry Met Sally…” and “A Few Good Men.” Earlier this year, Reiner released the sequel, “Spinal Tap: The End Continues.” He also directed the 2015 film called “Being Charlie,” inspired by his son Nick’s longtime battle with heroin addiction and the impact that his substance abuse had on the family.
On Sunday, Reiner and his wife, 68, were found dead by what police described as an apparent homicide at their home in Brentwood, California. Their middle son, Nick, is being held at Los Angeles’ Twin Towers Jail, having been arrested on murder charges in connection with their deaths. The 32-year-old reportedly has his bail set at $4 million. “As a result of the initial investigation, it was determined that the Reiners were the victims of homicide. The investigation further revealed that Nick Reiner, the 32-year-old son of Robert and Michele Reiner, was responsible for their deaths,” the Los Angeles Police Department (LAPD) said in a statement on Monday.
“I saw them night before last looking healthy and happy,” Jane Fonda wrote in an Instagram post. “I am reeling with grief. Stunned.” She shared a photo of the late couple on Instagram and wrote that they were “wonderful, caring, smart, funny, generous people, always coming up with ideas for how to make the world better, kinder.”
Fonda also said the couple had recently been helping her to relaunch the Committee for the First Amendment, a group that champions freedom of expression from government censorship.
“My heart is broken,” Zooey Deschanel said in a tribute to Reiner, who played her father on the show “New Girl.” She called Reiner “the absolute warmest, funniest, most generous of spirits. A truly good human being. An incredible artist and such a playful and fun collaborator.”
“I cherish the time we spent working together and the many films he made that have shaped who I am,” she added. “Rob and his lovely wife Michele were always so kind and it brought me so much joy any time I was lucky enough to see them. I’m absolutely devastated. Sending so much love to their family and friends.”
The estate of Norman Lear, the legendary producer who created “All in the Family,” released a statement remembering the close relationship between the two men. “Norman often referred to Rob as a son,” the statement said. “The world is unmistakably darker tonight.”
Jerry Seinfeld said Reiner had one of the biggest influences on his career aside from Larry David, who co-created “Seinfeld,” and the late George Shapiro, who was Seinfeld’s manager and a producer on the renowned sitcom. Reiner also helped save “Seinfeld” from almost being canceled, Seinfeld said. He shared a photo of himself alongside Reiner and his father, the late actor Carl Reiner.
“Our show would have never happened without him. He saw something no one else could,” Seinfeld explained in an Instagram post. “When nobody at the network liked the early episodes, he saved us from cancellation. That I was working with Carl Reiner’s son, who happened to be one of the kindest people in show business, seemed unreal.”
“I was naive at the time to how much his passion for us meant,” Seinfeld added. “Rob and Michele married right as our show was starting and they became an imprint for me of how it’s supposed to work, each one broadening the other. Their death, together, is impossibly sad.”
Kathy Bates, who won an Oscar for her leading role in Reiner’s 1990 horror “Misery,” said in a statement to Entertainment Weekly that Reiner was a “brilliant and kind, a man who made films of every genre to challenge himself as an artist.”
“I’m horrified hearing this terrible news. Absolutely devastated. I loved Rob,” she added. “He changed the course of my life … My heart breaks for them both. My thoughts are with their family.” She also said the late director was someone who “fought courageously for his political beliefs” and praised his wife as a “gifted photographer.”
Novelist Stephen King, who wrote the books that inspired Reiner’s films “Stand by Me” and “Misery,” praised the late director in a post on X as a “wonderful friend, political ally, and brilliant filmmaker.”
“You always stood by me,” King added.
Paul Feig, the director of “Bridesmaids,” posted a photo of himself and Reiner at Comic-Con and wrote that the latter “was my true hero.”
“One never knows if it’s proper to post during something as tragic as this,” Feig said. “But I just want the world to know what so many of us know in the industry. Robert was the best.”
Reiner and his wife are survived by two sons Jake and Nick, and their youngest daughter Romy, who reportedly called 911 on Sunday after discovering the bodies of her parents.
Rob and Nick allegedly got into a “very loud argument” on Saturday night while attending a Christmas party hosted by former talk show host Conan O’Brien, People magazine reported, citing multiple sources. Rob and his wife were found dead at their home the next day.
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After Bondi Attack, the West Must Face the Reality of ‘Migration Jihad’
A woman keeps a candle next to flowers laid as a tribute at Bondi Beach to honor the victims of a mass shooting that targeted a Hanukkah celebration at Bondi Beach on Sunday, in Sydney, Australia, Dec. 16, 2025. Photo: REUTERS/Flavio Brancaleone
“They don’t move from the Arab world to Europe. They move the Arab world to Europe.” So said Professor Mordechai Kedar when he spoke to me for an extended interview as part of my podcast series. That episode was published the very day the Hanukkah celebration at Bondi Beach in Sydney, Australia, was attacked. The massacre only confirmed his words. Migration, as he described it, does not merely transfer people from one place to another. It carries cultures, ideologies, and systems of meaning with it, and those systems do not remain inert; they spread and even flourish.
Kedar’s claim is not about ethnicity or private belief. It describes the movement of social order, of moral assumptions, of ideas about authority and legitimacy. People do not arrive empty-handed. They bring with them ways of organizing life, ways of resolving conflict, ways of defining who belongs and who does not. When those systems collide with liberal societies uncertain of their own boundaries, pressure accumulates.
The Bondi shooting especially matters because it strips away the last remaining comfort. This was not Gaza, not the West Bank, not a contested border. It was a beach, during a religious festival, in a country geographically and politically distant from the Middle East. A symbol of Australia, freedom, liberty. The perpetrators identified by law enforcement, a Muslim father and son, who had taken part in “military-style training” in the Philippines in the month leading up to the attack, targeted Jews.
Kedar warned me how this form of conquest moves through ideology, through repetition, through intimidation, through the slow reshaping of public space by force and intimidation — a “migration jihad.” Islam is not a private creed, but an all-encompassing framework. As Kedar puts it, it is “not only religion … Islam is also politics, economy, and every aspect of public life.” When that framework relocates, it seeks expression. When it meets hesitation, it expands.
Europe has been living inside this dynamic for years. Jews are often the first target, but the pattern rarely ends with us. Concerts, campuses, cultural events, and public squares have become the battlefields of this unconventional war. Yet political leadership responds with ritual rather than authority: candle lighting, moments of silence, interfaith theater. Expressions of sorrow, memorial gestures, and carefully chosen metaphors replace enforcement and deterrence. In Britain, demonstrations containing explicit antisemitic incitement have been tolerated for months without clear red lines. Around the world, the language of concern circulates freely while responsibility for combating poisonous ideologies and organized dangerous networks is shirked.
Paris has just canceled its traditional open-air New Year’s Eve concert on the Champs-Élysées because authorities judged the security risks too high to safely host such a large crowd of around a million people. The event will be replaced by a pre-recorded broadcast and fireworks only. Christmas markets and other festive sites have also been flagged as high-risk targets and subject to fortified security.
So, it’s not just Jews who are under threat. In Australia the terrorists came for Hanukkah, but they’ve been targeting Christmas for years. In Berlin in December 2016, a Muslim attacker, Anis Amri, drove a lorry into the Christmas market at Breitscheidplatz, murdering 12 people and injuring dozens more in one of the deadliest jihadist attacks in Germany.
In Strasbourg in December 2018, a Muslim attacker inspired by ISIS opened fire near the city’s Christmas market, killing five people, in an assault explicitly framed by French authorities as Islamist terrorism.
And last week federal authorities in the US arrested several people in connection with a planned New Year’s Eve bombing plot in Southern California. The FBI and Department of Justice say the group responsible is “pro-Palestinian” in its outlook as well as anti-law-enforcement and anti-government. The individuals were allegedly preparing improvised explosive devices (IEDs) to be used in coordinated bomb attacks across Los Angeles on New Year’s Eve.
But the response is weak. These days, order is no longer asserted; risk is managed. Jewish institutions are advised to remain calm while accepting abnormal levels of private security as a permanent feature of everyday life. An arrangement that should register as failure is absorbed as routine. Trust erodes this way.
Bondi shows that Europe is no longer the outer boundary of this phenomenon. Australia is now inside it. America, too, is discovering the same pressures through campus unrest, ideological intimidation, and violence that increasingly treats Jewish life as a proxy target for the wider freedoms and values it represents. The geography changes. The structure holds.
What Professor Kedar described was not prediction but trajectory. When people do not simply arrive but bring whole systems with them, the question facing Western societies ceases to be one of tolerance alone. It becomes a question of whether they still possess the clarity and resolve to defend the civic order and freedoms they inherited.
Jonathan Sacerdoti, a writer and broadcaster, is now a contributor to The Algemeiner.