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How this Jewish refugee became Times Square’s queen of porn
(New York Jewish Week) — “She was the most un-grandma person that anyone could have,” says David Bourla at the beginning of a film about his one-of-a-kind grandmother, Chelly Wilson. “Except for the fact that she was Jewish, we celebrated Christmas in a porn theater. It doesn’t get any weirder than that.”
So begins Valerie Kontakos’ documentary, “Queen of the Deuce,” which tells the unlikely story of how a tough-as-nails Jewish lesbian narrowly escaped the Holocaust in Greece and became the successful owner of several pornographic movie theaters in New York City in the the 1970s. The documentary, which premieres in New York on Friday, Nov. 11, is one of several Jewish films playing the documentary film festival DOC NYC, which runs this year from Nov. 9 through Nov. 27.
Born in 1908, Wilson grew up in a religious Sephardic family in Thessaloniki — also known as Salonika in Judeo-Spanish — and was ambitious from a young age. “She had this fierce desire to achieve something,” said Kontakos. “When she was younger, she wanted to be a doctor. But of course that wasn’t an option for her at that point, and given her circumstances, given the fact that she was a Jewish Sephardic woman in Salonika. She came from a very conservative community.”
Relying on a mix of archival footage, interviews and animated sequences, “Queen of the Deuce” is a wide-ranging look at Wilson’s improbable life: her various business ventures, her marriages to men and romances with women, the pain of the loss of her family and more. Central to the film are Wilson’s now-grown grandchildren, who describe their unconventional Jewish grandmother as tough and eccentric, with the confident body language of a mob boss. (Wilson, who died in 1994, appears in the film through home videos.)
As a young woman, Wilson left Athens just before the outbreak of World War II, narrowly escaping the devastating destruction of Thessaloniki’s Jewish community. According to Yad Vashem, out of the approximate 56,000 Jews who lived in Thessaloniki before the war, some 54,000 were killed in the Holocaust.
Wilson got her start in New York selling hot dogs and soda. She sent some of her earnings to Greece to buy newsreel footage and turned the footage into a film called “Greece on the March” — an effort to raise money in the U.S. for the Greek war effort against the Germans. When she played the film at a New York movie theater she met a Jewish film projectionist named Rex Wilson. Although they lacked a common language, he became her second husband.
“He was nice,” Wilson says of Rex in her husky, accented voice. “He provided me with cigarettes.”
(Her first husband, whom she divorced after having two children, Paulette and Dino, was the product of an arranged marriage in Greece. Wilson compares his kisses to “torture” in the film. Later in her life, after Wilson and her second husband split up, her preference for women became an open secret.)
From there, Wilson fell into the movie theater business — first “regular” movies, and then, by the late 1960s, sensing opportunity, she became the owner of several adult movie theaters. Many of them were located on 42nd Street, nicknamed “the Deuce,” which was New York’s infamously gritty red light district at the time.
“It’s unusual not to be surprised by something that she did,” said Kontakos, who first met Wilson in the early 1970s when, as a teenager, she worked at the Wilsons’ Tivoli Theatre on 8th Avenue. “It showed Greek films on Sundays, which were PG, completely family material. The rest of the week they would show porn.”
“Times Square [in the ‘70s] was like the underworld,” added Kontakos, whose family is Greek though not Jewish. “You had drugs there, prostitution, and then you had porn. It was really quite extreme.”
The Adonis Theater marquee, as seen in “Queen of the Deuce.” (Courtesy of the Wilson family)
Wilson was, by all accounts, an exceptionally tough character — she rarely smiled, and usually had a cigarette or a cigar in hand. She frequently held court reclining on the sofa of her living room — her Times Square apartment was above the Eros, a gay porn theater that opened in 1962 — with bags of cash in the corner. Wilson also owned the Adonis, an all-male adult theater so legendary for cruising that it became the locale for a meta, well-known 1978 gay porno film “A Night at the Adonis.”
In family footage shown in the film, she puffs a cigarette and tells stories in imperfect, Greek-accented English of how she smuggled her children to New York from Palestine and Greece. “I had Dino stolen from Israel, you know?” she says, reclining on her couch in a red silk robe. The story that unfolds is an improbable one, involving secret boat rides, misbehaving children and a chance encounter with a sympathetic official in Athens.
Similar to the fate of Thessaloniki’s Jews, most of Wilson’s family died in the Holocaust. But her shrewdness had saved Paulette: Before she departed for the United States in 1939, Wilson left her daughter in the care of a non-Jewish Greek family — with the specific instructions not to turn her over to her Jewish relatives, even if they came looking for her (which, of course, they did).
Still, Wilson kept her difficult past mostly hidden from her children and grandchildren. And in the film’s interviews, her offspring express the pain of their lost family and histories. They remember that Wilson refused to seek out reparations for her murdered family, saying it was blood money.
For Kontakos, it was important to tell this Holocaust story well, noting that the history the persecution of Greek Jews isn’t as well known as other European Jews. “I do feel it’s still not really discussed as openly as it should be,” she said.
Though Wilson may not have been the warm, nurturing type, she had a fierce dedication to her family, and her children and grandchildren reminisce in the film about her creative spirit and zest for life. Kontakos hopes audiences walk away from the film with a sense of “the joy of life, regardless of the hardships,” she said.
“Queen of the Deuce” is screening in New York on Friday, Nov. 11 and Saturday, Nov. 12 as part of the DOC NYC film festival, and will be available for online streaming Nov. 12 through Nov. 27. For details, click here.
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The post How this Jewish refugee became Times Square’s queen of porn appeared first on Jewish Telegraphic Agency.
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Italy Arrests Nine Over Alleged Hamas Funding Through Charities
President of the Palestinian Association in Italy, Mohammad Hannoun, carries a Palestinian flag during a nationwide strike, called by the USB union, in solidarity with Gaza and against the government and its plan to increase military spending, in Rome, Italy, November 29, 2025. Italian Interior Minister Matteo Piantedosi said Mohammad Hannoun is among nine people arrested on December 27 on suspicion of financing Hamas through charities based in Italy, in an operation coordinated by anti-mafia and anti-terrorism units. in Italy. REUTERS/Remo Casilli
Italian prosecutors said on Saturday they had arrested nine people on suspicion of financing Hamas through charities based in Italy, in an operation coordinated by anti-mafia and anti-terrorism units.
The suspects are accused of “belonging to and having financed” the Palestinian group, which the European Union designates as a terrorist organization, prosecutors in the northern Italian city of Genoa said in a statement.
Those arrested allegedly diverted to Hamas-linked entities around 7 million euros ($8.24 million) raised over the last two years for ostensibly humanitarian purposes, prosecutors said. Police seized assets worth more than 8 million euros.
The investigation began after suspicious financial transactions were flagged and expanded through cooperation with Dutch authorities and other EU countries, coordinated through the EU judicial agency Eurojust.
Prime Minister Giorgia Meloni thanked the authorities for “a particularly complex and important operation” which had uncovered financing for Hamas through “so-called charity organizations.”
The Israeli prime minister’s office did not immediately respond to a request for comment.
Meloni’s support for Israel during its war with Hamas in Gaza has triggered large and repeated street protests in Italy.
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The Holocaust survivor writer who can help us through this ominous era
This fall, I read a story set in Prague during World War II in which three boys, two of whom escaped from a concentration camp, watch as armed Czechs consider forcing two Germans to jump out an apartment window to certain death — but decide to hand them over to authorities instead.
One of the three boys then “had an unquestionable feeling that what he had just experienced had been justice.” At first, this perhaps reads as a bit strange. Why would a Czech boy think letting Germans go, after they occupied his city and took over his life — not to mention imprisoned and tortured members of his community in concentration camps — constitutes justice? Yet all the same, the boy “felt satisfaction that those two people, whom he’d seen for the first time in his life, and probably for the last, hadn’t jumped. That they didn’t have to jump.”
Justice, in this story, isn’t doing to your enemy what he’d done to you. It’s having the opportunity to do so, and instead choosing not to become your enemy.
That story, “Black Lion,” was written by the Czech Jewish writer and Holocaust survivor Arnošt Lustig, who would have been 99 this December. (He passed away in 2011). Lustig drew on the unthinkable series of events he was forced to endure — being forced into the Nazi ghetto of Theresienstadt at the age of 15 and then sent to Auschwitz and Buchenwald — and made it into art. And while his novels, short stories and films look unflinchingly at the worst of humanity, they always treat their characters humanely.
This year, we have lurched from crisis to crisis, at home and abroad, while many in power around the world demonstrate a capacity for cruelty matched only by their cynicism. So, as we come to 2025’s end, I have found myself thinking of “Black Lion,” and Lustig’s work more generally. What does it mean, I’ve wondered, to stare into the darkest void of inhumanity and pronounce, as Lustig did, that life is still a miracle?
As Lustig’s daughter, Eva Lustigová, told me, “The leitmotif in all of his work is: what can we do in a world where people kill one another? That was the thematic question.”
‘That darkness never breaks him’
Lustig’s works are largely set during or immediately after the Holocaust. His protagonists are often Czech or other Central Eastern European Jews; and the stories and books often feature children and teenagers.
The short story “The Last Day of the Fire” zooms in on one old man and his grandson during the Warsaw Ghetto Uprising; the novel Dita Saxová is about an 18-year-old concentration camp survivor making her way in postwar Prague, balancing the hell from which she just emerged with considerations like which boy to date; The Unloved: From the Diary of Perla S., is about a 17-year-old in Theresienstadt working as a prostitute; Darkness Casts No Shadow, the novella that became the (beautiful and wrenching) film Diamonds of the Night, is about two boys trying to escape a train carrying them to a camp.
The choice to so often focus on the very young does two things.
First, it makes the juxtaposition between darkness and light that much starker. The worst things imaginable are happening to people who should be out playing or daydreaming or shuffling their schoolbooks. Yet they still, in Lustig’s works, hold onto their humanity, even as their innocence is stolen from them.
As Dalibor Rohac, a senior fellow focused on European affairs at the American Enterprise Institute, wrote me in an email: “Lustig writes about a lot of very dark stuff…but somehow that darkness never breaks him.”
But second, Lustig’s focus on the young gives his work, as specific as it is, a kind of universal urgency. Read a novel about teenagers running from transports in Central Europe and how their neighbors treat them — and then go and read the news about ICE raids and schoolchildren here in the United States. The point isn’t that the situations are one to one — they never are — but that, as people, we all grapple with similar challenges: What it means to be human; what we owe to our own and other people’s children; how to refuse cynicism when it seems like moral depravity is a prerequisite for holding actual power.
“I write about people under pressure, I write about tests that people are not ready for and which they did not expect,” Lustig said in 2002.
We are in an era of such tests. It sometimes feels like I spent the past year talking about crises: of liberal democracy, of American and Jewish identities, of human rights. So many are in so much pain; so many worry that 2026 will represent a continuation, or worsening, of tests we have no idea how to meet.
Perhaps fittingly, 2026 is also the centenary of Lustig’s birth. The Arnošt Lustig Foundation is preparing a year-long festival in 10 countries over four continents. One goal, Lustigová said, is to promote the idea, which so often appears in Lustig’s work, that humanism “doesn’t need to be imported or exported. It just needs to be cultivated.”
“The answer is, yes, we can keep our humanity,” she added. “We decide that ourselves, even under the harshest of circumstances. It’s a choice to be able to live with our conscience and keep our human dignity.”
“You can put that into Gaza, Israel, Sudan, Tanzania. You can put it anywhere.”
Listening to her, I thought again of what it means to live in pursuit of dignity and justice at a moment when that can feel at best foolish and at worst impossible — and of “Black Lion,” and the stories that can help to show us how.
The post The Holocaust survivor writer who can help us through this ominous era appeared first on The Forward.
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What if Donald Trump puts his name on the US Holocaust Memorial Museum?
What if I told you that this morning, I found the following Truth Social post on my newsfeed?
“THE TRUMP US HOLOCAUST MEMORIAL MUSEUM HONORS will be broadcast tonight, on CBS, and Stream on Paramount+. Tune in at 8 P.M. EST! At the request of the Board, and just about everybody else in America, I am hosting the event. Tell me what you think of my “Master of Ceremony” abilities. If really good, would you like me to leave the Presidency in order to make “hosting” a full time job? We will be honoring true GREATS in the History of the Holocaust, from the Elders of Zion and the NSDAP to John Birchers and Groypers. THANK YOU FOR YOUR ATTENTION.”
If you said this post wasn’t real, you would be right. If you said that I tweaked a recent Truth Social post, swapping the US Holocaust Memorial Museum for the former John F. Kennedy Memorial Center for the Performing Arts, you would be right about that too.
But if you said that this post was unthinkable, my response would be “Think again.”
The phrase “Thinking the unthinkable” was all the rage in the late 1950s and early 1960s. It was an era darkened by the threat of mushroom clouds, the theatrics of Peter Sellers in Stanley Kubrick’s film Dr. Strangelove, and the theories of Herman Kahn, whose notion of the Doomsday Machine features in Kubrick’s masterpiece. Kahn coined the term “unthinkable,” insisting that while “nuclear war may seem highly unlikely, indeed unthinkable, to many people — it is not impossible.”
To this very day, the threat of a nuclear holocaust remains all too real and thinkable. But it has been sidelined by a different kind of threat, one that has buried the very concept of the unthinkable.
So many words and acts once considered unthinkable have, under the two Trump presidencies, become not just thinkable and not just doable, but also increasingly unremarkable. Is there any word or act we still consider safely and surely unthinkable? Is there anything at all that, to quote Herman Kahn, while it may seem highly unlikely, indeed unthinkable, to many people — is not impossible?
To find an answer, it helps to suggest a limiting case on our government’s effort to make all things thinkable, and thus acceptable, even normal. Consider the fake post with which I began this column — namely, that Donald Trump would one day plaster his name on the building that houses the United States Holocaust Memorial Museum. Can there be anything more unthinkable than Trump stamping his name on the USHMM, the very institution that is dedicated to reminding the world of the consequences of acting on the unthinkable?
In his reflections on life under totalitarian rule, The Captive Mind, Polish poet and Nobel Prize Laureate Czeslaw Milosz observed that all “concepts men live by are a product of the historic formation in which they find themselves. Fluidity and constant change are the characteristics of phenomena. And man is so plastic a being that one can even conceive of the day when a thoroughly self-respecting citizen will crawl about on all fours, sporting a tail of brightly colored feathers as a sign of conformity to the order he lives in.”
We see such plasticity on the sets of Fox News, the corridors of Congress and in the board rooms of media, legal, and tech titans where talking heads, politicians and CEOs happily crawl about with many-colored tails of feathers. This is also true in the board rooms of the Donald J. Trump and John F. Kennedy Memorial Center for the Performing Arts and the Donald J. Trump Institute of Peace. (The names of these sites must be written in full to fully grasp the absurd character of this era.)
But the United States Holocaust Memorial Museum will always be exempt from this creeping rot of the absurd, right?
Wrong.
In early May, the USHMM, which like the Donald J. Trump and John F. Kennedy Memorial Center for the Performing Arts is both privately and federally funded, announced an overhaul of its board. Nearly all its Biden-appointed members were fired, replaced by a choice assortment of Trump appointees. They include Sid Rosenberg, a conservative talk-show host who spoke at a Trump rally last year, denouncing the Democrats as “a bunch of degenerates.”
Another Trump appointee, Martin Oliner, published an op-ed in The Jerusalem Post earlier this year in which he called for the forcible removal from Gaza of Palestinians, whom he described as “fundamentally evil.” In another piece, titled “Make the Holocaust Memorial Council Great Again,” he warned that the USHMM was not meeting its “important role.”
Equally troubling was this fall’s temporary closing until next February of the museum exhibit dedicated to America’s wartime response to the Holocaust. The ostensible reason was to “upgrade the exhibit,” an Orwellian phrase that some staffers fear means the blurring the historical record, one that includes the disinterest of the White House, the fecklessness of most Jewish leaders, and the polite, yet potent antisemitism at the State Department.
In his landmark work The Abandonment of the Jews, the historian David Wyman offers a similar conclusion on the American public’s response to the Holocaust: “Few American non-Jews recognized that the plight of the European Jews was their plight too. Most were either unaware, did not care, or saw the European Jewish catastrophe as a Jewish problem, one for Jews to deal with. That explains, in part, why the United States did so little to help.”
Is it possible that because too many of us remain unaware of or indifferent to the Trump administration’s abandonment of the unthinkable, we have invited the catastrophe now enveloping our nation? A catastrophe that already announces itself in the mass and often violent arrests and deportations of men and women because of their skin color? In the lawless killing of civilians in international waters? In the unconstitutional deployment of the National Guard in our cities? For those who do not yet have an answer, it is worth giving the matter a bit of thought — even if you find those thoughts unthinkable.
The post What if Donald Trump puts his name on the US Holocaust Memorial Museum? appeared first on The Forward.