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This Jewish New York City Council candidate has a prolific passion: serial sperm donation
(New York Jewish Week) — Jonathan David Rinaldi, 44, is a Republican who is running to represent New York’s District 24, which encompasses the Queens neighborhoods of Kew Gardens, Fresh Meadows, Briarwood and Jamaica. This week, he made headlines for protesting outside a motel in his district that, he claimed, was housing newly arrived migrants.
But last November, he gained local fame for a different reason. Rinaldi was featured in a post on Humans of New York, the viral social media project in which photographer Brandon Stanton posts portraits of New Yorkers he meets on the street, along with stories they relate in their own voices.
Rinaldi’s story was particularly eyebrow-raising: He said he had fathered at least 12 children over the course of two years through sperm donation — but not via sperm banks that pay donors, vet their health and limit their offspring. And he said he planned to keep going, in part because of his Jewish identity.
He said he was driven in part by his Jewish identity. “I explain to each [woman]: ‘This child will be born into a larger family. I have eighteen other children.’” Rinaldi said in the caption. “I’d like as many as God will give me. Why put your entire bloodline into one child when you can spread it out? Eighteen is a holy number in Judaism. And the next one is 36, so I’ll reassess then.”
In the Humans of New York post, Rinaldi detailed the process (“Fresh is better than frozen”) and said that he’s had sex with some of the women and wants to remain involved in their lives. “I’m what they call a ‘known donor,’” he said. “Everything is kinda handshake. I don’t charge the mothers. And they don’t expect any financial support.”
The post garnered a string of negative reactions from social media users. In response, Stanton wrote on Instagram that “stories from people you may not identify with, or even like, were a common part of HONY pre-pandemic. And will be again now that I’m back on the street.”
The post did not identify Rinaldi, but he confirmed to the New York Jewish Week over the phone that he was the person in the portrait and post. “I was interviewed once,” Rinaldi said. “It was taken out of context. I had a long conversation, a random conversation with somebody on the street.”
Rinaldi also confirmed that he donates his sperm — and has attempted to square that practice with Jewish tradition. He said that he has spoken with a rabbi to “try and figure out how to be as kosher as I possibly can and have as many children as the Bible commands,” and gave the name of a local Chabad rabbi. The rabbi declined to comment about Rinaldi but confirmed their relationship.
“It’s our responsibility as Jews blessed by God to have children,” said Rinaldi, who also has three children from a previous marriage. “Some of us are doing it extremely kosher, the way it’s supposed to be, you have a nice Jewish wife, you go to temple every day. For me, it didn’t work out that way.”
The Torah contains the commandment to “be fruitful and multiply,” which rabbis have traditionally interpreted as an imperative to have children. Rabbis have prohibited sperm donation, however, in part due to prohibitions on masturbation and on having children with an unknown father. Rabbi Moshe Feinstein, a leading 20th-century authority, wrote that it’s preferable for Jewish women who cannot use their husband’s sperm to use non-Jewish sperm for artificial insemination in order to avoid accidental incest in future generations.
Rinaldi said that he began donating sperm when the city was locked down due to the spread of COVID-19, and that he first donated to a friend. From there, he said, word spread of his donations. Rinaldi is what is called a “known donor,” or someone whose identity is known to the recipient and, potentially, their children. Known donors are legal in the United States, but serial sperm donation is discouraged by many countries, in large part because of the risk of biologically related offspring procreating together in the future. The Netherlands set up systems to curb a serial donor who fathered at least 100 children, while Israel barred an American Jewish man dubbed “the Sperminator” because of his extensive efforts to procreate from impregnating more women there. Ari Nagel’s own progeny tally neared 100 after a prolific pandemic, he revealed in 2021.
Rinaldi, too, said the pandemic had spurred his donations.
“At no point did I ever go to a sperm bank,” Rinaldi said. “At no point did I ever intend to do this. We were all at home, shut down. A lot of people desired families. This is not your typical sperm donor situation. … I was just blessed to even have the opportunity. I didn’t do it for money. I didn’t ask for anything. I just wanted to help families.”
He wouldn’t confirm how many children he has through sperm donation, though in the Humans of New York caption, he’s quoted as saying he had fathered 12 over the previous two years — and, at the time, three more were on the way. In an interview Wednesday with the New York Jewish Week, he responded to a question about how many children he has by repeating an idea he had alluded to in the caption: that according to Jewish tradition, the number 18 represents life.
“Eighteen is a holy number,” Rinaldi said in the interview. “It’s just what God has blessed me with. I’m doing this because I don’t believe in abortion. I am pro-life.”
Opposing abortion isn’t the only right-wing position Rinaldi holds. In an interview, he railed against the COVID-19 vaccine and compared vaccine requirements to the persecution of Jews during the Holocaust, a common line of criticism at the time. “You could have just worn a yellow unvaccinated star on your shirt,” he said, adding, “We were literally one thing away from them coming up to rounding up the unvaccinated.” He also said transgender people are “against Torah principles” and said schools are “not teaching kids God.”
On Tuesday, he and a group of Republican activists showed up at a Kew Gardens motel to protest migrants coming to the city, even though a lawyer for the motel said the owner is “not interested in signing a contract” to house migrants.
In District 24, Rinaldi will run against Democratic Council member Jim Gennaro, who has represented the district for more than a decade.
Rinaldi, who grew up in New York City, said his grandmother escaped Poland to Argentina during World War II. His grandfather also left Moldova at the time. Although both countries were occupied by the Nazis or their allies, Rinaldi said his grandparents were “against the tyranny of the left at that time.”
Rinaldi said he studied for his bar mitzvah at Yeshivas Ohr HaChaim, an Orthodox institution in Kew Gardens, and attended City College of New York in uptown Manhattan where he studied architecture, which is also reflected on a LinkedIn page that appears to belong to him.
He later worked in construction and design for over a decade and appeared on the HGTV reality television show “Million Dollar Contractor.”
When it comes to his sperm donation, however, Rinaldi is less comfortable being in the public eye, despite the Humans of New York post. “My lifestyle is nobody’s business,” he said.
“I am what it looks like when you don’t abort children,” Rinaldi said. “Let’s just focus on the issues if we can. I’m going to do the right thing for the community. My personal business is my personal business.”
Back in the Humans of New York post, Rinaldi suggested that he hoped to expand his personal business. He mused about practices that Jewish tradition has, for the past millennium, frowned upon: “My ultimate goal is to find two or three of the mothers who will be sister wives, because I’m gonna need help with all this,” he said. “But I know one thing: It will never be boring.”
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The post This Jewish New York City Council candidate has a prolific passion: serial sperm donation appeared first on Jewish Telegraphic Agency.
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At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption
(JTA) — BERLIN — They stood outside Berlin’s Babylon theater, bundled against the cold, laughing and dragging on cigarettes: the Cunio twins David and Eitan, and their younger brother Ariel.
David and Ariel were among the last Israeli hostages released in October from Hamas captivity, after 738 days. Their presence in Berlin — for a screening of a film about them, now recut with a redemptive ending — felt almost like an apparition. On the other side of two heavy glass doors were hundreds of theatergoers, people who had long waited for this moment.
The brothers and their extended family were in Berlin for a second premiere of Tom Shoval’s film “Letter to David.” The original film, shown in 2025 at the Berlin International Film Festival, or Berlinale, dove deep into the struggles of a family whose members had been abducted from Kibbutz Nir Oz on Oct. 7, 2023. By then, six kidnapped members of the family, including three children, had been freed. But David and Ariel remained in captivity.
“Last year I was standing before the screening with a poster of David and Ariel. I was determined, every time I showed the film, to say that it’s an unfinished film,” Shoval told the sold-out audience at the theater in former East Berlin.
“And now I’m standing here. I have David in the audience, and I have Ariel in the audience,” he continued. “This is a precious, precious moment.”
The film “is a testament to love, hope and all the people who did not give up during the two years I was in captivity,” David Cunio said in Hebrew, standing on the stage with his extended family. “You gave me a voice when I could not be present. You were there for me.”
The film’s second showing came as tensions over the war in Gaza and Germany’s support for Israel roiled the Berlinale. After the jury’s president, director Wim Wenders, brushed off a journalist’s exhortation for the festival to take a stand against Israel, the Indian author Arundhati Roy announced she would not attend, and some 80 filmmakers and stars signed an open letter of protest.
Festival director Tricia Tuttle issued a statement saying that “artists should not be expected to comment on all broader debates about a festival’s previous or current practices over which they have no control. Nor should they be expected to speak on every political issue raised to them unless they want to.”
Journalists and filmmakers continued to raise the issue, even on the festival’s final weekend, when some award winners — including the Syrian-Palestinian director Abdullah Al-Khatib, who won best debut film — swatted back at the festival jury, criticizing what they see as Germany’s general support for Israel. Al-Khatib’s allegation that Germany has been “partners in the genocide in Gaza by Israel” prompted a German minister to walk out of the awards ceremony on Sunday.
Friday’s screening of “Letter to David” was by contrast a love fest, and the two police cars out front and uniformed officers circulating inside appeared to have little to do. The audience gave the entire family a standing ovation before the screening.
“I think this is a piece of history,” audience member Nirit Bialer, an Israeli who has lived for years in Berlin, said in an interview. “Just seeing the family, and just following the story about this family on the media, going to the Hostages Square in Israel every time I was there in the last two years: Wow, I’m speechless.”
The film’s original ending showed twins David and Eitan Cunio as actors, grappling with each other in an embrace that is both tender and violent, in a scene from Shoval’s feature film, “Youth,” screened at the Berlinale in 2013.
That ending now segues into a new conclusion, in which the reunited Cunio family embraces. They also view the film together, and Shoval captures their faces as the projector beams from behind.
Shoval said in an interview that he had not changed anything in the first part of the film. “I wanted to leave it as a time capsule, in a way, of how we perceived it back a year ago,” he said.
Though he had been invited to be with the family at their reunion, he chose not to, explaining, “I thought it’s a moment that belongs to them and not to me.”
But he spoke with David soon after he was released. And shortly afterward, he visited Sharon and David Cunio at their home. “I came in the morning and we sat until sunset together and we talked. Even when I’m thinking about it now, I’m getting emotional, because it was really…” He paused. “You’re waiting for a moment for this for so long.”
The Friday screening was not an official part of the Berlinale, but the beleaguered festival director Tuttle made a point of taking the stage herself. The film has been “finished in the way that Tom only hoped and dreamed and believed that he would be able to finish it,” she told the audience.
“We were horrified along with the world and all of you when David Cunio and many members of his family were abducted by Hamas,” she said. And on their release “we rejoiced with everyone as well.”
Saying that the new version was completed too late to be included in the festival schedule, Tuttle thanked two co-production companies that work closely with Israeli artists for backing Friday’s screening: the Israel-based Green Productions and the Berlin-based Future Narrative Fund.
Audience members seemed loath to leave the theater after the screening, lingering over what some described as mix of happiness and worry.
“The fact that David is able to see the movie makes us see the movie in a different way,” commented Konstantin, who had seen the original version last year. A young Jewish actor who lives in Berlin, he asked that his full name not be used, out of concerns about antisemitism. “With the ending, it’s like a full circle, completed.”
Seeing the film again with the Cunio family present “was very uplifting and very happy,” said Berliner Julia Kopp, who also saw the film last year. “But at the same time, it’s not a happy ending … I also have a bit of a heavy heart,” worrying about “how life will go on for them.”
Both brothers have indicated that reentry into everyday life has been challenging after two years of captivity for them and two years of traumatized advocacy by their loved ones. And Ariel Cunio and his partner Arbel Yehud, who was held in captivity until January, have raised nearly $1.8 million since launching a crowdfunding campaign last week aimed at allowing them the time and space to “come back to life.”
A crowdfunding campaign launched on behalf of David and Sharon Cunio their twin daughters, also former hostages, says, “The family not only has to deal with the trauma that follows being held hostage and the events that transpired on October 7th, but also needs to rebuild their entire lives from scratch.”
Shoval said the film — and the screening — offered a vision for what a more settled future might look like.
“For me, the film is about the unification of the brotherhood, and what that means to be torn apart from each other, but also to get back,” Shoval said. “They can sit in the theater and they can see themselves. They can see what they missed, what happened. They can project about the past, about the present. This is a power of cinema, I feel. It felt natural for me to do that: to bring them back.”
The post At Berlin screening, former Israeli hostages see film about their captivity rewritten after redemption appeared first on The Forward.
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He may have been the world’s most famous mime, but in this play, he won’t shut up
There is a kind of sublime poetry in Marcel Marceau’s first act.
As a young man in occupied France, Marceau (then Mangel) forged identity papers and shepherded dozens of Jewish children across the Alps to Switzerland. In scenarios where staying quiet was essential for survival, Marceau soothed his charges into silence with his own.
In Marcel on the Train, Ethan Slater and Marshall Pailet’s play of Marceau’s pre-Bip life, the world’s most famous mime is anything but silent.
The action of the play, which bounces through time back to Marcel’s father’s butcher shop and forward to a P.O.W. camp in Vietnam (don’t ask), unfolds over the course of a train ride. Slater’s Marceau is chaperoning four 12-year-old orphans, posing as boy scouts going on a hike.
The kids — played by adults — are a rambunctious lot. Marceau tries to put them at ease juggling invisible swords, performing Buster Keaton-esque pratfalls and exhausting his arsenal of Jewish jokes that circle stereotypes of Jewish mothers or, in one case, a certain mercenary business sense.
Pailet and Slater’s script toggles uncomfortably between poignancy and one-liners with a trickle of bathroom humor (the phrase “pee bucket” recurs more often than you would think.)
The terror of Marceau’s most melancholy escortee, Berthe (Tedra Millan) is undercut somewhat by her early, anachronistic-feeling declaration, “Wow, we’re so fucked.” The bumptious Henri (Alex Wyse) would seem to be probing a troubled relationship with Jewishness and passing, but does that discussion a disservice when he mentions how it wouldn’t be the biggest deal if he “sieged a little heil.” Adolphe (Max Gordon Moore) is described as “an exercise in righteousness” in the script’s character breakdown. Sure, let’s go with that.
The presence of a mute child, Etiennette (Maddie Corman), is tropey and obvious. It doesn’t suggest that she inspired him to abandon speaking in his performances, but it doesn’t dismiss that possibility either.
But the chattiness and contrived functions of the fictive children are made more disappointing by the imaginative staging maneuvering around the shtick. Slater, best known for his role in the Wicked films and as Spongebob in the titular Broadway musical, is a gifted physical performer.
When things quiet down, Pailet’s direction, and the spare set by scenic designer Scott Davis, create meadows of butterflies. Chalk allows Marceau to achieve a kind of practical magic when he writes on the fourth wall. One of the greatest tricks up the show’s sleeve is Aaron Serotsky who plays everyone from Marceau’s father and his cousin Georges to that familiar form of Nazi who takes his torturous time in sniffing out Jews.
Surely the play means to contrast silence and sound (sound design is by Jill BC Du Boff), but I couldn’t help but wonder what this might have looked like as a pantomime.
While the story has been told before, perhaps most notably in the 2020 film Resistance with Jesse Eisenberg, Slater and Pailet were right to realize its inherent stage potential. It’s realized to a point, though their approach at times leans into broad comedy that misunderstands the sensibilities of its subject.
Like Slater, who learned of the mime’s story just a few years ago, Marceau was an early acolyte of Keaton and Chaplin. But by most accounts he cut a more controlled figure — that of a budding artist, not a kid workshopping Borscht Belt bits on preteens.
The show ends with a bittersweet montage of Bip capturing butterflies (not jellyfish — you will probably not be reminded of Mr. Squarepants). It means to frame Marceau’s established style as a maturation that nonetheless retains a kind of innocence, stamped by the kids he rescued.
“You’ll live,” Berthe tells him in a moment of uncertainty. “But I don’t think you’ll grow up.”
In Marceau there was, of course, a kind of Peter Pan. But there’s a difference between being childlike and being sophomoric.
Marcel on the Train is playing through March 26 at Classic Stage Company in New York. Tickets and more information can be found here.
The post He may have been the world’s most famous mime, but in this play, he won’t shut up appeared first on The Forward.
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US soldier who protected Jews in POW camp during WWII to be awarded Medal of Honor
(JTA) — An American soldier who is credited with saving the lives of 200 Jewish comrades in a prisoner of war camp in Germany during World War II will receive the U.S. military’s highest decoration, the Medal of Honor.
The award to Roddie Edmonds, who died in 1985, was announced last week. It comes more than a decade after Israel’s Holocaust memorial, Yad Vashem, recognized him as a “Righteous Among the Nations” for his bravery and six years after President Donald Trump recounted his heroism during a Veterans Day parade.
Edmonds, a sergeant from Knoxville, Tennessee, was the highest-ranking soldier among a group taken prisoner during the Battle of the Bulge in January 2045 when the Nazis asked him to identify the Jews in the group. Understanding that anyone he identified would likely be killed, Edmonds made the decision to have all of the soldiers present themselves as Jews.
When a Nazi challenged him, he famously proclaimed: “We are all Jews here!”
The show of solidarity came to light only after Edmonds’ death, when a Jewish man who had been among the soldiers at the camp shared his recollection with the New York Times as part of an unrelated 2008 story about his decision to sell a New York City townhouse to Richard Nixon when Nixon was having trouble buying an apartment following his resignation as president.
When they found the article several years later, it was the first that Edmonds’ family, including his pastor son Christ Edmonds and his granddaughters, had heard about the incident. Soon they were traveling to Washington, D.C., and Israel for ceremonies honoring Edmonds, one of only five Americans to be credited as Righteous Among the Nations, an honor bestowed by Israel on non-Jews who aided Jews during the Holocaust.
As the family campaigned for a Medal of Honor, Edmonds was also the recipient of bipartisan praise from two American presidents.
“I cannot imagine a greater expression of Christianity than to say, I, too, am a Jew,” President Barack Obama said during remarks at the Israeli embassy in Washington, D.C., on International Holocaust Remembrance Day in 2016.
Three years later, President Donald Trump recounted the story at the New York City Veterans Day Parade. “That’s something,” he said. “Master Sergeant Edmonds saved 200 Jewish-Americans — soldiers that day.”
Last week, Trump called Chris Edmonds to invite him to the White House to receive the Medal of Honor on his father’s behalf, Chris Edmonds told local news outlets. The Medal of Honor ceremony is scheduled for March 2.
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