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This Jewish studies professor won $60,000 on “Jeopardy!” — despite missing out on a question about Yom Kippur
(JTA) — The most notable message Melissa Klapper got during her four-night run this week on “Jeopardy!” didn’t come because the Jewish studies scholar was unable to answer a question about Yom Kippur. It also wasn’t an unkind note from a game-show stickler who believed she’d gotten credit for a wrong response.
Instead, it was an email from a past student who recognized herself in the story Klapper told as part of her self-introductory stage banter — a staple of the game show. Klapper, who teaches history at Rowan University in New Jersey, described accusing a student of having plagiarized her paper.
The student then replied, Klapper recalled, that she “didn’t know [it] was plagiarized when she bought it.” The anecdote yielded laughs from host Ken Jennings and the two co-contestants whom Klapper later defeated to notch her third win.
After the episode aired Wednesday night, Klapper heard from the former student, whose name she had previously forgotten.
“She watches ‘Jeopardy!’ and when she was watching that interview, she thought to herself, this is about me,” Klapper told the Jewish Telegraphic Agency. “And she wrote to me to apologize. She’s a teacher now and, I think, is more understanding of why what she did was really not good. And I really appreciated it. It was kind of brave of her to get in touch with me after all these years.”
The experience was a fitting highlight of Klapper’s run on the show, which ended Thursday with a third-place finish and total winnings of $60,100. She said it was her training as an educator — not her education in Modern Orthodox schools or her scholarship on Jewish women, immigrant children and more — that prepared her for success on the show.
“I’m up in front of people all the time,” said Klapper, who is active in the Association for Jewish Studies and whose most recent book, “Ballet Class: An American History,” was published in 2020. “I do not have stage fright.”
Klapper spoke with JTA about her Jewish background, her research interests and how her most religiously observant friends managed to watch her on TV.
This interview has been condensed and lightly edited for clarity.
JTA: First, I have to ask: Last night, did you end up with $1,800 on purpose? That’s a very Jewish number.
Klapper: No! That’s so funny. It didn’t even occur to me.
How are you feeling this morning? Any initial reflections on your appearance now that it’s over?
These shows were recorded in January, so I’ve had time to come to peace with what happened. I was disappointed not to win another game — or two. But Alec, the guy who won last night, was just unstoppable on the buzzer. Knowing the answers is not enough to do well in “Jeopardy!” You also have to have good hand-eye coordination, which I do not. I would say I knew the vast majority of answers but I often just could not get the buzzer in time. Once I knew I was going to be on the show, I did sort of sit at home and practice with a ballpoint pen, but it’s not the same.
I will say the fact that I couldn’t be fast enough to answer the Yom Kippur clue was pretty frustrating. [The clue was about a Jon Stewart quip about the Jewish day of atonement.] And I heard about that — I got a lot of fun teasing from some of my Jewish friends who were sending me helpful emails with links to the dictionary.com definition of Yom Kippur.
Can you share a little bit about your relationship with “Jeopardy!”, how you came to be on the show and your general reflection about your experience?
I grew up in a household where we watched “Jeopardy!” when I was kid. We had a “Jeopardy!” board game that I would play with my parents and my sister and I actually tried out for the teen tournament when I was in high school. Those were the days that you had to go in person, so my parents very kindly drove me into D.C. when we heard that there would be a tryout. I didn’t get past the first round — I didn’t know anything about sports, and I still don’t know that much, although I answered a surprising number of sports questions.
In the last few years I started to watch more regularly and it occurred to me, you know, I really think I could do OK on this show. I made it into the contestant pool the first time I took the online test, but I did not get called. The day after my 18 months [in the pool] ended, I started the process again, but I sort of assumed I would never hear from them again — especially because they asked you to write down dates when you can’t come and I had to write that I was not available during the semester — and, oh, also on Jewish holidays. But they called me for winter break.
They record five shows in a day, and all of mine were on one day. There’s about 10 minutes between shows when you change your top and can have a drink and then go right back onstage. It was just — really, it was all a blur. If you’d asked me at the beginning of this week what any of the categories were I would have been very hard-pressed to tell you.
You got some clues that seemed ready-made for a Jewish contestant such as one about Philip Roth’s “Portnoy’s Complaint” and another about Jack Antonoff, the Jewish musician and producer. What is your Jewish background like and were there moments where you felt like that gave you some kind of advantage?
Now I live in Lower Merion, Pennsylvania, which has a large observant Jewish community. My husband and I belong to a Modern Orthodox synagogue and we are involved in a partnership minyan, Lechu Neranena.
I went to Jewish day school my whole life, kindergarten through 12th grade, first at Akiba Academy of Dallas and then Bais Yaakov of Baltimore, which was the only girls high school and where I got a very solid education and was encouraged to pursue my intellectual ambitions. I went to Israel right after high school before I started college. So I have a very intensive Jewish educational background, and throughout my education and all the schools that I went to, I found a lot of encouragement for my innate nerdiness.
So I’m not sure I could draw a direct line, but what I will say is that in the Jewish educational environment I grew up in, matched by an extremely Jewish traditional home, there was just a huge, enormous value on reading and books and learning, and I think that makes a difference.
I will say I don’t think I knew about Jack Antonoff because he’s Jewish — I knew him because of Taylor Swift.
Were there Jewish highlights of your experience, either on the show or behind the scenes?
They do not pay for you to go out to L.A. You’re responsible for your own travel, but they do provide lunch. I asked if it would be possible to get me a kosher lunch, and they immediately said yes, which I appreciated. There was no question or back and forth about it. I got a salad with a ton of protein that could take me through the day.
And then this is a little funny, but I have friends from across the spectrum of Jewish practice, or lack thereof. Some of my more traditionally observant friends don’t own TVs and wouldn’t have TVs in their houses — but they have been watching the show on YouTube every day because they have no other way to watch.
Your scholarship in American history and Jewish studies has been wide-ranging, and you’ve written books about American Jewish women’s activism, American Jewish girlhood and, most recently, ballet. How did your work as a scholar and a teacher prepare you for your appearance or dovetail with it?
I’m a teacher. I’m up in front of people all the time. I do not have stage fright. I give a lot of public talks of various kinds, in academic venues or community settings. And so I did not have any problems speaking or talking to Ken [Jennings] during the short interview period — that is not a problem for me. And for some contestants, it really is. They’re not used to just speaking in public at all like that. My professional background prepared me very well.
I have to ask about the big controversy. [Some viewers believed Klapper offered “Gregor” rather than “McGregor” as the response to a clue about the actor Ewan McGregor.] What did you make of that, and what do you think it means for the “Jeopardy!” viewership to have such intensity of passion that they referee a professionally refereed show?
First, it’s not a controversy. It’s clear to everyone that I said McGregor on stage, including to my co-contestants who have spoken about this. There should not have been and there should not be any controversy.
That said, I don’t personally sort of participate in any kind of fandom, so the way that this sort of took off is a little alien to me. But I know not just in the “Jeopardy!” community people are really, I guess, just very invested. It’s hard for me to explain.
Has the response been hard for you?
I’m sure that everyone who appears on “Jeopardy!” gets some nasty emails because unfortunately fandom can be vicious and I’m very easy to find. But I do know that women who are on “Jeopardy!”, especially women who do well, really can be targeted. And I do think that is part of what happened. Some of the — most of the emails I got from strangers were extremely nice and positive and, you know, full of good wishes. And I appreciated that, but I also got some really misogynistic, nasty gendered messages.
It’s disappointing because in my mind the “Jeopardy!” community is one of the last nice spaces that exists. I’ve talked about that with other contestants over the years, who have said it’s a congenial space. And I’ve asked them — and now I’ll ask you — what do you think the Jewish community can learn from the “Jeopardy!” community?
As a historian, it’s sort of not in my nature to comment on the contemporary Jewish community. I do think there are shared values around knowledge and education.
I do think there’s a nice community of contestants. Even though we were all each other’s competitors, everybody was just really friendly and encouraging. It’d be nice if all communities would just be like that.
You teach women’s and gender studies. You mentioned one big gender dynamic related to being a “Jeopardy!” contestant. Were there others, or other connections to your scholarship, that jumped out during your time as a contestant?
Not so much gender, but my current research project is about American Jewish women who traveled abroad between the Civil War and World War II. It’s a research interest — I noticed as I was working on all my other projects that the Jewish girls and women I was writing about traveled a lot, way more than you would expect for the late 1800s and early 1900s — but it’s also because I love to travel myself. And that’s another way to learn. There were definitely questions on “Jeopardy!” that I knew because I’ve been there — like about the sculpture in the harbor in Copenhagen of the Little Mermaid. I thought: I’ve been there and I’ve seen that.
So you like traveling and you just won a little over $60,000. Do you have any specific plans for the winnings?
Well, first, I’ll have to deal with the IRS. I’m involved with a bunch of different charities and so I will certainly be giving some of this money to them. And my husband and I already have our big trip for the year planned in May — to the north of England, to Newcastle and Hadrian’s Wall — and so we are going to upgrade some parts of that experience a little bit.
And then let’s go back to the student who reached out to you. What do make of that?
Whatever they’re teaching, teachers really matter, for better or for worse, and that’s where my real impact is. I teach a lot of students a lot of different things and I really value my relationship with them. And as it says in Proverbs, right, I have learned a lot from my students, just like I hope they learned from me. Seeing how excited some of my students have been this week, I do think that, in a way, being on “Jeopardy!” was sort of part of my teaching practice and that it just shows, again, this value of education and knowledge. Yes, it’s trivia, but still it just makes you a better-rounded person. And it was nice to be able to demonstrate that.
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The post This Jewish studies professor won $60,000 on “Jeopardy!” — despite missing out on a question about Yom Kippur appeared first on Jewish Telegraphic Agency.
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‘Growing Pogrom-Like Atmosphere’: German Antisemitism Commissioner Issues Warning After Synagogue Arson Attack
Anti-Israel protesters march in Germany, March 26, 2025. Photo: Sebastian Willnow/dpa via Reuters Connect
The commissioner to combat antisemitism in the German state of Hesse has sounded the alarm after an arson attack on a local synagogue in the town of Giessen, warning that it reflects a “growing pogrom-like atmosphere” threatening Jewish life across Germany as Jews and Israelis continue to face an increasingly hostile climate.
In an interview with the German newspaper Tagesspiegel, Uwe Becker — who has served in his role since 2019 — condemned the latest attack, saying it occurred “in a poisoned antisemitic climate that is steadily worsening.”
The horrific act occurred in a “growing pogrom-like atmosphere that, as a society in Germany and Europe, we are currently not doing enough to counter,” the German official said.
On Tuesday, a 32-year-old man was arrested after allegedly setting fire to a trash can outside a local synagogue in Giessen, west-central Germany, in an attack that damaged a roller shutter and entrance gate, though no one was harmed.
According to local reports, a Giessen district judge has ordered the suspect to be placed in a psychiatric hospital, citing signs that he may be suffering from a mental illness.
However, the suspect remains in police custody as local authorities investigate the circumstances and motive of the attack, including whether it was politically motivated.
This latest attack came just a week after Andreas Büttner, the commissioner for antisemitism in Brandenburg, northeastern Germany, was targeted for the second time in less than a week after receiving a death threat.
According to the German newspaper Potsdamer Neueste Nachrichten (PNN), the Brandenburg state parliament received a letter earlier this month threatening Büttner’s life, with the words “We will kill you” and an inverted red triangle, the symbol of support for the Islamist terrorist group Hamas.
Authorities are now probing the incident as part of an ongoing investigation into threats against the German official, after his private property in Templin — about 43 miles north of Berlin — was also targeted in an arson attack and a red Hamas triangle was spray-painted on his house.
A former police officer and member of the Left Party, Büttner took office as commissioner for antisemitism in 2024 and has faced repeated attacks since.
“The symbol sends a clear message. The red Hamas triangle is widely recognized as a sign of jihadist violence and antisemitic incitement,” Büttner said in a statement after the incident.
“Anyone who uses such a thing wants to intimidate and glorify terror. This is not a protest, it is a threat,” he continued.
Hamas uses inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. The symbol, a common staple at pro-Hamas rallies, has come to represent the Palestinian terrorist group and glorify its use of violence.
In August 2024, swastikas and other antisemitic symbols and threats were also spray-painted on Büttner’s personal car.
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How Alvin Ailey’s ‘Revelations’ evokes Yom Kippur for me
My last semester of college, I had an Alvin Ailey phase.
My time in Philadelphia was rapidly coming to a close and I felt an urge to make it to as many of the performing arts venues in the city as I could (not an easy feat). With a close family friend, I attended my first Alvin Ailey performance at the Forrest Theatre. Soon after, I went to a talk at the African American Museum in Philadelphia about Ailey and the piece The River. That weekend, I also watched the 2021 documentary Ailey. Then I found myself doing a sociolinguistical analysis of Ailey’s most famous work, Revelations, for a class.
To call my interest in Ailey a phase is actually a misnomer since, two years later, I am still an Ailey fan — and now the owner of an actual Alvin Ailey-branded hand fan. Last June, I attended a performance during their run at the Brooklyn Academy of Music and fell in love with Grace, choreographed by Ronald K. Brown. I bought a ticket to see it again, along with Revelations and two shorter works, during their winter season at New York City Center.
While the end of Grace — in which a dozen dancers take a nearly 30-minute-long journey to a promised land — made me tear up, it wasn’t until Revelations that I actually began to cry. It happened during the duet “Fix Me, Jesus,” in which a female dancer searches for spiritual guidance and a male figure depicts divine support.
I was aware of the irony. As a lifelong Jew, I have never wanted Jesus to “fix” me. But the piece moved me to tears nonetheless. Within the gospel music, New Testament themes and African American cultural imagery of Revelations — composed of multiple smaller pieces — is a universal story of desire for redemption and turning to faith in times of great suffering.
The choir that accompanies the dance sings “fix me for my long white robe,” a reference to Revelation 6:11, where those that have lived their life without sin are told they will be given white robes for their ascension to Heaven. I was reminded of the kittel, a plain white robe some in the Ashkenazi tradition wear on Yom Kippur. Some rabbis have interpreted the robe to symbolize the blank slate we are creating for ourselves in the new year. Dressing plainly can also be another way of resisting earthly pleasures on the Day of Atonement. Since some people are also buried in their kittel, another interpretation is that wearing it helps one consider their death and what legacy they want to leave behind, thinking of how they may “fix” themselves to be ready for when they will be brought before G-d.
These echoes of Yom Kippur make another appearance in Ailey’s Revelations in the solo “I Wanna Be Ready.” The single dancer dressed in white alternates between contracting and expanding their body, kneeling and prostrating on the ground, as if they are repenting for something. The choir chants that they want to be ready to put on their long white robes and the lead singer explains he has avoided the temptation to sin so his soul will be ready for death.
This deviates slightly from how I think of preparing for the Day of Judgment. For me, Yom Kippur has always been about acknowledging that we will sin, that we are human, flawed, prone to jealousy and gossip and all those other things we list as we beat our chests during the confessional. In the Reconstructionist Press version of the Prayerbook for the Days of Awe, Rabbi Rami M. Shapiro writes that “we freely admit our failings” in order to “create our atonements.” In the confessional, we are instructed not to tell G-d that “we are righteous, and we have not sinned,” for “indeed we have sinned.”
I have always experienced Yom Kippur as an intense emotional journey to find within myself the ability to do better, be better, perhaps with some divine guidance. This is what I recognized in “Fix Me, Jesus,” this burning desire to exceed our own expectations.
But the yearning of Revelations is not just about individual spiritual reckoning. Throughout the work, you can feel Black Americans pushing toward freedom as they emerge from the degradation of slavery and Jim Crow.
I connect with this existential cultural aspiration to escape systemic degradation both as a Black American and as a Jewish American, descended from enslaved people on one side and pogrom survivors on the other. Although Revelations originated in a specific cultural context — born from Ailey’s experiences growing up in the Black church in 1930s Texas — its broader message about redemption feels unifying across cultural divides. I have imagined seeing Revelations with my paternal grandmother, an active and dedicated member of the Black Presbyterian church. Even if we were to appreciate the dance’s spirituality for different reasons — her for the work’s reflection of her faith in Jesus, me for its raw portrayal of an intense desire to improve — it’s something that would move both of us.
Probably my tears were triggered by the intensity of the piece and the beauty of its dancers and not by some spiritual awakening. Still, despite — or really, because of — the emotional unrest Alvin Ailey put me through, they will probably be seeing me again soon.
The post How Alvin Ailey’s ‘Revelations’ evokes Yom Kippur for me appeared first on The Forward.
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Police Chief in UK Retires After Facing Scrutiny for Banning Israeli Maccabi Tel Aviv Fans From Soccer Match
WMP Chief Constable Craig Guildford speaking before the Home Affairs Committee on Jan. 6, 2026. Photo: Screenshot
West Midlands Police (WMP) Chief Constable Craig Guildford retired on Friday effective immediately after increasing public scrutiny and revelations over his use of “exaggerated or simply untrue” intelligence to justify a ban prohibiting Maccabi Tel Aviv soccer fans from attending a match late last year.
Simon Foster, the police and crime commissioner of WMP, announced Guildford’s retirement in a formal statement delivered outside Birmingham’s Lloyd House, which is the headquarters of the West Midlands police force. Guildford will collect his full pension after three decades of service. Foster thanked Guildford for his service and said he welcomes the chief constable’s decision to retire. He added that Guildford’s stepping down is in the “best interest” of the police force and the local community.
Guildford’s retirement follows the decision of the Birmingham City Council Safety Advisory Group, based on the recommendation of West Midlands Police, to ban traveling Maccabi Tel Aviv soccer fans from attending the Europa League soccer match between Aston Villa and the Israeli team on Nov. 6, 2025, at Villa Park in Birmingham due to “public safety concerns.”
The announcement also comes just two days after British Home Secretary Shabana Mahmood told the British Parliament that she has lost confidence in Guildford. The minister said she came to the conclusion after receiving a “damning” and “devastating” report by Sir Andy Cooke, his Majesty’s chief inspector of constabulary, on Wednesday that revealed several failings by the WMP force in relation to its recommendation to ban Maccabi soccer fans, including “misleading” public statements and “misinformation” promoted by the police.
Foster acknowledged on Thursday that the police forced faced “understandable intense and significant oversight and scrutiny.”
“The findings of the chief inspector were damning. They set out a catalogue of failings that have harmed trust in West Midlands Police,” Mahmood said in a statement following Thursday’s announcement. “By stepping down, Craig Guildford has done the right thing today … Today marks a crucial first step to rebuilding trust and confidence in the force amongst all the communities they serve.”