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Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments
(JTA) — When the New York Times journalist Jodi Kantor was reporting the 2017 Harvey Weinstein sexual assault story that earned her a Pulitzer prize, the powerful Hollywood producer and his team tried to influence her by using something they had in common: They are both Jewish.
“Weinstein put [Jewishness] on the table and seemed to expect that I was going to have some sort of tribal loyalty to him,” Kantor told the Jewish Telegraphic Agency on a video call from the New York Times newsroom. “And that was just not going to be the case.”
Now, that exchange has been immortalized in “She Said,” a new film adaptation of the nonfiction book of the same name by Kantor and her collaborator Megan Twohey that details their investigation into Weinstein’s conduct, which helped launch the #MeToo movement.
The film, directed by Maria Schrader with stars Zoe Kazan as Kantor and Carey Mulligan as Twohey, is an understated thriller that has drawn comparisons to “All the President’s Men” — and multiple subtle but powerful Jewish-themed subplots reveal the way Kantor’s Jewishness arose during and at times intersected with the investigation.
In one scene, the Kantor character notes that a Jewish member of Weinstein’s team tried to appeal to her “Jew to Jew.” In another, Kantor shares a moving moment with Weinstein’s longtime accountant, the child of Holocaust survivors, as they discuss the importance of speaking up about wrongdoing.
Kantor, 47, grew up between New York and New Jersey, the first grandchild of Holocaust survivors — born “almost 30 years to the day after my grandparents were liberated,” she notes. She calls her grandmother Hana Kantor, a 99-year-old Holocaust survivor, her “lodestar.” Kantor — who doesn’t often speak publicly about her personal life, including her Jewish background, which involved some education in Jewish schools — led a segment for CBS in May 2021 on her grandmother and their relationship. Before her journalism career, she spent a year in Israel on a Dorot Fellowship, working with Israeli and Palestinian organizations. She’s now a “proud member” of a Reform synagogue in Brooklyn.
Kantor spoke with JTA about the film’s Jewish threads, the portrayal of the New York Times newsroom and what Zoe Kazan’s performance captures about journalism.
This interview has been edited and condensed for clarity and length.
JTA: How did you feel having Zoe Kazan, who is not Jewish, play you? Kazan has played some notably Jewish characters before, for example in the HBO miniseries “The Plot Against America.”
JK: I feel Zoe’s performance is so sensitive and so layered. What I really appreciate about her performance is that she captures so many of the emotions I was feeling under the surface in the investigation. You know, when you’re a reporter and especially a reporter handling that sensitive a story, it’s your responsibility to present a really smooth professional exterior to the world. At the end of the investigation, I had the job of reading Harvey Weinstein some of the allegations and really confronting him. And in dealing with the victims, I wanted to be a rock for them and it was my job to get them to believe in the investigation. And so on the one hand, you have that smooth, professional exterior, but then below that, of course you’re feeling all the feelings. You’re feeling the power of the material, you’re feeling the urgency of getting the story, you’re feeling the fear that Weinstein could hurt somebody else. You’re feeling the loss that these women are expressing, including over their careers. And so I think Zoe’s performance just communicates that so beautifully.
What Zoe says about the character is that there are elements of me, there are elements of herself, and then there are elements of pure invention because she’s an artist, and that’s what she does.
I think the screenplay gets at a small but significant line of Jewish sub-drama that ran through the investigation. It went like this: Harvey Weinstein and his representatives were constantly trying to approach me as a Jew. And they’ve done this more recently, as well. There have been times when Harvey Weinstein was trying to approach me “Jew to Jew,” like almost in a tone of “you and I are the same, we understand each other.” We found dossiers later that they had compiled on me and it was clear that they knew that I was the grandchild of Holocaust survivors, and they tried to sort of deploy that. So speaking of keeping things under the surface, I privately thought that was offensive, that he was citing that. But your job as a reporter is to be completely professional. And I wasn’t looking to get into a fight with Weinstein. I just wanted to find out the truth and I actually wanted to be fair to the guy. Anyway, even as he was approaching me “Jew to Jew” in private, he was hiring Black Cube — sort of Israeli private intelligence agents — to try to dupe me. And they actually sent an agent to me, and she posed as a women’s rights advocate. And she was intimating that they were going to pay me a lot of money to appear at a conference in London. Luckily I shooed her away.
To some degree I can’t explain why private Israeli intelligence agents were hired to try to dupe the Hebrew speaking, yeshiva-educated, granddaughter of Holocaust survivors. But it’s not my job to explain that! It’s their job to explain why they did that.
Then the theme reappeared with Irwin Reiter, Weinstein’s accountant of 30 years, who kind of became the Deep Throat of the investigation. I quickly figured out that Irwin and I were from the same small world. He was the child of survivors, and had also spent his summers at bungalow colonies in the Catskills just down the road from mine. I don’t bring up the Holocaust a lot. It’s a sacred matter for me, and I didn’t do it lightly. But once I discovered that we did in fact have this really powerful connection in our backgrounds, I did gently sound it with him – I felt that was sincere and real. Because he was making such a critical decision: Weinstein’s accountant of 30 years is still working for the guy by day and he’s meeting with me at night. And I felt like I did need to go to that place with him, saying, “Okay, Irwin, we both know that there are people who talk and there are people who don’t. And we both grew up around that mix of people and what do we think is the difference? And also if you know if you have the chance to act and intervene in a bad situation, are you going to take it?”
We didn’t talk a lot about it, because I raised it and he didn’t want to fully engage. But I always felt like that was under the surface of our conversations, and he made a very brave decision to help us.
That was a very powerful scene in the film, and it felt like a turning point in the movie that kind of got at the ethical core of what was motivating your character. Was that a scene that was important to you personally to include in the film?
What Megan and I want people to know overall is that a small number of brave sources can make an extraordinary difference. When you really look at the number of people who gave us the essential information about Weinstein, it’s a small conference room’s worth of people. Most of them are incredibly brave women, some of whom are depicted, I think, quite beautifully in the film. But there was also Irwin, Weinstein’s accountant of all these years, among them. It’s Megan and my job to build people’s confidence in telling the truth. And as we become custodians of this story for the long term, one of the things we really want people to know is that a tiny group of brave sources, sometimes one source, can make a massive difference. Look at the impact that these people had all around the world.
Did you feel the film captured the New York Times newsroom? There’s a kind of great reverence to the toughness and professionalism in the newspaper business that really came through.
Megan and I are so grateful for the sincerity and professionalism with which the journalism is displayed. There are a lot of on screen depictions of journalists in which we’re depicted as manipulative or doing things for the wrong reasons or sleeping with our sources!
We [as journalists] feel incredible drama in what we do every day. And we’re so grateful to the filmmakers for finding it and sharing it with people. And I know the New York Times can look intimidating or remote as an institution. I hope people really consider this an invitation into the building and into our meetings, and into our way of working and our value system.
And we’re also proud that it’s a vision of a really female New York Times, which was not traditionally the case at this institution for a long time. This is a book and a movie about women as narrators.
“Harvey Weinstein and his representatives were constantly trying to approach me as a Jew,” Kantor said. (The New York Times)
There have been comparisons made between this movie and “All the President’s Men.” One of the striking differences is that those journalists are two male bachelors running around D.C. And this film has scenes of motherhood, of the Shabbat table, of making lunches. What was it like seeing your personal lives reflected on screen?
It’s really true that the Weinstein investigation was kind of born in the crucible of motherhood and Megan and my attempt to combine work with parenting. On the one hand, it’s the most everyday thing in the world, but on the other hand, you don’t see it actually portrayed on screen that much. We’re really honored by the way that throughout the film you see motherhood and work mixing, I think in a way that is so natural despite our obviously pretty stressful circumstances.
I started out alone on the Weinstein investigation, and I called Megan because movie stars were telling me their secrets but they were very reluctant to go on the record. So I had gone some way in persuading and engaging them, but I was looking to make the absolute strongest case for them. So I called Megan. We had both done years of reporting on women and children. Mine involved the workplace more and hers involved sex crimes more, which is part of why everything melded together so well eventually. I wanted to talk to her about what she had said to female victims in the past. But when I reached her, I could hear that something was wrong. And she had just had a baby, and I had had postpartum depression myself. So we talked about it and I gave her the name of my doctor, who I had seen. Then she got treatment. And she not only gave very good advice on that [initial] phone call, but she joined me in the investigation.
I think the theme is responsibility. Our relationship was forged in a sense of shared responsibility, primarily for the work – once we began to understand the truths about Weinstein, we couldn’t allow ourselves to fail. But also Megan was learning to shoulder the responsibility of being a parent, and I had two kids. And so we started this joint dialogue that was mostly about work, but also about motherhood. And I think throughout the film and throughout the real investigation, we felt those themes melding. It’s totally true that my daughter Tali was asking me about what I was doing. It’s very hard to keep secrets from your kid in a New York City apartment, even though I didn’t tell her everything. And Megan and I would go from discussing really critical matters with the investigation to talking about her daughter’s evolving nap schedule. It really felt like we had to get the story and get home to the kids.
And also, we were reporting on our own cohort. A lot of Weinstein victims were and are women in their 40s. And so even though we were very professional with this and we tried to be very professional with the sources, there was an aspect of looking in the mirror. For example, with Laura Madden, who was so brave about going on the record, it was conversations with her own teenage daughters that helped her make her decision.
We didn’t write about this in our book because it was hard to mix the motherhood stuff with this sort of serious reporter-detective story and all the important facts. And we didn’t want to talk about ourselves too much in the book. But the filmmakers captured something that I think is very true. It feels particular to us but also universal. When Zoe [Kazan] is pushing a stroller and taking a phone call at the same time, I suspect lots of people will identify with that. And what I also really like is the grace and dignity with which that’s portrayed.
It must have been surreal, seeing a Hollywood movie about your investigation of Hollywood.
I think part of the power of the film is that it returns the Weinstein investigation to the producer’s medium, but on vastly different terms, with the women in charge. Megan and I are particularly moved by the portrayals of Zelda Perkins, Laura Madden and Rowena Chiu — these former Weinstein assistants are in many ways at the core of the story. They’re everyday people who made the incredibly brave decision to help us, in spite of everything from breast cancer to legal barriers.
Working with the filmmakers was really interesting. They were really committed to the integrity of the story, and they asked a ton of questions, both large and small. Ranging from the really big things about the investigation to these tiny details. Like in the scene where we go to Gwyneth Paltrow’s house and Megan and I discover we’re practically wearing the same dress — those were the actual white dresses that we wore that day. We had to send them in an envelope to the costume department, and they copied the dresses in Zoe and Carey’s sizes and that’s what they’re wearing. There was a strand of extreme fidelity, but they needed some artistic license because it’s a movie. And the movie plays out in the key of emotion.
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The post Weinstein approached me ‘Jew to Jew’: Jodi Kantor opens up on the ‘She Said’ movie’s Jewish moments appeared first on Jewish Telegraphic Agency.
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In Israel, she’s a national heroine — Americans are starting to understand why
Crash of the Heavens: The Remarkable Story of Hannah Senesh and the Only Military Mission to Rescue Europe’s Jews During World War II
By Douglas Century
Avid Reader Press/Simon & Schuster, 432 pages, $30
In Israel, Hannah Senesh, the 23-year-old poet and paratrooper who died trying to save Hungarian Jews during the Holocaust, is a national heroine. Her verses are memorized by schoolchildren and encoded in prayerbooks, her kibbutz home is a memorial, and Israeli streets and settlements bear her name.
In the United States, recognition of Senesh’s achievements has come more slowly. Roberta Grossman’s 2008 documentary, Blessed is the Match: The Life and Death of Hannah Senesh, told her story with archival footage, interviews and dramatic recreations. In 2010-11, New York’s Museum of Jewish Heritage hosted an exhibition, Fire in My Heart: The Story of Hannah Senesh.
Now, when the notion of Israeli military heroism seems particularly contested, Senesh has surfaced again. This fall, the National Yiddish Theatre Folksbiene revived David Schechter’s play with music, Hannah Senesh, a collaboration with Lori Wilner that originated in the 1980s. And a major new biography, Douglas Century’s Crash of the Heavens, excavates the brilliant young woman — frustrated, lonely, headstrong, determined — long encrusted in myth.
Century’s powerful book, whose title derives from a Senesh poem, depicts both a unique 1944 Jewish rescue mission and its historical context: the chaotic final months of World War II, when Europe’s remaining Jews were both targeted victims and bargaining chips.
An emigrant from fascist Hungary to British Mandatory Palestine, Senesh was one of a cohort of Jewish volunteers — 37, including two other women — chosen to infiltrate the inferno of Central and Eastern Europe that other Jews were desperate to escape. Trained by the elite fighters of the Palmach, as well as the Royal Air Force and British Intelligence, they had a dual mission: to locate and evacuate downed Allied airmen and escaped prisoners of war, and to save Jews. For the latter, it was almost too late, though the paratroopers did ultimately rescue an unknown number of Jews.
While Senesh is the focus, Century’s cinematic narrative alights periodically on several of her colleagues. Among the most notable was Enzo Sereni, an Italian Jewish intellectual, “a remarkable man with prodigious appetites,” who died in Dachau. The Romanian-born Surika Braverman, phobic about heights, was unable to parachute. But she did fly into Yugoslavia, link up with Tito’s partisans, and later establish the Women’s Corps of the Israel Defense Forces. Yoel Palgi, the lone survivor of the three paratroopers who infiltrated Hungary, became a key source of information about Senesh’s ordeals.
Her story, told here with great intimacy and detail, is riveting. Those who knew her underline her uniqueness, including a courage that ultimately impressed even her captors.
Born Anna Szenes in 1921 Budapest, she was the daughter of a celebrated Hungarian Jewish playwright and journalist who died of heart failure at 33. At 13, Senesh started a diary. In 1938, the Hungarian Parliament passed a law restricting Jewish participation in the economy, and her country’s growing antisemitism transformed the teenager into a Zionist.
Accepted to an agricultural school in Palestine, Senesh made aliyah in 1939. She graduated with expertise in poultry farming, but was assigned to the laundry of Kibbutz Sdot Yam (Fields of the Sea), near Caesaria. The location inspired one of her most famous poems, but the daily routine was mind-numbing. She longed to return to Budapest to inspire Jewish resistance and help her mother escape.
As luck would have it, her kibbutz connected her to a fellow Hungarian refugee involved in organizing a secret rescue mission. “I see the hand of destiny in this,” she wrote at the time. “I’m totally self-confident, ready for anything,” she later added.
The mission was delayed, in Century’s telling, by mutual distrust between the British military and the Jewish leadership in Palestine. But Senesh finally was able to train as both a paratrooper and wireless radio operator. She chose the code name Hagar, for the second wife of the Biblical Abraham, “the slave girl who’s redeemed, who speaks directly to the Lord, who is told that she must return home.” Before leaving for Europe, she was able to see her brother, Gyuri, and give him a poignant letter in which she wrote: “Will you sense that I had no choice, that I had to do this?”
After parachuting into Yugoslavia, Senesh joined Tito’s partisans. But within days, the Germans had marched into Hungary, complicating her mission. She crossed the border anyway, and was quickly captured by Hungarian gendarmes — likely because of a betrayal, or more than one, Century suggests.
He graphically describes the vicious beatings and torture she endured, and her stoic silence. One of her fellow paratroopers had declined to give her a cyanide pill, so an easy death was impossible. Her suicide attempts failed. Believing her mother had left Budapest, she finally offered her real name. That led to a heartbreaking reunion between a bruised and battered Hannah and her anxious mother, Katherine. Both spent time in a Gestapo prison, where they had occasional contact.
Katherine eventually was released, and her daughter experienced a mild reprieve: She was able to teach her fellow inmates Hebrew, distribute hand-made dolls as gifts, and counsel a pregnant Jewish prisoner on an escape route. Then came a trial for treason and espionage. In her defense, Senesh eloquently denied betraying Hungary and chastised her judges for allying with Nazism. As Soviet and Romanian troops descended on Budapest, she was abruptly informed of her conviction and an immediate death sentence, with no chance of appeal.
Integral to her legend is that the youthful Senesh went defiantly to her execution by firing squad, declining to beg for a pardon and refusing even a blindfold. She left behind a trove of diaries, letters and simple, emotionally direct poems — a dazzling literary as well as moral legacy.
One poem, from a period of torture and solitary confinement, concludes: “I gambled on what mattered most,/The dice were cast. I lost.” Another famous verse emphasizes redemption, declaring, “Blessed is the match consumed in kindling flame.” Century’s biography — which also recounts Senesh’s prodigious cultural afterlife — is a stirring testament to both her undeniable gifts and tragic fate.
The post In Israel, she’s a national heroine — Americans are starting to understand why appeared first on The Forward.
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Trump Says US Will Sell F-35s to Saudi Arabia Ahead of White House Talks With Crown Prince
US President Donald Trump and Saudi Crown Prince and Prime Minister Mohammed Bin Salman shake hands during a Memorandum of Understanding (MOU) signing ceremony at the Royal Court in Riyadh, Saudi Arabia, May 13, 2025. Photo: REUTERS/Brian Snyder
US President Donald Trump on Monday said he plans to approve the sale of US-made F-35 fighter jets to Saudi Arabia, announcing his intention one day before he hosts Saudi Crown Prince Mohammed bin Salman at the White House in Washington, DC.
The high-stakes meeting comes as rumors swirl about the possibility of Israel and Saudi Arabia, long-time foes who in recent years have increasingly cooperated behind closed doors, normalizing ties under a US-brokered deal.
“They want to buy. They are a great ally. I will say that we will be doing that,” Trump told reporters in the Oval Office. “We will be selling them F-35s.”
Reuters reported earlier this month that Saudi Arabia has requested to buy as many as 48 F-35 fighter jets in a potential multibillion-dollar deal that cleared a key Pentagon hurdle.
Such a sale would be a policy shift for Washington, which primarily sells the F-35 to formal military allies, such as NATO members or Japan. Israel is the only country in the Middle East that has the elite fighter jets, in accordance with longstanding bipartisan policy for US administrations and the Congress to maintain Israel’s “qualitative military edge” in the region. Saudi Arabia’s acquiring them would at least somewhat change the military balance of power.
However, Axios reported over the weekend that Israel does not oppose the US sale of F-35s to Saudi Arabia, the world’s top oil producer — as long as it’s conditioned on Riyadh normalizing relations with Jerusalem.
“We told the Trump administration that the supply of F-35s to Saudi Arabia needs to be subject to Saudi normalization with Israel,” an anonymous Israeli official told the news outlet, adding that giving the fighter jets without getting any significant diplomatic progress would be “a mistake and counterproductive.”
It has been widely reported that Israel and Saudi Arabia were on the verge of a deal to establish formal diplomatic ties until the discussions were derailed by Hamas’s Oct. 7, 2023, massacre across southern Israel and the ensuing war in Gaza. Saudi officials have said that they will only agree to a normalization deal if Israel commits to a path toward a Palestinian state.
Saudi Arabia’s close partners Bahrain and the United Arab Emirates were among the Arab states to normalize ties with Israel in 2020 as part of the Trump-brokered Abraham Accords. Trump has said he is intent on expanding the accords to include other countries, above all Saudi Arabia.
“I hope that Saudi Arabia will be going into the Abraham Accords fairly shortly,” Trump told reporters on Friday.
The F-35 deal and possible Israeli-Saudi normalization are expected to be central to the agenda when bin Salman, widely known by his initials MBS, meets Trump.
It will be the crown prince’s first trip to the US since the death of prominent Saudi critic Jamal Khashoggi by Saudi agents in Istanbul in 2018. US intelligence concluded that bin Salman approved the capture or killing of Khashoggi, although Saudi Arabia’s de facto leader has denied ordering the operation.
Seven years later, Washington and Riyadh, longtime strategic partners, are looking forward, with bin Salman set to receive full ceremonial honors at the White House. Their meeting comes six months after Trump secured a $600 billion commitment from Saudi Arabia to invest in the United States.
Beyond investment, Riyadh has been eager to reach a security agreement with Washington expanding arms sales such as advanced missile-defense systems and drones, and deeper military training partnerships. Most importantly for Riyadh, however, is the US offering certain guarantees ensuring the kingdom’s security. Many observers have suggested that such a defense deal could be part of a broader arrangement to broker Saudi-Israel normalization.
Trump and bin Salman are also expected to discuss broadening ties in commerce, technology, and potentially nuclear energy.
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Catholic Church in Berlin Condemns Antisemitism as Anti-Israel Agitators Vandalize Historic Crucifix
Illustrative: Hamas supporters at a rally in Cologne, Germany, on Oct. 22, 2023. Photo: Reuters/Ying Tang
As antisemitic incidents continue to rise in Germany, the Catholic Church in Berlin has taken a firmer stance against anti-Jewish hatred by issuing new guidelines prohibiting its members from expressing racist, antisemitic, or extremist views.
On Saturday, the Archdiocese of Berlin, the governing body of the city’s Catholic Church, announced that all candidates for leadership positions must sign a special declaration rejecting racism, antisemitism, and extremist views.
“With this decision, responsibility falls where it belongs. Anyone seeking to serve on the diocesan committees and run in the elections must actively uphold the values of our Church,” Karlies Abmeier, president of the Diocesan Council, said in a statement.
The Catholic Church’s latest move aims to ensure that anyone seeking a leadership role within the institution commits to rejecting “racism, antisemitism, ethnic nationalism, and hostility toward democracy.”
“It is crucial for us that such statements never come from those in positions of power within our Church,” Marcel Hoyer, executive director of the committee, told the German Press Agency.
Candidates would also be prohibited from belonging to any party or organization that the German Office for the Protection of the Constitution has designated as extremist.
The archdiocese’s announcement comes amid a climate of rising hostility and radicalization in Germany, where the local Jewish community has increasingly become a target.
Last week, anti-Israel protesters vandalized a church with paint in the Vogelsberg district of Hesse in central Germany.
According to local media reports, a crucifix was vandalized with antisemitic graffiti, including the slogans “Free Palestine” and “Jesus is Palestinian,” and the church walls were also defaced with red paint.
Pastor Ingmar Bartsch denounced the incident, describing himself as “angry and bewildered.”
“What affects me most is that it’s a historic depiction of Jesus, at least 200 to 300 years old, and truly one of a kind,” Bartsch told the German newspaper Bild.
He explained that the crucifix will require a professional restoration, with initial damage estimates reaching into the thousands of dollars.
Local police have launched an investigation into the incident as a case of property damage, noting that the items involved hold religious significance.
As the restoration process begins, Bartsch said the church will remain closed for now, reopening only for religious services.