New Jersey’s largest teachers’ union, the New Jersey Education Association, cut ties with an editor of its magazine on Friday, following criticism from top state officials over her antisemitic and pro-Hamas posts on social media.

Ayat Oraby’s since-deleted posts on X, screenshots of which were viewed by JI, claimed Israel “killed many of its citizens” during the Oct. 7, 2023 terror attacks and voiced her support of Hamas, praising its actions on social media as “resistance,” among other views.  

Oraby, who started at the NJEA Review magazine in August, told the New Jersey Globe, the first outlet to report her termination, that her “intent has always been humanitarian: to stand against the killing of civilians and to advocate for peace. When compassion is politicized, even empathy can be misread.” 

Local Jewish elected officials voiced worry about Oraby’s appointment in October, sending a letter to NJEA with 24 signees, expressing “deep concern.” 

“We are disappointed that no corrective action has yet been taken despite clear evidence and mounting public concern. Words matter and silence in the face of hate speech is complicity,” the signatories wrote. “We strongly urge you to act immediately to remove Ms. Oraby from any editorial or leadership role within the NJEA and to reaffirm the Association’s commitment to ensuring that all educators, students, and families regardless of religion or background can feel safe, respected, and represented.”

The letter followed one sent by Rep. Josh Gottheimer (D-NJ) to the NJEA, also voicing concern.  

“Ms. Oraby has an extremely troubling public record of promoting divisive, violent, and hate-filled rhetoric that has no place in our great state, and that must be addressed immediately,” Gottheimer wrote on Oct. 6. “It is clear that Ms. Oraby should not be involved in any publication sent to New Jersey’s educators or, for that matter, have any role in educating our teachers or children.”

Oraby told the New Jersey Globe that Gottheimer was unfair to condemn her for a post she deleted that compared Israel to Nazi Germany, a claim she said “reflects public opinion and legitimate criticism, not hatred.”

Gottheimer also denounced NJEA earlier this month over its plans for an anti-Israel “Teaching Palestine” session scheduled during the union’s November conference. 

NJEA’s parent organization, the National Education Association, has also faced scrutiny for anti-Israel and antisemitic actions, including a vote, which was eventually overturned, to disassociate from the Anti-Defamation League. 

The U.S. Immigration and Customs Enforcement (ICE) agency is denying claims that it violated the religious rights of Muslim detainees at a Florida detention center by failing to provide them with halal meals since the start of the COVID-19 pandemic.

ICE policy stipulates that detainees must receive “a reasonable and equitable opportunity to observe their religious dietary practice,” but conditions that requirement “within the constraints of budget limitations and the security and orderly running of the facility.” 

In a letter, signed by attorneys from Muslim Advocates, Americans for Immigrant Justice (AIJ) and King and Spalding LLP, the groups allege that officers at the Krome North Service Processing Center in Miami consistently served Muslim detainees “rotten and expired” halal meals, at times forcing them to choose between eating pork-contaminated meals or expired meals.

The facility, like many institutions, has transitioned since the start of the pandemic to a satellite meal preparation and service model that provides pre-portioned meals to all detainees in an effort to limit the risk of infection. According to the letter, Muslim detainees have been served pork meals, including sausages and ribs, despite officers knowing their religious requirements.

When detainees brought their complaints to a chaplain, according to the letter, they were told: “it is what it is.”

The groups called on the agency and the Department of Homeland Security to “immediately address this unlawful pattern of religious discrimination” and “ensure that no detainee at Krome or any other ICE facility across the United States is forced to choose between their faith and starvation.”

Citing First Amendment protections and the Religious Freedom Reformation Act, the letter calls on DHS and ICE to immediately “train, supervise, and discipline all personnel involved in this systematic denial of detainees’ rights.”

According to Lily Hartmann, a Human Rights advocate at AIJ, many of the Muslim detainees, who come from Somalia, Jamaica, Tunisia, Egypt and Guatemala, have been in ICE custody for over a year. “The immigration detention system is meant, through its abuses, to wear people down so that they give up fighting their immigration case.” Hartmann told Jewish Insider, adding of the Krome incidents: “This is just one example of how that is done.”

Nimra Azmi, a staff attorney at Muslim Advocates and a signatory to the letter, told JI in an email, “officials at Krome know these are Muslim detainees who are being served rotten meals or meals that violate their faith and they do not care.”

In a statement to JI, an ICE spokesperson denied the allegations. “ICE’s Performance Based National Detention Standards cover all aspects of detention, to include reasonable accommodation of religious dietary practices. Any claim that ICE denies reasonable and equitable opportunity for persons to observe their religious dietary practices is false.”

ICE policy only requires religious dietary accommodations “within the constraints of budget limitations and the security and orderly running of the facility.” The spokesperson did not explain if the alleged conduct could be permissible under those constraints.

Jewish groups, including the American Jewish Committee and Bend the Arc, condemned the allegations. In a tweet, AJC wrote “If these allegations are true, they are beyond despicable!  No one should be forced to choose between food and their religious beliefs. We call on @ICEgov to change this inhumane and un-American policy.”

“The Song of Names,” due in theaters December 25, is a poignant, haunting and memorable film. It is also the first feature movie ever allowed to film on the grounds of Treblinka.

The film, starring Tim Roth and Clive Owen, darts back and forth between 1938, 1951 and 1985, following the lives of two young boys brought together just before the onset of the Holocaust. Dovidl Rapoport, a Jewish violin prodigy from Warsaw, is taken in as a lodger in London by the family of young Martin Simmonds. 

The two young boys quickly become fast friends as they survive the London blitz together, though Dovidl never learns the fate of his parents and sisters left behind in Poland. On the day he is slated to make his musical debut at a London concert hall, Dovidl disappears without a trace. Decades later, Martin is still searching for him, hunting down clues to find the man he loved as a brother.  

The film was directed by Francois Girard, set to a haunting and pivotal original score from Oscar-winner Howard Shore and produced by Robert Lantos, the Hungarian-born son of Holocaust survivors who has called Canada home for more than 50 years. 

Lantos spoke with Jewish Insider recently about his work on the film, the troubling rise in global antisemitism and the lessons movies can teach about hatred and prejudice. 

“This is a story that — in the climate in which we live today — absolutely has to be told,” Lantos said. “It’s a way to remember, it’s a way to honor the two key words in my entire vocabulary, which are ‘never again.’”

The screenplay for “The Song of Names” was written by Jeffrey Caine and adapted from a novel by Norman Lebrecht of the same name. When Lantos first read the book, he knew immediately that he wanted to bring it to the silver screen. The storyline, he said, is a way of telling a Holocaust tale “in an original manner and an emotionally compelling manner.” The musical-themed plot, he noted, is a conduit for “bringing the horrors of the Holocaust back to a contemporary audience without forcing people to come face to face with living skeletons and images of horror.”

Martin (Tim Roth) in a scene set at Treblinka.

The cast and crew spent just one day filming at the site of the Treblinka extermination camp, where close to a million people were murdered in its just over one year of operation. Today, nothing remains of the original camp, and the site is marked with a haunting memorial to the dead. 

“We asked for a permit and the authorities read the script and surprisingly they said yes,” Lantos recalled. That single day of work was the most difficult and disturbing day on set, he said.

“It was like being in a state of altered reality,” he told JI. “We only shot there for one day. And frankly, I can’t imagine spending more than one day there. The weight of the place is unbearable.”

Caine’s original screenplay contained dialogue for the scenes set in Treblinka. But once the filmmakers arrived on location, they changed the plan entirely. 

“Once we were there, we all felt that the dialogue had to go, because there’s nothing to say there,” Lantos said. “There’s nothing that can be said that wouldn’t be trivial in the context of what we were seeing with our eyes.”

While the original novel told a story of two young Jewish boys living through World War II, the film chose to make Martin and his family not Jewish. 

“The character of Martin provides an access point” to a wider audience, Lantos said. “I thought it’d be important to bring to it the point of view of someone who wasn’t steeped from birth in Jewish rituals and tradition.”

Dovidl (Jonah Hauer-King) enters a synagogue in London in the 1950s.

Dovidl’s connection to religion is a key plot point throughout the film. In one emotional scene, he reflects on the ideas of Judaism as a faith and as an ethnicity — a debate that still resonates strongly today. 

“Ethnicity isn’t soluble in water, Motl,” Dovidl tells Martin, using his affectionate nickname. “It’s a skin you’re born in and wear until the day you die. Now religion — that’s a coat. When it gets too hot — you can take it off.”

Lantos said they consulted with rabbis from Reform to Orthodox to “try and get every detail that had to do with religion and the period this film was set in” as authentic as possible.

Work on “The Song of Names” began several years ago, but Lantos has felt its importance and significance only grow as a rash of antisemitic incidents creeps across North America. 

The scene that was filmed in Treblinka, Lantos said, “is the reason that I felt that the film had to be made. Because in the world in which we now live in, where Jew hatred has found brand new ammunition, and it is firing on all cylinders, and it’s sweeping across Europe and on our campuses in North America, anything that we can do, to not forget… the consequences of that hate and human suffering — anything that I can do to remember, has to be done,” he continued. “If we don’t remember the past, we’re guaranteed to repeat them, to repeat all of its tragedies.”

Dovidl (Clive Owen) performs a solo violin concert.

Lantos has enjoyed a long and storied career as a filmmaker in Canada. His works include the critically acclaimed 2004 film “Being Julia,” starring Annette Benning; 2007’s “Eastern Promises” with Viggo Mortensen and Naomi Watts; and 2010’s “Barney’s Version,” starring Paul Giamatti. 

But many of Lantos’s films, particularly his recent ones, have dealt with the experiences of Jews during the Holocaust. Those include 1999’s “Sunshine,” starring Ralph Fiennes and Rachel Weisz; 2003’s “The Statement” with Michael Caine; and 2015’s “Remember,” featuring Christopher Plummer. 

Lantos said his parents, both Hungarian Holocaust survivors, opted to hide their Jewish identity when he was a child, hoping that “the solution to sparing their son of the horrors and persecutions that they had lived through was to forget all about being Jewish.” 

The award-winning producer said that for decades he made films that had nothing to do with the Holocaust or with his Jewish identity — which finally changed with 1999’s “Sunshine,” which follows five generations of a Hungarian Jewish family and in many ways mirrors his own life story. 

“Up until that point, I didn’t feel that compelling need” to tell stories of Jewish persecution, Lantos said. And since then, as he watches a resurgence of antisemitism across the world, “I can’t think of anything that is more important to deal with than that in my life. I happen to be a filmmaker. That gives me a way of dealing with it that could possibly make a difference.”