CHRIS CORNELL – Evidence: He Fought For His Life…



Upon closer inspection of the autopsy report issued by medical examiner Theodore Brown, TMD has uncovered perhaps the most damaging new piece of evidence to date in the ongoing death investigation of late SOUNDGARDEN frontman Chris Cornell, currently ruled a suicide by hanging.

Looking closer at the section of the autopsy where it completely details the “ligature wound” and the neck area… the examiner made these notes:

‘The autopsy was most significant for a ligature furrow mark of the neck, congestion of the head and neck above the ligature furrow mark, florid petechiae of the facial skin, and confluent petechiae of the left and right palpebral conjunctivae, all consistent with hanging, partially suspended by the resistance exercise band.’

He continues in greater detail:

‘On the right side and posterior aspect of the neck, the ligature furrow mark was dry, faint red-purple, and had a central area of pallor. On the anterior aspect of the neck, the ligature furrow mark was 11-1/2 inches below the top of the head, up to 0.5centimeter wide, and above the thyroid cartilage. On the left side of the neck, the ligature furrow mark extended posterior and upward, and was up to 1.2 centimeters wide. On the right side of the neck, the ligature furrow mark extended posterior and upward, and was up to 2 centimeters wide. On the posterior aspect of the neck, the ligature furrow mark curved upward and was 8 inches below the top of the head.’

Okay. First question you’re going to obviously ask: Why are the ligature measurements different on each side? Shouldn’t they be equal?

That would be because the assailant that attacked Chris was right handed and that being their
stronger arm that would mean that side of the ligature is going to be pulled up higher than the other side, understand?

(Pictured: A post mortem photo of a ‘V’ shaped suicide ligature pattern)

It’s very basic. But most telling of all with this ‘uneven ligature pattern’ that the medical examiner has pointed out in Chris Cornell’s autopsy is that it does NOT have the classic suicide “V” shape always associated with hanging.

So whoever strangled Chris to death in room #1136 is most certainly going to be right handed.

Chris Cornell’s bodyguard Martin Kirsten, the last man to see him alive… is right handed.

Looking even closer at the autopsy findings, there has been further damaging evidence found, specifically the notation of “parenchyma respiratory congestion”, which is 100% due to being strangled, NOT hanging, according to the medical experts.


“Accordingly, specific morphologic changes can be also expected in parenchyma of the lungs in
cases of strangulation”


What is termed ‘pulmonary oedema fluid collection within lung parenchyma’ is caused only by “Homicidal strangulation”.


Chris Cornell showed all the classic signs of someone who put up a big time fight for his life.

The autopsy clearly notes Chris was wearing a “torn shirt” when he was found dead. The 9 rib fractures that you never see in suicide cases or people who receive CPR are a major red flag for foul play.

The “head trauma” noted by EMS on the scene that night is another red flag.

But the hemorrhages in the eyes noted by Theodore Brown in the autopsy also stands tall as perhaps the most compelling evidence itself fully proving Chris Cornell absolutely died due to strangulation.

According to forensic science:

‘There are associated physical evidences of traumatic asphyxia which can often be easily visibly identified in conjunction with ligature strangulation. Petechiae are often present on the victim, Because veins are normally at lower pressure than arteries, traumatic injuries from an offending force to the neck(i.e. -ligature strangulation) cause an increase in venous pressure and an increase in capillary pressure that then causes damage to the inner walls of those capillaries. This damage produces minute points of bleeding which can be visible as pinpoint hemorrhages in the softer tissues. These minutes points of bleeding are called petechiae.’

This means Chris put up one helluva battle against the killer and a lot of force was applied to his throat area during the intense struggle that went on for minutes, much more ‘neck pressure’ applied than would ever be associated in a hanging. That is why his eyes displayed the ‘points of bleeding’… again only associated with strangulation.


Now we are no longer talking about conspiracy theories or taking a wild guess on the matter like most of the wannabe internet sleuths around are doing. These are stoned cold scientific facts that will 100% hold up in a murder trial. There is no possible way any real expert in the field of homicide and post mortem examination will not conclude the same thing.

Chris Cornell needs justice… and he needs it now!





Boston event commends Nazi-era citizens’ acts of virtue, even as their judges abetted genocide



BOSTON — The role of judges in facilitating the Nazi regime’s march toward genocide was probed during a presentation hosted by justices of the Massachusetts Supreme Judicial Court last week.

The gathering was tied to an exhibit currently on display in Boston’s John Adams Courthouse, called “Reflections on Law, Justice and the Holocaust.” Created by the United States Holocaust Memorial Museum (USHMM), the installation is part of the museum’s outreach to legal professionals around the country.

“Indeed, law was part of the Holocaust,” said Martha Minow, dean of Harvard University’s Law School, during the June 12 gathering attended by 50 legal professionals, including the court’s chief justice, Ralph Gants.

Illustrating the power of judges to erode or — conversely — green-light a genocidal regime’s policies, Minow referenced the courts in Nazi-occupied France. To please the Nazis, Vichy legal authorities implemented racial laws with unprecedented speed. As Minow put it, “judges raced to create even more onerous laws” than were practiced in Germany.

An expert on military justice, Minow spoke about serving on the Kosovo post-conflict peace commission 18 years ago. Time and again, said Minow, people in the region told her that “independent courts” were needed if the former Yugoslavia was to heal. In addition to restoring public confidence, courts can punish the perpetrators of atrocities, set up “truth commissions,” and ensure victims receive reparations, said Minow.

Harvard Law School Dean Martha Minow speaks about law and the Holocaust at the John Adams Courthouse in Boston, Massachusetts, June 12, 2017 (Elan Kawesch/The Times of Israel)

Apart from due process, Minow said that all societies need “upstanders” – people who resist injustice by attempting to correct it.

“The responsibility for justice is in the hands of the people, said Minow. “The willingness of bystanders let’s bad things happen. That permits something like the Holocaust to happen.”

Minow recommended focusing on “the banality of virtue” — a spin on philosopher Hannah Arendt’s “banality of evil” assertion, wherein Nazi perpetrators were motivated not by ideology, but by ordinary social needs. Examples of wartime virtue are found in the Holocaust museum’s 13-panel exhibit, including some of the individuals, groups and countries that rescued Jews from Nazi Germany’s “Final Solution,” in which 6 million Jews were murdered.

Ruins of a gas chamber-crematorium facility at Auschwitz-Birkenau, known as Krematorium II, photographed in November 2015. (Matt Lebovic/The Times of Israel)

Appearing in the courthouse until November 17, the exhibit frames German judges and courts as the key rubber-stamps for Hitler’s policies. Years before Germany’s descent to genocide, Third Reich citizens with dissenting opinions were sent to concentration camps. The legal framework for those camps, along with Nazi racial laws, was upheld by thousands of law professionals.

“Judges were among those inside Germany who might have changed the course of history by challenging the legitimacy of the Nazi regime and hundreds of laws that restricted political freedoms and civil rights,” according to the USHMM website.

‘Close communal ties’

Like Harvard’s Minow, Boston-based attorney Mike Ross believes in the power of upstanders to alter history — or at least the trajectory of a family.

During the Nazi occupation of Poland, Ross’s father, Steve Ross, was hidden by Polish farmers for several months. Despite being captured and surviving atrocious camps for the war’s duration, the now 90-year-old Ross has always framed the Holocaust in terms of people’s basic decency, his son told the courthouse gathering.

Boston attorney and former City Council head Mike Ross, the son of Holocaust survivor Steve Ross, speaks about the Shoah at the John Adams Courthouse in Boston, Massachusetts, June 12, 2017 (Elan Kawesch/The Times of Israel)

Recently, 45-year-old Mike Ross visited Poland to locate sites related to his father’s past. The former Boston City Council head was particularly curious about the Polish farmers who hid his father during the start of the Nazi occupation. By the end of 1943, most of Ross’s family had been murdered at the death camp Treblinka, where up to 900,000 Jews were killed in 15 months. In occupied Poland, the penalty for sheltering Jews was far harsher than in Germany, and sometimes included the murder of the rescuer’s entire family.

The other prominent example of upstanders changing Steve Ross’s life, explained his son, came at the end of the war, when Dachau was liberated by US forces. Emaciated but elated to have survived, Ross was greeted by a soldier who embraced him with a hug and food. The G.I. also handed Ross a piece of cloth to dry his tears, which turned out to be a 48-star American flag.

“That just changed his life,” said Mike Ross of his father’s first encounter with American freedom during the liberation of Dachau.

In recent months, a film about Steve Ross has been screening in New England. Titled, “Etched in Glass: The Legacy of Steve Ross,” the documentary begins with the survivor’s seven-decade search for the soldier who embraced him that day in Dachau. Ross’s long career as a social worker with at-risk youth is probed, as is his campaign to erect the New England Holocaust Memorial, where quotes from Shoah victims are literally etched in glass.

In the assessment of Mike Ross, ordinary Americans could have made more of a difference during Nazi Germany’s lead-up to genocide. Specifically, Americans were widely opposed to allowing more Jewish refugees to enter the country, said Ross, who was appointed in 2014 to serve on the USHMM Council. Even after the harrowing “Kristallnacht” pogrom in Germany, explained Ross, most Americans were against letting a mere 10,000 Jewish children into the country.

From Polish farmers risking their lives to hide Jews, to Danish sailors ferrying Jews to safety, Holocaust research shows that most upstanders were motivated more by what Minow called “close communal ties,” than by ideology or religious beliefs. In other words, people stood up for Jews because they knew and interacted with them on a daily basis.

Created by the US Holocaust Memorial Museum, an exhibit on the role of judges in Nazi Germany is on display in the Great Hall of the John Adams Courthouse in Boston, Massachusetts, June 12, 2017 (Elan Kawesch/The Times of Israel)

“[Jews] who were better integrated and had more contacts with non-Jews were more likely to pursue the evasion strategy and had a higher likelihood of survival than those who had no friends or spoke broken Polish,” wrote researcher Evgeny Finkel in his 2017 book, “Ordinary Jews: Choice and Survival During the Holocaust.”

Despite the presence of upstanders in occupied Poland, there were not enough of them to save 3 million Polish Jews. An additional 3 million ethnic Poles were murdered by the Nazis, beginning with the liquidation of Polish leaders. Under these circumstances, attempting to rescue Jews was not a snap decision for most people.

“The rescuers, even if guided by altruism, tended to help Jews they knew personally,” wrote Finkel. “It is unclear if they would have gone to the same lengths to help complete strangers.”

Attendees at a presentation on the role of judges in Nazi Germany, held at the John Adams Courthouse in Boston, Massachusetts, June 12, 2017 (Elan Kawesch/The Times of Israel)

Johnny Depp apologizes for Trump assassination joke



LOS ANGELES (AFP) — Johnny Depp apologized Friday for joking about President Donald Trump being assassinated, as his remarks to a music festival audience triggered an angry backlash.

The “Pirates of the Caribbean” star made the off-color comments late Thursday at the Glastonbury Festival in southwest England, telling the crowd it had “been a while” since an actor had assassinated a president.

The remarks drew a stern response from the White House, as Depp said he had intended no malice.

“President Trump has condemned violence in all forms and it’s sad that others like Johnny Depp have not followed his lead,” said Trump’s spokeswoman Sarah Huckabee Sanders.

“I hope that some of Mr. Depp’s colleagues will speak out against this type of rhetoric as strongly as they would if his comments were directed to a Democrat elected official.”

In a statement to celebrity magazine People, the 54-year-old expressed regret that his words “did not come out as intended,” adding that he had intended no malice and “was only trying to amuse, not to harm anyone.”

“I apologize for the bad joke I attempted last night in poor taste about President Trump,” he said.

Actor Johnny Depp arrives to introduce his film, The Libertine, to the audience at 'Cineramageddon', the outdoor cinema venue, at the Glastonbury Festival of Music and Performing Arts on Worthy Farm near the village of Pilton in Somerset, South West England, on June 22, 2017. (AFP PHOTO / OLI SCARFF)

The A-Lister had turned up at a drive-in cinema at Glastonbury, introducing his 2004 film “The Libertine” and answering questions from the 1,500-strong audience.

“I think he needs help and there are a lot of wonderful dark, dark places he could go,” Depp said when asked about Trump.

“When was the last time an actor assassinated a president? I want to qualify, I am not an actor. I lie for a living.”

“However, it has been a while and maybe it is time,” Depp added.

In 1865, Civil War president Abraham Lincoln was shot dead in a Washington theatre by actor John Wilkes Booth.

“This is going to be in the press, and it will be horrible,” the actor acknowledged to the Glastonbury crowd, telling them he was glad they were “all a part of it.”

Lack of outrage

Depp is the latest of a string of entertainment industry figures to make controversial statements about Trump.

Singer Madonna was reportedly the subject of a Secret Service investigation after saying she wanted to “blow up the White House”.

Comedian Kathy Griffin lost her New Year presenting job at CNN after posing for a picture while holding a mask styled to look like Trump’s bloody severed head.

Screenshot from a clip published on Kathy Griffin's social media profiles showing her holding a bloodied, severed head of Trump's likeness. (Screenshot)

A production of Shakespeare’s “Julius Caesar” in New York’s Central Park was recently interrupted by right-wing protesters outraged that it appeared to depict Trump, as Caesar, being knifed to death.

Demonstrators shouted that the play had the “blood of Steve Scalise on its hands,” referring to the recent shooting of the Republican congressman, although its defenders highlighted that a 2012 production featuring Barack Obama as Caesar attracted little controversy.

White House press secretary Sean Spicer, in a media briefing Friday, described both the play and Depp’s comments as “troubling.”

“It is troubling the lack of outrage that we have seen in some of those instances where people have said what they said with respect to the president,” he said.

“The president had made it clear that we should denounce violence in all of its forms.”

Depp, who has drawn headlines recently for all the wrong reasons, was revealed in January to have spent so lavishly that he reached the brink of financial ruin.

Over the best part of two decades, the actor has been spending $2 million a month, according to a lawsuit from the Beverly Hills-based The Management Group, which is suing the star in Los Angeles for an unpaid loan.

Depp and actress Amber Heard, 31, reached an out-of-court settlement in August last year to end their 18-month marriage, agreeing that he would pay her $7 million.


Johnny Depp

Actor Johnny Depp poses on a Cadillac before presenting his film The Libertine, at Cinemageddon at Worthy Farm in Somerset during the Glastonbury Festival in Britain, June 22, 2017.. (photo credit:DYLAN MARTINEZ/REUTERS)

Fifty-four-old-actor Johnny Depp is no stranger to controversy, but he found himself in hotter water than usual on Thursday for a remark against US President Donald Trump, The Telegraph reported.

“I think Trump needs help,” he said while promoting his film The Libertine at Glastonbury Festival. “There are a lot of dark places he could go.”
He continued, “I’m not insinuating anything – by the way, this will be in the press and it will be horrible – but when was the last time an actor assassinated a president?”

Johnny Depp: “When was the last time an actor assassinated a President?”

Crowd reaction? Cheers & laughter

GOP reps targeted/shot days ago

In response to cheers, Depp added, “Don’t worry, I’m not an actor, I lie for a living.”

American actress Kathy Griffin recently lost a contract with CNN due to a failed attempt at comedy in which she was photographed holding a model of Trump’s bloody and decapitated head.

For Israeli-Americans, Gal Gadot Is A Wonder Of Wonders



Yonatan Gutfeld has an Israeli accent. Now that he’s singing for American audiences, Gutfeld — a Brooklyn-based, Israeli-born singer/songwriter and multi-instrumentalist — has been working hard to tone down the guttural articulation.

Or he had been, until Wonder Woman Gal Gadot came along, her Israeli accent speaking volumes. “She talks English without trying to sound American — she comes as she is,” Gutfeld observed. “It sounds so natural, so effortless, that it’s sexy.”

Gutfeld is not alone in experiencing what you might call the Gadot Effect.

“It sounds so natural, so effortless, that it’s sexy.”

Conversations with about a dozen Israeli-American actors, singers and communal leaders reveal that Gadot’s recent breakthrough is already making a small but real impact on the lives of Israeli-Americans, particularly those in show biz.

“In the circles I move in, it’s not always advantageous to identify as an Israeli,” Shira Averbuch, an Israeli-American stage actress and singer, told The Jewish Week. Averbuch, who grew up in both Israel and the U.S. and speaks both languages without an accent, normally doesn’t let on to fellow thespians that she’s an Israeli.

But now that Gadot put such a positive spotlight on Israeliness, Averbuch said, “maybe I feel a little more at ease.”

The blockbuster film — “Wonder Woman,” with Gadot as the warrior goddess, Krav Maga-kicking Diana, has grossed nearly $600 million in its first three weeks — is having an impact on Israeli-American communal life as well. The Israel American Council (IAC), the national umbrella organization for the country’s 500,000 or so Israeli Americans, is, not surprisingly, hopping on the Gal bandwagon with Wonder Woman-themed programming in the planning stages. In terms of Israeli-American pride and Israel’s often battered image, Gadot “is a gift from heaven,” said Shoham Nicolet, IAC’s co-founder and CEO, in a phone interview translated from Hebrew.

For Gutfeld as well, there’s been some divine intervention at play.

“Like A Baby Yet To be Named,” a musical play by Israeli-American educator Misha Shulman, directed by Michael Posnick and with scores composed and performed by Gutfeld, is one of Gutfeld’s first English-speaking gigs. During rehearsals, his Israeli accent — particularly his chronic mispronunciation of the word “God” — ruffled director Posnick so much that he initiated diction lessons.

“It’s like I can finally be myself.”

“So for two hours I sat there with all my attention going to saying ‘Gaawwd’ instead of ‘God,’” said Gutfeld, who is still not getting it right. But after seeing Gadot play Wonder Woman in full Sabra mode, accent and all, he began asking himself, “‘Why am I doing this?” People understand what I’m saying … they also understand that I’m not from here, that I’m an Israeli, and that this is how I talk. What’s so wrong with that?”

Recently, in a live show in Manhattan’s Lab/Shul, critics be damned, Gutfeld reverted to his Israeli natural dialect. He called the experience “liberating… It’s like I can finally be myself,” he said.

Israel reacted to Gadot’s new A-list status with a lovefest bordering on manic. A stories-tall “Wonder Woman” billboard with the words “Gal Gadot, we love you” emblazoned across it overlooks Tel Aviv’s main highway. Photos of the Azrieli Towers alight with the Hebrew message “We are proud of you, Gal Gadot, Our Wonder Woman” were circulated by news sites around the world; they were later reported by an Israeli news site to be fake, but the gesture lived on. The national fervor was fed when Lebanon and Tunisia banned the film over Gadot’s 2014 Facebook post supporting IDF soldiers in the Gaza war; Israelis rallied behind her in a truly rare show of unity.

Israel’s minister of transportation, Israel Katz, went so far as to name one of the quarrying machines digging Tel Aviv’s subway tunnels “Wonder Woman,” for being “groundbreaking.” Every American late-night talk show Gadot has been on has become Israeli primetime news; in Israeli cinemas, “Wonder Woman” audiences reportedly regularly break into cheers and tears.

Gadot’s popularity is breaking records in international markets as well. A web analysis published by the Israeli audience data company Taykey found that 95 percent of her online mentions were positive, with 4 percent neutral and only 1 percent negative — a rare public relations bonanza for Israel. That’s high on the positivity scale for any celebrity, and “unrivaled” for an Israeli.

Wonder Woman “has a distinctly Israeli fragrance to her.” – Dani Dayan

All this matters because Gadot’s Wonder Woman is not only played by an Israeli; as she is seamlessly merged with Gadot’s own Sabra persona, she is an Israeli. Headstrong, mouthy and guileless, Wonder Woman speaks English like an Israeli, argues like an Israeli, interacts with her mild-mannered American boyfriend like an Israeli and is bewildered like one by formal social niceties. Wonder Woman “has a distinctly Israeli fragrance to her,” said Dani Dayan, Israel’s consul general here. In a phone interview with The Jewish Week conducted in Hebrew and translated, he noted that “even when you watch her [Gadot] on TV, with Jimmy Fallon and what’s his name, the redhead — Conan O’Brien — her Israeliness is unmistakable. It’s just who she is.”

Gadot is a “testimony to the success of the Zionist revolution,” Dayan continued, a prime specimen of “a society of young, Israeli-born people who have the utter self-confidence of growing up in an independent, giving Jewish state … and the conviction to go out and challenge the world.” As for Lebanon and Tunisia, “in two words — who cares?” said Dayan, who is himself unmistakably Israeli.

Still, expecting “Wonder Woman” to make a dent in Israel’s image problem is taking things a step too far. “Israel is benefiting from Gadot’s acting career, but this isn’t a watershed moment,” Dayan qualified. “It’s nice, it’s something to be proud of — but it’s not a historical change for Israel.”

For Israeli-Americans, though, Gadot is huge. “I always say that the power of many outweighs the power of one,” the IAC’s Nicolet said. “In this case, Gal Gadot, without intending to and without putting in too much effort, managed to wield more influence and have a bigger impact than the entire organization.”

The experiences of Israeli-American actors and public speakers are good indicators of how the community might benefit from Wonder Woman being one of their own. But there are other things to consider too, Nicolet suggests. Part of the goal of the IAC “is to build an engaged and united Israeli-American community that strengthens the Israeli and Jewish identity.” One of the obstacles that has always stood in its way was the fact that the Israeli identity — that set of qualities which is so much a part of both Wonder Woman and Gadot, and “is exactly what defines and unites us as Israeli Americans” — is often seen here as a form of provinciality, if not outright callousness. Often, Israeli-Americans’ attempts to assimilate and “tone down” their Israeliness have resulted with them distancing themselves from their common essence, from each other and from Israel.

In this aspect, Nicolet surmised, “This movie is a gift to us. This character Gal Gadot is playing, with all her Israeli traits … she took what was perceived so far as a set of weaknesses and turned it into a set of strengths.”

Seizing on the moment, the IAC is planning a Wonder Woman-themed evening as the centerpiece of its upcoming annual national conference on Nov. 3. Showcasing Israeli-American “Wonder Women.” Potential speakers include violinist Miri Ben-Ari; Oracle co-CEO Safra Catz; co-founder of the online education platform Coursera, Daphne Koller and, of course, Gadot herself. All the invitees have yet to confirm.

Once the summer hiatus is over, Nicolet expects that “Super Woman”-themed activities will become an integral part of the organization’s programming. Also, he expects that adding Wonder Woman to the roster of influential Israeli-Americans will help push through a House of Representatives resolution, engineered by the IAC, to recognize Israeli-American heritage. Introduced in April by New York Reps. Lee Zeldin (R-Suffolk) and Grace Meng (D-Queens), the resolution would have the House affirm “that the Israeli-American community has contributed immensely to American society and culture.”

All of which leads to the question: Aren’t we making just a little bit too much of this “Wonder Woman” thing?

“We sure are,” Nicolet said gleefully. “But anytime something bad happens, anytime somebody says something bad, we overreact. When once in a blue moon something good happens, I say by all means, let’s exaggerate. Let’s take it all the way.”

This man almost killed Hitler — an incredible true story



LOS ANGELES (JTA) — What if Adolf Hitler had been assassinated shortly after his armies invaded Poland to start World War II? How would global — and Jewish — history have played out?

The question is not answered directly in the German film “13 Minutes.” But the movie, based on an actual, lone-wolf plot to kill the fuehrer that nearly succeeded, is both a classical thriller, pitting one man against the system, and an exploration of how minute circumstance can affect the fates of millions.

“13 Minutes” is directed by Oliver Hirschbiegel, who is perhaps best known for his remake of “Invasion of the Body Snatchers” with Nicole Kidman and Daniel Craig, as well as “The Downfall,” which re-created Hitler’s last days in a Berlin bunker.

At the heart of the film’s plot is Georg Elsner (played by Christian Friedel), a 35-year-old carpenter and tinkerer in a small Swabian village who played in the town band and was popular with the local girls. He’s a Communist sympathizer — but not a party member — who observes with growing concern how his village gradually transformed during the early years of Nazi rule.

Elser sees an acquaintance who is forced to sit on the street — surrounded by Brown-shirts and townspeople — with a sign around her neck reading, “In the village I am the greatest swine and consort only with Jews” (it rhymes in German). He attends a propaganda film in which Hitler proclaims that under his rule every German will have a radio, then a luxury, and the rutted village roads will be paved and lighted.

At a time when “expert” statesmen and pundits maintained that Hitler represented a temporary aberration or could be appeased, Elser becomes convinced that the fuehrer will plunge Germany into war — and that if nobody else will stop the Nazi dictator, he must do the job himself.

Elser knew that Hitler addressed his followers at Munich’s largest beer hall every November 8, the date of his foiled 1923 putsch to seize power in the Bavarian city as a base to overthrow the Weimar Republic.

So, starting in late 1938, he repeatedly visited the beer hall, taking careful measurements of the columns flanking the speaker’s podium. Elser took a job in an armaments factory and smuggled out explosives, dynamite sticks and detonators.

As November 8 drew closer, Elser labored night after night on his knees, holding a flashlight in his mouth, to insert the homemade bomb into the column. He connected the bomb to two clocks timed to trigger during Hitler’s typically lengthy tirade.

On the evening of the putsch anniversary, Elser took a train to the Swiss border to await news of Hitler’s death. Instead, however, he learned that the fuehrer had unexpectedly cut short his speech.

Exactly 13 minutes after Hitler left the podium, the bomb exploded at the precise spot where Hitler had been standing. The blast killed seven Nazi officials and, to Elser’s lifelong regret, an innocent waitress.

As Elser tried to cross the border into Switzerland, something about his behavior aroused the suspicion of a German border guard, who arrested Elser and sent him, under guard, to a Gestapo prison in Berlin.

Hitler was convinced that Elser was but a tool in a vast conspiracy orchestrated by British Prime Minister Winston Churchill and demanded that Elser be tortured until he revealed the masterminds behind the assassination attempt. But even under the most brutal torture, Elser refused to give even his name and birth date. Only after the Gestapo dragged in his longtime lover, who was pregnant with his child, did he acknowledge the plot, with himself as the sole author.

Nobody believed Elser’s story, but instead of being executed on the spot, he was shipped to various concentration camps, ending up in Dachau.

In April 1945, however, as Hitler’s dream of a 1,000-year Reich came crashing down, the fuehrer remembered Elser — and ordered that he be executed with a pistol shot through the neck. Two weeks after Elser was killed, US troops liberated Dachau.

“13 Minutes,” released in Germany in 2015 with the title “Elser — He Would Have Changed the World,” was well received by German critics and the public, Hirschbiegel said by phone from Vienna.

The influential magazine Der Spiegel noted that because of the film, Elser became recognized as “a true German hero,” after having been largely ignored by historians.

“13 Minutes” is the latest in a number of German movies showing how individuals Germans, men and women, stood up against the Nazi regime. They include “Sophie Scholl: The Final Days,” “Rosenstrasse” and, most recently, “Labyrinth of Lies.”

Does the spate of films about Germans who resisted the Nazis reign of terror show the world that there were “good” Germans during this horrific time?

Not exactly, Hirschbiegel said, noting that for at least two decades after World War II, most Germans tried to ignore the crimes of the wartime generation entirely — and it took even longer to honor the bravery of resistors like Elser.

But, he added, there are only a few courageous individuals in every society who embody the spirit of freedom. As an American example, the filmmaker cited whistleblower Edward Snowden, who exposed thousands of secret US government documents.

“Snowden saw that something wrong was going on and if no one else would do anything about it, he had to do it himself,” Hirschbiegel said.

The outrage over Gal Gadot’s (Feminist Kike) $300,000 paycheck for Wonder Woman, explained

Warner Bros.

Thanks to a poorly sourced news story, the power of Twitter to make something go viral, and the erotic allure of online outrage, an urban legend was born on Tuesday morning: that the $300,000 Gal Gadot was paid for her starring role in Wonder Woman was pennies compared with Henry Cavill’s alleged payment of $14 million for 2013’s Man of Steel.

It all began when Lauren Duca, a columnist at Teen Vogue, tweeted the following (now deleted) sentiment:

Duca’s tweet was retweeted more than 14,500 times and quickly drew attention to the story. And it’s easy to see why: Not only is it absolutely absurd to think that Gadot was paid 46 times less than Cavill for a better movie, but if it happened to Gadot, the insinuation is that other actresses are likely suffering from the same pay gap.

There’s only one problem: The scenario in Duca’s original tweet wasn’t true.

To be certain, there is absolutely a gender pay gap between actors and actresses in Hollywood, but Gal Gadot’s salary for Wonder Woman isn’t an example of it.

Gal Gadot was probably paid $300,000 for Wonder Woman. Cavill was probably not paid $14 million for Man of Steel.

The apparent culprit behind this false comparison is a story published by Elle that has since been updated to reflect its error. The original piece stated that Gadot was making $300,000 for Wonder Woman and that Cavill had made $14 million for Man of Steel. Elle cited a story from Variety as its source for Gadot’s salary, which in turn cited an Israeli entertainment show.

For Cavill’s salary, the Elle piece cited Forbes, which had in turn cited a website called the Richest, one of the internet’s many websites that “tell” you a celebrity’s net worth. The Richest speculates that Cavill’s net worth is $8 million, though that assessment appears to be based on only two pieces of “earnings and financial data,” both from 2013. Those two pieces of data are a $14 million salary and “box office gross” bonuses from Man of Steel, and a $23,900 Omega De Ville Hour Vision wristwatch; the site does not list any other earnings or assets whatsoever, from before Cavill worked on Man of Steel (like the payment he would have received for appearing in The Immortals and Showtime’s The Tudors) or since.

The Elle article spurred Duca’s popular tweet. And after people pointed out to Duca that the $14 million figure had come from a questionable source, she tweeted — and also later deleted — a clarification, while still making the point that Gadot’s salary is tiny compared with the worldwide box office gross that Wonder Woman will haul in:

People were far less interested in that subsequent tweet, and it was only retweeted 198 times before it was deleted.

Meanwhile, Vanity Fair reported that “a source with knowledge of studio negotiations on franchise films” said that it would be “insane” for a studio to pay Cavill that much. And Vulture reported that “Cavill made a six-figure paycheck comparable to Gadot’s for Man of Steel and that his co-star Amy Adams, a much bigger name, pulled in seven figures to play his Lois Lane.”

Vanity Fair’s and Vulture’s sources were unnamed, but both outlets are more reputable and trustworthy than the Richest.

Essentially, the point that Elle, Duca, and others were trying to make about a gender pay gap and Wonder Woman is already broken if the $14 million figure is false — no matter how noble their intentions. That point becomes even more entertainingly incorrect and ironic if Vulture’s source is right about Adams getting paid more than Cavill.

Gal Gadot was paid similarly to Chris Evans for the first Captain America movie. And she’s poised to make a lot more money in sequels.

To be clear, the gender pay gap in Hollywood is real — the Sony email hack of 2014 revealed that Jennifer Lawrence was actually paid less than her male co-stars in American Hustle even though she was arguably the biggest star of the movie.

But Gadot’s contract is actually the norm for debut superhero movies: Little-known or unknown actors don’t make that much money when starring in their first superhero films.

Deadline, a well-sourced trade publication like Variety, reported in 2010 that Chris Evans was paid around $300,000 to star in Captain America: The First Avenger. And the Hollywood Reporter points out that Chris Hemsworth made $150,000 initially for appearing in Thor.

These salary numbers feel like drops in the bucket compared with what superhero movies usually rake in at the box office — Captain America: The First Avenger made $370 million worldwide and Thor made $449 million worldwideWonder Woman has already surpassed $570 million worldwide. But they also don’t include or consider things like a box office bonus, whether an actor has contractual obligations to appear in future movies, and whatever kind of deals are made for additional compensation that is dependent on the movie’s success.

What Evans and his fellow Marvel stars — most notably Robert Downey Jr. — have done in the wake of their respective successes is renegotiate their contracts. Downey famously parlayed the initial $500,000 he made for Iron Man into $50 million for his appearance in 2012’s first Avengers film.

And Gadot will have the same opportunity as she negotiates potential future Wonder Womanfilms.

According to Vanity Fair, she hasn’t signed on for the inevitable Wonder Woman sequel. Because Wonder Woman is a smashing box office success, Gadot now has an advantage in negotiating a bigger payday for herself.

New Zealand festival removes ‘Israel’ from Joseph musical



A New Zealand production of “Joseph and the Amazing Technicolor Dreamcoat” sponsored by a local council has been forced to issue an apology to famed lyricist Tim Rice after removing “Israel” from the lyrics to one of the songs.

Festival organizers said they were doing so to keep things simple for students who would be performing, but did not explain why they found the word Israel in the play problematic.

The substitution was discovered by Twitter user, Kate Dowling, who noted on Friday that in the song “Close Every Door,” the line “Children of Israel” had been replaced with “Children of kindness.”

She wrote to the Wellington city council and to Rice, one half of the famed musical writing team, together with Andrew Lloyd Webber, to ask for clarification.

The changed lyrics were the work of the New Zealand capital’s Artsplash festival, in which 10,000 elementary school pupils take part. They distributed song sheets to those who were taking part with the changed lyrics to one of the best known songs.

@WgtnCC do u have @SirTimRice‘s permission to alter his lyrics, re changes made to ‘Close Every Door’ song in upcoming Artsplash fest?

@WgtnCC @SirTimRice “Children of Israel” has been changed to “Children of Kindness”. Why opt to do a Jewish-themed song then remove the Jewish-themed lyric? pic.twitter.com/Ur3cdonprK

View image on Twitter

The musical, written by Rice and Andrew Lloyd Webber, tells the biblical story of Joseph and the Israelites leaving Canaan and going to Egypt.

In both the biblical story and the musical, the word “Israel” does not refer to the country, but to Jacob, who was given a second name, and “children of Israel” means Joseph and his brothers.

Rice was unhappy at the “unauthorized” change, tweeting, “This is a totally unauthorised change of lyric by @WgtnCC. Plus it’s a terribly drippy and meaningless alteration.”

He tweeted to the Wellington City Council asking them to explain.

“Please explain Joseph lyric change: ‘children of Israel’ to ‘children of kindness’. Permission not given. Tim Rice.”

@WgtnCC Please explain Joseph lyric change: “children of Israel” to “children of kindness”. Permission not given. Tim Rice. @Kate_DowlingNZ

The Artsplash event is partially funded by the council, but council spokesman Richard MacLean told the New Zealand news website Stuff that the council had no involvement in the changes made to the lyrics.

Artsplash coordinator Mary Prichard told Stuff that the organizers wanted to “keep life simple” for primary school children, though she didn’t say what is was about the word Israel that could complicate life for the students.

Prichard also said that the production had dropped two other songs from the musical, saying, “It’s not worth going there. It’s not worth looking for trouble.”

“We always look to have music that covers and looks after kids from all countries, from all backgrounds,” Prichard said. “It was decided that small change of one word would be made. It’s obviously gone down like a lead balloon.”

Hearing that three of the ten songs were being removed from the musical, Rice tweeted that either Artsplash should do the whole show or none of it.

Hang on @WgtnCC I now read you’ve cut 2 Joseph songs. Is this true? Either don’t do show or do all of it as written. @Kate_DowlingNZ

The council was quick to apologize for the change, saying that it will rectify the situation and makes sure that all the original unadulterated songs are in the production.

Hang on @WgtnCC I now read you’ve cut 2 Joseph songs. Is this true? Either don’t do show or do all of it as written. @Kate_DowlingNZ

@SirTimRice @Kate_DowlingNZ Apologies again – we’ve told the organisers today that the original songs must go back in the programme. This will happen!

The council also said that the incident was caused by an error of judgement.

@WgtnCC Please explain Joseph lyric change: “children of Israel” to “children of kindness”. Permission not given. Tim Rice. @Kate_DowlingNZ

@SirTimRice @Kate_DowlingNZ A community coordinator made an error in judgement which we will rectify before the schoolkids perform in Sept. Sorry, we love your work.

Stephen Goodman, president of the New Zealand Jewish Council, said the incident was a case of “people trying to be politically correct where it’s unnecessary to be so.”

Subsequently, Prichard issued a full apology, replying to a Facebook user: “You have my complete assurance that this was an unintentional and innocent error on the part of one of my team, and I apologise for it. The person concerned, and myself for that matter, are religious people and would never consider intentionally doing anything racist or anti any religion.”

She also said she had run Artsplash for 30 years, and she stressed that she has “always included children of all sorts of backgrounds including Jewish.”

The incident led one Facebook commentator to quip that maybe New Zealand rugby player Israel Dagg would now have to change his name to Kindness Dagg before the next match.

Controversial documentary on European anti-Semitism finally to air this week

COLOGNE — Germany’s Channel 1 has announced it will broadcast a documentary on anti-Semitism in Europe that has become the subject of unwanted controversy over the last five months.

The film will air on Wednesday, June 21, at 10:15 p.m. (CET).

The announcement comes after a heated public debate about the refusal to show the film which led the German mass-circulation Bild news outlet to leak the documentary illegally last Tuesday, The Times of Israel reported.

Titled “Chosen and Excluded – Jew Hatred in Europe,” the documentary by Joachim Schröder and Sophie Hafner was commissioned and approved by the German public broadcaster WDR on behalf of its Franco-German partner channel Arte. Arte, however, refused to show the documentary, accusing its producers of violating production guidelines by including too much footage from Israel.

According to Arte program director Alain Le Diberder, the extensive coverage of Israel would be off topic in a film on European anti-Semitism.

This view had been heavily disputed by the producers and a large number of public figures, among them scholars, politicians and authors, who demanded the studio air the film, saying that the coverage was necessary in order to expose anti-Semitic Israel bashing.

Some voices, among them Bild editor-in-chief Julian Reichelt, raised the suspicion that, in fact, the film was not being shown because its finding that anti-Semitism is widespread in European society would be inconvenient for some.

Screenshot of BDS protesters in Paris, from the documentary 'Chosen and Excluded -- Jew Hatred in Europe.' (Courtesy)

Now the documentary will be officially shown on Germany’s Channel 1, which belongs to the ARD network, a joint organization of Germany’s regional public-service broadcasters, of which the WDR is also a member.

Initially, the WDR had been reluctant to give in to demands to screen the documentary on a different channel if Arte declined to show it. WDR claimed that it wouldn’t have the broadcasting rights and the film would suffer from journalistic shortcomings.

In a current press release, however, the ARD announced that the broadcasting rights are now with the WDR and that it wishes to broadcast the program in spite of its alleged deficiencies “in order to give the public debate that is going on already a basis.”

Police line up during demonstrations by the French Nuit Debout social protest movement in this screenshot from the documentary 'Chosen and Excluded -- Jew Hatred in Europe.' (Courtesy)

The screening of the documentary will be followed by a talk show that will address the alleged shortcomings of the documentary: The WDR accused Schröder and Hafner of stating uncorroborated numbers in their film regarding amounts of European tax money flowing to NGOs that engage in anti-Semitic Israel-bashing.

However, Prof. Gerald Steinberg from the Jerusalem-based think tank NGO Monitor, which provided the respective figures, denounced the WDR’s allegation as “inaccurate” and “simply political.”

Pointing to “German public TV networks’ long history of broadcasting uncorroborated anti-Israeli statements that later on were exposed as lies,” author, actor and director Gerd Buurman claimed the WDR’s criticism of Schröder and Hafner’s documentary was hypocritical and applied different standards to a film on anti-Semitism than it did to programs that are critical of Israel.

A screenshot from the documentary 'Chosen and Excluded -- Jew Hatred in Europe,' showing a Nakba Day demonstration in Berlin. (Courtesy)

Schröder and Hafner weren’t informed by the ARD about its decision to finally screen their documentary.

“We read about it in the press,” says Schröder, who is hesitant to view the step as a victory.

He suspects that by following up with the talk show — to which he and his partner Hafner weren’t invited and whose participants were not named — the public broadcaster’s intent is to stage a tribunal against the documentary to whitewash the unpopular decision not to air the film.

Will Gal Gadot (Kike) return for ‘Wonder Woman’ sequel?

You don’t need the Lasso of Truth to figure out that the bigwigs at Warner Bros. didn’t foresee such massive box office success for “Wonder Woman,” and it might cost them.

It appears that neither the film’s star, Israeli actress Gal Gadot, nor director Patty Jenkins are currently under contract for a sequel — though The Hollywood Reporter does claim that Gadot has an option.

The good news is that we’ll be seeing the Goddess of Truth sooner than you’d expect — Gadot will be back on the silver screen this November in the upcoming “Justice League.”

But as that appears to be the final movie in a three-film contract signed in 2014 (the first two being “Batman v Superman: Dawn of Justice” and, of course, “Wonder Woman”), it looks like Gadot, along with Jenkins, will be returning to the negotiating table prior to any “Wonder Woman” part two.

Israeli actress Gal Gadot at a screening of the film 'Keeping Up With The Joneses' at The London Hotel in West Hollywood, California, October 20, 2016. (Araya Diaz/WireImage/Getty Images via JTA)

It’s not unusual for high-power studios to start new directors off with one-film deals these days, and Gadot’s trifecta was standard for an emerging actress as well. But with a $103 million domestic opening, and global box office totals currently edging past $450 million, an encore for the Amazon princess is pretty much a sure thing.

For her part, Jenkins has been up-front about how she feels about getting back into the director’s chair. In an interview with the Toronto Sun over a month before the film’s June 2 release, she was already planning Diana Prince’s next steps.

“I’m excited for her to come to America and become the Wonder Woman we are all familiar with from having grown up around her as an American superhero,” she told the Sun. “I’d like to bring her a little farther along into the future and have a fun, exciting storyline that is its own thing.”

There is little doubt that the film wouldn’t have achieved such instantaneous blockbuster status without Gadot’s on-camera charisma, and she’s as celebrated abroad as she is at home — where she is touted as one of Israel’s best exports.

Israeli actress Gal Gadot, star of the new 'Wonder Woman' movie. (Clay Enos/DC Comics, via JTA)

Critics and audiences (except, perhaps, in Lebanon and Jordan) have enthused about the 32-year-old mother of two, who has been celebrated as a symbol of female strength. There has been a barrage of analysis on the role of feminism in the film — most of it positive.

Gadot herself says she sees Wonder Woman as a feminist – and we’re going to take her at her word. After all, the Hebrew heroine was five months pregnant when she shot the film.

In this May 27, 2017 file photo, actress Gal Gadot signs autographs and greets fans during the Latin American premiere of the film 'Wonder Woman' in Mexico City (AP Photo/Rebecca Blackwell, File)

While director Jenkins was excited about “Wonder Woman” from the beginning, she was somewhat less enthused with the studio’s choice of star. In an interview with Playboy she revealed that she was initially disappointed with the fact that she wasn’t able to cast the role herself. But, she acknowledged, it turned out to be a blessing in disguise.

“Frankly, I think they did a better job than I could have because I don’t know that I would have scoured the earth as hard to find her,” she told the magazine. “I don’t know that I would’ve looked internationally. I would have just looked for an American girl.”

Actress Gal Gadot attends the premiere of 'Wonder Woman' at the Pantages Theatre on May 25, 2017 in Hollywood, California. (Alberto E. Rodriguez/Getty Images/AFP)

There are rumors swirling that the “Wonder Woman” director could be in the running for the Superman movie “Man of Steel 2,” but even to super fans, they seem like a bit of a stretch.

“It’s no secret that I love Superman but right now I’m just happy doing Wonder Woman,” Jenkins said during a recent Reddit AMA.