Englander's nearly great story that falters at the end

Nathan Englander's well-known story with the terrific title of What We talk About When We Talk About Anne Frank leads off the final section (2010s) in 100 Years of the Best American Short Stories, a fitting opening with its glance backward toward Raymond Carver, not only in the imitative tile (One of Carver's most famous stories is What We Talk About When We Talk About Love) but also in the style of the story, at least up to a point. The story entails two couples who have not seen one another for a long time; the two wives were best friends in youth - now, the couple that includes the husband/narrator has settled in as secular Jews in S Florida and they're being visited by the other couple, strict Orthodox Jews from settled in Israel, parents of 10 girls (!), taken on new Hebrew names (Shoshana and Yuri). Their discussion over drinks and eventually, pot - extremely popular and mainstream in Israel apparently - can recall some of the ambling conversations -  mostly among working-class couples - in Carver, but here we veer onto issues of faith, Israeli politics, the challenges of keeping Kosher (and the annoyance when observant Jews ask: Hey, are you allowed to eat that?), and especially the Holocaust and its repercussions in the present (Yuri in particular expresses some extreme views, notably that intermarriage in which children are not being raised Jewish is a 2nd Holocaust). Englander writes well, carrying us along the evening's conversation, sometimes witty, sometimes revealing - but the story stumbles badly in the closing stretch I'm afraid, when the American couple talk about the game they sometimes play regarding Anne Frank, wondering if there were a 2nd Shoah and they had to hide, would so and so be likely to protect them or betray them? OK, that can be a two-minute conversation topic, but a game? In any event, they ask the Israeli couple, if Yuri were a Christian and he had to hide his wife, would he betray or protect? After some hesitation (spoiler here) everyone senses he would betray. End of story. Now seriously, this story could have been so much better had the couples truly entered into a parlor game like truth or dare, say, but in this so-called game what's revealed? Somehow they all "sense" that Yuri would betray. Please - dramatize this, don't just state it! I'm reminded of a fine movie in which a couple goes on a hike and they're confronted by an armed man; the guy immediately steps behind his girlfriend, positioning her as a shield. Nothing came of this at the moment, but that gesture completely changed (ruined) their relationship. This story, great up to a point, should have built to a truly dramatic conclusion and not to some elusive, allusive moment of recognition.