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A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage.
(New York Jewish Week) — For any New Yorker, the background noise of the 2000s may well have been marked by the numbers 800-888-8888, the ubiquitous jingle for the Buffalo-based personal injury law firm Cellino and Barnes.
The renown of Ross Cellino and Stephen Barnes grew even more when the pair contentiously split up in 2017. Their acrimonious business divorce included clashes over managing the business, a restraining order against Cellino, claims of “bullying” by Barnes and a complaint that Barnes refused to let Cellino hire his own daughter.
Naturally, comedy writers Michael Breen and David Rafailedes needed to write a show about what might have gone down, including a scene about how that infamous jingle came into existence.
Breen and Rafailedes had performed the show, “Cellino v. Barnes,” a handful of times in New York in 2020 before the pandemic shut it down. Breen moved to California and Rafailedes headed to grad school and the play they wrote about a unique New York sensation almost faded into the ether.
But this isn’t that story. This is the story of how two 25-year-old high school buddies and amateur theater producers made sure that didn’t happen — and how they leaned on their synagogues to get the job done.
David Pochapin and Cameron Koffman were 22 when they saw “Cellino v. Barnes.” They loved the show for the way it spoke to their sense of humor, their New York childhoods and their love of niche theater. The pair would eventually take on the task of producing the play and teaming up with Breen and Rafailedes to bring it to a wider audience, this time in a vacant office space in Manhattan to really give audiences the feeling of authenticity.
Now 25 and a year into producing “Cellino v. Barnes: The Play,” Pochapin and Koffman are admittedly amateurs — Pochapin works a day job in FinTech and Koffman in city government.
“When we are trying to get people to come see the show, we say, ‘we’re doing this not because we saw a business opportunity but because we genuinely saw a story that more people needed to see,’” Pochapin said. “It’s hard to imagine finding another project quite like this. It’s been a wild ride and we’re super excited for the show.”
(On Oct. 2, 2020, Stephen Barnes and his niece were killed in the crash of a private plane in upstate New York. Pochapin said there is “absolutely no comedy about the plane crash” and the show centers around the creation, success and break-up of the firm.)
Ahead of the show’s opening, the New York Jewish Week spoke to Koffman and Pochapin about why they love the show, how their synagogues and Jewish communities have supported them in this process and what changes they are most excited about.
This interview has been lightly edited for length and clarity.
New York Jewish Week: How did you get involved as producers with the show?
Cameron Koffman: We first saw the show in January of 2020. We had no involvement — we had just seen an article from the Buffalo News: “Show about Cellino and Barnes is an 8.8888 out of 10.” It sounded fun and it was playing in New York City for just a couple shows in January at the Bell House in Gowanus. It was the absolute funniest thing. Then COVID hit, obviously, six, seven weeks later, and life moved on.
I got an email from the venue that the show was back for two performances in August of 2021. David and I dragged more of our friends. It was a big group activity because we had been talking about the show for a year and a half at this point. I mean, it’s Cellino and Barnes, iconic New York names and a jingle that everybody recognizes. We saw it again and it was even funnier.
We had a mutual friend with one of the actors and pushed to get a drink because we just really wanted to tell them, “We thought the play was so funny. It was so great that someone wanted to tell this story.” When we met up with him, we asked if he ever had aspirations to make a permanent run out of it. He said yes, but COVID happened, he ended up having a kid and the other co-writer and actor moved out to the West Coast. Basically, life got in the way. When we talked to [Breen and Rafailedes], it really just sounded like more than anything they needed people to help initiate the process, which we thought we would be able to handle.
We certainly didn’t have experience in production, but we were so passionate about the story and we like to get our hands dirty with logistics. We just thought it was so fun that we wanted to take it to another level and really create a full run of this. We put our heads down, worked on a proposal and here we are.
How did your Jewish communities step in to help get the show back on its feet again?
DP: When we first got into this, which was over a year ago now, we talked to everyone we could, every person that would hear us out and offer an opinion. We reached out to people at my synagogue and they offered to provide chairs for the audience and books for the set, so now we have chairs and books. We’re both very involved in our synagogues — mine is Sutton Place Synagogue and Cameron’s is Temple Emanu-El. My first exposure to theater at a young age was not only in school, but during the Purim spiels at my synagogue. It is because of our communities and our upbringing there that we have the confidence that we’ll be able to do this.
CK: It really is. So many people that we know, that we rely on, that we talk to and the time that we spend with them have helped us put this show together. For example, I lead a couple of lay-led groups at Temple Emanu-El. Through that, I’ve become friendly with dozens of people, I’ve met other people through the young members circle, through becoming friendly with the rabbi and actually leading Shabbat once last year. So — for both of us — one of the main reasons we knew we could do this was because we’re deeply embedded in a large Jewish community and we knew that we could tap into people that would be able to sort of help and guide us with advice and knowledge along the way. Also, we knew we’d be able to blast out the show to a lot of people. David could tell you, one of the first people to buy a ticket for the play was the rabbi [Rachel Ain] from Sutton Place Synagogue, she and her whole family.
As producers you have a little more control than you did as audience members. What changes are you most excited about since the first production?
CK: Not much had to change about the story. Breen and Rafailedes had done the play and certainly the story of Cellino and Barnes is still ever present in the cultural milieu of today. For a large swath of people, millions of people in the New York area, and even in California, where Cellino and Barnes worked too, that jingle just rings a bell and it seared itself into our brains, so our vision didn’t have to be focused on making sure there was name recognition.
When we saw it at The Bell House, the show was very bare bones. The venue had a stage, but it’s a big hall with 200-250 seats and you don’t really feel like you’re at a theater venue — you certainly don’t feel like you’re at an experiential venue. The space that we got on West 23rd is a vacant commercial space that feels like you’re actually in a law office. That was one of the key things we brought — we thought, “if we’re going to really lean on the vibe and the aura of Cellino and Barnes, we want to make you feel like you’re stepping into a dingy personal injury attorney’s office, with plaques on the wall and all of it.”
Why should people see it?
CK: I’m deeply passionate about my love for New York. A couple years ago, right out of college, I actually ran for the New York State Legislature. I love the city. It’s just such an amazing place. Cellino and Barnes is very much a part of New York’s cultural fabric. There are just certain things that resonate with all New Yorkers. It’s Roscoe the bedbug dog from Bell Environmental, it’s Sandy Kenyon from the Eyewitness News “movie minute” in the back of the taxi cab. All those sorts of things that people who grew up in New York or who have spent significant time here will know and recognize.
So many people come from different backgrounds, but there are still these unifiers — everybody’s seen the billboards and subway ads. And although it is a very New York production, we do think that it can resonate with everybody. Every city seems to have their own version of Cellino and Barnes — the mysterious personal injury lawyer who’s on every billboard, on every bus, and who has their slogan.
DP: When you’re in the theater and you’re laughing at these two people that are so nostalgic and are two of the easiest people to laugh and make jokes about, it’s just an unforgettable night. It’s hilarious, and even though it’s a comedy it also makes you think. Cameron and I have had several discussions about who’s right or wrong and Team Cellino or Team Barnes.
“Cellino v. Barnes: The Play” opens on April 13 at 320 W 23rd St. Tickets start at $40.
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The post A jingle inspired a show about dueling lawyers. Two synagogues helped bring it back to the stage. appeared first on Jewish Telegraphic Agency.
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Years of Ignored Antisemitism Led to Terror in Australia — and the Media Helped Normalize It
Mourners carry the casket of 10-year-old Matilda the youngest victim of a mass shooting at Australia’s Bondi Beach targeting an event for the Jewish festival of Hanukkah on Sunday, at Chevra Kadisha Memorial Hall, in Sydney, Australia, Dec. 18, 2025. Photo: REUTERS/Hollie Adams
Years of hatred and antisemitism that was swept aside or outright denied led to one of the most horrific attacks on the Jewish people in Australia.
The warning signs were unmistakable more than two years ago: chants of “gas the Jews” outside the Sydney Opera House days after October 7; “Jew die” graffiti scrawled outside a Jewish school; a synagogue firebombed; and a Jewish community that made clear, again and again, that it did not feel safe or protected.
A terrorist attack targeting the Jewish community should not be what it takes for the world to pay attention to the undeniable rise in antisemitism.
And yet, even now, it appears that many are still unwilling to acknowledge the attack was antisemitic.
Despite the terrorists specifically aiming at the crowd gathered at the Hanukkah event, there was initial reluctance to name the Jewish community as the target.
Rather, the attack was framed in vague terms as part of a broader act of violence and a public safety issue in Australia. This reluctance to call out antisemitism is not incidental, but part of the pattern that allowed it to foster unchecked for so long.
As the news coverage on the attack continued, outlets slowly started to shift the story away from the victims of the attack and towards the terrorists who carried it out.
While understanding the motive and background has a place in responsible reporting, many outlets instead crossed a dangerous line by subtly humanizing the perpetrators while sidelining the Jewish victims.
1/
How terrorists who murder Jews are quietly humanized in media coverage.
Not through praise – but through framing, emphasis, and omission.
Once you see it, you can’t unsee it. pic.twitter.com/nOuZM0ni7V
— HonestReporting (@HonestReporting) December 16, 2025
One headline in Newsweek focused on the attacker’s relationship with his family, quoting that his mother considered him a “good boy.” But what his mother thought of him before the attack should not have been headline news — the fact that he took part in mass murdering people at a Hanukkah event should have.
The pain and trauma of the victims’ families and survivors deserved the center of the story, rather than emotional character references for the terrorist.
The Irish Times similarly stressed the terrorists had no criminal background, omitting their ISIS-inspired ideology and once again framing them as ordinary, well-meaning people.
2/
Let’s start with this headline from @Newsweek:
“Mom of Bondi terror attack suspect says he was a ‘good boy’”Pause on that.
This is not context. It’s emotional laundering – shifting attention from victims to the feelings of the terrorist’s family. pic.twitter.com/vquSod2nM3
— HonestReporting (@HonestReporting) December 16, 2025
The BBC likewise whitewashed the crimes of the terrorists by refusing to call them terrorists at all. Instead, they were described merely as “gunmen,” a term so sanitized that readers would have no idea from the headline that they carried out a deadly attack on Jews.
3/
Humanization also shows up in language choices.“Terrorists” become gunmen. “Murder” becomes an incident. A mass-casualty attack on Jews becomes something that “happened at Bondi Beach.”
This @bbc headline doesn’t even tell readers that people were killed. pic.twitter.com/wPelNy8Aov
— HonestReporting (@HonestReporting) December 16, 2025
Meanwhile, Sky News shifted the focus from the Jewish victims to warn that Muslims in Australia may feel unsafe. This creates a moral inversion that recasts the aftermath of an antisemitic terror attack as a story about the potential discomfort of an entirely different community.
This inversion completes a familiar pattern where Jewish victims disappear, antisemitism becomes abstract, and the media moves on without ever confronting the hatred that made the attack possible.
Jews are massacred in an Islamist terror attack.@SkyNews’ response: bring on an imam to warn that Muslims may now feel unsafe.
Victims erased.
Violence inverted.
Sympathy redirected away from the dead. pic.twitter.com/K78sZtWbuX— HonestReporting (@HonestReporting) December 17, 2025
When explicit calls to murder Jews are dismissed as isolated incidents, when attacks on Jewish institutions are minimized, and when Jewish fear is treated as political exaggeration, violence becomes inevitable. A terrorist attack against Jews in Australia is the consequence of sustained denial, indifference, and moral failure. The minimization of antisemitic incidents and violence against the Jewish people in the media contributes to the vicious cycle.
Antisemitism does not begin with terror attacks. It begins when warning signs are ignored — and it will continue until institutions, leaders, and the media are willing to say clearly and unequivocally that Jews were targeted because they are Jews.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Palestinian Terrorist Was Killed Throwing Grenades; PA Said He Was ‘Young Boy’ ‘Delivering a Package’
Illustrative: Palestinian demonstrators call for an end to clashes between Palestinian security forces and militants in Jenin, in the West Bank, Dec. 16, 2024. Photo: REUTERS/Raneen Sawafta
The Palestinian Authority (PA) continues its hypocrisy about terrorists who are killed trying to murder Jews.
The “successful” terrorists are coined heroic fighters, and the PA names schools, streets, and squares after them.
But if they are young terrorists and the PA wants the world to condemn Israel, they are repackaged as innocent victims.
Such was the case of 16-year-old Islamic Jihad terrorist Muhammad Iyad Abahreh, who was killed after throwing hand grenades at Israeli soldiers near Jenin.
Text on picture:
“Martyr Jihad fighter
Muhammad Iyad Abahreh
One of the Jihad fighters of the Al-Quds Brigades, Al-Yamun Brigade
Al-Quds Brigades – Military Media”
Islamic Jihad’s terror wing, the Al-Quds Brigades, openly lauded Abahreh as one of its fighters.
The group proudly described him as a “Jihad fighter,” declared that he died as a “Martyr,” and vowed to continue armed resistance:
Headline: “The Al-Quds Brigades accompany to his wedding Martyr Muhammad Abahreh from Jenin”
“The Al-Quds Brigades, the Islamic Jihad Movement in Palestine’s military wing, accompanied to his wedding [i.e., a Martyr’s funeral is considered his wedding to the 72 Virgins in Paradise in Islam] Martyr Muhammad Iyad Abahreh …
In a statement on Sunday, [Dec. 14, 2025,] the brigades said that Abahreh is one of the Jihad fighters of the Al-Yamun Brigade and that he ascended to Heaven as a Martyr after he managed to engage with the occupation [i.e., Israeli] soldiers and threw several hand grenades at them during an invasion of the town of Silat Al-Harithiya yesterday evening, Saturday, Dec. 13, 2025.
The brigades emphasized that they will remain steadfast on the path of Jihad and resistance until liberation and return.”
[Safa, independent Palestinian news agency, Dec. 14, 2025]
Just one day later, the Palestinian Authority’s official daily, Al-Hayat Al-Jadida, published a fabricated version of the attack.
The “Jihad fighter” became a “young boy,” the grenade attack was erased, Islamic Jihad was not mentioned, and Israeli soldiers were accused of killing him while he was “delivering a package.”
Abahreh was painted as a “loved, diligent, seeker of knowledge” whose “death as a Martyr halted his aspirations” to graduate high school and help his parents.
Headline: “Young Muhammad Abahreh”
“Al-Yamun and Silat Al-Harithiya, west of Jenin, were partners in grief two nights ago, Saturday, [Dec. 13, 2025]. The two neighboring towns mourned 16-year-old boy Muhammad Iyad Muhammad Abahreh, who ascended to Heaven in Silat Al-Harithiya, and the occupation seized his body…
Family sources told Al-Hayat Al-Jadida that young Abahreh is the eldest [child] in the family and that he was looking forward to finishing his experimental matriculation exams, but the occupation’s bullets changed the course of his dreams.
They noted that Muhammad was on his motorcycle on his way to deliver a package in nearby Silat Al-Harithiya, but the occupation soldiers shot him with six bullets and seized his body…
Al-Yamun High School Principal Radwan Freihat described the loss experienced by the school with Muhammad’s death … who was loved, diligent, and a seeker of knowledge. He said that his death as a Martyr halted his aspirations to earn a high [school graduation] certificate to help his parents.”
[Official PA daily Al-Hayat Al-Jadida, Dec. 15, 2025]
The Palestinian Authority routinely rewrites terrorist attacks to demonize Israel and mislead international audiences and donors.
It did this just a month ago after terrorists from its own ruling party murdered Aharon Cohen and injured three others. The PA denies the October 7 atrocities. And it lies to world leaders about condemning terrorism and antisemitism.
Itamar Marcus is Palestinian Media Watch (PMW)’s Founder and Director. Ephraim D. Tepler is a contributor to Palestinian Media Watch. A version of this article originally appeared at PMW.
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Foreign Press Correspondents Honored Terrorists, Awarded Al Jazeera Cash Grant
The Al Jazeera Media Network logo is seen on its headquarters building in Doha, Qatar, June 8, 2017. Photo: REUTERS/Naseem Zeitoon
The Association and Club of Foreign Press Correspondents USA bestowed honors on some of America’s most distinguished journalists at its gala in Washington, D.C., including veteran NBC journalist Andrea Mitchell.
Yet the same organization also chose to bestow posthumous honors on individuals later exposed as active terrorists who had worked as “journalists” for Al Jazeera, the Qatari state broadcaster and a co-sponsor of the event.
The channel itself was even awarded the association’s so-called “press freedom grant.”
An elite American press organization is honoring Hamas terrorists. That’s according to an astonishing scoop by @HonestReporting’s @Gil_Hoffman on a December 4 gala held by the Association of Foreign Press Correspondents in the U.S., the self-described “leading independent… pic.twitter.com/itH7gxX4W9
— Amit Segal (@AmitSegal) December 8, 2025
According to a dinner attendee, the ceremony included a moment of silence for 10 Al Jazeera reporters and media workers killed in Gaza while “covering the Palestinian conflict with Israel,” with their photos displayed at a memorial table — a disturbing imitation of the empty hostage tables used to honor Israelis kidnapped by Hamas.
During the event, Fox News chief foreign correspondent Trey Yingst used his acceptance speech to eulogize Gazan reporters. He criticized Israel for restricting independent journalistic access to Gaza, while omitting a crucial fact: Hamas routinely threatens, censors, and kills journalists, while selectively protecting cooperative reporters who comply with its messaging.
Yingst praised the “fearless and tenacious Palestinian journalists in Gaza who don’t have the luxury to leave when reporting becomes too dangerous,” adding after applause: “May we not forget their sacrifice and contributions to our industry.”
Since these “contributions” went unnamed, they deserve documenting.
Western press have eaten up Al Jazeera *cough* Hamas propaganda over Anas al-Sharif’s elimination by the IDF.
Here’s a
— HonestReporting (@HonestReporting) August 12, 2025
By memorializing known terror operatives and rewarding a propaganda outlet, the Association and Club of Foreign Press Correspondents USA transformed what should have been a celebration of journalistic integrity into a moral failure.
This was not an act of solidarity with journalism — it was the elevation of militants masquerading as reporters.
The author is the Executive Director of HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.