Features
The British Invasion: Douglas Murray and Colonel Richard Kemp, Tel Aviv International Salon, Dec.21, 2023
By GABRIEL EMMANUEL In 1964 the Beatles were banned from performing in Israel (to the Jewish state’s everlasting shame and embarrassment). Nearly 60 years later a British invasion of a different sort took place and the crowd reaction was almost like a mini Beatlemania.
Some 600 or more twenty and thirty somethings packed themselves into a meeting room at the Carlton Hotel in Tel Aviv that was meant to accommodate only about a third of that size. The featured speakers were former Commander of the British forces in Afghanistan, Richard Kemp, and author, political commentator, Douglas Murray, whose book “War on the West”(2018) quickly became a New York Times bestseller. Both Kemp and Murray have spent the past two and a half months in Israel covering the war. “I’ve almost made Aliya” quipped Kemp as the talk was about to begin. When the charismatic Murray entered the room a little late for reasons which he would come to share, the audience broke into spontaneous applause.
While Colonel Kemp has been known for years for endorsing the IDF as the “most moral army” in the world, Douglas Murray shot to fame at the opening of the present conflict with his acerbic response to an interviewer’s question as to whether Israel’s response to the atrocities of Oct. 7 could be considered “proportionate”. In a segment on British Talk TV https://talk.tv/top-stories/31465/douglas-murray-proportionality-in-conflict-is-a-joke that went instantly viral Murray responded “There is some deep perversion in Britain whenever Israel is involved in a conflict and it’s the word you just used – proportion, proportionate, proportionality. Only Britain is really obsessed with this…Proportionality in conflict rarely exists but if we were to decide that we should have this fetish about proportionality then that would mean that in retaliation for what Hamas did in Israel on Saturday (Oct. 7, G.E.) then Israel should try and locate a music festival in Gaza for instance (and good luck with that), and rape precisely the number of women that Hamas raped, kill precisely the number of young people that Hamas killed. They should find a town of exactly the same size of Sderot… and make sure they go door to door and kill precisely the correct number of babies that Hamas killed in Sderot and shoot in the head precisely the same number of old age pensioners that Hamas shot in the head on Saturday…Proportionality in conflict is a joke,” spurned Douglas adding, “that it is only the Israelis that when attacked are expected to have precisely a proportionate response.”
Given the British gentlemens’ philo-semitic reputations the audience broke out with mixed laughter and applause when the two were introduced as the “two most beloved “Goyim” in all of Israel. Non-plussed by the off-colour moniker, Kemp stated proudly that “I am also an extremely talented “Shabbat Goy” the result of having been residing in a hotel with many displaced persons from Kiryat Shmona “who have used my services quite extensively.”
Asked by another Brit, moderator Deborah Danon, what drew each of them to supporting Israel in a topsy turvy world that was largely hostile towards the Jewish State, each had similar reasons for doing so. “I was taught when I was very young to know right from wrong,” said Kemp, “and it’s my duty to support those who are right. There is no question who is in the right in this fight,” he added.
Moreover, underscoring his 30 years spent fighting terrorists in Afghanistan and Iraq Kemp felt duty bound “to do what little I can do to help fight this fight with you because it’s not just your fight it’s a fight for Western civilization; the same ideology that’s attacking you now has attacked us in the past and will intensify its attacks in the future.”
Apologizing for his late entrance for having been held up in an interview on the Piers Morgan show (“It’s quite hard to get Piers to stop talking”) Murray offered another reason responsible for drawing him over to Israel’s side. “Aside from my love for this country and its people,” he said, “I also see something which I think any writer or journalist should see and get very annoyed by, which is lies. When it’s lies about an entire nation and people, when I hear someone like this blowhard I heard earlier (on Piers Morgan, G.E.) accusing Israel of ‘genociding’ the Palestinians, I can’t sit here and not say something. I’m not going to allow these canards, smears and lies and defamation to just go on…I don’t like lies being told and Israel has been on the receiving end of some of the biggest, longest, deepest and most wounding lies of our era,” said Murray. Demonstrating his effortless ability to deftly cross over from political commentary to artful literary imagery he caps the thought with finesse: “So I believe in the simple cause of “moral hygiene” that it’s necessary to try and clean some of that up.”
The moderator then asked a pertinent question: “In a world of Tik Tok where Jesus is Palestinian, do you wonder if this is just a Myth of Sisyphus syndrome where you are just pushing that rock up the hill and do you ever ask yourself just what’s the point?”
“Never, actually,” Murray replied emphatically. “Even if it was the case what option have you got? Just to sit at the bottom of the hill and get crushed by the rock?” he asks rhetorically.
Despite the omnipresence of social media in the world, where lies are able to “rocket around the world” Murray holds fast to a different view. “if you live in a world where 99 lies are being told and one person tells the truth, the truth will win,” he asserts and gives the example of writers such as Aleksandr Solzhenitsyn whose work was effective in bringing down the entire Soviet Empire. “The validity of a truth in an era of lies cannot be underestimated,” he says.
From the topic of lies it was an easy segue to Hamas battle figures. “I don’t know what the latest exaggerated figure is from Hamas about the number of people that have been killed in Gaza” says Kemp, “I just know that it has to be defeated. If it means that a very large number of people whether military or civilian have to die in that process then unfortunately that’s the case because no sovereign, democratic state can exist under this threat so it must be eliminated, it’s as simple as that,” states Kemp in a no nonsense, tell it like it is, military analysis. Despite the unreliability of figures Kemp posits that based on the figures he’s received from Israeli sources of 8,000 or 9,000 or more have been killed from Hamas and Islamic Jihad, which would represent about 30% of the total number of terrorists. “That’s a very significant proportion,” he says, “that’s in excess of 30% of their fighting capability. The whole edifice then begins to crumble and I think we’re going to see that,” he says with conviction.
“I’ve been in Gaza on a number of occasions. I’m deeply impressed by the IDF combat effectiveness. This is going to come down at some point,” Kemp says quite bluntly.
Kamp makes regular visits to the soldiers in hospital and knows the tragedy of war from close up. “Tragically, many Israeli soldiers will die and have died already,” he concedes, “but they will undoubtedly prevail in the end.” He contrasts the irony with Hamas: “They want the I.D.F. to kill their civilians. They want as many civilians killed as possible because that then provokes the inevitable international demand for ceasefire, condemning Israel for War Crimes,” he concludes while shaking his head at the anticipated perversion of justice.
Asked about pressure from the United States, Douglas Murray elucidated his view that “You should be courteous to your allies but not subservient to them,” earning a strong round of applause. “The future of this State, of the Jewish people must be in the hands of the Jewish people,” he continued.” It cannot be in the hands of anyone else. It cannot be in the hands of people who, for instance say the day after the massacre of October 7th that this is why we need to double down on the two state solution. It just can’t be in the hands of people going at that kind of slow speed”, he says.
Had the events of Oct.7th happened in the U.S.A., Murray points out, proportionately over 120,000 Americans would have been massacred on one day. “Nobody can tell me that the Americans would have listened to anyone then, nor should they, “he adds. The one potential outcome of the war that Murray absolutely rejects is that the situation might return to the status quo ante of October 6th. “Israel must be allowed to win,” he asserts. “It cannot simply always be encouraged to fight for a stalemate.” Regarding the as of yet unresolved situation with Hezbollah, Murray poked fun at the thought that we will all have to relearn the map of the North and become experts again on the Litani River. “Since 2006 it’s just been a replay of the same thing,” he says. “It just feels like Groundhog Day,” he quips to the amused young people in the room. And then in a more somber tone: “Anything other than actual victory by the Israelis in this conflict is unacceptable because all of these efforts to make Israel fight into a stalemate will simply prepare the groundwork for the next war and this country deserves not to be forced into perpetual war,” he emphasizes.
According to Colonel Kemp’s analysis much of what has transpired in the world in terms of instability with the Ukraine and now Gaza has to do with a weak image projected by President Joe Biden. On the other hand, Kemp considers that Biden has been strongly in favour of Israel and the U.S. unlikely to pressure Israel to desist its military operations. For this dichotomous view Kemp actually earned applause from both Biden supporters and detractors.
The moderator brought up the tragic issue of the three hostages who had been mistakenly killed by Israeli troops. Douglas Murray reflected on the incident and said that he was genuinely shocked by “the lack of empathy for Israel internationally”. A glaring example of such a lack of empathy he suggested could be found with the posters of the hostages in various cities around the world. What followed was another of Murray’s innovative insights: “If you put up a poster of a missing cat or dog in your neighbourhood you would not expect anyone to rip it down,” he matter of factly suggests. “And if anyone did rip it down you would think that person was subhuman. You would think what kind of a sick person are we dealing with here?” he asks. “And this wasn’t dogs or cats. These were Jewish children. And in city after city sociopaths tore down these posters…This lack of empathy has been there since the day (Oct.7th G.E.) itself. And the media treats it as more evidence of the brutality of the Israeli soldiers – they even kill their own! Imagine the lives of those soldiers who shot those three hostages, how they must have felt. And yet instead of recognizing what a tragedy that is for everybody involved they use it as a weapon against Israel!” Murray’s damning condemnation resounds through the packed but quiet room. “That really has slightly startled me in this conflict,” he continued to reflect in an afterthought.
The door was left open for a little humour when the Moderator, in her last question, asked about the Day After. Colonel Kemp was first to pick up the gauntlet: “I think we need a two state solution with the United Nations supervising it,” he said without flinching and with a stiff British upper lip to boot which held tightly in place until the audience stopped laughing. And then more seriously his sober insight: “The I.D.F. has no option, whatsoever, apart from to stay in control of Gaza from now on. It doesn’t matter what anyone else thinks; it doesn’t matter what President Biden might wish to happen…What is absolutely certain is that the I.D.F. must maintain security control of Gaza. It means either a permanent IDF presence inside the whole of Gaza or it means the creation of a one or two mile buffer zone on the inside of the Gaza border which no one is allowed to go into and which the I.D.F can police.”
Kemp had nary a kind word to say about the folks on the other side:”The reality in Gaza is that the vast majority of the population of allegedly innocent civilians support Hamas, even when they see the horrors that Hamas has brought on them, they still support Hamas . And there will be efforts to have a Hamas 2,” the Colonel warned.
Murray concurs that it is a “very bleak necessity” but that Israel will need to stay in Gaza. For how long? “Call me a pessimist,” says Kemp, “but I would say forever.” Like his colleague, Murray also spends some of his days visiting the wounded in hospitals. On a recent visit he met one of the victims, a farmer, from a border Kibbutz who had lost his wife, son and both of his legs in the Hamas attack of Oct.7th . “He said something that has really stuck with me,” Murray recalled, “He said, ‘I have been a leftist all my life. I now want to look out on nothing but potato fields from here to the Mediterranean.’ Who can risk living beside these people? Nobody else in the world would be expected to have to put up with that. I don’t think the Israelis have to be an experiment test case either. I think you should have the right to live in peace and to know that the border you have does not contain genocidal maniacs on the other side who wish to kill you all.”
In the question period which followed, Murray was asked what changes he would like to see in present day Britain. “Obviously the first thing I’d do would be to make Richard Kemp Minister of Defence,” he suggests to uproarious laughter from the crowd. “I assume you’ll be Prime Minister, will you,” Kemp shot back. Feigning humility, Murray wistfully demurred saying only, “If the nations calls…” Presumably, they may one day.
Getting more serious Murray took aim at the “appalling” pro Hamas demonstrations which took place in London and included one on Remembrance Day. “I think it’s been shameful,” he said. “I want no Hamas supporters in my country. And that’s quite easy to arrange in my view,” he added making reference to a case in point of Muhammud Sawalha, a key Hamas terrorist from the West Bank who subsequently obtained British citizenship. “To get a British passport you must, among other things sign a form that says you are a person of good character. I submit that he is not a person of good character,” said Murray, “and that he lied on his form when he said that he was. I would like to see his citizenship stripped and I would like to see him deported and to try his luck in Gaza.” On a humorous roll, Murray recalled the case of a young lady whose British passport was recalled when she returned from having joined Isis and tried to pretend – once the Caliphate fell apart – that she didn’t know that they were actually a “murderous, head-hacking group” and besides, “we all make mistakes”. She shouldn’t get her passport back argued Murray maintaining vociferously that “If you’re with an Islamist death cult you should not be allowed to be in Britain.”
Colonel Kemp fielded a question about another hot potato issue, that of missiles being fired from Yemen which no one seems to be doing anything about. “Yemen has been firing missiles into Israel since the war began including the first ever in history engagement in space when a Houthi ballistic missile was intercepted by an Israeli Aero missile outside the earth’s atmosphere. They’ve been firing numerous missiles and drones towards Israel, all of which have been shot down.” Unless a message is sent soon to Yemen and Iran by the U.S. Kemp warns that war in Lebanon will be inevitable.
A visiting American Major with a pronounced Midwestern drawl asked Colonel Kemp if he could explain the concept known as “the fog of war”. “It’s an extraordinary thing that doesn’t apply anywhere else in life,” said Kemp, “you have very often young, inexperienced soldiers in the reserves with a limited amount of recent training and then suddenly they are thrown into Gaza which I would say is one of the most treacherous and demanding battlefields that anyone has fought on in the history of warfare. And they’re expected to always make the right decision. That simply cannot happen. We all make mistakes. And that’s when nobody is shooting at us. Nobody is trying to kill us. We haven’t suffered lack of sleep for days on end, we’re not cold, hungry, we’re not terrified and yet we still make mistakes. So how can these guys not make mistakes? And the enemy is trying to fool you all the time, trying to make you think that the reality in front of your eyes is not the reality in front of your eyes. And the difference is when a soldier makes a mistake very often people die as a consequence.” The reference that was embedded on most peoples’ minds was the recent tragic killing of the three Israeli hostages by friendly fire.
Murray was asked about the effect of “hasbara” (P.R. G.E) in the current war. “I believe they should be given some credit for they have done a better job that any time previously that I have been covering since 2006”, he said. Taking the Al-Shifa hospital as an example, Murray pointed out that Israel “got on top of it very fast” like releasing the closed circuit TV footage of the hostages being led in to the hospital and showing the weapons cache that was discovered there. But at the same time, he underscores why not even the best P.R. may succeed in certain circumstances. “The minute they show that the hospital has an arms dump inside it and has a load of kalashnikovs and grenades , Jeremy Bowen of the BBC goes on and is asked about it and says, ‘well, it is not inconceivable that the kalshnikovs belonged to the hospital’s security department’. On the television the next day I said, ‘yes, and it’s possible the grenades were for the cardiology department’.” Murray’s point is well taken. No matter how strong the evidence is, it is not necessarily strong enough to overcome bias.
Kemp concurs, “This extraordinary propaganda campaign against Israel – everything that Israel does is wrong. For the past 10 years the BBC has not allowed me to speak on any program about Israel. Any other security issue, any other country I’m on all the time on the BBC just not about Israel. I got a call a few weeks back asking if I would do an interview about Israel. I almost fell off my chair,” recalls Kemp. “Then I realized what was going on. They had been heavily criticized and were under a lot of pressure for their lies about Al-Alhi hospital attack (where Israel was wrongly blamed for the bombing, G.E.) They felt we need to show how broadminded we are, so we’ll even get this extremist Kemp on to speak. So that’s how I became a human shield for the BBC”, Kemp concluded with a wry smile.
In a final story, also about the BBC, Kemp relates that he was once invited to the BBC studio in Jerusalem to do a number of interviews. In the interview which was live from London he was asked why the IDF were so keen to send in ground forces to Gaza. I explained “they don’t want to go in on the ground, they know the problems with that. So I was asked then why do the politicians want to go in on the ground. I said they don’t. I’ve spoken to them, the Prime Minister, the Defence Minister they will only go in if they have to. The interviewer was completely stumped at this and all he could say was, ‘yes, but you’re a Jew’. Now how do you answer that,” Kemp asked incredulously. Do I say in a belligerent tone, “how dare you accuse me of being a Jew!?” But instead I said simply, “I don’t have that honour.”
“If I can just say something” interjected Murray, “about the youth of this country. So young! So brilliant! So vivacious. I met a young woman the other day of 21 who was an expert on Yemen! Why her contemporary in America is being educated to become stupid and wicked!” his observation met by peals of laughter. Then more seriously, “I have been so moved by these young people. They will be an example not just to Israel but to the people of the world. And if I may leave you with one last thought,” he continued. “I know this period is incredibly troubling, disturbing, upsetting and much more for the people of this country. I think the country is still going through a trauma, trying to work out what was done to you in October. You asked at the beginning why we do this. I would just say whether I can answer it or not, it is the honour of my life to be standing in alliance with you.”
The evening done, the young people rushed the small stage to take selfies with both fine gentlemen. Douglas Murray and Colonel Richard Kemp. Two of Israel’s most beloved friends, indeed.
Gabriel Emanuel is a former Winnipegger.
An edited version of this article first appeared in the Jerusalem Post, December 29, 2023 .
Features
Is Netflix’s new show the most Jewish cartoon ever?
Nearly every episode in ‘Long Story Short,’ from the creator of ‘BoJack Horseman,’ revolves around a very Jewish moment
By Mira Fox, PJ Grisar, Olivia Haynie and Nora Berman August 22, 2025
This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
The following contains light spoilers for the Netflix show Long Story Short.
The Schwooper family, the central figures in the new animated Netflix series Long Story Short, are diverse and unique — religious and atheist, gay and straight, farmers and businesswomen. Simultaneously, they are basically like every Jewish family you’ve ever met.
Naomi (Lisa Edelstein), the family’s domineering matriarch, is constantly nagging her kids to do better — her youngest son Yoshi (Max Greenfield) should be more professional; Shira (Abbi Jacobson), the middle child, should wear more dresses; her oldest, Avi (Ben Feldman) should be more observant. Her kids are constantly rolling their eyes and responding with sarcastic jabs. You’ve certainly seen this family. Maybe you’ve lived it.
The show, from animated hit BoJack Horseman’s creator Raphael Bob-Waksberg, isn’t linear; it jumps across the decades to show us snapshots of the young Schwoopers circa day school as well as their own parenting during the COVID pandemic and its aftermath. (Season 1 ends in 2022.)
Though the Schwoopers face crises that could befall any family — like Yoshi signing up for a multi-level marketing scheme involving spring-loaded mattresses — many of the show’s plotlines grapple deeply with Jewish identity.
Avi wonders if being Jewish simply means staying insular, eating fish that looks like a brain and being constantly afraid; Yoshi has a bar mitzvah crisis, struggling with what the rite means if you don’t believe in God; Shira is desperate to get her kids into day school, and is convinced it is only through making her mother’s knishes that she can win the administration’s approval.
The show takes a thoughtful, specific approach to Jewishness. But it also feels no pressure to explain itself, leaving plenty of Jewish moments that might not land, or even make sense, if they don’t reflect your experience.
Which left the Forward’s culture team with a lot to chew on. Who is Long Story Short for, and what is it saying? Read on for our discussion.
Jewish representation and Jewish clichés
Mira: I really liked that this show was not heavy-handed with its depictions of actual Jewish practice and identity. And I loved that we had a lot of really realistic different depictions. We have the oldest brother, Avi, who has sort of rejected Judaism, and resents it; he married a non-Jew and isn’t raising his daughter Jewish. Then there’s Shira, the middle child, who is gay — but even though her family looks different, she has pretty much stayed true to the Conservative Judaism she was raised with, and is sending her kids to Jewish day school. And then there’s Yoshi, the youngest, who ends up forging a totally different Judaism from his family, after a winding and experimental journey. I know lots of Yoshis and Avis and at least a few Shiras.
That being said, some characters’ sort of Jewy affect did rankle me a little. My mom and particularly my maternal grandmother absolutely do fit the show’s depiction of an overbearing Jewish mom. But as accurate as that feels to me, it also feels a little overdone; haven’t we told the jokes about the nagging Jewish mother enough times? It felt like a little bit of a cop-out because it’s such a trope. It’s an easy way to make a show feel really Jewish, but not an interesting one.
Nora: At first, I felt like the show was building up to be a deeper revelation about who Naomi was. There’s a really moving moment in an episode that flashes back to when she was a kid, and she cuts herself with a brooch to get her chaotic family’s attention. I thought, OK, we’re finally getting into it, this will be the episode where we learn who Naomi is. But it didn’t get explored.
Similarly, with Avi, I wanted to know what the roots of his Jewish disaffection were. He just comes off as a grump that Shira makes fun of for being a self-hating Jew. There were moments where I thought we’d get a deeper character study, and it didn’t fulfill that promise.
PJ: I think part of what it’s trying to do, with this fractured storytelling, is reflect the flow of when you’re with family and you’re remembering things. The conversation is discursive, it goes back and forth in time. We don’t talk about these things in a linear way.
The show feels like a blank check for Raphael Bob-Waksberg to make whatever he wanted after this huge success with BoJack Horseman, which was a weird and funky show, basically about Scott Baio as a horse (and a Democrat). What is interesting about Long Story Short was that it is living in this real place of specificity and isn’t afraid to do that.
Based on my conversation with Bob-Waksberg, he didn’t want to be boxed in. So it’s a Jewish show that’s not about antisemitism. And it doesn’t want to touch Israel because it’s just not interested in that. These people have rich Jewish lives and through these three siblings we have this dialectic with different ways to engage with being Jewish. I found it refreshing.
On the show’s approach to diversity
PJ: I want to talk more about the Nicole Byer character, Shira’s wife, Kendra. When we first meet her, it is clear she’s Jewish. And I think we were all hoping that it wouldn’t be explained, because why would we have to; Black Jews exist. But then it’s revealed that she’s a convert, and we have this moment with her in the Vidui prayer on Yom Kippur. And the story we’re given about how she ends up finding Judaism feels a little contrived.
Olivia: That’s something I thought a lot about. Black Jews are still treated as an anomaly, as something that needs explaining. When they meet at the grocery store while shopping for Rosh Hashanah dinner, the show seems to make fun of Shira for being so presumptuous when she tells Kendra that it’s nice she got invited to a Rosh Hashanah dinner. Kendra asks, “Why are you assuming, how do you know I’m not hosting?”
But then in the next episode, it sort of seems like she was right to assume that. We find out that Kendra became interested in Judaism as a way to explain a sudden absence from work without getting in trouble. It was very Black Cindy from Orange is the New Black — she’s converting to get something out of it. They turn it into a genuine moment, but why did she need to be swindling her way out of something?
I also think the show oversimplified how accepting Naomi would be of a Black daughter-in-law. She can’t stand Avi’s “shiksa” girlfriend, but Kendra is perfect? From what I know about interracial relationships, I wouldn’t say that is likely.
Mira: I think the smoothing of how diversity is received in general was interesting. Not just with Kendra’s conversion moment, but also with her and Shira being queer. It’s not really touched on if that would be an issue for them at all in the synagogue or day school or with any of the family, and I think it almost certainly would be, at some point.
The audience for the show
Mira: I wonder what the sell for this show is. I know that I am overwhelmed every time I open a streaming app by the sheer volume of new shows I’ve never heard of. And if there’s not some big monocultural show like Succession that everyone is watching, or nothing that I go in searching for, I have trouble choosing. While “cartoon about Jewish family” obviously will appeal to a certain set of Jewish families, who else is going to watch that? I’m sure some BoJack fans will watch, of course, but I wonder if they will stay.
Nora: What is Raphael Bob-Waksberg saying about Judaism? We think he got a blank check to make this show, and he does present this diversity of American Judaism. But I’m still curious about which parts he chooses to tease out more and which he doesn’t and why.
Olivia: It feels like the show is really for Jews. I really couldn’t imagine non-Jews watching this. I was thinking it will be a word-of-mouth show, like they read about it in the Forward or hear about it from their kids.
I think there’s things you just can’t understand if they’re not explained to you. Like when Naomi explains their observance level.
PJ: The way Naomi describes their practice is “progressive, Conservative, ritual over faith and blind practice. That’s literally the only way it makes sense.”
Olivia: That makes perfect sense to me because it’s like my grandparents. My grandmother would cook bacon, and they didn’t believe in God, but it was super important to them that their grandkids were raised Jewish in a synagogue. But when my mom stopped eating shellfish and pork, her parents never knew because they’d make fun of her — that’s too observant. Even though they were huge members of their congregation.
That said, I did think that some of the references that would have been inside jokes will make sense because of how much Jewish organizations have been in the news, like a bit about a bar mitzvah check that’s a donation to the ADL.
Mira: I agree that a lot of stuff is going to fly over some non-Jews’ heads, or even some Jews’ heads. But I also think that is what makes this show good, and not annoying or didactic. I’ve written so many reviews of Hallmark Hanukkah movies complaining about how they feel the need to put in these awkward, forced explanations. A character will say something like: “Hey, do you want to come spin the dreidel? It’s my favorite traditional Hanukkah game! Gee, I just love those chocolate gelt coins.”
If I don’t want a show to explain every little Jewish thing, I think it looks like Long Story Short. Maybe not everyone gets every joke. But that means it is going to be a richer text for Jews. Even in places where I maybe wanted more development, I didn’t need it. I know so many people who have, for example, converted or are in an interfaith relationship, so I have a depth of references that I extrapolate from to enhance or enrich my understanding of the characters.
What does the show say to Jews?
PJ: I think that it’s not meant to be prescriptive or say anything definitive. When I spoke to him, he said he had a lot of ideas and he didn’t feel the need to decide anything. He could just let the characters talk through things. Which I think is not a cop-out, actually, it’s a very Jewish approach.
Nora: It’s refreshing that it’s not about what it’s like to be a Jew after Oct. 7. It’s not that it doesn’t deal with deep themes, but it’s just a family of Jews existing, and we don’t need to explain anything about it. They deal with maybe internalized antisemitism, or grief, or wrestling with how they want to be Jewish in the world. But it’s not so angsty.
Mira: Because Abbi Jacobson from Broad City plays Shira, I was thinking a lot about Broad City while I watched, and where Long Story Short fits into the canon of Jewish media.
I felt like Broad City offered a new model of Judaism for our generation, where some of these old tropes about nagging Jewish mothers or Jewish American Princesses or Jewish guilt were present, but the characters didn’t feel weighed down by them. The show offered this very empowered version of Jewish femininity that wasn’t about competing against shiksas or being scolds. Abbi and Ilana got to be fun and irreverent in their Jewishness, like when they made a huge deal about fasting for Yom Kippur and then broke it with bacon, egg and cheese sandwiches and didn’t feel bad about it at all.
I think Long Story Short is very much about the younger generation trying to figure out their relationship with Judaism, but it doesn’t offer as clear of an idea of how they do so as Broad City did. But it’s clear that all the children feel some need to reinvent their Jewishness.
Olivia: Crazy Ex-Girlfriend is one of the shows that comes to mind for me, and the mother in that has so few redeeming qualities. There’s that whole song, “Remember How We Suffered,” that’s talking about how the only thing Jews do is talk about the Holocaust. There’s really no representation of Judaism outside of it being a chore. And Broad City was refreshing in that way — the mother in it was a stereotype, but she and her daughter have a great relationship.
I think Long Story Short was refreshing in the sense that Judaism isn’t only a burden, there’s a value and a richness to it.
PJ: I think this show is continuing in a longer tradition, maybe starting with Philip Roth and Portnoy’s Complaint, of Jews writing without their own institutional PR in mind. Not to make us look noble or good, but to present us as openly flawed. That continues on through the Coen brothers and A Serious Man, where it’s incredibly Jewish but not particularly flattering. Now we’re at this point where we don’t have to care so much about making a political statement or to dig so hard to critique our own community. It’s more tender, it’s coming from less of an angry place, but it still feels part of that tradition. We can approach with love but with an awareness that some stereotypes exist for a reason.
Like there’s this shyster-y lawyer character, the uncle, played by Danny Burstein. We go back and we see the family has a running joke about him. It is acknowledging that this uncle guy is a type of person who exists, but it’s also the type of person we make fun of — they’re a source of humor. We’re all in on the joke.
Nora: I kept thinking about the show Transparent; I think it is just sort of nice to see a family with a lot of tenderness going through these evolutions and challenges without having to justify it. It doesn’t shy away from stereotypes, but lovingly engages with them.
I also really appreciated the way it was talking about what it’s like to be marginalized as a Jew in America without it being didactic or political. I’m thinking of the episode where they go to school for a Christmas show, and the songs — one of them has the lyrics “Hanukkah, Ramadan, Kwanzaa too — we tolerate them all, but there’s nothing like Christmas!” That is exactly what it’s like to be a Jew in America at Christmas, where everyone is goading you to just participate because everyone loves Christmas. It’s just such a specific experience that I’d never seen represented.
Mira: Long Story Short might not give a lot of factual information about what it means to keep kosher or anything like that, but I think it does a good job at presenting Jews of all levels of observance as normal people who are also a relatable American family.
What do we want to see in the second season?
Mira: I’d love to see Shira’s coming out, and the first time she brought Kendra home, to know how her family came around to loving her wife so easily. I also want to see more of Yoshi’s Jewish journey, which is clearly winding; I feel like he definitely took a Buddhism pit stop at some point, maybe while he worked on the goat farm and smoked a lot of weed.
And I think I want to see the grandparents’ generation, and with it, more about how Naomi and Elliot — but particularly Naomi — grew up. I want to see a bit more of her tenderness; we get glimpses, but that’s it.
Nora: I want to see how Naomi and Elliot met. I also would love a bris episode for Shira’s kids, Walter and Benjamin — I think that would be hilarious. I also want to know what happened with Avi and his ex-wife’s marriage; I have the impression it has something to do with his relationship with Judaism.
Olivia: There’s a scene in the opening episode where Avi makes a joke in the car and it relieves some tension and he and Naomi make eye contact in the rearview mirror and smile. It shows they have this deep, sweet, special relationship that kind of falls apart by the time he’s an adult. I want to know more about him.
I’d be curious to know more about Kendra’s family; we get a bit of them in that one episode on her conversion, but I’d love to see where her family is now after she has converted. I’d like to know more about ָָAvi’s teenage daughter and how she sees her family. And maybe more about their lives outside the family, like with friends — I have no idea what Shira does for work.
PJ: I imagine Shira is an academic who wrote her dissertation on Walter Benjamin, and that’s why her two kids are named Walter and Benjamin.
Mira Fox is a reporter at the Forward. Get in touch at fox@forward.com or on Twitter @miraefox.
PJ Grisar is a Forward culture reporter. He can be reached at grisar@forward.com and @pjgrisar on Twitter.
Olivia Haynie is an editorial fellow at the Forward.
Features
New biography of Carole King explores the musical genius of America’s most successful female singer-songwriter
Reviewed by BERNIE BELLAN
Carole King (born Carol Klein in 1941) is arguably the most successful female singer-songwriter of all time. With over 75 million record albums sold and with 118 songs that she either wrote or co-wrote, King’s prolific and fabulously successful career has been the subject of several books and numerous articles, including her own memoir, published in 2012, which was titled “Carole King: A Memoir.”
Now, in a soon-to-be-released book, titled “Carole King: She Made the Earth Move,” journalist Jane Eisner takes a fresh look at King’s life, including her two most recent marriages (which King tends to gloss over in her own memoir, according to Eisner) to two men who were abusive to King, both physically and mentally.
Eisner herself has had a very successful career, having worked at the Philadelphia Inquirer for 25 years in various positions, including as a reporter, editor, and executive. Later, she spent 10 years as editor of The Forward, a leading American Jewish newspaper (which has now transitioned to an online version only and can be read for free at forward.com.)
The book is the latest addition to a series of books produced by Yale University Press titled “Jewish Lives.” According to the Jewish Lives website, “Jewish Lives is a prizewinning series of biography designed to explore the many facets of Jewish identity.
“Individual volumes illuminate the imprint of Jewish figures upon literature, religion, philosophy, politics, cultural and economic life, and the arts and sciences.
“Subjects are paired with authors to elicit lively, deeply informed books that explore the range and depth of the Jewish experience from antiquity to the present.”
In Carole King’s case, however, King has given very few interviews over the years and Eisner was not able to speak to King directly. In explaining how she approached this book, Eisner writes: ” I’ve taken on the challenge to write an interpretive biography of a musical icon who is brilliant, accomplished, and complicated.
“This book was quite a journey. Though I’ve admired her music since Tapestry was released, I wanted to understand it from the inside out. To do that, I studied piano for two years, which enabled me to dissect her musicality and describe what musicians call the ‘Carole King chord.’
“Carole King was her own kind of trailblazer — she often led recording sessions in a studio full of men as she defied expectations of what a woman can and should do. I can relate. Often being the only woman in the room deeply shaped my outlook, too. It made me aware of the stories we weren’t telling and the perspectives that escaped our attention; it also made me try hard to pay it forward, and to help younger women achieve their own professional dreams.
“Ambition and anxiety, accomplishment and regret – all those conflicting emotions have laced through my personal and professional lives. That’s one reason I was drawn to write about Carole King. She faced that juggling act from the highest levels in her field. ‘My baby’s in one hand, I’ve a pen in the other,’ as she memorably wrote.”
I hadn’t realized that Eisner did not have a background in music until after I finished reading her biography of King. That makes what she has produced all the more admirable, as a great many parts of the book dissect the song writing experience in great detail. In fact, if you don’t know how to read music (which, I admit, I myself don’t), you will probably be at a loss trying to understand many parts of this book. Eisner aims to do her best to explain the genius that lay behind KIng’s best works – and how incredibly varied her style was.
Anyone who has seen the Broadway musical about King, titled “Beautiful: The Carole King Musical,” would have an appreciation for just how gifted King was. As Eisner explains, King’s musical talent was on clear display from a very early age. Her mother, Eugenia (née Cammer) discovered that young Carol (who added an “e” to her name when she left home when she only 17 to try to forge a career in songwriting, and changed her name from Klein to King) was very gifted musically already by the age three. Eugenia taught Carol piano herself, including music notation and proper note timing.
In Eisner’s account of King’s childhood, her early years come across as very happy. The book’s introductory chapter delves into both Carole’s mother’s and father’s family histories, going all the way back to Europe in the 1800s. King’s father, Sidney, was a firefighter in Brooklyn, where the family lived but, along with several other Jewish firefighters, Sidney purchased land on a lake in Connecticut called Lake Waubeeka. Young Carol loved her summers spent in what were very rustic conditions – and Eisner suggests that early childhood experience played a pivotal role later in King’s life when, after having achieved fabulous success – beginning with the release of her seminal album, Tapestry, in 1971 – soon to be followed by a prodigious number of other albums, King threw it all away and went to live in the Idaho wilderness – with two different husbands in succession, as mentioned, who both treated her cruelly.
Since King has remained largely silent about what led her to take such a major shift in her life – when she was still only in her 30s, moving away from the vibrant music scene of Los Angeles, where King had produced her greatest work, only to virtually cut herself (and three of her four children) from the world, Eisner uses her reportorial skills to pore through previous accounts of King’s life (including, of course, King’s own memoir), along with first hand interviews of many of the individuals who played key roles in King’s life, to try to understand how King could have changed gears so dramatically.
Eisner also refers to King’s younger brother, Richard, who was intellectually disabled and shunted off to live in an institution when he was only three. Since King rarely referred to him, Eisner speculates that King was somewhat traumatized by that experience – and that it might have played a role in the trauma that surfaced later in her life when she entered into marriages to two different – and abusive men – along with the trauma she endured when she found out her first husband, Gerry Goffin, had been unfaithful to her.
Since this book is part of a series called “Jewish Lives,” Eisner spends a fair bit of time examining how much being Jewish meant to Carole King – when, in her early years, for instance, she met Gerry Goffin, who was her first husband and first songwriting partner – and whom she married in a typically Jewish ceremony. After she was finally able to put the disastrous marriages to her last two husbands behind her, King once again returned to her Jewish roots, albeit in a spiritual form, but not with any particular involvement in the Jewish community, per se.
As Eisner writes toward the end of her book, “Throughout her very long career, King has displayed an anguished and conflicted attitude toward the public celebrity expected of her as an iconic musician. The yearning for privacy and the consequent fear of exposure, gripped her early on. Even though she had performed as a child, and sought the spotlight as a teenager, she often recoiled from it as an adult, especially as a mother. She complained about being so far away from her family when she was touring – indeed, wrote the definite song about just that experience – and yet grew to relish live performance with the same zeal and affection as she did when recording in a closed studio.”
The Broadway musical about King ends with the dissolution of her marriage to Goffin. Anyone who would have seen that show and might have been curious about what happened next in King’s life would find the answers in “Carole King: She Made the Earth Move.” Eisner notes that King’s second husband, Charles Larkey, was also Jewish and, like Goffin, was introduced to King through music, as Larkey was an accomplished musician who collaborated with King on many of her albums. But Larkey was five years younger than King, and Eisner speculates that the age difference played a major factor in their growing apart.
As talented as King was, she was also very much a devoted mother who was determined to stay at home with her children – two born while she was with Goffin, and two with Larkey. Eisner describes King’s initial reticence about playing her music in public – and the gradual ease she felt playing in front of larger and larger crowds, culminating in a concert in Central Park in 1973 with over 100,000 people in attendance.
“Carole King: She Made the Earth Move” is not meant to be an exposé of any sort. It’s written in a very professional, reportorial style. Eisner’s years of newspaper experience shine through, as she tells a very compelling story of genius punctuated by frequent heartbreak. Of course, anyone who has listened to Tapestry or some other of King’s albums of that era would be well aware that she fully used music to express her emotion. But Eisner also analyzes some of King and Goffin’s early – and greatest songs, such as “Up on the Roof,” “Will You Love Me Tomorrow?” and “You Make Me Feel Like a Natural Woman, ” to show that King was a musical genius from the very beginning – and that she knew exactly how to elicit an emotional response to her most heartfelt songs.
“Carole King: She Made the Earth Move” is set to be released September 16, according to information available online, but you can pre-order the book from a number of different sources.
“Carole King: She Made the Earth Move”
By Jane Eisner
Yale University Press
Set to be released Sept. 16, 2025
Features
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