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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
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‘America Last’: Report Reveals Suspicious Foreign Support Amplifying Nick Fuentes Online
Nick Fuentes during an interview in December 2025. Photo: Screenshot
Amid ongoing debates about the rise of antisemitic voices on the US political right, recent investigations into social media activity suggest the potential involvement of inauthentic amplification by anonymous actors in India, Pakistan, Nigeria, Malaysia, and Indonesia.
On Monday, the Network Contagion Research Institute (NCRI) released new research showing the techniques used by overseas operatives to promote the authoritarian ideologies of antisemitic podcaster Nick Fuentes, who claims he seeks to preserve the white, European identity and culture of the US.
Titled “America Last: How Fuentes’s Coordinated Raids and Foreign Fake-Speech Networks Inflate His Influence,” the 23-page report dissects how the 27-year-old influencer “consistently amasses far more retweets than any comparable figure, including Elon Musk, despite having a fraction (<1%) of the follower count.”
The report was co-drafted with the support of the Rutgers University Social Perception Lab. Previous research collaborations between NCRI and Rutgers have also explored how far-right influencers hijacked the religious phrase “Christ is King” to advance their ideology and how Tik-Tok content promotes the Chinese Communist Party’s international objectives.
The researchers reviewed Fuentes and compared him with other prominent accounts. They discovered that “within the critical first 30 minutes, Fuentes routinely outperformed accounts with 10-100× more followers.” The report explains that “in a sample of 20 recent posts, 61% of Fuentes’s first-30-minute retweets came from accounts that retweeted multiple of these 20 posts within that same ultra-short window – behavior highly suggestive of coordination or automation.”
The accounts are characterized as entirely anonymous and seemingly single-purpose for promoting Fuentes.
While Fuentes has grown most well-known for his endorsement of Adolf Hitler, Holocaust denial, and pre-Vatican II, Catholic-reactionary antisemitism, the report highlights the podcaster’s endorsements of terrorism and enthusiasm for sexual violence. He has stated that he seeks a 16-year-old wife, desiring an underage woman “when the milk is fresh.” This aligns with his support for the Taliban in Afghanistan, a nation which has now seen the return of child marriage. Fuentes also claims that rape within marriage is impossible, since he believes that a wife’s body belongs to her husband.
Fuentes also “praised Vladimir Putin for the invasion of Ukraine, expressed support for China taking Taiwan, and described the Taliban’s victory over US forces as a positive development.”
The researchers in their analysis seek not to explain Fuentes’s views but rather to “assess how synthetic engagement, real-world events, and media incentives converged to elevate a fringe figure into a central subject of national attention.”
Looking into Fuentes’s history and disclosures from former insiders within his organization support the suggestion of artificial engagement.
“Additional evidence shows that Fuentes has a prior history of coordinated digital manipulation. In 2022, two former associates described internal group chats where Fuentes directed interns and loyalists to carry out online tasks on his behalf, and a former technical aide alleged that viewer counts on his streaming platform were artificially inflated using a built-in multiplier,” the report states.
The researchers explain that “Fuentes did not deny the inflation itself. These documented practices demonstrate a willingness to orchestrate controlled teams and manipulate digital metrics — behavior entirely consistent with the coordinated amplification patterns observed on X.”
The report features images of “America First” Fuentes appearing on different foreign TV networks including the Iranian regime’s Press TV and Russia Today (RT). On the former he sided with Iran during an American attack in support of Israel, and on the latter, he claimed that support for Ukraine was based on “Russophobia.” He also reportedly stated that he would “fight on the side of China against America.”
Another picture shows Fuentes in 2022 at the America First Political Action Conference, where he stated in his introduction to US Rep. Marjorie Taylor Greene (R-GA): “And now they’re going on about Russia and Vladimir Putin, saying he’s Hitler – they say that’s not a good thing. Can we get a round of applause for Russia?”
The analysts describe how “Fuentes’s defense of authoritarian adversaries — Russia, Iran, China — is not a minor contradiction. It represents a coherent pattern in which his anti-American worldview aligns more closely with America’s enemies than with its interests. His self-proclaimed patriotism crumbles in the face of performative contrarianism, where any regime that resists liberal democracy becomes, in his eyes, preferable to the current United States.”
According to NCRI, the Russian and Iranian media’s approval of Fuentes “underscores the broader point: the figure elevated by algorithmic manipulation and mainstream media grooming as a voice of nationalist revival is, in reality, one of the most reliable public defenders of America’s geopolitical foes.”
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Israel Restores Relations With Bolivia, Signs Free Trade Deal With Costa Rica as Latin American Ties Strengthen
Israeli Foreign Minister Gideon Saar (left) and Bolivian Foreign Minister Fernando Armayo (right) sign a Joint Communiqué in Washington, DC on Dec. 9, 2025, formally restoring diplomatic relations between the two countries. Photo: Screenshot
Israel is further expanding its diplomatic and economic presence in Latin America, formally restoring relations with Bolivia and signing a free trade agreement with Costa Rica as the Isaac Accords begin to take shape.
On Tuesday, Israeli Foreign Minister Gideon Saar and Bolivian Foreign Minister Fernando Armayo signed a Joint Communiqué in Washington, DC, formally restoring diplomatic relations between their countries after two years of severed relations amid the war in Gaza.
“Today, we are ending the long, unnecessary chapter of separation between our two nations,” the top Israeli diplomat said during a speech at the signing ceremony.
“Following the election of [Bolivian] President Rodrigo Paz, I am pleased to announce that Israel and Bolivia are renewing diplomatic relations,” he continued.
Israel and Bolivia: We renewed our diplomatic relations!
We’re continuing to work. pic.twitter.com/oUtcXyyaHa— Gideon Sa’ar | גדעון סער (@gidonsaar) December 10, 2025
During their meeting, both leaders committed to fully restoring diplomatic relations, appointing ambassadors, and fostering collaboration between government and private-sector representatives.
They also pledged ongoing dialogue and broader cooperation in areas including agriculture, security, health, innovation, and their shared fight against organized crime and narco-terrorism.
“Bolivia, the Jewish people, and the State of Israel share a long history of true friendship,” Saar said during his speech. “Bolivia opened its doors to Jewish refugees during the Second World War when much of the world closed its gates.”
“Bolivia supported the establishment of the State of Israel in the historic 1947 UN vote,” he continued. “For many decades, our two nations enjoyed warm diplomatic relations. The renewal of our ties is an important and welcome step.”
Bolivia has also announced it will lift visa requirements for Israelis entering the country, a move the top Israeli diplomat praised as helping to “strengthen the human bridge between our peoples.”
With the official launch of the Isaac Accords by Argentina’s President Javier Milei last week, Israel has been working to expand its diplomatic and security ties across Latin America, with the new effort designed to promote government cooperation and fight antisemitism and terrorism.
Modeled after the Abraham Accords — a series of historic US-brokered normalization agreements between Israel and several Arab countries, this initiative aims to strengthen political, economic, and cultural cooperation between the Jewish state and Latin American governments.
The first phase of the Isaac Accords will focus on Uruguay, Panama, and Costa Rica, where potential projects in technology, security, and economic development are already taking shape as the framework seeks to deepen cooperation in innovation, commerce, and cultural exchange.
On Monday, Israel and Costa Rica signed a free trade agreement covering goods, services, and investments, advancing their bilateral relations during Costa Rican Minister of Foreign Trade Manuel Tovar Rivera’s visit to Jerusalem.
Rivera also announced that Costa Rica will open an office for trade and investment innovation in Jerusalem next year.
The newly signed agreement will eliminate over 90 percent of tariffs, providing broad access for Israeli industrial and agricultural products to the Costa Rican market, while also reducing import costs on a wide range of goods, from food and medical equipment to industrial tools.
“This agreement opens significant new avenues for both Costa Rica and Israel,” Rivera said during a speech at the signing ceremony.
“It enhances access to high-quality Costa Rican goods and services while creating a mutually beneficial platform for collaboration in high-technology industries, premium agribusiness and specialized services,” he continued.
Building on the renewed momentum in diplomatic engagement across Latin America, Israel is expanding and strengthening its bilateral relations with several countries in the region.
Argentina announced plans to relocate its embassy to Jerusalem next spring, fulfilling a promise made last year as the two countries continue to deepen their ties.
Last week, Ecuador opened an additional diplomatic mission in Jerusalem, a move that Saar hailed as a “milestone” in strengthening their bilateral relations.
Paraguay, Guatemala, and Honduras, all of which have previously relocated their embassies to Jerusalem, have reaffirmed their support for Israel and signaled intentions to deepen future cooperation.
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What happens when you’re the only Jewish family in Oklahoma?
When her mother Clara dies suddenly of a stroke, Emily is left with her ashes and a note to scatter them on Sylvia’s farm in Chandler, Oklahoma. There’s a problem: Emily has no idea who Sylvia is and has never been to Oklahoma before in her life — and as far as she knows, neither had her mom.
Oklahoma Samovar, a new play opening at La MaMa’s Downstairs Theater, starts at the end of Emily’s trip to find Sylvia, who turns out to be an old woman with a bit of a memory issue and the sister of Emily’s grandmother Rose. When Emily asks why her mother would want her ashes left on the farm, Sylvia launches into their family history. She goes all the way back to 1887, when Emily’s great-grandparents Jake and Hattie fled persecution in Latvia with nothing but a feather bed and a samovar, and unfolds the stories of each generation over the play’s acts.
While most immigration stories usually focus on big cities, Oklahoma Samovar explores the little-known history of Jews in the Midwest in a deeply-human way. It is a tender portrayal of an immigrant family struggling to survive and figuring out their identity over multiple generations. Instead of villanizing or lionizing its characters, Oklahoma Samovar presents people with all their complexities, allowing them moments of moral failing while portraying them with empathy.
A fictional drama based on her own family history, playwright Alice Eve Cohen considers the play her “foundational work.”
“I’ve truly been working on Oklahoma Samovar since the day I met my Aunt Sylvia,” she said. “I met her in 1987. And I was so enthralled and inspired by her stories that I started writing about it probably the next day.”
After putting on a workshop production of the play in 2007, Cohen shelved Oklahoma Samovar to focus on other projects, including authoring two memoirs, writing several other plays, and teaching playwriting and creative writing at The New School. Over a decade later, she returned to working on Oklahoma Samovar and submitted it to the National Jewish Playwriting Contest, where it won in 2021.
“My very first draft of this play was almost verbatim documentation of the stories that Sylvia told me,” Cohen said. “It was very romantic. It was very fanciful. It was almost all positive, and there was no conflict.”
While some elements of the original play remain — such as the use of puppetry, which depicts long boat voyages and dream sequences — the new iteration is not an idealized version of the American Dream. Its characters are complex and flawed to the point that Jake kills someone trying to secure a home for his family during the Oklahoma Land Runs.
“I knew that I had incomplete stories,” Cohen said about the original conversation that inspired the play’s events.
“I’ve done research into the Oklahoma Land Run, which Sylvia described in the most romantic way,” Cohen went on. “In fact, the land run was a violent land grab, it was a theft of land from the Native Americans who had been forced to relocate to what was then called Indian territory.” Cohen explained. “I took this kernel of the story that Sylvia remembered from her childhood, her dad saying, ‘I lost my thumb, but I kept the farm,’ and I realized there was a shootout.”
Although Cohen’s exact version of events is imagined, the harsh depiction of the Land Runs encapsulates the brutality of the immigrant experience and the family’s desperate actions in pursuit of starting their lives in America.
Immigrants also had to choose between assimilating and preserving tradition, a conflict that is exacerbated for Hattie and Jake when they settle in Chandler, an Oklahoma town with virtually no Jewish community. Hattie struggles to connect with her new environment, concerned about the lack of a rabbi and a minyan, but Jake wholeheartedly embraces a new, goyish American cowboy persona. He even adopts a signature catchphrase: “Hot Diggety Damn!”
This struggle with identity follows their oldest daughter Rose into adulthood. Having grown up learning the Bible at Chandler’s Presbyterian Sunday School, Rose is unprepared for the level of Orthodoxy her new mother-in-law expects of her. A Russian immigrant who believes Rose’s lifestyle amounts to heresy, Mrs. Giventer spends her days dismissing Rose as a convert and poor excuse for a wife.
Cohen says these characters serve as a reflection of the diverse experiences in the Jewish diaspora. “They all practice Judaism in different ways. They’ve assimilated in different ways,” Cohen said. “They’ve either held on to their original accents and their original Yiddish language, or they have intentionally spurned them and Americanized as quickly and as completely as they can.”
“When family members from these different traditions and different positions in the spectrum of American Judaism meet, it isn’t always easy,” Cohen said. “There are often huge clashes.”
Even though virtually all the characters of Oklahoma Samovar are Jewish, Cohen does not imagine Jews to be her only audience.
“I think there are universal themes that relate to immigration and assimilation that anybody of any culture can relate to,” Cohen said. “While the play is set in Oklahoma and in New York and in Latvia, I think its stories transcend geographic boundaries.”
And perhaps it will inspire others to find the complicated truths that lie in the sweet family stories they’ve always heard.
Oklahoma Samovar is playing at LaMaMa’s Downstairs Theater through December 21st.
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