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2022 was a big year for Jews in the arts. Here’s what happened on screen and stage.
(JTA) – Once more for the record, Dave Chappelle: Jews don’t actually run Hollywood.
But anyone paying attention to pop culture in 2022 saw a lot of Jewish creativity. This year saw several big, distinctly Jewish releases across multiple media, ranging from acclaimed movies to popular TV shows to theater, books and viral TikToks. And amid endless debates over who has the right to tell (and be cast in) Jewish stories, it was notable just how many of the biggest pop-culture events of the year fervently embraced Jewish identity.
Here were the biggest Jewish cultural releases of 2022:
Growing up Jewish at the movies
From left to right: Paul Dano, Mateo Zoryna Francis-Deford and Michelle Williams as fictionalized members of Steven Spielberg’s family in his film “The Fabelmans.” (2022 Universal Pictures and Amblin Entertainment)
Two of the year’s big art-house film releases were autobiographical portrayals of their directors’ Jewish upbringings. In “The Fabelmans,” Steven Spielberg’s account of how he became a filmmaker, a teenager in 1950s America navigates a fracturing Jewish family and antisemitism at school. And in “Armageddon Time,” James Gray’s retelling of his Reagan-era childhood (with appearances from the Trumps), a Jewish family in Queens, New York tries to assimilate into the WASPy upper class — while their young son brushes aside the needs of his Black friend.
‘Tár’ and teshuvah
While the families in “The Fabelmans” and “Armageddon Time” were obviously Jewish, Cate Blanchett’s monstrous fictional conductor in “Tár” was not — which made it all the more surprising when the film not-so-subtly incorporated several Jewish themes into its story of artistic success and karmic retribution. The acclaimed drama looks to make big inroads this awards season as it gives audiences a de facto Hebrew lesson.
A ‘Rehearsal’ for living Jewishly
Miriam Eskenasy, a cantor and Portland-based Hebrew and b’nei mitzvah tutor, had a pivotal moment in HBO’s meta-reality show “The Rehearsal,” created by and starring Nathan Fielder, left. (Screenshot)
Gonzo comedian Nathan Fielder staged elaborate simulations of everyday life in “The Rehearsal,” a new HBO series that proved to be among the buzziest TV shows of the year — and whose late-season pivot to discussions of Jewish parenting caught just about everyone by surprise. As the Internet lit up with conversations about Miriam Eskenasy, the Hebrew tutor Fielder hired for his fake Jewish son, JTA spoke to Miriam herself about the various questions of Jewish identity explored by the show.
‘The U.S. and the Holocaust’ under a microscope
The latest Ken Burns PBS history documentary, relaying how the United States responded to the horrors of the Holocaust both on the homefront and in wartime, ignited a fierce national reckoning over America’s historic treatment of Jews and outsiders. Burns and his Jewish co-directors told JTA they hoped to communicate an important lesson to the country about antisemitism and xenophobia that could challenge America’s founding myths.
TV had Jewish conflicts, with heart
Laura Niemi as Beth Strauss and Steve Carell as Alan Strauss in “The Patient.” (Suzanne Tenner/FX)
Narrative TV saw storylines about Jews clashing with each other and bonding with unexpected allies. FX/Hulu’s thriller “The Patient” dug into an inter-family divide between Reform parents and Orthodox children, even as the show weathered criticism for its casting of non-Jew Steve Carell as a Jewish therapist. Another Hulu show, Ramy Youssef’s “Ramy,” entered its third season with a storyline set in Israel and an Orthodox Jewish supporting character — notable for a series that focuses on a Muslim American protagonist.
A Nazi gold train on ‘Russian Doll’
Natasha Lyonne’s time-hopping Netflix series returned for a second season this year, reaching deep into the past to find Lyonne’s protagonist Nadia unearthing generations of Jewish trauma in her family. It all culminated with her exploration of a Hungarian “gold train” filled with treasures the Nazis supposedly looted from the country’s Jews during wartime. Lyonne was drawing on real-life Holocaust history for the plot, suggesting that Jewish inherited trauma remains with us to this day.
‘And Just Like That,’ some uncomfortable Jewish jokes
HBO’s “Sex and the City” follow-up was largely viewed by fans of the original as a fascinating trainwreck. Jewish viewers saw something else: a throughline of bizarre Jewish jokes, from a midseason flirtation with a Holocaust denier to a season-finale “They Mitzvah” that ultimately didn’t happen.
‘Funny Girl,’ serious cast conflicts
Beanie Feldstein as Fanny Brice during the opening night curtain call for the musical “Funny Girl” on Broadway at The August Wilson Theatre in New York City, April 24, 2022. (Bruce Glikas/WireImage)
A classically Jewish Broadway show became the centerpiece of the year’s messiest backstage drama. “Funny Girl,” the hotly anticipated revival of the biographical musical about Jewish comedian Fanny Brice that initially launched the career of Barbra Streisand, debuted in spring to sky-high expectations. Lead Beanie Feldstein told JTA that taking on the role of Brice was “incredibly meaningful for me as a Jewish woman.” But following poor reviews and ticket sales, Feldstein exited with gusto — and was replaced by Lea Michele, the “Glee” star with Jewish ancestry who’d spent much of her career openly pining for the role of Fanny.
Tom Stoppard’s ‘Leopoldstadt’ puts the Shoah on stage
While Tom Stoppard would make just about anybody’s shortlist of the world’s most influential playwrights, he had never before explored his Jewish background onstage — until this play. Stoppard’s sprawling new historical drama, featuring a massive cast depicting several generations of Austrian Jews before and after the Holocaust, was Broadway’s most hotly debated play this year — and, he told JTA, its themes of assimilation and lost Jewish histories are ideas he found to be rich and poignant.
Non-Jewish authors explore Jewish legacies
Two seismic novels this year dealt in controversial ways with traumatic Jewish history, both written by European non-Jews. The Polish Nobel laureate Olga Tokarchuk delivered the English translation of “The Books of Jacob,” a 1,000-page doorstopper steeped in the tale of false messiah Jacob Frank, while Irish author John Boyne delivered “All The Broken Places,” a sequel to his infamous Holocaust fable “The Boy in the Striped Pajamas” — as he defended the first against charges that it was implausible and tone deaf.
Jewish comedians stuck out their shtick
Ariel Elias makes her TV debut on “Jimmy Kimmel Live,” Oct. 24, 2022. (Screenshot from YouTube)
Stand-up comedy could be a scary place for Jews this year — see the aforementioned Dave Chappelle controversy. But a new generation of Jewish jokers still found ways to assert themselves, whether it was Ariel Elias parlaying a confrontation with a heckler into a very Jewish “Jimmy Kimmel Live” set or Ari Shaffir’s YouTube special about leaving Judaism, but not his Jewishness, behind. The New York Jewish Week was among the sponsors of a “Chosen Comedy Festival” that drew 4,000 people to Coney Island for a night of unapologetically Jewish standup by the likes of Modi, Jessica Kirson and Elon Gold. Meanwhile, British Jewish comic David Baddiel opened up a giant can of worms by playing it straight with his TV documentary “Jews Don’t Count,” based on his book about the ways he believes progressive circles have disregarded the scourge of antisemitism.
The Miami Boys Choir lit up the Internet
The Miami Boys Choir went viral on TikTok and Twitter, creating a new generation of fans of the Orthodox pop group.
(Screenshots via Twitter, TikTok/Design by Jackie Hajdenberg)
If you recently found yourself moved to tears by clips of Orthodox boys singing harmonized Hebrew pop songs on TikTok, you weren’t alone. The Miami Boys Choir became a breakout viral sensation this fall, with millions of newly minted fans celebrating their besuited swagger — and a few of the group’s alums getting in on the fun, too. MBC’s success was welcomed by Orthodox Jews in every corner of the Internet, who often feel sidelined or misrepresented by their depictions in popular culture.
A new Museum of Broadway is a Jewish hall of fame
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
Delayed by COVID, the Museum of Broadway finally opened in the heart of New York’s Theater District. And while it doesn’t go out of its way to center the Jewish contributions to the Great White Way, the work of Jewish composers, lyricists, playwrights, producers and choreographers is everywhere, from exhibits dedicated to Rodgers and Hammerstein and Stephen Sondheim to tributes to Mel Brooks, Tony Kushner and the late, great cartoonist Al Hirschfeld.
Other Jewish stories from 2022 now available to stream:
13: The Musical (Netflix)
Ahed’s Knee (VOD rental)
American Masters: The Adventures of Saul Bellow (PBS)
The Calling (Peacock)
Cha Cha Real Smooth (Apple TV+)
Heirs to the Land (Netflix)
Hallelujah: Leonard Cohen, A Journey, A Song (VOD rental)
Idina Menzel: Which Way to the Stage (Disney+)
Image of Victory (Netflix)
Jackass Forever (Paramount+)
Last Flight Home (Paramount+)
Ridley Road (PBS)
Shababnikim (Chaiflicks)
Yosi, the Regretful Spy (Amazon Prime)
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The post 2022 was a big year for Jews in the arts. Here’s what happened on screen and stage. appeared first on Jewish Telegraphic Agency.
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Why is AIPAC targeting Trump’s ICE funding?
The American Israel Public Affairs Committee, often a reliable ally of pro-Israel Republicans, is now echoing Democratic outrage over one of President Donald Trump’s most polarizing policies: immigration enforcement. It comes amid backlash sparked by the fatal shooting this month of Renee Good by an ICE agent in Minneapolis.
AIPAC’s super PAC, United Democracy Project, began airing an attack ad over the weekend against former Democratic Rep. Tom Malinowski, who is running in a Feb. 5 primary for the House seat vacated by New Jersey Governor-elect Mikie Sherrill. The ad highlights his 2019 vote for a bipartisan border funding bill, which included an increase in funds for the Immigration and Customs Enforcement agency. “We can’t trust Tom Malinowski” to stand up to President Donald Trump, the voiceover says in the 30-second video.
AIPAC has become increasingly controversial among mainstream Democrats for backing pro-Israel Republicans who questioned the 2020 election results. That opposition deepened during the Gaza war as Democratic voters became more polarized over U.S. policy on Israel. Congressional candidates, including some Jewish Democrats, have promised not to take contributions from AIPAC. The group has also drawn attacks from white nationalists and some leaders of the MAGA movement for their lobbying on behalf of a foreign government.
The new ad is especially notable given that AIPAC has spent years cultivating ties to Trump-aligned Republicans, many of whom strongly support aggressive immigration enforcement. By attacking a Democrat over ICE funding while sidestepping Trump himself, the group is threading a narrow needle — aligning rhetorically with Democratic outrage while maintaining its broader bipartisan posture.
In the 2024 election cycle, the group spent $28 million in high-stakes Democratic primaries. That included more than $14 million, which contributed to the defeat of Rep. Jamaal Bowman, a strident critic of Israel. Malinowski, who served two terms in Congress from 2019 to 2023, holds a mainstream Democratic stance on Israel. During his first term, he traveled to Israel on a trip sponsored by the American Israel Education Foundation, AIPAC’s educational affiliate.
Israel has not been a key issue in the crowded special election in the northern New Jersey district, which includes a sizable Jewish electorate. The Jewish Democratic Council of America held a virtual candidate forum last week with eight candidates on issues important to Jewish voters.
A spokesperson for the United Democracy Project did not immediately respond to questions about why the group is targeting Malinowski, particularly on such a deeply contentious political issue. AIPAC spent at least $350,000 on the ad.
AIPAC ad is out https://t.co/f0cH6AIgja pic.twitter.com/udwL7nJgYf
— umichvoter (@umichvoter) January 17, 2026
Malinowski, 60, is a former assistant secretary of state for democracy, human rights and labor in President Barack Obama’s second term and previously served as a foreign policy speechwriter for President Bill Clinton. He first ran for Congress in 2018 in New Jersey’s 7th District, saying he was motivated by Trump’s election.
“I am myself an immigrant from Poland. My family was not Jewish, but experienced life under the Nazi occupation,” Malinowski said in an interview at the time. “That’s where my commitment to defending human rights comes from. That’s where my belief in the importance of protecting Israel comes from.” He is a close friend of former Secretary of State Antony Blinken. Malinowski was defeated in the 2022 election.
Malinowski is competing for the open seat against at least two leading contenders: Outgoing Lt. Gov. Tahesha Way and Essex County Commissioner Brendan Gill.
AIPAC typically focuses on U.S.-Israel relations and national security issues. However, its political arm has focused on domestic issues in close contests.
In 2024, they attacked Reps. Jammal Bowman of New York and Cori Bush of Missouri — two of the first House members to advocate for a ceasefire after the Hamas attack on Oct. 7, 2023 — over their votes against signature Biden-era bills, like infrastructure and healthcare.
In a statement to the New Jersey Globe, Malinowski called the attack “laughably preposterous” and suggested it would boomerang against AIPAC. “I have many pro-Israel supporters in the district, including AIPAC members, who believe you can be passionately pro-Israel while being critical of Netanyahu,” Malinowski said. “To say that they’re appalled by this ad would be an understatement. In fact, I’m reading a collective sense that AIPAC has lost its mind.”
The post Why is AIPAC targeting Trump’s ICE funding? appeared first on The Forward.
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The Jewish women who kept Confederate graves from disappearing
In June 1866, just over a year after the Civil War ended, young Jewish men in Richmond, Virginia, removed their coats and set to work among the graves of their fallen comrades. Some were “frail of limb,” a newspaper noted. They wheeled gravel and turf, filled the graves, and tamped the earth down “in a very substantial manner.” It was the last sad tribute they could offer.
The work that day was organized by Jewish women in the city. Their aim was permanence: to enclose the soldiers’ graves, to mark them, and to ensure they would not disappear “before the relentless finger of time.”
The Hebrew Cemetery in Richmond was established in 1816, decades before the Civil War reshaped the nation and long before the city became the capital of the Confederacy. It was the second burial ground for the Beth Shalome Congregation, Virginia’s first synagogue. Tucked within its grounds is the Soldiers’ Section, where 30 Jewish Confederate soldiers are buried, in what is believed to be one of only two Jewish military cemeteries in the world outside Israel.
They came from across the South, including Georgia, Mississippi, South Carolina, Virginia, and beyond. A bronze plaque at the entrance reads: “To the glory of God and in memory of the Hebrew Confederate soldiers resting in this hallowed spot.”
What matters here is not only who is buried — but who remembered them, and how.
The work the war left behind
In 1866, just a year after the war’s end, Jewish women in Richmond organized the Hebrew Ladies’ Memorial Association. That same year, the group issued an appeal “to the Israelites of the South” for aid to enable the society to care for the graves of Jewish Confederate soldiers from all over the South who lie buried in the cemeteries of Richmond.
It was a duty, an act of chesed shel emet, Hebrew for the truest form of kindness, performed for those who could not repay it.
Newspaper accounts from the period are striking for their clarity and urgency. These women understood that the work of memory is laborious — physical, ongoing, and vulnerable to neglect. Graves, they warned, could vanish unless someone acted.
So they took responsibility.
By the late 1860s and 1870s, the Association’s work had grown to include an annual memorial service. Reports describe flowers laid carefully on each grave, marble slabs placed at the head of each burial, names and regiments inscribed so those resting there would not slip into anonymity.
An 1868 account observed that “each grave has been marked in a manner that ensures that the names of the still tenants of this beautiful spot will be preserved from oblivion; and handed down to be further cherished by the generations yet to come.”
That language echoes a Jewish concept. Zachor. Remember.
Memory, they understood, does not preserve itself.
Importantly, these memorial services were not closed affairs. One report from 1868 noted that the crowd gathered in the cemetery “was not confined to any one denomination.” Jewish lives were honored in the public view, but still held apart from Richmond’s larger Confederate cemeteries, Hollywood and Oakwood, which were not consecrated for Jewish burial and could not accommodate Jewish ritual requirements, including separate sacred ground.
Tending the dead
The care itself remained constant, but the language surrounding it did not.
What is striking in early accounts of the Soldiers’ Section of the Hebrew Cemetery is not the absence of politics, but how its weight changes over time.
In the earliest years, memory and the war were still closely bound. The 1866 appeal issued by the Hebrew Ladies’ Memorial Association spoke openly of a “glorious cause” and framed the soldiers’ deaths within the language of Confederate sacrifice. Like other women’s memorial groups in the postwar South, these Jewish women used care for the dead to assert dignity and a claim to sacrifice in a defeated society.
Yet even then, the work itself was grounded in restraint. The focus was on names, tending, and preservation — on preventing the graves from vanishing. The labor was physical, repetitive, and unglamorous. Whatever meanings surrounded it, the work remained the same.
As decades passed, the emphasis shifted. By the 1930s, memorial services featured a cadet, Walter McDonald of the Catholic Benedictine College, sounding taps and the ceremonial laying of wreaths. Confederate organizations were invited to attend. In 1940 and 1941, the public was welcomed to observe the 74th and 75th annual memorials. After 1941, the Hebrew Ladies’ Memorial Association continued to participate alongside other organizations in Memorial Day observances, but it appears that by 1947 the local observance of “Hebrew Memorial Day” or “Jewish Confederate Memorial Day” faded as a distinct commemoration.
Across generations, the observance persisted, a refusal to abandon the dead to neglect. Memory grew larger than any one explanation. The women’s work became less about what the war had meant, and more about what the living still owed to their dead.
A refusal to forget
This is a complex story that shows how history so often complicates memory. It sits at the intersection of some of America’s most divisive episodes and a small minority faith community declaring its presence and its sacrifices over decades.
When the Civil War ended, Jews needed to be buried. What followed was a choice.
The Hebrew Ladies’ Memorial Association chose to take responsibility. To remember “many a loved brother, son, and husband.” To insist that whatever judgment history would render, oblivion was not acceptable for “Israelitish soldiers of the Confederate army.”
Today, the Soldiers’ Section in Richmond’s Hebrew Cemetery remains. Names are still remembered. The work begun in 1866 was not temporary.
The post The Jewish women who kept Confederate graves from disappearing appeared first on The Forward.
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Spanish PM Sanchez Says US Invasion of Greenland ‘Would Make Putin Happiest Man on Earth’
Russian President Vladimir Putin welcomes US President Donald Trump’s envoy Steve Witkoff during a meeting in Moscow, Russia, Aug. 6, 2025. Photo: Sputnik/Gavriil Grigorov/Pool via REUTERS
Spanish Prime Minister Pedro Sanchez said a US invasion of Greenland “would make Putin the happiest man on earth” in a newspaper interview published on Sunday.
Sanchez said any military action by the US against Denmark’s vast Arctic island would damage NATO and legitimize the invasion of Ukraine by Russia.
“If we focus on Greenland, I have to say that a US invasion of that territory would make Vladimir Putin the happiest man in the world. Why? Because it would legitimize his attempted invasion of Ukraine,” he said in an interview in La Vanguardia newspaper.
“If the United States were to use force, it would be the death knell for NATO. Putin would be doubly happy.”
President Donald Trump on Saturday appeared to change tack over Greenland by vowing to implement a wave of increasing tariffs on European allies until the United States is allowed to buy Greenland.
In a post on Truth Social, Trump said additional 10 percent import tariffs would take effect on February 1 on goods from Denmark, Norway, Sweden, France, Germany, the Netherlands, Finland and Great Britain — all already subject to tariffs imposed by Trump.
Those tariffs would increase to 25 percent on June 1 and would continue until a deal was reached for the US to purchase Greenland, Trump wrote.
Trump has repeatedly insisted he will settle for nothing less than ownership of Greenland, an autonomous territory of Denmark. Leaders of both Denmark and Greenland have insisted the island is not for sale and does not want to be part of the United States.
