“When I do feel that I’m right, I’m not much bothered by criticism,” she added. “Who has ever stood up against injustice without being criticized? If that’s all I have to endure, then it’s very little.”
Uncategorized
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)
—
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.
Continue Reading
Uncategorized
Sally Rooney to Publish Hebrew Translation of Latest Book With Pro-BDS Israeli Publisher
Author Sally Rooney in an interview with “PBS NewsHour.” Photo: Screenshot.
Award-winning Irish author Sally Rooney will publish a Hebrew translation of her latest novel, Intermezzo, through an independent Israeli publishing house that supports the boycott, divestment, and sanctions (BDS) movement against Israel, it was announced on Tuesday.
According to its website, November Books aims to “promote the full realization of human rights … and in particular for Palestinians living under all forms of Israeli oppression including the military occupation.” The Israeli publishing house said it is also “committed to the idea, in line with Palestinian and democratic voices in Israel, that Israel should not be a Jewish state but rather a state of all its citizens and recognize the right of return as it was accepted by the UN. We strongly oppose any form of inequality and apartheid.”
November Books will publish the Hebrew translation of Intermezzo in collaboration with +972 Magazine and Local Call, two independent Israeli news outlets. Translated by Debbie Eylon and edited by Asaf Schurr, it will be published in June “in a way that honors the principles of the boycott and stands in solidarity with the Palestinian demand for freedom, equality, and justice,” +972 Magazine executive director Haggai Matar wrote on Tuesday in an op-ed announcing the news. The novel, published in 2024, focuses on two brothers following the death of their father, and it explores themes of grief, love, and family.
In 2021, Rooney announced she would only allow her third book, Beautiful World, Where Are You, to be translated to Hebrew through a publishing house that complies with the BDS movement’s “institutional boycott guidelines” against Israel. The 35-year-old author said she does not want to partner with an Israeli company “that does not publicly distance itself from apartheid and support the UN-stipulated rights of the Palestinian people.”
At the time, Rooney had already published Hebrew translations of two of her novels — 2017’s Conversations With Friends and 2018’s Normal People – with the Israeli publishing house Modan, but refused to let them translate Beautiful World, Where Are You.
BDS seeks to isolate Israel from the international community as a step toward its eventual elimination. Leaders of the movement have repeatedly stated their goal is to destroy the world’s only Jewish state.
Rooney spoke this week to The Guardian and attempted to explain her position.
“For me, the act of translation is in itself a beautiful ideal,” she said. “Though my refusal to work with complicit Israeli publishing houses made the contractual side of things more complex, I was, of course, never boycotting the Hebrew language or any language.”
Last year, Rooney said she would give proceeds from her books and BBC adaptations of them to support Palestine Action, an anti-Israel group designated as a terrorist organization in the United Kingdom.
Uncategorized
For Israel, the Accusation Itself Becomes Proof
People attend the annual al-Quds Day (Jerusalem Day) rally in London, Britain, March 23, 2025. Photo: REUTERS/Jaimi Joy
A dangerous shift happens when people stop feeling responsible for verifying what they believe. The accusation itself becomes enough. Once institutions repeat something with enough confidence, many decent people hand over their judgment completely. They assume somebody else has already checked the facts.
That is where real danger begins.
A case is being built against Israel in international courts, and much of the public discussion around it already feels emotionally settled long before most people have examined a single document, testimony, or legal standard for themselves.
The International Court of Justice has no meaningful conflict-of-interest mechanism comparable to what people would expect in many domestic legal systems. UN reports and secondary claims enter public discourse carrying the weight of institutional authority, even when the underlying sources were never cross-examined or independently verified in a courtroom setting.
At a certain point, the accusation itself becomes proof.
That pattern extends far beyond a courtroom. Perception gets taken over before a person realizes his or her thinking has been outsourced. Repetition creates familiarity. Familiarity creates emotional certainty. Eventually people stop asking where the information came from in the first place.
Jewish history carries enough experience with this pattern to recognize it early. A claim repeated often enough starts feeling like an established truth even before evidence exists to support it.
Once institutions absorb the accusation, the public no longer experiences skepticism as responsibility. Skepticism starts feeling like disobedience.
Artificial intelligence is about to accelerate this problem even further. AI systems absorb dominant narratives faster than human beings can examine them critically. Once a version of events becomes widely indexed, cited, repeated, and emotionally reinforced, it enters the system as background truth. The next generation encounters conclusions first and context later.
That matters because most people do not independently investigate history, legal claims, or war. They inherit understanding socially. Search engines shape it. Institutions shape it. Algorithms shape it. Repetition shapes it.
The responsibility for your own safety begins before the threat fully arrives. Physical self-defense taught me that years ago. Cognitive self-defense follows the same principle. A society that loses the ability to question emotionally satisfying accusations becomes vulnerable to manipulation at a scale far larger than any courtroom.
People once understood that serious accusations required serious proof. Today, institutional confidence often replaces evidence in the public mind. That shift should concern anyone who still believes good intentions alone are enough to protect people from participating in injustice.
Tsahi Shemesh is an Israeli-American IDF veteran and the founder of Krav Maga Experts in NYC. A father and educator, he writes about Jewish identity, resilience, moral courage, and the ethics of strength in a time of rising antisemitism.
Uncategorized
Fatah Turned 388 Terrorists Into Its Leaders at Its 8th General Conference
A meeting of the Fatah Revolutionary Council at the Bedouin village of Khan al-Ahmar in the West Bank, July 12, 2018. Photo: Reuters / Mohamad Torokman.
The Eighth Fatah Conference continued to glorify past Palestinian terrorist murderers while building the next generation of terrorist leadership.
PA and Fatah leader Mahmoud Abbas decided that all prisoners who were incarcerated for more than 20 years — meaning those who were guilty of murder or attempted murder — automatically would become part of the Palestinian leadership and thus were able to participate and vote at the conference, which took place this past weekend.
The consequence of this is that a total of 388 Palestinians, who as prisoners were presented as role models, just transitioned into becoming PA leaders.
A senior Fatah youth leader described the importance: “We have a great opportunity as Fatah youth … to learn from them.”
Palestinian Media Watch (PMW) has shown repeatedly exactly how the PA and Fatah, as policy, portray murderers of Jews as role models for all Palestinians, and especially youth:
Official PA TV newsreader: “The prisoners [i.e., terrorists] will also have prominent representation in the [Eighth Fatah] Conference, there will be participation of more than 388 prisoners who have served more than 20 years in the occupation’s [i.e., Israeli] prisons…”
Fatah Shabiba Youth Movement Secretariat member Tasami Ramadan: “The participation of the [released] prisoners this time in this conference… is a very qualitative addition... seeing this qualitative and special addition that our released prisoners will contribute, as they are not just released prisoners and we cannot summarize them only as such.
They are also [figures] of national stature and national pillars who have outlined the characteristics of Fatah’s path, and they are also spiritual and organizational pillars. We have a great opportunity as Fatah youth … to learn from them and to be their partners in building Fatah’s political decision.” [emphasis added]
[Official PA TV News, May 8, 2026]
A Fatah spokesman further legitimized the participation of released terrorists in Fatah’s leadership conference as they “precede everything” and are held “in highest regard:”
Fatah Spokesman and Eighth Fatah Conference preparatory committee member Iyad Abu Zneit: “The composition of the [Eighth Fatah] Conference is diverse and rich … Of course, the released prisoners [are also represented], as they precede everything.
I will emphasize that the leadership insisted on there being broad representation for the [released] prisoners at this conference… The group of prisoners that these ones represent from among those in the Fatah Movement also constitutes a significant number [of members], a large number, who have their own role, and we hold them in the highest regard. They have the right to be partners in Fatah, in the [Fatah] Revolutionary Council, in the leadership of the [Fatah] Central Committee, and in any place they can reach.” [emphasis added]
[Official PA TV, Topic of the Day, May 6, 2026]
PMW exposed last week that among the Fatah members at the Eighth General Conference and those running for Fatah leadership positions are released prisoners responsible for the murder of 75 people while some of the most venerated figures at the conference included arch-terrorist murderers Abu Iyad, who planned the Munich Olympics massacre, and Abu Jihad, who was responsible for the murder of 125 people.
The author is the Founder and Director of Palestinian Media Watch, where a version of this article first appeared.