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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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China Slams Israel for Joining UN Human Rights Statement Condemning Beijing
Israel’s Ambassador to the United Nations Danny Danon addressing the UN Security Council on Sept. 19, 2024. Photo: Screenshot
China slammed Israel on Wednesday for joining a United Nations declaration condemning its human rights record, accusing some nations of “slandering” Beijing on the international stage as bilateral relations between the two countries grow increasingly tense.
Last week, Israel endorsed a US-backed declaration, signed by 15 other countries — including the United Kingdom, Australia, and Japan — that expressed “deep and ongoing concerns” over human rights violations in China.
In a rare move, Jerusalem broke with its traditionally cautious approach to China — aimed at preserving diplomatic and economic ties — by signing on to the statement as Beijing continues to strengthen relations with Iran, whose Islamic government openly seeks Israel’s destruction, and expand its influence in the Middle East.
China, a key diplomatic and economic backer of Tehran, has moved to deepen ties with the regime in recent years, signing a 25-year cooperation agreement, holding joint naval drills, and continuing to purchase Iranian oil despite US sanctions.
China is the largest importer of Iranian oil, with nearly 90 percent of Iran’s crude and condensate exports going to Beijing.
Iran’s growing ties with China come at a time when Tehran faces mounting economic sanctions from Western powers, while Beijing itself is also under US sanctions.
According to some media reports, China may be even helping Iran rebuild its decimated air defenses following the 12-day war with Israel in June.
With this latest UN declaration, the signatory countries denounced China’s repression of ethnic and religious minority groups, citing arbitrary detentions, forced labor, mass surveillance, and restrictions on cultural and religious expression.
According to the statement, minority groups — particularly Uyghurs, other Muslim communities, Christians, Tibetans, and Falun Gong practitioners — face targeted repression, including the separation of children from their families, torture, and the destruction of cultural heritage.
In response, China’s Foreign Ministry accused the signatories of “slandering and smearing” the country and interfering in its internal affairs “in serious violation of international law and basic norms of international relations.”
The UN declaration also voiced “deep concern” over the erosion of civil liberties and the rule of law in Hong Kong, citing arrest warrants and fines for activists abroad, as well as the use of state censorship and surveillance to control information, suppress public debate, and create a “climate of fear” that silences criticism.
Western powers called on China to release all individuals unjustly detained for exercising their human rights and fundamental freedoms and to fully comply with international law.
Israel’s latest diplomatic move comes amid an already tense relationship with China, strained since the start of the war in Gaza. In September, Israeli Prime Minister Benjamin Netanyahu accused Beijing, along with Qatar, of funding a “media blockade” against the Jewish state.
At the time, the Chinese embassy in Israel dismissed such accusations, saying they “lack factual basis [and] harm China-Israel relations.”
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‘Dead on Arrival’: Inside the Breakdown of Second Phase of Gaza Ceasefire and Hamas’s Resurgent Control
Palestinian Hamas terrorists stand guard at a site as Hamas says it continues to search for the bodies of deceased hostages, in Beit Lahiya in the northern Gaza Strip, Dec. 3, 2025. Photo: REUTERS/Stringer
The second phase of the Trump administration’s Gaza plan has collapsed into “stalemate,” according to Gaza-born analyst Ahmed Fouad Alkhatib, derailing plans to disarm Hamas and enabling the terrorist group to reassert control over aid convoys and Gaza’s three main hospitals, which he said have turned into interrogation centers for political opponents.
“Phase Two is not going to proceed,” Alkhatib, senior fellow at the Atlantic Council, said in a call with journalists on Tuesday.
Under the plan, the first stage included Hamas releasing all the remaining hostages, both living and deceased, who were kidnapped by Hamas-led Palestinian terrorists during their Oct. 7, 2023, invasion of and massacre across southern Israel. In exchange, Israeli released thousands of Palestinian prisoners and detainees and partially withdrew its military forces in Gaza.
Currently, the Israeli military controls 53 percent of Gaza’s territory, and Hamas has moved to reestablish control over the other 47 percent. However, the vast majority of the Gazan population is located in the Hamas-controlled half, where the Islamist group has been imposing a brutal crackdown.
The second stage of the US plan was supposed to install an interim administrative authority — a so-called “technocratic government” — deploy an International Stabilization Force — a multinational force meant to take over security in Gaza — and begin the demilitarization of Hamas, the Palestinian terrorist group that has ruled the enclave for nearly two decades.
“The International Stabilization Force is dead on arrival,” Alkhatib said. “The gap between what the force is meant to do versus the expectation of the volunteers is too wide.”
Alkhatib’s comments stood in stark contrast to those of US President Donald Trump, who on Wednesday told reporters at the White House that phase two of his Gaza peace plan was “going to happen pretty soon.”
“It’s going very well. We have peace in the Middle East. People don’t realize it,” Trump said. “Phase two is moving along. It’s going to happen pretty soon.”
However, Israel and Hamas have not actually reached an agreement regarding the second phase.
The United States had hoped to scale back its role in its newly built Civil-Military Coordination Center in the Israel city of Kiryat Gat, Alkhatib said, while pushing regional partners to assume responsibilities they lack the capacity or willingness to take on.
However, Saudi Arabia and the United Arab Emirates are “furious” that the process has placed Qatar and Turkey, both longtime backers of Hamas, in what Alkhatib called the “driver’s seat,” giving them outsized influence over Gaza without requiring them to shoulder the financial burden.
“You put the Qataris in the driver’s seat, then why don’t you make them commit a billion dollars?” Alkhatib said.
Egypt and Jordan, meanwhile, lack the money and resources to train security personnel on the ground, while other partners like Pakistan and Indonesia have made clear they will not take part in disarming Hamas.
“Israel is the only body in the world — from a brute force perspective — that can take on Hamas,” he said, arguing that the Islamist group had been “very close to defeat” before the US-brokered ceasefire took effect in October, though at an extreme cost for Gazans and after a two-year campaign he said was at times undermined by far-right elements in the Israeli government.
Meanwhile, Hamas is building a new tax economy around the flow of goods into Gaza. Alkhatib described a sharp rise in commercial shipments alongside humanitarian aid, with merchants paying 50 percent of the value of the goods in taxes and fees.
“The same Qassam brigadiers [Hamas operatives] who were in tunnels throwing IEDs [improvised explosive devices] at Israeli soldiers are now protecting commercial goods trucks,” he said.
He added that Hamas was continuing to seize control of the humanitarian pipeline, imposing charges on aid shipments and asserting authority over the 800 to 900 trucks entering Gaza each day.
Alkhatib’s comments came one day before the research institution NGO Monitor, which tracks anti-Israel bias among nongovernmental organizations, released a new report revealing how Hamas has long run a coordinated effort to penetrate and influence NGOs in Gaza, systematically weaponizing humanitarian aid in Gaza and tightening its grip over foreign NGOs operating in the territory.
The terrorist group has also stepped up the recruitment of teenagers, described by Alkhatib as “child soldiers,” to help enforce control over goods and movement.
Gaza’s three main hospitals — Shifa, Nasser, and Al-Aqsa — have been turned into “pseudo-government operation centers,” Alkhatib said, with the terrorist group embedding elements of its Interior, Economy, and Finance ministries inside the compounds, and using them to interrogate political opponents, levy financial penalties on businessmen, and oversee arrests.
Alkhatib said the difficulty of speaking candidly about Hamas’s conduct has created a distorted public conversation.
“I can’t say these things without journalists saying, ‘Ahmed, I can’t believe you’re repeating Israeli talking points,’” he said. “Meanwhile, you talk to any child in Gaza about what’s happening [in the hospitals],” he added, noting that Gazans have circulated a grim joke that Hamas has “come out of the labor and delivery department” — a reference to operatives hiding in maternity wards and using pregnant women as human shields.
Part of the postwar landscape now includes several anti-Hamas militias, loosely aligned under the Abu Shabab group. While some Muslim Brotherhood–aligned outlets, including Al Jazeera, have claimed the Israel Defense Forces plan to dismantle these militias, Alkhatib argued the opposite is more likely, predicting the IDF will lean on them as the only armed actors available for post-ceasefire “mop-up” operations against Hamas cells.
In late October, The Algemeiner reported that four Israel-backed militias fighting Hamas are moving to fill the power vacuum in Gaza, pledging to cooperate with most international forces involved in rebuilding the enclave but vowing to resist any presence from Qatar, Turkey, or Iran.
Iran, like Qatar and Turkey, has spent years supporting Hamas.
Based in Khan Younis, Hossam al-Astal, commander of the Counter Terrorism Strike Force, said his group and three allied militias had coordinated in recent weeks to secure areas vacated by Hamas.
The militias, mainly in southern Gaza, are not part of US President Donald Trump’s proposed plan for a technocratic administration in the enclave.
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In ‘The Secret Agent,’ a peek into Brazilian Jewish history — and a warning against propaganda
When we first meet Marcelo in the fiction film The Secret Agent, the only thing that’s clear is that he’s on the run — we’re not sure that Marcelo is his real name, who he’s on the run from, or why. As the story, set in 1977 Brazil, unravels, we learn government officials and hired killers are working together to take Marcelo down and strip him of any credibility he had in his pre-fugitive life — even if that means manipulating the press.
But the film also spends time on the characters Marcelo meets while hiding among others being persecuted by the military dictatorship in the city of Recife, illustrating the diversity of the people affected by the fascist regime.
One of those characters is a man many assume is an escaped Nazi; in fact, however, he is a Holocaust survivor.
The audience’s introduction to the survivor, Hans, played by German actor Udo Kier in his final film role before his death, is not a pleasant one. A corrupt police chief named Euclides brings Marcelo to Hans’ tailor shop, insisting there is something interesting he must see there. Euclides then forces Hans to lift his shirt and show his scars — something Euclides clearly regularly has the man to do as we can see by Hans’ immediate sour reaction to the chief.
Euclides believes the intense, sprawling scar tissue tells a glorious military story of a Nazi who evaded capture.
“He’s just fascinated with, I don’t know, maybe Nazi Germany, with the German soldier, or the idea of the German soldier,” explained director Kleber Mendonça Filho in a video interview. “And he seems to have a one track mind in terms of thinking that Hans, because he’s German, must have been a heroic soldier in the German army in the Second World War, which explains why he’s still alive.”

But, as the audience learns through a conversation Hans has with an employee in German — and a shot of the menorah he has tucked away in his office — he is actually a Jewish Holocaust survivor. His wounds are a testament to surviving violent antisemitism, not markers of fighting for militaristic ideals the police chief believes they share.
“Identity can be on your body,” Filho said. “In the scars that you have, in the tattoos that you have, in the way that you have collected physical experience throughout life.”
Like many of the elements in the film, the character of Hans was inspired by Filho’s own memories of growing up in Recife during the Brazilian military dictatorship, known for its violent suppression of media and political dissidents, that ruled the country from 1964-1985. Even though Filho was only 9 years old at the time the film is set, he remembers a lot from that time in his life, including an old Romanian tailor his father visited in the downtown area that they recreated in the film.
Filho combined this character from his life with the experience of growing up in an area with a strong Jewish presence. Recife was the site of Brazil’s first organized Jewish community, which consisted of Dutch Jews, who arrived with other Dutch colonialists, and Sephardic Jews escaping the Portuguese and Spanish Inquisitions. Between 1636 and 1640, these Jews built the first synagogue in the Americas, Kahal Zur Israel, which was turned into a museum in 2001.
In 1654, the Portuguese expelled Dutch Colonists and Jews from Brazil, but another wave of Jewish immigration from Eastern Europe in the 1910s revitalized Recife’s Jewish population. Even though Filho isn’t Jewish, he had a lot of Jewish friends throughout his life, even styling the marine biologist in the film off of one of them.
Although The Secret Agent takes place in 1977, Filho saw events similar to those he wrote into the film play out around him under the presidency of Jair Messias Bolsonaro, which lasted from 2019 to 2023.
Filho said that “a lot of the logic of what was happening under the Bolsonaro regime seemed to mimic” the military regime of the 20th century “in a fetishistic way.”
“Words like torture were now being thrown around,” he said, “misogynistic treatment of women in words that would be questionable in 1977 and completely alien and unacceptable today.”
Filho said the country also experienced a renewed period of racism and xenophobia under Bolsonaro, encouraged by the policies of the government. And those were sometimes overtly inspired by admiration for Nazi Germany; then-Special Secretary Roberto Alvim was removed from his post after just a few months for plagiarizing a speech from Nazi Propaganda Minister Joseph Goebbels.
Today, in the United States, many are worried that Nazis are being reimagined as the good guys, as Holocaust deniers like Nick Fuentes are given increased attention by news pundits and the Trump administration normalizes relations with the far-right groups.
Much of the plot of The Secret Agent concerns the rewriting of history through propaganda and media censorship. And the intimate and abusive interaction between the police chief and Hans feels like a particularly salient demonstration of how easily facts can be written over to fit the world someone might want to see.
The post In ‘The Secret Agent,’ a peek into Brazilian Jewish history — and a warning against propaganda appeared first on The Forward.
