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A history of Mel Brooks as a ‘disobedient Jew’
(JTA) — Jeremy Dauber subtitles his new biography of Mel Brooks “Disobedient Jew.” It’s a phrase that captures two indivisible aspects of the 96-year-old director, actor, producer and songwriter.
The “Jew” is obvious. Born Melvin Kaminsky in Brooklyn in 1926, Brooks channeled the Yiddish accents and Jewish sensibilities of his old neighborhoods into characters like the 2000 Year Old Man — a comedy routine he worked up with his friend, the writer and director Carl Reiner. He worked Jewish obsessions into films like 1967’s “The Producers,” which features two scheming Jewish characters who stage a sympathetic Broadway musical about Hitler in order to bilk their investors.
Brooks’ signature move is to inject Jews into every aspect of human history and culture, which can be seen in the forthcoming Hulu series “History of the World, Part II.” A sequel to his 1981 film, “History of the World, Part I,” it parodies historical episodes in a style he honed as a writer on 1950s television programs such as “Your Show of Shows,” whose writers’ rooms were stocked with a galaxy of striving Jewish comedy writers just like him.
The “Disobedient” part describes Brooks’ relationship to a movie industry that he conquered starting in the early 1970s. In a series of parodies of classic movie genres — the Western in “Blazing Saddles,” the horror movie in “Young Frankenstein,” Alfred Hitchcock in “High Anxiety — he would gently, sometimes crudely and always lovingly bite the hand that was feeding him quite nicely: In 1976, he was fifth on the list of top 10 box office attractions, just behind Clint Eastwood.
Dauber describes the parody Brooks mastered as “nothing less than the essential statement of American Jewish tension between them and us, culturally speaking; between affection for the mainstream and alienation from it.”
Dauber is professor of Jewish literature and American studies at Columbia University, whose previous books include “Jewish Comedy” and “American Comics: A History.” “Mel Brooks: Disobedient Jew” is part of the Jewish Lives series of brief interpretative biographies from Yale University Press.
Dauber and I spoke about why America fell for a self-described “spectacular Jew” from Brooklyn, Brooks’ lifelong engagement with the Holocaust, and why “Young Frankenstein” may be Brooks’ most Jewish movie.
Our conversation was edited for length and clarity.
Jewish Telegraphic Agency: “History of the World, Part II” comes out March 6. “History of the World, Part I” may not be in the top tier of Brooks films, but it seems to touch on so many aspects of his career that you trace in your book: the parody of classic movie forms, the musical comedy, injecting Jews into every aspect of human civilization, and the anything-for-a-laugh sensibility.
Jeremy Dauber: I agree. There’s the one thing that really brings it home, and it’s probably the most famous or infamous scene from the film. That’s the Spanish Inquisition scene. You have Brooks sort of probing the limits of bad taste. He had done that most famously in “The Producers” with its Nazi kickline, but here he takes the same idea — that one of the ways that you attack antisemitism is through ridicule — and turns the persecution of the Jews into a big musical number. It’s his love of music and dance. But the thing that’s almost the most interesting about this is that he takes on the role of the Torquemada character.
As his henchman sing and dance and the Jews face torture, the Brooklyn-born Jew plays the Catholic friar who tormented the Jews.
That’s right. And what’s the crime that he accuses the Jews of? “Don‘t be boring! Don‘t be dull!” That’s the worst thing that you can be. It’s his way of saying, “If I have a religion, you know, it is show business.”
His fascination with showbiz seems inseparable from his Jewishness, as if being a showbiz Jew is a denomination in its own right.
One of my favorite lines of his is when he marries [actress] Anne Bancroft, who of course is not Jewish. And he says, “She doesn’t have to convert: She’s a star.” If you’re a star, if you’re a celebrity, you’re kind of in your own firmament faith-wise, and so it’s okay. Showbiz is this faith. But it is very Jewish, because show business is a way to acceptance. It’s a way that America can love him as a Jew, as Mel Brooks, as a kid from the outer boroughs who can grow up to marry Anne Bancroft.
Jeremy Dauber is the author of “Mel Brooks: Disobedient Jew” (Yale University Press)
You write early on that “Mel Brooks, more than any other single figure, symbolizes the Jewish perspective on and contribution to American mass entertainment.” On one foot, can you expand on that?
Jews understand that there’s a path to success and that being embraced by a culture means learning about it, immersing yourself in it, being so deeply involved in it that you understand it and master it. But simultaneously, you’re doing that as a kind of outsider. You’re always not quite in it, even though you’re of it in some deep way. In some ways, it’s the apotheosis of what Brooks does, which is being a parodist. In order to be the kind of parodist that Mel Brooks is, you have to be acutely attuned to every aspect of the cultural medium that you’re parodying. You have to know it inside and outside and backwards and forwards. And Brooks certainly does, but at the same time you have to be able to sort of step outside of it and say, you know, “Well, I’m watching a Western, but come on, what’s going on with these guys? Like why doesn’t anyone ever, you know, pass gas after eating so many beans?”
You have this great phrase, that to be an American Jew is to be part of the “loyal opposition.”
That’s right. Brooks at his best is always kind of poking and prodding at convention, but loyally. He’s not like the countercultural figures of his day. He’s a studio guy. He’s really within the system, but is poking at the system as well.
You wrote in that vein about his 1963 short film, “The Critic,” which won him an Oscar. Brooks plays an old Jewish man making fun of an art film.
On the one hand, he’s doing it in the voice of one of his older Jewish relatives, the Jewish generation with an Eastern European accent, to make fun of these kinds of intellectuals. He’s trying to channel the everyman’s response to high art. “What is this I’m watching? I don’t understand this at all.” On the other hand, Brooks is much more intellectual than he’s often given credit for.
For me the paradox of Brooks’ career is conveyed in a phrase that appears a couple of times in the book: “too Jewish.” The irony is that the more he leaned into his Jewishness, the more successful he got, starting with the “2000 Year Old Man” character, in which he channels Yiddish dialect in a series of wildly successful comedy albums with his friend Carl Reiner. How do you explain America’s embrace of these extremely ethnic tropes?
Brooks’ great motion pictures of the late 1960s and 1970s sort of track with America’s embrace of Jewishness. You have “The Graduate,” which came out at around the same time as “The Producers,” and which showed that someone like Dustin Hoffman can be a leading man. It doesn’t have to be a Robert Redford. You have Allan Sherman and all these popular Jewish comedians. You have “Fiddler on the Roof” becoming one of Broadway’s biggest hits. That gives Brooks license to kind of jump in with both feet. In the 1950s, writing on “The Show of Shows” for Sid Caesar, the Jewishness was there but in a very kind of hidden way. Whereas, it’s very hard to watch the 2000 Year Old Man and say, well, that’s not a Jewish product.
What he also avoided — and here I will contrast him with the novelist Philip Roth — were accusations that he was “bad for the Jews.” Philip Roth was told that his negative portrayals of Jewish characters was embarrassing the Jews in front of the gentiles, but for some reason, I don’t remember anyone complaining even though the Max Bialystock character in “The Producers” can be fairly described as a conniving Jew. What made Brooks’ ethnic comedy more palatable to other Jews?
“The Producers” had a lot of pushback, but for a lot of other reasons.
I guess people had enough to deal with when he staged a musical comedy about Hitler.
Exactly. But the other part is that his biggest films are not as explicitly Jewish as something like Roth’s novel “Portnoy’s Complaint.” I actually think “Young Frankenstein” is one of the most Jewish movies that Mel Brooks ever made, but you’re not going to watch “Young Frankenstein” and say, wow, there are Jews all over the place here.
What about “Young Frankenstein,” a parody of classic horror movies, seems quintessentially Jewish?
The script, which is a lot of Gene Wilder and not just Mel Brooks, is really about someone saying, “You know, I don’t have this heritage — I’m trying to fit in with everybody else. My name is Dr. FRAHNK-en-shteen.” And then people say, “No, this is your heritage. You are Dr. Frankenstein.” [Wilder’s character realizes] “it is my heritage, and I’m embracing it. And I’m Frankenstein. And you may find that monstrous but that’s your business.” It’s about assimilation and embracing who you are.
And of course, Wilder as Dr. Frankenstein is unmistakably Jewish, even when he plays a cowboy in “Blazing Saddles.”
Right. Again, by the mid-’70s, you know, you have Gene Wilder and Elliot Gould and Dustin Hoffman, all Jews, in leading roles. “Young Frankenstein” ends up being a movie about coming home and embracing identity, which is playing itself out a lot in American Jewish culture in the 1970s.
I guess I have to go back and watch it for the 14th time with a different point of view.
That’s the fun part of my job.
You talk about what’s happening at the same time as Brooks’ huge success, which is, although he’s a little younger, the emergence of Woody Allen. You describe Brooks and Woody Allen as the voice of American Jewish comedy, but in very different ways. What are the major differences?
Gene Wilder, who worked with both of them, says that working with Allen is like lighting these tiny little candles, and with Brooks, you’re making big atom bombs. The critical knock against Brooks was that he was much more interested in the joke than the story. And I think with the exception maybe of “Young Frankenstein” there’s a lot of truth to that. The jokes are phenomenal, so that’s fine. Allen pretty quickly moved towards a much more narrative kind of film, and so began to be seen as this incredibly intellectual figure. In real life, Allen always claimed that he wasn’t nearly as intellectual as everyone thought, while Brooks had many more kinds of intellectual ambitions than the movie career that he had. There is a counterfactual world in which “The 12 Chairs,” his 1970 movie based on a novel by two Russian Jewish novelists and which nobody talks about, makes a ton of money.
Instead, it bombs, and he makes “Blazing Saddles,” which works out very well for everybody.
Although he does create Brooksfilms, and produces more narrative, serious-minded films like “The Elephant Man” and “84 Charing Cross Road.”
Right, and decides that if he puts his name on these as a director, they’re going to be rejected out of hand. There is a shelf of scholarship on Woody Allen, but if you look at who had influence on America in terms of box office and popularity, it’s Brooks winning in a walk.
You also mention Brooks and Steven Spielberg in the same sentence. Why do they belong together?
Partly because they had huge popular success in the mid-’70s. Brooks is a generation older, but they are hitting their cinematic success at the same time. And they are both movie fans.
Which comes out in their work — Brooks in his film parodies and Spielberg in the films that echo the films he loved as kid.
Until maybe his remake of “West Side Story,” Spielberg is not really a theater guy in the way that Brooks is, when success meant to make it on Broadway. When Brooks was winning all those Tonys in 2001 for the Broadway musical version of “The Producers,” it may have been almost more meaningful for his 5-year-old, or 7- or 8-year-old self than making his incredibly popular pictures.
You also write about Brooks being a small “c” conservative, a bit of a square. Which I think will surprise people who think about the fart jokes and the peepee jokes and all that stuff. And by square, I mean, kind of old showbizzy, even a little prudish sometimes.
I think that’s right. There’s a great moment that I quote at the end of the book where they are trying out the musical version of “The Producers,” and they want to put the word “f–k” in and Brooks is like, “I don’t know if we can do that on Broadway,” and Nathan Lane is like, “Have we met? You’re Mel Brooks!” He’s a 1950s guy.
Another place where this kind of conservatism comes in is when you compare him to other comedians of the 1950s and ’60s — the so-called “sick comics” like Lenny Bruce and Mort Sahl who were pushing the envelope in terms of subject matter and politics. He wasn’t part of that. He was part of Hollywood. He was trying to make it in network television.
There is an interview in that era when he complained that people who are writing for television are not “dangerous.” Meanwhile, he himself was writing for television. But I think it’s fair to say that “The Producers” was really something different. You didn’t have to be Jewish to be offended by “The Producers.” But as we were saying before, he is more of the loyal opposition, rather than sort of truly out there. He’s not making “Easy Rider.”
An exhibit space at the Museum of Broadway evokes the scenery from the Mel Brooks musical “The Producers.” (NYJW)
“The Producers” is part of Brooks’ lifelong gambit of mocking the Nazis, I think starting when he would sing anti-Hitler songs as a GI in Europe at the tail end of World War II. Later he would remake Jack Benny’s World War II-era anti-Nazi comedy, “To Be or Not to Be.” And then there is the quick “Hitler on Ice” gag in “History of the World, Part I.” Brooks always maintains that mocking Nazis is the ultimate revenge on them, while you note that Woody Allen in “Manhattan” makes almost the opposite argument: that the way to fight white supremacists is with bricks and baseball bats. Did you come down on one side or the other?
To add just a twinge of complication is the fact that Brooks actually fought Nazis, and also had a brother who was shot down in combat. So for me to sit in moral judgment on anybody who fought in World War II is not a place that I want to be. What’s interesting is that Brooks makes a lot of these statements over the course of a career in which Nazism is done, in the past, defeated. Tragically, the events of the last number of years made white supremacy and neo-Nazism a live question again. When “The Producers” was staged as a musical in the early 21st century, people could say, “Okay, Nazism’s time has passed.” It’s not clear to me that we would restage “The Producers” now as a musical on Broadway, when just last week you had actual neo-Nazis handing out their literature outside a Broadway show. It would certainly be a lot more laden than it was in 2001.
Time also caught up with Brooks in his depiction of LGBT characters. Gay characters are the punchlines in “The Producers” and “Blazing Saddles” in ways that have not aged well. But you also note how both movies are about two men who love each other, to the exclusion of women.
There’s an emotive component to him about these male relationships. Bialystok and Bloom [the protagonists in “The Producers”] is a kind of love story. One of the interesting things is that as it became comparatively more comfortable for gay men to live their truth in society and in Hollywood, there was an evolution. In that remake of “To Be or Not to Be,” there is a much more sympathetic gay character who’s not stereotypical.
What other aspects of Brooks’ Jewishness have we not touched upon? For instance, he’s not particularly interested in Judaism as a religion, and ritual and theology rarely come up in his films, even to be mocked.
It’s not something that he’s particularly interested in. To him, being Jewish is a voice and a language. From the beginning of his career the voice is there. What he’s saying in these accents is that this is Jewish history working through me. It is, admittedly, a very narrow slice of Jewish history.
The first- and second-generation children of Jewish immigrants growing up in Brooklyn neighborhoods that were overwhelmingly Jewish.
It was a Jewishness that was aspirational. It was intellectual. It was a musical Jewishness. It was not in the way we use this phrase now, but it was a cultural Jewishness. It was not a synagogue Jewishness or a theological Jewishness. But of course he is Jewish, deeply Jewish. He couldn’t be anything else. And so he didn’t, and thank God for that.
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In rallies taking on Israel, a defiant Hasan Piker boosts Michigan Senate candidate Abdul el-Sayed
(JTA) — ANN ARBOR, Michigan — Outside, in a line that stretched around the block, the hundreds of people who turned out for Abdul el-Sayed’s campaign rally with Hasan Piker gave a range of reasons for showing up.
Some said they liked el-Sayed’s message of Medicare for All, a key plank of the former county health executive’s bid for an open Senate seat. Some were furious about the war in Iran, which the candidate has angrily denounced.
Others just liked the guy. “He’s a really great speaker and a really passionate person,” Natalie Gould, a master’s candidate in public health who had worked with el-Sayed in Detroit, told the Jewish Telegraphic Agency.
Inside, though, one issue made the crowd roar louder than any other: any time a speaker, from el-Sayed to Piker to the newly elected student body president, accused Israel of genocide. The progressive movement in which Piker has styled himself a kingmaker, one that is ardently pro-Palestinian while largely dismissive of any claims of antisemitism, was coalescing.
“In the beginning it was a lot lonelier when we spoke out. They used the same exact heinous smear: They said, ‘You’re antisemitic,’” Piker told the crowd. “And back then I felt a lot lonelier. But I don’t feel lonely anymore.”
Piker, the leftist Twitch streamer with millions of followers, was the evening’s biggest draw — and its biggest lightning rod. After el-Sayed announced the two would hold a pair of campaign stops together Tuesday, the streamer’s past clips and comments about Jews and Israel led numerous Jewish leaders and both of el-Sayed’s opponents to denounce the events. Some compared Piker to Nick Fuentes, the openly antisemitic far-right streamer who has divided Republicans. Leading Democrats called for the party to distance itself from Piker altogether.
Hasan Piker looks on as U.S. Senate candidate Abdul El-Sayed delivers a stump speech in Ann Arbor, Michigan, April 7, 2026. Piker, a popular Twitch streamer accused of antisemitism, prompted controversy for campaigning with El-Sayed. (Andrew Lapin/JTA)
Pushback continued until just before the events started. An hour before the first rally, at Michigan State University, that school’s president and governing board issued a joint statement affirming their campus free speech principles while also condemning antisemitism. The school’s Hillel chapter had already called Piker a “known antisemite,” expressing concern about his appearance.
At the next stop at the University of Michigan, el-Sayed told the crowd that the campus pro-Israel club Students Supporting Israel had planned to protest the event. But the group wasn’t visible outside the building, and the club’s Instagram page announced that its “March Against Extremism” had been “postponed,” which the group attributed to “extenuating circumstances” that it did not explain.
El-Sayed leaned into the energy, embracing Piker onstage and mocking the negative attention the rally had received. The rally overlapped with President Donald Trump’s deadline for Iran to make concessions or “a whole civilization will die,” which led to a temporary ceasefire in the U.S.-Israeli war on Iran.
“Apparently, the most important thing happening on Twitter was whether or not we were going to campaign with Hasan,” he told the crowd. “Somehow Fox News found it fit to cover this rally six f–king times and not talk about the fact the president wants to commit a genocide in Iran.”
Also leaning in were the night’s other speakers, who were all being showcased on Piker’s livestream — where, during downtime in-between speeches, he bemoaned what he described as a bad-faith campaign to paint him as antisemitic. (He also said he’d been hoping to eat at Zingerman’s, a famous Jewish-style gourmet deli in Ann Arbor.)
“I told Piker just now, I was like, ‘You’re never going to be canceled up in Michigan,’” Rep. Rashida Tlaib, the House’s fiercest critic of Israel, said during her own stump speech.
Rep. Summer Lee, of Pennsylvania, also delivered a speech, and Rep. Debbie Dingell, of Michigan, attended but did not speak.
Candidates for local office also stood next to Piker, including Amir Makled, a candidate for the university’s Board of Regents who was the legal defense for the school’s student pro-Palestinian encampment movement.
The crowd was young and diverse in age and race. While Piker received cheers when he shouted out his fans, some of the attendees told JTA they were more mixed on him, while others had little familiarity with his streams. But they all agreed he had juiced El-Sayed’s campaign.
“I mean, there’s tons of people here,” Ann Arbor resident Joey Ryan said while queuing up for the over-capacity rally outside, gesturing behind him. “I remember the Joe Biden Michigan stuff, and it was not like this. I remember the Bernie Sanders rally in early 2020, and it was more like this.”
Ryan said that Piker, like other streamers, operated in the “attention economy” space, where “saying inflammatory things sometimes can get you attention.” But, he said, “I also think it’s been blown completely out of proportion when you have the president of the United States calling Iranians non-human, as an example, to bomb them, and that includes the synagogue that was blown up in Iran today. Like, there are Jews in Iran as well. Is that not antisemitism?”
“Some of the stuff he says is kind of crazy. I’m not going to lie, there’s some stuff he said that I disagree with,” another attendee, a current University of Michigan student who declined to give her name, said of Piker. Content creators, the student said, can “get out over their skis.”
If anything, Piker and el-Sayed became more honed in on Israel as the day went on. At their first East Lansing stop, both made only a handful of comments about Israel and AIPAC. By the time they reached Ann Arbor that evening, the headliners had amped up their broadsides, with Piker referencing a new Pew Research Center study showing that 84% of Democrats under 49 have a somewhat or very unfavorable view of Israel.
“There’s only a handful of Democrats that are actually outspoken on this atrocity, outspoken on the relationship that we have with a foreign country that we simply always have to send unlimited billions of dollars to — a country that has health care, mind you,” Piker said. “You do not, but Israel has free health care.” The crowd booed at this line.
(L-r) U.S. Rep. Summer Lee, Senate candidate Abdul El-Sayed, and Twitch streamer Hasan Piker pose during a rally for El-Sayed, April 7, 2026. (Andrew Lapin/JTA)
As another rallying cry, he told them, “When you feel really sad, when you feel really angry, remind yourself of the worst fascist that you know. It could be Donald Trump, it could be Rabbi Shmuley. They’re going to be very excited if you stop fighting.” (Piker later told JTA that he was referring to Rabbi Shmuley Boteach, a pro-Israel Twitter gadfly who Piker said was “pro-genocide.”)
The candidate, too, amped up his criticisms of AIPAC in particular. The pro-Israel lobby, which has poured millions of dollars into congressional elections, is facing a resolution of opposition from the Democratic National Committee this week.
“AIPAC tells us that the number one goal of our foreign policy is to align with a foreign government,” el-Sayed said, to boos. “You know, when I talk about AIPAC, everybody says, ‘Well, it’s because you’re Arab Muslim.’ No it’s not. It’s because I’m f–king from Michigan, and I want my tax dollars back in Michigan.”
He also joked that AIPAC ads against him might finally give him something he’s dreamed about. “The one thing you’re supposed to have, as an American Muslim, is a nice beard,” he said. “And I was never gifted with that. But for three months this summer, AIPAC’s going to give me the beard of my dreams.”
At both campaign stops, El-Sayed, who grew up in a heavily Jewish Detroit suburb not far from Temple Israel, the synagogue that was attacked last month, also said he welcomed Jews to his movement.
“All of us love and revere Jewish folk, our Jewish neighbors, the faith of Judaism,” he said in Ann Arbor, to applause. “Trust me, nobody will fight harder against antisemitism than somebody who intimately understands what it’s like to be discriminated against because of how I look.”
He reiterated the point in an interview after the event.
Supporters of Michigan U.S. Senate candidate Abdul El-Sayed cheer Rep. Rashida Tlaib as she denounces Israel during a rally in Ann Arbor, Michigan, that also featured Twitch streamer Hasan Piker, April 7, 2026. (Andrew Lapin/JTA)
“I am so grateful I’ve grown up in a community with a large proportion of Jewish Americans. I learned a lot from the Jewish tradition. I’m grateful to have been invited to bar and bat mitzvahs and to be invited to Seders and to be invited to spend time at shul,” el-Sayed told JTA.
“I stand deeply and profoundly against antisemitism in the same way that I stand deeply and profoundly against Islamophobia,” he added. “Those two things always run together. It is not antisemitic to criticize a foreign government, and it’s not antisemitic to criticize a super PAC that is intent on aligning our interests with the foreign government.”
In the interview, the candidate also reiterated the sentiment behind his own statement on the Temple Israel attack, in which he had referenced the Israeli war in Lebanon. “I also think it’s just critical for us to understand that hurt people do hurt people, and the circumstances happening 6000 miles away can affect the lives that we live here,” el-Sayed said Tuesday.
At the end of the rally, Piker climbed back onto the stage with El-Sayed to a standing ovation. The two men embraced, then posed for a selfie with the crowd behind them.
This article originally appeared on JTA.org.
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The Iran war looks like a failure. Now comes the Trump-Netanyahu spin game
Within the space of a day, President Donald Trump’s genocidal threat to wipe out Iran’s “entire civilization” gave way to a two-week ceasefire that may well end the war — at least on the Iran front. In Israel and the United States, both of which are moving toward elections, a fierce reckoning will unfold over what this war achieved, what it cost and what it revealed.
A full accounting must await the results of talks due to begin in Pakistan on Friday. But judging by statements from Trump and other U.S. officials, these are something of a formality, and the war should be expected to end in exchange for Iran reopening the Strait of Hormuz and perhaps handing over its enriched uranium.
The latter outcome was essentially achievable before the war; the former solves a problem caused by the war. And while both Trump and Israeli Prime Benjamin Netanyahu will surely spin their gambit, which placed the entire world on edge, as successful, it is absolutely unclear whether this war was a strategic net gain or loss for both countries.
To begin an assessment, it’s important to remember what the operation’s initial aims were. The main goal stated by Trump at the outset was to halt and reverse Iran’s nuclear program. Even if the regime hands over its enriched uranium stockpile, it has made no promises to stop its nuclear efforts or allow intrusive international oversight. That is anything but a decisive shift.
Israel had wider goals, which American officials seemed to sometimes echo and often ignore. It wanted Iran to be relieved of the long-range missile capability used to target Israel with the biggest ballistic attacks in history. And it wanted to debilitate Iran’s web of proxy militias, including in Lebanon and Yemen, which perpetually threaten attacks.
Unlike with the nuclear program, Iran is not even willing to discuss these issues, and here, too, there is no evidence that the war has moved its position by an inch.
In the background, of course, there was the hope that the regime would mercifully just fall. Indeed, Trump said on the first day that the people of Iran would be able to take their country back, and Netanyahu made similar statements.
Normally, external regime change efforts are a bad idea — interference is both hard to defend legally and unlikely to succeed. But in this case, with the regime having damaged the region for decades and killed tens of thousands of its own citizens to stamp out the protest movement in January, the ambition seemed justified, as long as there was a realistic plan for it to work
Spin, spin, spin
There was no such plan.
What there was, instead, was some hope that the regime’s decapitation in the war’s early hours would lead to a spontaneous shift. This would have required the arranging of a plan with elements in the Iranian security apparatus to seize power once the leaders of the theocracy were gone. Efforts on this front were meager: days into the war, Trump acknowledged that the candidates the U.S. had seen as most likely to be good new leaders for Iran had themselves been killed by airstrikes.
The window for regime change, cracked open at the war’s onset, quickly began to close as the regime adapted and projected continuity.
What was left to aim for was the degradation of the regime’s abilities. Here the ledger looks more successful, although still mixed.
Even though the regime has reconstituted, an array of very senior political and military figures were killed, which will set the country back. Essential military facilities — including missile launchers, research sites, operational headquarters, checkpoints and much of its entire naval fleet — were destroyed.
A normal regime might be cowed after such a thrashing, but these are fanatical jihadists, and all of this can be rebuilt. Moreover, Iran was still firing missiles at Israel for a few hours even after the ceasefire was announced. So this amounts, at best, to what Israeli officials call a “mowing of the grass.” Selling it as a huge victory is basically spin.
We’ve seen that move before. After the 12-day war last June, Trump and Netanyahu vastly exaggerated the effort: Trump insisted the nuclear program had been “totally obliterated” and that any journalist who questioned this was “doing a really bad job,” and Netanyahu declared that Israel had “set back for generations” not just Iran’s nuclear threat but the one from ballistic missiles. Neither has attempted to explain the contradiction between those claims and the pretext for the renewed war.
Military and political losses
Meanwhile, the war’s costs have been profound.
There is significant loss of civilian life in Iran and Lebanon, most devastatingly the erroneous U.S. attack on an Iranian school that killed more than 100 children on the war’s first day. 23 Israeli civilians have been killed, as well as at least 13 American service members.
The strategic loss may be the most meaningful. Iran demonstrated that it can hold the world for ransom by blocking the Strait of Hormuz, through which a fifth of the world’s crude supply travels. Oil prices spiked, and the inflationary effects via petroleum-based and other products, supply chain disruptions, and the systemic trust breakdown are dire. They could have long-term consequences even once the Strait reopens.
Moreover, it looks like Iran is still somehow hoping to charge ships to pass through the strait, at least during the ceasefire and possibly more long term — which, of course, must categorically not be allowed. That Iran is even toying with this idea reflects the regime’s belief that it has emerged from the war with more leverage, not less.
That belief itself marks a serious negative outcome to the war. An Iran that is emboldened is an Iran that is more dangerous, even with its capabilities degraded.
For Trump, there is a personal political cost as well. The war was seriously unpopular in the U.S. He will likely go in search of a scapegoat: a prime candidate is Netanyahu, whom many in the MAGA movement have accused of misleading the capricious and superficial Trump into believing that the Iranian regime would easily collapse. That could spell dire consequences for the U.S.-Israel relationship, already made more brittle by strains over the Gaza war.
Americans should be troubled by what the war revealed about their impetuous political leadership and its standing in the world. The NATO nations refused to join the war, causing Trump to threaten that the U.S. might pull out of the alliance that has helped keep global peace for almost 80 years. This caused enough angst to send Secretary-General Mark Rutte on an emergency mission to Washington today.
However the geopolitical dust settles, there must be lasting consequences over Trump’s Tuesday social media post in which he wrote “A whole civilization will die tonight, never to be brought back again. I don’t want that to happen, but it probably will.” Anyone who thinks that words should carry weight might conclude that what will be remembered of this war is that the U.S. president is a person capable of making such dire and cavalier threats.
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US and Iran agree to ‘fragile’ 2-week ceasefire; Israel says deal does not extend to Lebanon
(JTA) — Israel struck Hezbollah targets in Lebanon on Wednesday as a tenuous ceasefire took hold in its monthlong war with Iran, which it has conducted jointly with the United States.
U.S. President Donald Trump and the prime minister of Pakistan, which brokered the truce talks, announced the two-week halt in hostilities late Tuesday, as Trump’s deadline for Iran to open the Strait of Hormuz or risk annihilation neared. Vice President JD Vance called “fragile” as Iranian officials said they would keep their “finger on the trigger” in case of further attacks.
Israel said it would abide by the truce but said the deal did not extend to Lebanon, where Hezbollah, an Iranian proxy, is based — despite comments by Pakistan’s prime minister asserting the opposite.
Hezbollah joined the Iran war shortly after the United States and Israel launched it with a wave of strikes on Feb. 28; it has since pummeled northern Israel with hundreds of rockets, causing damage, disruption and death.
Israel’s Home Front Command, the military unit advising civilians, said there would be no immediate changes to guidelines barring large gatherings and that Israelis should still be prepared to find shelter in the case of sirens warning them of incoming missiles.
Israeli Prime Minister Benjamin Netanyahu reportedly urged Trump not to agree to a ceasefire, arguing that pausing attacks meant to curb Iran’s nuclear threat would carry risks. On Wednesday, after the ceasefire set in, Trump said on Truth Social that there would “no enrichment of Uranium, and the United States will, working with Iran, dig up and remove all of the deeply buried (B-2 Bombers) Nuclear ‘Dust,’” signaling a commitment to reining in Iran’s nuclear program.
Trump also said the United States had concluded that Iran “has gone through what will be a very productive Regime Change.” Trump cited regime change as one of multiple evolving goals of the war. After the assassination of Iran’s supreme leader, Ayatollah Ali Khamenei, on the war’s first day, Iran appointed his son Mojtaba to take his place; Mojtaba, a hardliner, was injured and may remain comatose, U.S. intelligence reportedly believes.
This article originally appeared on JTA.org.
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