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As ‘The Marvelous Mrs Maisel’ ends, will its Jewish legacy be more than a punchline?
(JTA) — After five seasons, 20 Emmy awards and plenty of Jewish jokes, “The Marvelous Mrs. Maisel” airs its final episode on Friday.
The lauded Amazon Prime show from Amy Sherman-Palladino has enveloped viewers in a shimmering, candy-colored version of New York during the late 1950s and early 1960s — a world in which “humor” has meant Jewish humor and “culture” has meant Jewish culture.
But as it comes to an end, the show’s Jewish legacy is still up for debate: Did its representation of Jews on mainstream TV make it a pioneer of the 2010s? Or did it do more harm than good in the battle for better representation, by reinforcing decades-old comedic tropes about Jews?
The comedy-drama followed the vivacious Midge Maisel (Rachel Brosnahan) on a journey from prim Upper West Side housewife — left in the lurch after her husband has an affair with his secretary — to ambitious, foul-mouthed comic fighting her way through the male-dominated standup comedy industry. Her New York Jewishness colored her jokes, her accent, her mannerisms and much of her daily life.
That’s because the whole landscape of the show was Jewish, from the well-to-do, acculturated intelligentsia (such as Midge’s parents) to the self-made garment factory owners (such as her in-laws). Even the radical Jewish comic Lenny Bruce, a countercultural icon of the midcentury, appeared as a recurring character who propels Midge’s success.
Henry Bial, a professor specializing in performance theory and Jewish popular culture at the University of Kansas, said the emergence of “The Marvelous Mrs. Maisel” in 2017 exemplified a shift to more overt portrayals of Jews on TV — especially on streaming services. Although Jewish characters featured in TV shows throughout the 20th century, such as “The Goldbergs” in the 1950s, “Rhoda” in the 1970s and “Seinfeld” in the 1990s, their Jewishness was often more coded than explicit. Network television, seeking to attract the majority of Americans coveted by advertisers, feared alienating audiences who couldn’t “relate” to ethnic and racial minorities.
“If there are only three things you can put on television at 8 o’clock on Tuesday night, then there’s a lot more incentive for networks and advertisers to stay close to the herd, because you’re competing for the same eyeballs,” said Bial. “But when people can watch whatever they want whenever they want, then it opens up for a much wider range of stories.”
Other shows such as “Transparent,” “Broad City” and “Crazy Ex-Girlfriend,” which debuted in 2014 and 2015, are often cited alongside “Mrs. Maisel” as part of a new wave of Jewish representation.
Riv-Ellen Prell, a professor emerita of American studies at the University of Minnesota, argued that Midge subverts the stereotype of the “Jewish American princess.” At the start of the show, she appears to embrace that image: She is financially dependent on her father and husband and obsessive about her appearance, measuring her body every day to ensure that she doesn’t gain weight. Despite living with her husband for years, she always curls her hair, does her makeup and spritzes herself with perfume before he wakes up.
“She looks for all the world like the fantasy of a Jewish American princess,” said Prell. “And yet she is more ambitious than imaginable, she is a brilliant comic who draws on her own life. You have Amy Sherman-Palladino inventing the anti-Jewish princess.”
Bial said that Midge’s relationship with her Jewishness defies another stereotype: That identity is not a source of neurosis or self-loathing, as it often appears to be in the male archetypes of Woody Allen and Larry David, or in Rachel Bloom’s “Crazy Ex-Girlfriend.” Through the spirited banter, the pointed exclamations of “oy,” the titillation over a rabbi coming for Yom Kippur break fast — Midge’s Jewishness is a source of comforting ritual, joy and celebration.
“She has anxieties and issues, but none of them are because she’s Jewish,” said Bial.
Some critics argue the show’s depiction of Jewish culture relies on shallow tropes. In a 2019 review, TV critic Paul Brownfield said “The Marvelous Mrs. Maisel” repurposed stereotypes to appear “retro chic.” He pointed to a consistent contrast between the Weissmans (the assimilated, cultured Jews of the Upper West Side) and the Maisels (the boorish, money-focused Jews of the Garment District), arguing that these superficial types replace an exploration of what the period was actually like for American Jews.
“However ‘Jewish’ Sherman-Palladino wants the show to be, ‘Maisel’ fails to grapple with the realities of the moment in Jewish American history it portrays,” Brownfield wrote. “Which is ultimately what leaves me queasy about its tone — the shtick, the stereotypes, the comforting self-parody.”
Meanwhile, Andy Samberg took a jab while co-hosting the 2019 Golden Globes with Sandra Oh. “It’s the show that makes audiences sit up and say, ‘Wait, is this antisemitic?’” he joked.
Tony Shalhoub and Marin Hinkle, shown in a synagogue scene, are two of the show’s non-Jewish actors. (Nicole Rivelli/Amazon Studios)
Others have criticized the show’s casting: Its titular heroine, her parents Abe and Rose Weissman (Tony Shalhoub and Marin Hinkle) and Lenny Bruce (Luke Kirby) are all played by non-Jews. A debate over the casting of non-Jewish actors in Jewish roles has heated up in recent years, taking aim not only at Brosnahan as Midge Maisel, but also at Felicity Jones as Ruth Bader Ginsberg in “On The Basis of Sex,” Helen Mirren as Golda Meir in “Golda” and Gaby Hoffmann and Jay Duplass as the Pfefferman siblings in “Transparent.” Comedian Sarah Silverman popularized the term “Jewface” to critique the trend.
“Watching a gentile actor portraying, like, a Jew-y Jew is just — agh — feels, like, embarrassing and cringey,” Silverman said on her podcast in 2021.
Midge’s rise as a comedian is interlocked with her ally and one-time fling, the fictionalized Lenny Bruce. His character has a softened glow in the show, but in reality, Bruce was branded a “sick comic” for his scathing satire that railed against conservatism, racism and moral hypocrisy. Between 1961 and 1964, he was charged with violating obscenity laws in San Francisco, Los Angeles, Chicago and New York, and he was deported from England. At his Los Angeles trial in 1963, Bruce was accused of using the Yiddish word “shmuck,” taken as an obscenity to mean “penis.” He incorporated the charge into his standup, explaining that the colloquial Jewish meaning of “schmuck” was “fool.”
Driven to pennilessness by relentless prosecution, police harassment and blacklisting from most clubs across the country, he died of a morphine overdose in 1966 at 40 years old. The real Lenny Bruce’s tragedy lends a shadow to the fictional Midge Maisel’s triumphs.
The United States that he struggled with until his death also looks comparatively rosy through the lens of “The Marvelous Mrs. Maisel,” whose protagonist battles misogyny but takes little interest in other societal evils — including still-rampant antisemitism. Some critics have noted that she is oblivious to segregated facilities when she tours with Black singer Shy Baldwin, then nearly outs him as gay during her set.
“‘Mrs. Maisel’ takes place in a supersaturated fantasy 1958 New York, one where antisemitism, racism, homophobia and even sexism are barely a whisper,” Rokhl Kafrissen wrote in 2018.
Reflecting on the criticism that had piled up by 2020, Sherman-Palladino and her husband Daniel Palladino, also an executive producer and a lead writer for the show, told the Jewish Telegraphic Agency that trying to appease every Jewish viewer was a futile exercise.
“We knew that if we show a Jewish family at temple — if we show them and talk about Yom Kippur and all those kinds of things — there are going to be people who are going to nitpick at specifics that maybe we didn’t get exactly right,” said Palladino, who is not Jewish. “But a lot of the feedback that we’ve gotten has been ‘Thank you. Thank you for leaning into it and showing Jews being Jewish, as opposed to just name checking them as Jewish.’”
Sherman-Palladino added: “[T]here are many different kinds of Jews! To say, ‘oh, Jewish stereotypes,’ well, what are you talking about? Because we have an educated Jew, we have a woman who was happy to be a mother, we have another woman striking out as a stand up comic, and, you know, Susie Myerson’s [Alex Borstein’s character] a Jew! We’ve got a broad range of Jews in there.”
However “The Marvelous Mrs. Maisel” is assessed in the future, it will remain significant for thrusting a new kind of Jewish heroine into the mainstream consciousness, said Bial.
“Because of its popularity, its longevity and frankly its quality, it’s going to be the example,” Bial said. “In the history of Jews and TV, this is going to be the chapter for the late 2010s and early 2020s — you have to mention ‘Mrs. Maisel.’ It is very clearly a landmark in Jewish representation, particularly for Jewish women.”
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The Nazis massacred innocents when their regime was crumbling. What does that say about Minneapolis?
“We are the strongest country in the world,” Scott Bessent, the United States’ treasury secretary, said recently on Meet the Press. “Europeans project weakness. We project strength.”
The events of this month in Minneapolis, culminating with the fatal shooting of Alex Pretti by Border Patrol agents last weekend, show he is incorrect. Mass violence by the government against the people is not a sign of strength, but rather a sign of a nation dangerously divided. “Massacres seem, on one level, to be outcomes of power struggles within weak or crisis laden states,” writes Mark Levene, a professor of Jewish history, in The Massacre in History, adding that a massacre is “indicative not of power at the center but rather, of the lack of it.”
Here is one example from history: On June 10, 1944, days after the Allied invasion of Normandy, the German army entered the French village of Ouradour-sur Glane and rounded up 197 men and 445 women and children. They locked the men in a barn and the women and children in a church, and proceeded to kill them — 642 people, including seven Jewish refugees.
German military power made the massacre possible. But the slaughter took place while the Nazi state was disintegrating. The massacre projected weakness on the part of the failing German power, not strength.
More recent examples are also available.
Within the last month, the government of Iran has killed thousands of its own citizens who were protesting the oppressive regime — violence that has brought the country closer to regime change than at any point since the 1979 revolution.
Already weakened by its inability to protect itself from Israeli and American bombardment last summer, the government’s massacre of its own people has been broadly interpreted as a signal of profound instability. The “despotic regime is fragile and desperate,” Benjamin Wallace-Wells recently wrote in The New Yorker. When the government turns to violent repression, it gambles: It can provoke yet more outrage, or it can succeed in forcing calm — temporarily.
Which brings us to the U.S., which Scott Bessent has claimed is projecting strength. What has occurred in Minneapolis does not yet qualify as a massacre, despite the killings of Pretti and Renée Nicole Good. But our own country’s history provides a warning about the dire signal those killings send, and how much worse things could get.
Directly after the end of the Civil War, Memphis, Tennessee received a flood of immigrants, particularly Black citizens newly freed from slavery. The U.S.army occupying Memphis as part of Reconstruction reacted by arresting many of those free black citizens, and forcing them to work in the cotton fields outside the city. Major William Gray ordered that the streets be patrolled by soldiers from Fort Pickering, tasked with making arrests and forcing those they detained to accept exploitative labor contracts with local planters.
Similarly, the Memphis police, all white, took to beating black people in the street for the crime of “insolence.” After a white policeman was shot during an altercation in 1866, a white mob made up in large part by the municipal police and fire fighters ransacked Black homes and killed 46 Black people.
That massacre took place at a time when the United States was bitterly divided. The Civil War had just ended. The President had been assassinated. In Memphis, federal forces rubbed shoulders uneasily with municipal police. Local and national political powers were profoundly at odds.
The massacre in Memphis offers both an explanation and a warning about what is happening today in Minneapolis — and what could still be in store.
Just as our military kidnapped people off the streets of Memphis, forcing them into inhumane conditions, so ICE is kidnapping people in Minneapolis today. Just as children were arrested in Memphis, children as young as 5 have been detained in Minneapolis.
These parallels are evidence of a weak and woefully unpopular government. What is happening in Minneapolis is appalling; the example of Memphis gives us reason to fear that the stage is being set for something worse.
That said, there are no laws of history. Not every weakened or divided society results in a massacre. But there is an alarming resonance between the legacy of the Nazi massacre in Ouradour-sur Glane; the Iranian regime’s massacre of civilian protesters; the 19th-century massacre in Memphis and the outbreak of official violence in Minneapolis. It is that of a radically divided society, with a weakened government, falling prey to horrendous violence.
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Orthodox Jewish groups have been quiet about ICE. This Minneapolis rabbi wasn’t.
When the heads of major Jewish denominations co-signed a letter last week criticizing “in the strongest possible terms” the conduct of Immigration and Customs Enforcement in Minneapolis, Orthodox Judaism was conspicuously absent. Neither the Orthodox Union nor Agudath Israel of America — the two leading Orthodox umbrella organizations — has commented on the mass deployment of ICE and Border Patrol officers to the city.
There’s a reason Orthodox leaders might be choosing their words carefully — condemning ICE would put them at odds with not only a sizable chunk of their membership. Unlike members of the Reform, Conservative and Reconstructionist movements, Orthodox Jews — who represent about a tenth of the American Jewish population — lean heavily conservative, with about three-quarters supporting President Donald Trump in the 2024 election. (The Orthodox Union and Agudath Israel did not respond to separate inquiries.)
There was, however, at least one Orthodox rabbi willing to criticize ICE in public. Rabbi Max Davis, who leads the Minneapolis synagogue Darchei Noam Congregation, was one of 49 Jewish leaders to sign a Jan. 16 letter from the Minnesota Rabbinical Association, which said ICE was “wreaking havoc across our state” and which resolved to “bear witness and make a difference.”
I called Davis to learn more about why he signed and what he’s seeing on the ground. He also spoke about congregants who have been pepper sprayed or arrested at protests, how he approaches politics at the pulpit of an Orthodox shul, why he rejects the Holocaust comparisons some are making and how he’s tried to make a difference.
The interview below has been edited for length and clarity.
The Forward: Why did you sign this letter?
Rabbi Max Davis: It felt like a very reasonable, very carefully thought out response to the present situation. I know that there are many within the shul who are looking for some leadership in this moment, and signing was a drop in the bucket compared to what some people are doing.
By the same token, I know that there are other perspectives within my own shul and certainly within the broader Orthodox community, and I strongly believe that it’s not the role of a rabbi to police his congregants’ politics. In our shul, we learn from and respect each other, and there’s an incredible amount of wisdom and life experience beyond my own. So I signed with caution, but with quite a feeling of disappointment and anger in the events unfolding downtown, and the loss of life in particular.
I’m probably the only Orthodox rabbi in the Minnesota Rabbinical Association, and there have been statements issued that I have not signed. But this one was an opportunity I was not going to miss.
What’s been the reaction at Darchei Noam to your signing the letter?
I got several yasher koachs (plaudits) privately. Those who may disagree, I think were and are being polite. There’s definitely been some pushback about politics entering our shul. But I haven’t heard much about the letter specifically. I don’t think anyone was terribly surprised that I signed it.
More broadly, what are things like in your community right now?
Within our kehilla (congregation), there’s a diversity of opinion. But mostly what I’m hearing is deep sorrow and frustration and anger and pain — particularly from those who watch the videos, who are acquainted with individuals suffering directly from the ongoing operations, or who have watched what the operations have been doing to our city and to our community.
Have you seen what’s happening firsthand?
There’s someone in our extended community who just got out of jail and called me about 10 minutes ago to give me a heads up. We have a couple of people in the community who have been pepper sprayed. We have people in the community who have been very active in supply drives and driving children to school because their parents are afraid to come out.
Instead of buying stuff at the sort of generic supermarket I thought I might as well make the money count where people are hurting the most. So I went a couple weeks ago to try and pick up some kiddush supplies down at one of the large Latino markets that I know has taken quite a hit. I was pretty much the only customer. It was a very sad place.
So in those regards, I’ve seen what’s going on. I was down at the march last Erev Shabbos (Jan. 16). It was minus-10 degrees. There were 50,000 people out there in the streets and thousands more in the skyways and in the buildings that we could see. You see banners and signs hanging onto highways. You see people clustered at intersections with signs and upside-down American flags. There’s a tremendous amount of anger out there.
What’s it like to be living through that?
It’s heartening and it’s disheartening. It’s disheartening that it feels necessary; it’s heartening to see community coming together. It’s disheartening to see signs comparing the federal government and ICE to Nazi Germany; I find that, as a Jew, deeply offensive and ignorant. And by the same token, I find all of the messages around community and common decency to be a beautiful sight.
It’s not to say that I have any solutions to the more fundamental politics. I’m not saying that the country doesn’t have an immigration problem. But I do know that you can’t watch the video of Alex Pretti, the ICU nurse from the VA hospital, you can’t watch the video of Renee Good in her car and how that unfolded — shootings on streets and in neighborhoods that I know — you can’t watch that and not be highly disturbed and moved.
Have you addressed this moment at all from the pulpit?
I have definitely mentioned it in a couple of drashos (sermons). A couple of weeks ago, I spoke about ignoring the broader humanity and the plight of our neighbors at our own moral peril. Nechama Leibowitz sees a progression in Moshe’s interventions, first on behalf of another Jew against the Egyptian, then for a Jew against another Jew, and finally, with the daughters of Yitro at the well, between two non-Jewish parties. It was a good base for talking about doing what we can, when we can, to be an ohr l’goyim (a light unto the nations). I don’t think I said the word “ICE,” but there was no mistake about the subject matter — I think Renee Good had been shot like two days earlier.
With drashos, I’ve tried to be a little bit more tempered and restrained, because I think a lot of people come to hear Torah and inspiration and political issues are risky business. I’m also careful because I don’t want to ruin people’s Shabbos in other ways. Everyone has so much of this all week long, and I know some people look forward to Shabbos just to take a break. I’ve been told by some people that I’ve been too pareve, and by others that it’s been too much. So maybe I’m succeeding or failing everybody at the same time.
You mentioned the Nazi comparisons. Why do you take offense to those in this context?
That was industrialized murder, and concentration camps — there’s not a word to describe the evil of what that was. That was just exponentially more horrific. And it disturbs me to no end — although I am not surprised to see people make this comparison and I get where they’re coming from — how lightly the Holocaust and the evils of Nazi Germany seem to be treated when people want to trot out a paradigm of evil.
Why did it feel important to you to patronize the Latino grocery store?
I feel for these communities, where these are honest, legitimate, hard working businesses, and they watch their customer base all but dry up — that includes people who are here legally, employees who are here legally. But there are so many stories of individuals who are being racially profiled or being picked up by mistake.
I was very angry about the story of a Laotian man who, in front of his family and children, was pulled out of the shower into 10-degree weather and bundled off into an ICE vehicle and driven around for an hour before they figured out that he was here legally and had no criminal record. He was let go without so much as an apology. He’s got a wife and small children — and I’ve got a wife and kids, you know? This kind of thing is absolutely unacceptable. And unfortunately, it doesn’t seem like that was such an outlier case. And that’s not an America that I believe in.
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Stories of ghosts, grief and Shabbat gladness win top prizes in Jewish children’s literature
(JTA) — Anna is a misunderstood sixth-grade girl who communicates with the ghosts of her Jewish ancestors. Teased by her classmates and worried-over by her family, she finds comfort and understanding with her Bubbe and her beloved Jewish traditions.
“Neshama,” Marcella Pixley’s lyrically written novel-in-verse, won the gold medal for Jewish children’s literature for middle-grade readers from the Association of Jewish Libraries. Its Sydney Taylor Book Awards were announced today in a virtual livecast from Chicago.
The award committee called Pixley’s “a lyrical, deeply Jewish story about identity, grief, and resilience.”
The annual award, named in memory of Sydney Taylor, the author of the “All-of-a-Kind Family” series, “recognizes books for children and teens that exemplify high literary standards while authentically portraying the Jewish experience,” according to the award committee’s announcement.
Other winners include “D.J. Rosenblum Becomes the G.O.A.T,” a coming-of-age mystery by Abby White, which won in the young adult category, and “Shabbat Shalom: Let’s Rest and Reset,” a lively board book written and illustrated by Suzy Ultman, which won the picture book award.
The Sydney Taylor committee named Uri Shulevitz, whose 2008 book “How I Learned Geography” drew on his boyhood experiences fleeing Poland after the Nazi invasion in 1939, as the winner of its Body-of-Work award. Shulevitz, a multi-award winning storyteller and illustrator, died last year.
In addition to the top winners, the Sydney Taylor committee named five silver medalists and nine notable titles of Jewish content.
“This year’s winners and honorees exemplify excellence in Jewish children’s literature through vibrant storytelling and rich perspectives that foster empathy, understanding, and a deep appreciation for culture and community,” said Melanie Koss, chair of the award committee.
Winners will receive their awards in June in Evanston, Illinois at the AJL’s annual conference.
In “D. J. Rosenblum Becomes the “G.O.A.T,” an about-to-be bat mitzah-age girl is determined to prove that her beloved cousin did not die by suicide. Abby White lightens the emotional subject with a teen’s authentic, humorous voice.
“She wrestles with her Torah portion and faith, finding strength to face loss and begin moving forward,” the committee noted.
“Shabbat Shalom” may be the first board book to garner the award, Heidi Rabinowitz, a long-time podcaster about Jewish children’s books, told the Jewish Telegraphic Agency.
“The sophisticated board book combines succinct text with playful art,” the committee wrote in its release.
In awarding its Body-of-Work award to Shulevitz (1935-2025), who lived with his family in Israel before settling in New York, the committee recognized him as a “foundational voice in Jewish children’s literature.” His books “illuminate Jewish culture and reflect universal experience,” the committee wrote.
Many of Shulevitz’s titles reflect his Jewish roots, including “The Golem,” by Isaac Bashevis Singer and “The Travels of Benjamin of Tudela,” an illustrated travelogue for children based on the real-life voyages of the 12th-century Jewish traveler who visited Rome, Constantinople, Baghdad and Jerusalem. Shulevitz garnered the Caldecott medal, children’s literature’s top honor for illustrated books, for “The Fool of the World and the Flying Ship.”
Earlier, the AJL announced that Jessica Russak-Hoffman, a journalist for Jewish media outlets, won the organization’s new manuscript award for “How to Catch a Mermaid (When You’re Scared of the Sea),” a novel set in Israel for ages 8-13.
Last week, the AJL named Jason Diamond as the 2026 winner of its Jewish Fiction award for his novel, “Kaplan’s Plot.”
At Tuesday’s event, the Youth Media Awards hosted by the American Library Association, the winners were also announced for the Caldecott, Coretta Scott King, Newberry and Printz awards, among others. The Asian American Picture Book award went to “Many Things All At Once,” by Veera Hiranandani and illustrated by Nadia Alam, the story of a girl with a Jewish mother and a South Asian father.
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