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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.”


The post As ‘The Marvelous Mrs Maisel’ ends, will its Jewish legacy be more than a punchline? appeared first on Jewish Telegraphic Agency.

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Columbia selects Jennifer Mnookin, Jewish U of Wisconsin chancellor, as its next leader

(JTA) — Three different women have taken turns as Columbia University’s president amid ongoing turmoil surrounding the handling of pro-Palestinian protests on the New York City campus. Now, Columbia has invited a fourth — and the first to be Jewish — to try her hand at running the Ivy League school.

Jennifer Mnookin, the chancellor of University of Wisconsin, has been chosen as Columbia’s next president, the co-chairs of  the school’s board of trustees announced on Sunday. She will be the school’s first Jewish leader since Oct. 7, 2023, when Hamas attacked Israel, triggering a war in Gaza and a student protest movement in the United States of which Columbia was an epicenter.

Mnookin, a legal scholar, served as dean of the University of California, Los Angeles School of Law before moving to Wisconsin in 2022. At least two other candidates reportedly declined the Columbia position prior to her selection.

She takes the helm at a delicate time for Columbia as it continues to reel from the fallout of the student protests, which has included included penalties from the Trump administration, rapid leadership changes and ongoing fear and anxiety among many Jewish students.

“I am honored and thrilled to join Columbia University at this important moment,” Mnookin said in a statement released by the university. “Columbia is defined by rigorous scholarship, a deep commitment to open inquiry, world-class patient care, and an inseparable and enduring connection to New York City, the greatest city in the world.”

She follows three other women who struggled amid the turmoil. The president in charge on Oct. 7, Nemat Minouche Shafik, cited the “period of turmoil” that followed when she resigned in 2024; she had faced criticism from members of Congress as well as the Columbia community over her handling of the student encampment that formed this year.

Her temporary replacement, Katrina Armstrong, stepped down in March 2025 as the school faced pressure from the Trump administration over antisemitism allegations. Armstong’s successor, the current interim president, Claire Shipman, struck a $221 million deal with Trump to settle the claims; she also apologized soon after taking office for having suggested the removal of a Jewish member of the school’s board of trustees.

Now, Mnookin will be responsible for managing Columbia’s relationship with federal authorities, weighing and implementing the recommendations of its antisemitism task force and healing a divided campus, which has been closed to outsiders now for years.

“The last few years have been undeniably difficult for the Jewish and Israeli communities on campus. While challenges remain, there is a vibrant, joyful, proud Jewish community at Columbia,” Brian Cohen, executive director of Columbia/Barnard Hillel, said in a statement. “I am hopeful that President-elect Mnookin will bring the reputation, experience, and understanding that we need to build on that strong foundation.”

It will be Mnookin’s first time working at a private university. At Wisconsin, first sent law enforcement to shut down a student encampment, then negotiated with protesters after they established a second one. The deal required Students for Justice in Palestine to comply with university rules related to protest in exchange for the right to present their divestment demands to “decision makers,” who did not accede to them.

She also denounced neo-Nazi protesters who marched on the Wisconsin campus in November 2023, calling them “utterly repugnant.” Through it all, she gained a reputation for promoting open inquiry and academic freedom — even as Wisconsin, like dozens of other universities, faced a federal investigation over antisemitism allegations.

“I think universities should be spaces where ideas, and different ideas, embodied by people from different backgrounds, come together, and where it won’t always be comfortable, but where we will learn and do better from that engagement,” she said in a roundtable of college presidents published in The New York Times in November. (The other presidents were also Jewish: Sian Bellock of Dartmouth College and Michael Roth of Wesleyan University, who has emerged as a rare leader in higher education who is willing to spar with the Trump administration.)

Mnookin was raised in a Reform Jewish family in the Bay Area that escalated its Jewish engagement when she asked to celebrate her bat mitzvah, according to her father Robert. A scholar of conflict negotiation, he described the evolution in his 2015 book “The Jewish American Paradox: Embracing Choice in a Changing World,” which he said he wrote in part to explore his own late-onset attachment to Judaism.

The post Columbia selects Jennifer Mnookin, Jewish U of Wisconsin chancellor, as its next leader appeared first on The Forward.

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Tim Walz invokes Anne Frank in pressing Trump to end ICE operations in Minnesota

(JTA) — Tim Walz, the governor of Minnesota, invoked Anne Frank in exhorting President Donald Trump to call off the ICE operations in the Twin Cities in which a second protester was killed over the weekend.

Speaking at a press conference on Sunday, Walz — whose master’s degree focused on Holocaust education — suggested that the conditions facing children in his state during the Trump administration’s aggressive immigration enforcement raids were of a kind with those facing Frank during the Holocaust.

“We have got children in Minnesota hiding in their houses, afraid to go outside. Many of us grew up reading that story of Anne Frank,” he said. “Somebody is going to write that children’s story about Minnesota.”

The prominent mention of Frank, who died of disease in a Nazi concentration camp after her family’s hiding place was betrayed, adds to a growing discourse about whether ICE’s operations targeting immigrants in Minnesota can be compared to the Nazis’ tactics in rooting out Jews during the Holocaust. Figures such as Stephen King and Bruce Springsteen have likened ICE to the Gestapo.

Until recently, Nazi comparisons were long considered inappropriate by many in the Jewish world who argued that such analogies cheapen the memory of the particular genocide against the Jews. In the last decade, that norm has to some degree fallen away, with voices on both the right and left likening their opponents to Nazis.

On Sunday, some of Walz’s critics denounced his comments and said an immigration crackdown cannot be compared to the deliberate murder of Jews. Retweeting an account called Stop Wokeness, the activist Shabbos Kestenbaum tweeted, “One million Jewish children were killed during the Holocaust. Illegal immigrants are offered thousands of dollars to take a free flight home. Tim Walz is an evil retard.”

In a post on X responding to Walz’s analogy, Stephen Miller, a top aide to Trump, wrote, “The purpose of the rhetoric is to incite attacks on ICE.”

But others said the comparison was apt, with a quotation from Frank’s diary circulating widely online as it did in 2019 in response to ICE raids then. The quotation, those sharing it suggested, offered a close parallel to what has been playing out in Minnesota.

“Terrible things are happening outside,” the passage says. “Poor helpless people are being dragged out of their homes. Families are torn apart; men, women and children are separated. Children come home from school to find that their parents have disappeared. … Everyone is scared.”

Jewish voices, too, have invoked the Holocaust in arguing for intervention in Minnesota, where federal agents on Saturday shot and killed a man, Alex Pretti, who had been protesting their presence.

“What did we learn from the Holocaust? We have to act and we have to resist,” one rabbi who flew into Minnesota to protest told the Religion News Service last week.

Walz, a Democrat who was the vice presidential candidate in 2024, wrote a master’s thesis on Holocaust education, arguing that the Holocaust should be taught “in the greater context of human rights abuses,” rather than as a unique historical anomaly or as part of a larger unit on World War II.

“Schools are teaching about the Jewish Holocaust, but the way it is traditionally being taught is not leading to increased knowledge of the causes of genocide in all parts of the world,” he wrote in his 2001 thesis, completed while he was a high school teacher.

The post Tim Walz invokes Anne Frank in pressing Trump to end ICE operations in Minnesota appeared first on The Forward.

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How yizkor books bring the sights, sounds, and even smells and tastes of lost Jewish shtetls back to life

Rye bread, sour milk, and maybe some herring — for a poor Jew, these were the makings of a meal. The Jews I have in mind were residents of the small market towns, or shtetls, once strewn across Eastern Europe. Shtetls had their token elites, the grain and lumber brokers who ate white bread with butter. For the vast majority, however, the bread was black and there was no butter.

I’ve spent the last few years reading about these towns for Once There Was a Town, a book I’ve written about yizkor books and the world they portray. But my interest is more than academic; my father was born in one of these towns, and I’ve been hearing its stories since I was a kid.

The word yizkor is a form of the Hebrew verb “to remember.” Literally translated, it means “may he remember.” A yizkor book is a book of remembrance.

Shelves of Yizkor books in the Jewish division of the New York Public Library. Photo by Jane Ziegelman

While the yizkor book tradition goes back to medieval times, those I’ve been studying were written after the Holocaust as a way to memorialize the communities destroyed by the Nazis and their facilitators. Anthologies of a sort, these books were written by both Holocaust survivors and emigrés from before the war, all from the same shtetl, working together to document the ways of life characteristic of their fallen hometowns.

Key players in their production were organizations that had formed decades before the Holocaust. Starting in the late 19th century, in immigrant cities like New York, Jews from the same town had banded together to create self-help societies which you could turn to in times of crisis. If a family member was sick and couldn’t work, these societies provided financial support. When a townsperson died, they ensured a plot in a Jewish cemetery. After the war, they assumed responsibility for writing the town yizkor book.

Erased from the physical world, those towns are conjured back into existence in these yizkor books. Working with the theory that whatever was left out would be forgotten, yizkor book writers sought to cast a wide net and record everything. Caught in that net were the foods people ate.

Cousins standing in a doorway in Luboml, Poland, circa 1938.
Left to right: Chaya Liba Peltz, Aaron Ziegelman, Luba Ziegelman.
In front, Tova Peltz Courtesy of Jane Ziegelman

The books speak eloquently to the sparsity of the weekday diet, which for many consisted primarily of potatoes, porridge and coarse, rye bread. Six days of austerity, however, were followed by the Sabbath, when Jews are commanded to partake “of fruits and delicacies and to inhale sweet odors.” Sabbath foods shared certain characteristics. Challah and gefilte fish were sweet and delicate, and so was compote (stewed fruit) and tsimmes, (carrots sweetened with prunes.) It was fat, however, that people hankered for most. Chicken soup with golden rings of fat dancing across the surface, chopped liver enriched with onions fried in goose fat (shmaltz), stuffed derma (cow intestine stuffed with flour and schmaltz) and a schmaltz-laden kugel.

Our modern-day food groups — protein, fat, carbohydrates — held no meaning for a poor Jew who saw food in just two categories. Like heaven and earth, like men and women, like time itself, food was divided into the holy and the mundane.

A qualification: All food comes from God so all food is holy. Certain foods, however, are fortified with an extra dose of holiness. In some cases, it was obvious which was which — between rye bread and challah, for example, there was no confusion. With some foods, however, it all depended on preparation. During the week, dried beans were combined with kasha or barley for a meal that was both cheap and filling. Saturday’s cholent was also made with beans, but these beans had been braising all night with a fatty bone. A potato soup “whitened” with a splash of milk was among the mundane foods Jews subsisted on Sunday through Friday. But a potato kugel, glistening with schmaltz and redolent of onion, was a dish worthy of the Sabbath Queen!

Jane Ziegelman’s latest book is ‘Once There Was a Town: The Memory Books of a Lost Jewish World.’ Courtesy of St. Martin’s

And then there were zoyers, the fermented foods that defied classification. Cucumbers, beets, mushrooms, radishes, cabbage, apples and even berries were some of the foods that homemakers turned into zoyers, what we call pickles. For people who relied so heavily on bread and potatoes, the tang of a zoyer provided a welcome counterpoint to all that starchiness. And when the pickles were gone, you could dip your potato into the sour and salty brine.

Zoyers also came in liquid form, the most popular of which was a drink called kvass. A fermented drink made from stale bread, kvass was produced both at home and by the local kvassnik or kvass maker. Jews loved their kvass for its fizzy tartness. More than that, however, they saw it as a kind of culinary metaphor. In the sourness of kvass, they saw their own lives. Here, a former resident of Rakishok, a shtetl in Lithuania,, remembers his weekly visits to the kvass maker:

I remember how my father would send me with a kopek on Shabbos night to buy kvass for Havdalah. The kvass, alas, was made from the crusts of black bread, and was very sour, like the sourness of the mood of the coming gray week and its worries.

Zoyers were also at home on the Sabbath table; in fact, meals were considered incomplete without them. Or to put it another way, zoyers offered a kind of culinary satisfaction that no other food could deliver.

“A young man sat down to a holiday meal of chicken, kreplach and tsimmes,” one yizkor book author wrote. “After the meal, his wife asked if he was satisfied with the food. ‘Of course,’ he answered, ‘but unless I have eaten even a little bit of zoyers, I am not a person.’”

I take comfort knowing that this is a feeling I have experienced too.

The post How yizkor books bring the sights, sounds, and even smells and tastes of lost Jewish shtetls back to life appeared first on The Forward.

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