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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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Antisemitism Exploding on the Far-Right: The Conspiracy Doesn’t Need an Event Anymore
Dan Bilzerian arrives at the Fashion Nova x Cardi B Collection Launch Party held at the Hollywood Palladium on May 8, 2019, in Hollywood, Los Angeles, California, United States. Photo: Xavier Collin/Image Press Agency/NurPhoto via Reuters Connect
In April 2026, Dan Bilzerian — a social media personality with 29.6 million Instagram followers — filed to run for the US Congress against incumbent Randy Fine (R-FL). Within 10 days, he had been interviewed across right-wing, left anti-imperialist, manosphere, and tabloid outlets, calling his Jewish opponent a “fat Jew” and naming “Jewish supremacy” as the greatest threat to America.
My team at NYU’s Center for the Study of Antisemitism collected and coded 3,000 YouTube comments under six of these video appearances. Across the six videos, 41 percent of comments were antisemitic. The lowest single video came in at 23.6 percent. Under TMZ, where the hosts pushed back on Bilzerian on camera, the figure reached 52 percent — the highest of the six.
These are not numbers consistent with the way online antisemitism has usually been studied — including in my own previous work.
Most digital antisemitism research, including the studies my team has run after the Capital Jewish Museum shooting, the Charlie Kirk assassination, the Bondi Beach attack, the Temple Israel Synagogue attack, and the White House Correspondents’ Dinner shooting, treats the discourse as event-driven. Something happens; comment sections respond. The highest antisemitism rate I have ever documented in those event studies sits in the 12 to 20 percent range.
Sadly, even Bilzerian’s quietest video outran the worst spike I have ever seen after a major attack. There is no event driving these numbers. There is just a candidate.
Online antisemitism is still being produced on the left, by Islamist actors, and by foreign malign-influence operations. None of that has gone away — and on the left in particular, the post-October-7 surge has not receded.
What has changed is that a second front has opened among right-wing influencers with mass audiences, and it is moving fast. Bilzerian comes from there. So did Candace Owens before him. So did Tucker Carlson.
Antisemitism and adjacent conspiracy narratives are now being normalized by these figures at an unprecedented pace, inside the broader Republican coalition, using platform infrastructures and institutional vehicles existing monitoring rarely even looks at.
Jewish institutions calibrated mainly to track the left or external state actors are now watching one front while a second one widens.
The pattern holds across audiences that have nothing else in common. Owen Shroyer is a former Infowars right-populist. George Galloway is a heterodox left anti-imperialist who was expelled from Labour in 2003 over his Iraq War statements. Sneako is a manosphere influencer and Muslim convert. Jimmy Dore is a left-populist commentator.
The antisemitism saturation is steady under all of them, because what is producing it is not the host or the audience but the speaker each is platforming. Under Galloway, a typical comment ran: “It is the Zionists in control of all our western governments that have promoted the illegal immigration issues we have all been experiencing for the past decade.” Under Sneako, where the title named “Jewish supremacy” directly, the wordplay register surfaced — “very Cohencidental,” “Cohencidence” — alongside lines like “anyone who shits on Jews is a legend.”
Under Jimmy Dore, where antisemitism reached 42 percent, the historical-authority register dominated: a Hitler quotation got 71 likes, with a reply reading, “Yes we owe that man AH a big apology.”
Bilzerian’s candidacy is more than a single bad actor. It is a convergence: manosphere reach built up over a decade — poker, weapons, wealth display — converted into a pre-loaded political audience; anti-establishment positioning that reads as left or right depending on the listener but is coherent only as anti-Jewish-power (anti-Trump, anti-AIPAC, anti-Iraq War, pro-Palestinian); eliminationist content visible across the comment sections, including Hadrian endorsements, death wishes referencing the Nova massacre directed at named Jewish commenters, and the line “FINISH THE JOB THIS TIME”; and a Republican primary as the institutional vehicle that cleared the FEC filing process without friction.
The TMZ result shows what happens when this baseline meets resistance. Hosts Harvey Levin and Charles Latibeaudiere did exactly what mainstream-media accountability journalism is supposed to do. They named “fat Jew” as antisemitic on camera. They challenged Bilzerian’s redirection toward Palestinians as the “real Semites.” They refused his pivot from his own rhetoric to attacks on Fine’s record. By the standards of on-camera adversarial framing, this was a textbook intervention. The replies came in at 52 percent antisemitic.
The mechanism is the finding. The audience did not register the host pushback as journalistic accountability. It registered the pushback as further evidence of the conspiracy Bilzerian was naming. TMZ co-founder Harvey Levin’s documented appearance in the Epstein files — a real fact in the public record — became the activation trigger. One commenter, with 30 likes: “the owner of TMZ is in the Epstein files and plays the victim. These people support actual genocide. They are using words as a shield.” Another, with 73 likes: “He would win with ease but I don’t think the tiny hats would ever allow him to run.” A Goebbels quotation circulated through six different stations of one mega-thread, accumulating endorsements at each stop — “based,” “my daddy.” Latibeaudiere, the Black co-host, was recoded as a racial subordinate to a Jewish boss: “his boss and co-partner is a Jue,” “he figures it’s better to be in the house than in the fields.” A single counter-comment in the entire 500-comment sample, detailed and factually correct, arrived sixteen days late and received zero likes.
The dominant strategy that Jewish institutions, journalists, and platforms have for handling antisemitic public figures is on-camera adversarial framing: bring them on, push back, make them defend the indefensible. The assumption is that the audience will absorb the pushback as suppression. The TMZ case shows this assumption breaking. When the audience has already been primed — by years of speaker supply on other platforms — to read the host as part of the system being challenged, adversarial framing does not suppress the saturation. It feeds it.
Antisemitism in this material is not one hate register among several. It is the organizing logic for the others. Anti-Black framings, misogyny, anti-Muslim and anti-trans rhetoric all appear under the videos — but not as parallel categories. They appear under the conspiracy frame, organized by formulations like “the media is run by Jews and pushes X.” Monitoring systems that track hate categories separately measure each layer in isolation and miss the architecture connecting them.
Two things follow.
For Jewish institutions: a Congressional candidate with 29.6 million followers and a steady four-in-10 antisemitism saturation in his comment sections is not a fringe figure. The fact that he can be interviewed on TMZ and the replies come out at 52 percent is not a journalism problem. It is a structural condition. Strategies that depend on the host’s standing to push back will fail when the audience has already coded the host as compromised. And the threat is now coming from a direction the field has been slow to map: the Republican coalition, mass-audience right-wing creators, and the convergence of manosphere reach with anti-establishment populism.
For those tracking online antisemitism: the methodology to see this exists. The bottleneck is not detection. It is the analytical assumption that antisemitism is something that happens around events. When the speaker is the event, the existing framework cannot register what is in front of it.
The FEC filing was processed without friction. The primary ballot will list a candidate calling a sitting Jewish Congressman a “fat Jew” on national television. Both of those institutional doors opened on schedule. The architecture passing through them did not announce itself as extremism, because by the time it arrived it was wearing the credential of a federal Congressional campaign.
Matthias J. Becker, PhD, is AddressHate Research Scholar at NYU’s Center for the Study of Antisemitism. He is the founder and lead of Decoding Antisemitism — now its successor project, Decoding Hate — Research Advisor to AddressHate, and Editor-in-Chief of Digital Hate Review.
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Iranian Rapper Releases Persian Remix of Israeli Song, Calls for Revenge Against Regime
British-Iranian rapper 021Kid in the music video for his Persian remix of the song “Harbu Darbu” (feat. Stilla & Ness). Photo: Screenshot
British-Iranian rapper 021Kid has released a Persian remix of the song “Harbu Darbu” by Israeli rap duo Ness & Stilla, and in the lyrics, he calls for the death of the Iranian regime forces responsible for the killing and oppression of their own people.
The rapper, whose real name is Tony Mohraz, sings in both Farsi and English in “Harbu Darbu,” which was originally released by Ness and Stilla in 2023 in response to the deadly Hamas-led terrorist attack in southern Israel on Oct. 7.
In the Persian remix, 021Kid calls for the destruction of Iran’s Islamic Revolutionary Guard Corps (IRGC), an Iranian military force and internationally designated terrorist group, as well as the Basij parliamentary force that operates underneath it. The regime uses the Basij to violently suppress protests and crush political opposition across the country.
The rapper, who was born in Tehran but now lives in the United Kingdom, also sings about Iranian leaders and senior military figures who have been killed in US and Israel strikes. He mentions by name Supreme Leader Ali Khamenei, Islamic Revolutionary Guard Corps-Qods Force Commander Qasem Soleimani, former Iranian Air Force Commander Aziz Nasirzadeh, and Brig. Gen. Amir Ali Hajizadeh, the commander of the IRGC Aerospace Force.
021Ki further targets the People’s Mojahedin Organization of Iran (MEK), an Iranian opposition group that has been persecuted by the regime and seeks its overthrow but was a US-designated terrorist group from 1997 to 2012.
“We don’t want mullah, neither MEK. Smoke ’em on site, show no mercy,” 021Kid raps in English. He then sings in Farsi, “I’m standing with Iran till the end … We get our country back, just watch.”
The song includes some Hebrew phrases as well. “My Persian Jews, Irani Chai and that’s why Am Israeli Chai,” 021Kid raps in the song. “I pull up Tel Aviv, Ma Nishma? [How are you?].”
The music video also features clips from Ness and Stilla’s music video for the Hebrew version of “Harbu Darbu.”
021Kid explained the intention behind his new song in an Instagram post.
“After what happened in Golders Green, London a few days ago where a Jewish man was stabbed — it’s a reminder that hate doesn’t just live online, it shows up in real life,” he wrote, referring to the antisemitic stabbing attack in which two Jewish men were injured in late April.
“Since January, the people of Israel & the jewish [sic] community have shown strength, resilience, and unity and solidarity standing next to us Iranians. As Persians and sons of Cyrus the Great we see it we respect it,” 021Kid further wrote on social media. “In times like this, real allies don’t stay silent. We stand together against hate, against violence, and for something bigger than politics — humanity, strength, and loyalty … From Persians to Israelis — we stand with you, to the very end AM IRANI CHAI & AM ISRAEL CHAI.”
In the original “Harbu Darbu,” released after the Oct. 7 attack in 2023, Ness & Stilla call for revenge against Hamas and Hezbollah, and threaten celebrities who voiced support for the terrorist groups or condemned Israel. The rappers name Hezbollah leader Hassan Nasrallah and top Hamas officials Mohammed Deif and Ismail Haniyeh, saying “every dog’s day will come.” All three have since been killed by Israel.
In 2024, Ness & Stilla claimed that were denied visas to enter the United States because of the song. The track also received backlash from pro-Palestinian activists who called for it to be removed from YouTube, claiming that it violated the platform’s harassment policies, but YouTube ultimately decided to let the song remain on its website.
Watch the music video for 021Kid’s “Harbu Darbu [Persian Remix]” featuring Ness & Stilla below.
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California man pleads guilty in 2023 death of pro-Israel protester
The man accused in the 2023 death of a pro-Israel protester will avoid a prison sentence after pleading guilty this week to all charges against him.
Loay Alnaji, 53, was at a pro-Palestinian protest in Ventura, California, in November 2023 when he allegedly struck a pro-Israel counterprotester named Paul Kessler with a megaphone. Kessler, who was 69, then fell, hitting his head on the pavement. He died several hours later, with the death ruled a homicide by blunt-force trauma.
Trial proceedings had been set to begin next week, with Alnaji facing up to four years in prison. But Ventura County Superior Court judge Derek Malan offered Loay Alnaji, 53, a deal on Tuesday that allowed Alnaji up to one year in jail followed by three years on probation.
Alnaji accepted the offer. His attorney, Ron Bamieh, told the Ventura County Star that Malan had determined “two old guys had a dispute and an accident happened.”
Alnaji pleaded guilty to the two counts against him — felony involuntary manslaughter and felony battery causing serious bodily injury — and admitted aggravating factors, namely that he used a weapon and that the victim was particularly vulnerable.
He will be sentenced June 25.
The plea deal was too lenient in the eyes of Kessler’s family — which wanted the maximum sentence, according to the Star — as well as Ventura County District Attorney Erik Nasarenko.
“Alnaji should be sentenced to prison for his violent behavior, and our office strongly objects to any lesser sentence,” Nasarenko said in a statement. “While no amount of punishment will ever fully account for the Kessler family loss, a prison commitment underscores the severity of this crime and will deter others from committing similar acts of violence.”
The Kessler family could not be reached for comment.
The guilty plea brings a tragic saga that began in the early days of the Israel-Hamas war closer to an end. Kessler and Alnaji were among 75 to 100 people who descended upon a busy intersection in Thousand Oaks — about 25 miles north of Los Angeles — for dueling protests related to the Israel-Hamas war.
What happened during the altercation remains unclear. Bamieh said Kessler put his phone in Alnaji’s face; when Alnaji swatted the phone away, the megaphone inadvertently hit Kessler’s face. (He also said Kessler had previously been diagnosed with a brain tumor, though the coroner has stated the tumor was not a factor in his death.) After Kessler’s fall, he was bleeding from the head and mouth, but was responsive at the scene and evacuated to a hospital. His condition worsened overnight and he died there early the next day.
Alnaji, who at the time was a computer science professor at Moorpark College, was placed on administrative leave by the school after his arrest and subsequent release on $50,000 bail.
Rabbi Noah Farkas, chief executive of the Jewish Federation of Greater Los Angeles, welcomed the guilty plea for what he called a “heinous crime.”
“While we would have liked a harsher sentence that better reflects the pain of the Kessler family, we respect the legal process,” Farkas said in a statement. “Our hope is that today’s news helps bring closure to his family and gives our community the ability to demonstrate safely.”
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