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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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UNC Student Newspaper Publishes Tropes About Jews and Money
In May 2024, Students for Justice in Palestine poured red paint which resembles spilled blood on the steps of the South Building, an office for administrative staff and the chancellor at the University of North Carolina at Chapel Hill. Photo: UNCSJP/Screenshot
The Daily Tar Heel, the student-led newspaper of the University of North Carolina (UNC) at Chapel Hill, recently featured commentary that some view as antisemitic.
On Feb. 26, Kyle Bublic began a column by writing, “The 2022 congressional race for North Carolina’s 4th District was puppeteered by the wallet of Benjamin Netanyahu, as he whisked away the last of our previously honest lawmakers with American Israel Public Affairs Committee money.”
The American Jewish Committee explains why it is antisemitic to allege that Jews are political puppet masters:
Myths of control portray Jews as secret puppet masters, ruling over others and manipulating the world’s economies and governments. For centuries, Jews were blamed for controlling world events behind the scenes, leading “blind” leaders into wars and debt to enrich themselves and further their own hidden agenda …
The imagery of Jewish leaders pulling the strings of politicians was featured in Nazi propaganda … Antisemitic propaganda continues to spread the idea that rich or influential Jews are behind the scenes conspiring to further their plans of world domination.
It is a serious matter to state or imply that the Prime Minister of Israel is in any way financing or directing an American election. According to Congress, “Federal campaign finance law and regulation prohibits foreign money in U.S. elections.”
I reached out to five of the paper’s editors for comment. None responded.
Later in his column, the op-ed’s author repeated the antisemitic puppet master trope, writing:
While I would like to imagine Israel’s investment into Durham and Orange County was driven by their prime minister’s love for Cosmic Cantina [a local restaurant], it seems like his motivation was more nefarious. Nida Allam, Foushee’s most fearsome competitor in the 2022 election, represented everything that makes our puppet masters shudder — a principled and young candidate fighting under a truly progressive ticket.
The student column focused on the primary election in NC’s 4th Congressional district held last week between Democratic Congressional incumbent Valerie Foushee and her challenger, Durham County Commissioner Nida Allam. Israel became a major focus of this Democratic primary, with anti-Israel radicals embracing Allam.
I previously reported that in 2018, Allam tweeted, “This is the United States of Israel,” which is consistent with centuries-old antisemitic propaganda that Jews seek to dominate the world. Allam ended up issuing a public apology for her antisemitism.
The Daily Tar Heel endorsed Allam in the Nov. 3 primary. Foushee narrowly beat Allam in the election.
UNC Professor of Medicine and longtime Jewish communal leader, Dr. Adam Goldstein, told me:
It’s truly disappointing to see the UNC student newspaper endorsing a partisan description of a Congressional race in 2026 as “puppeteered by the wallet of Benjamin Netanyahu’” in 2022, with references to “Bibi’s pockets.”Such descriptions echo longstanding antisemitic tropes portraying Jews as secretly controlling political systems through money. This moves beyond criticism of a current candidate’s policies into shameful demonization of a longtime progressive Congresswoman, and those that support her, through language that is itself manipulative and corrupting.
The Daily Tar Heel’s policy page claims that it seeks “to be a leader in espousing the ethical standards of the industry [and] to serve as a beacon of journalistic integrity.” Yet, the paper fails UNC students, our community, and the people of North Carolina, by allowing these tropes about Jews and money in its pages.
Peter Reitzes writes about antisemitism in North Carolina and beyond.
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CNN Shames Itself By Shilling for Iran
Images of Iran’s new supreme leader Mojtaba Khamenei and late Iranian Supreme Leader Ayatollah Ali Khamenei are displayed at a gathering to support Mojtaba Khamenei, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 9, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
There’s a reason why the Iranian regime, which murdered thousands of its own citizens just months ago, only allowed one American network access to the country. It picked CNN, because it thought it would get coverage either that was favorable in some way, or at least not critical.
We are no longer in the era of Mike Wallace. Not long after Ayatollah Khomeini took over in 1979, Wallace interviewed him in Iran. Wallace had the guts to mention that Egyptian leader Anwar Sadat called him a disgrace to Islam and a “lunatic.” The Ayatollah responded by saying that Sadat was not a Muslim and was united with their enemies. He called for the people of Egypt to overthrow Sadat. Sadat was assassinated two years later.
Wallace sat on the floor during the interview, as did the Ayatollah, and asked if he could go visit the American hostages and talk to them. He was refused.
Back to now. CNN’s Frederik Pleitgen interviewed shopkeepers who said they were scared for their lives because there were bombs.
Of course, none of the people Pleitgen would interview are capable of criticizing the regime, or they’d be beaten or killed. Pleitgen himself might be killed if he reports anything the regime doesn’t want. The reports do include the line: “CNN operated in Iran only with government permission.” But that’s meaningless.
There is value to being on the scene in a war zone, but CNN, which gets much of its ratings from bashing Trump, will no doubt find citizens who will curse Trump. And no one they talk to will support the war in any way. Is simply putting in a line that you are reporting only with the permission of the government good enough? Do the ends justify the means in this case?
Pleitgen reported that “oil-filled rain” is falling from the sky. Is he able to report on what the true process was for the appointment of Mojtaba Khamenei as the new leader? Doubtful. What about the real number of its citizens they killed? Of course, they won’t get that. What about why they apologized for striking Gulf countries, and then continued to do so? If we won’t get any real answers to real questions, why is CNN really there — other than to do the bidding of the Iranian regime?
What is surprising is that I thought they’d send the CNN reporter to the girls school that was said to have been hit by American forces. Why not let him speak with some of the parents whose children have been killed? One would think this is exactly what Iran would want. That they have not done so raises suspicions. Was it a school not marked as a school, as part of an Revolutionary Guard Corps facility? Are there some discrepancies Iran doesn’t want the world to know?
It goes without saying that there is propaganda from every country in a war. It’s not always easy to get to the truth, and all countries only want certain information to be public. I’d like to know more about the Iranian ship sunk by America. Was it really unarmed when it was coming back from exercises with India? That’s what Iran says, but the US says that’s a lie. How about an interview with one of the 32 who survived? That would be an interesting interview.
If you’re going to report from an enemy country in war, can you at least have some unique and engaging content? It will be interesting to see if CNN decides to leave Iran, realizing their reputation will be hurt and it’s not worth it to aid an enemy’s propaganda war.
The author is a writer based in New York.
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Self-Reliance Is Israel’s Strategic Imperative
A US Marines F-35C Lightning II is staged for flight operations on the flight deck of the US Navy Nimitz-class aircraft carrier USS Abraham Lincoln in support of the Operation Epic Fury attack on Iran from an undisclosed location March 3, 2026. Photo: US Navy/Handout via REUTERS
History has taught the Jewish people many painful lessons, but perhaps the most enduring one is this: survival can never depend entirely on the goodwill of others. Alliances matter. Partnerships strengthen nations. But the responsibility for defending the Jewish state ultimately rests with Israel itself.
For decades, the alliance between Israel and the United States has been a cornerstone of Israel’s national security. This partnership has saved lives and deterred wars. Yet responsible leadership requires looking forward, not backward.
The global order is shifting. The United States faces growing domestic polarization, rising debt, and strategic competition with China that increasingly dominates its foreign policy priorities. Within parts of American political discourse, support for foreign aid in general, and Israel in particular, is no longer a consensus issue. While bipartisan support for Israel remains somewhat in place at the institutional level, the tone and intensity of the debate have changed.
This does not mean America is abandoning Israel. But it does mean that Israel cannot afford complacency.
The Jewish State was founded in the shadow of embargoes and isolation. In 1948, when the newborn nation faced invasion, it did not enjoy the luxury of dependable suppliers. Those early experiences forged a national doctrine of self-reliance. Over the decades, Israel built one of the most advanced defense industries in the world — precisely because it understood that sovereignty without military independence is fragile.
Today, Israel produces cutting edge missile defense systems such as Iron Dome, David’s Sling, and Arrow. It leads globally in unmanned aerial systems, cyber capabilities, electronic warfare, and advanced battlefield technologies. Israeli defense exports reach Europe, Asia, and the Middle East, including countries that once viewed Israel as an adversary. Innovation is not merely an economic asset for Israel. It is a strategic necessity.
However, critical dependencies remain. Israel does not manufacture its own fifth generation fighter jets. Its air force relies heavily on American platforms such as the F-35 and F-15. Certain precision munitions and key components are sourced from abroad. Moreover, financial frameworks tied to foreign military assistance inevitably create political considerations beyond Israel’s direct control.
If the geopolitical winds shift, even slightly, those dependencies could become vulnerabilities.
Recognizing this reality does not diminish the importance of Israel’s alliances. It strengthens them.
Israel must accelerate investment in domestic production of critical munitions, expand its aerospace capabilities, and secure independent supply chains for raw materials and advanced components. It must ensure that during prolonged conflict, it can sustain itself without waiting for external political approvals. This is not an act of isolation. It is an act of national responsibility.
Israel cannot gamble its security on the internal debates of other nations, however friendly they may be. The Jewish people returned to their homeland to reclaim agency over their destiny. That agency must extend to every dimension of national defense.
In a region where weakness invites aggression, strength guarantees peace. The strongest message Israel can send to both allies and adversaries is clear: we value partnership, but our security will never be outsourced.
Sabine Sterk is the CEO of Time To Stand Up For Israel.