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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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A famed rabbi’s yeshiva reopens for students for the first time since World War II
(JTA) — Dovid Hofstedter was visiting Belarus five years ago when he discovered that a historic Jewish school had turned into something else.
Hofstedter, a Canadian rabbi, was joining a group of rabbis from around the world at the Radin Yeshiva, nestled in the small town of Radun in western Belarus. The school was founded in 1869 by the famed Lithuanian rabbi Israel Meir Kagan, known as the Chofetz Chaim, and housed 300 students before World War II.
As Hofstedter delivered a lecture in the building, he was surprised to see it fill up with locals, who then gradually wandered out. He realized they didn’t know the building had once housed a yeshiva in a town where no Jews live today.
Instead, people had walked in expecting a play — and left when they didn’t get one.
The Radin Yeshiva had been converted into a theater, with a stage and red seats, Hofstedter told the Jewish Telegraphic Agency. Like many Jewish sites across Eastern Europe, where the Nazis’ annihilation was followed by decades of Soviet rule that stifled Jewish memory and communal life, the school’s history had been buried.
“In other places that I’ve been to in Eastern Europe, some yeshivas were used as a post office,” said Hofstedter. “Some were used as government buildings.”
This month, Hofstedter and another group of 100 international rabbis filled the building again, this time to inaugurate the reopened Radin Yeshiva, now fully restored to serve Torah students as a functioning school.
Yad Yisroel, a nonprofit dedicated to strengthening Jewish life in Belarus, bought the yeshiva building from the municipality of Radun (or Radin, according to its Yiddish pronunciation) in 2025. That spurred a year of planning and construction, headed internationally by Hofstedter, who founded the Torah study organization Dirshu, and locally by Moshe Fhima, who directs Yad Yisroel’s projects and leads a yeshiva in the southern city of Pinsk.
The restoration team replaced the building’s roof and windows, which had deteriorated over years of neglect. Inside, they installed a new Torah ark and recreated the wooden lecterns and chairs that filled the yeshiva before World War II. A library of books is being transported from Israel to stock the school’s shelves.
The Radin Yeshiva closed after the outbreak of World War II, when the Soviet Union occupied the region and Soviet authorities seized the building. Nazi Germany captured Radun in 1941. Some yeshiva students escaped to Japan, where they received aid from the American Jewish Joint Distribution Committee. Rabbi Mendel Zaks, the Radin Yeshiva’s then-leader and the Chofetz Chaim’s son-in-law, fled in 1941 to the United States and reestablished the yeshiva in New York City. In the 1950s, the new school moved upstate to Suffern, New York, where it remains active.
Meanwhile, more than 2,000 Jews from Radun and neighboring villages were interned in a ghetto; most were killed by the Germans and local police.
Hofstedter believes that the Radin Yeshiva will draw interest from Jewish communities across Belarus. Though the country’s 30,000 to 50,000 Jews today are largely secular, Hofstedter said a subset of the community has shown interest in reconnecting with facets of their Jewish identity that were quashed under the Soviets, and the yeshiva can serve as a focal point for that rediscovery. Many of its students will also come from abroad, as Orthodox Jews make regular pilgrimages to study the Chofetz Chaim’s teachings and visit his gravesite.
The Chofetz Chaim, who lived from 1838 to 1933 and whose sobriquet is the title of his first and most famous book, was widely hailed as the leading Jewish scholar of his generation. His establishment of the Radin Yeshiva brought the town fame in the Jewish world of Eastern Europe, where current-day Belarus and Lithuania were home to many “Litvak” Jews who followed a rigorous, anti-Hasidic religious tradition. He remains influential among Orthodox Jews globally for his works codifying Jewish law and ethics, especially his guidance on refraining from “lashon hara,” or “evil speech” about others, said Hofstedter.
There are recent signs of renewed attention to Belarusian and Lithuanian sites of Jewish heritage, according to Alena Kuliounich, the deputy chair of the Union of Belarusian Jewish Public Associations and Communities. The Volozhin Yeshiva, another jewel of Lithuanian Jewish history founded in 1803, reopened as a museum in 2024. Today, no more than a handful of Jews are estimated to live in Volozhin, now in western Belarus.
“Volozhin demonstrates that a historic Jewish site can attract considerable interest even in the absence of a substantial local Jewish community,” Kuliounich told JTA.
Hofstedter, whose parents survived the Holocaust in Auschwitz and Mauthausen before rebuilding their lives in Toronto, had a different vision for the Radin Yeshiva. He explicitly did not want it to become a museum.
“We didn’t want to just have some sort of tribute to the past,” said Hofstedter. “We wanted to be in continuity with the future, the teachings of the Chofetz Chaim for future generations.”
At the Radin Yeshiva’s rededication ceremony, he was moved to watch rabbis from the United States, Israel, Britain, France and elsewhere join to celebrate the Chofetz Chaim. The Lithuanian sage’s teachings are followed by Jews across Orthodox movements. It was rare to see rabbis with a range of backgrounds and beliefs “come together with such a feeling of solidarity,” said Hofstedter.
“There was an enormous amount of emotion at that gathering,” he said. “After almost 100 years, to be able to come back to the Chofetz Chaim’s yeshiva, to rejuvenate it and have the yeshiva functioning — it was just incredible.”
This article originally appeared on JTA.org.
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Police shoot dead assailant outside Israeli Embassy in Serbia
(JTA) — An assailant with knives attacked a police officer guarding the Israeli Embassy in Serbia overnight before the officer shot him dead, according to Serbian authorities.
Interior Minister Ivica Dačić called the incident a “terrorist attack.” The attacker had two knives and shouted “Allahu Akbar” at the officer 15 minutes after midnight Wednesday morning at the embassy in Belgrade. One knife hit the officer’s face.
The officer, a member of the Gendarmerie unit who was identified only by the initials D.S., killed the assailant on the spot, according to the Higher Public Prosecutor’s Office in Belgrade. The attacker, who was dressed in black and whom Dačić described as a minor, has not been identified and was believed to be from the western city of Šabac.
Dačić said he raised Serbia’s terrorism threat level to “red,” the highest degree, triggering heightened security monitoring and increased police presence around infrastructure facilities and places where large crowds gather.
Dačić added that Serbian security services had been monitoring the attacker, who was “known to be a supporter of the Islamic State” and had posted an image of the terror group’s flag on his Instagram account.
Avivit Bar-Ilan, the ambassador of Israel to Serbia, said she was “deeply disturbed and shocked by the terrorist attack.” She thanked the member of the Gendarmerie for “his courage and decisive response.”
The attack was the second on Belgrade’s Israeli Embassy in two years. In June 2024, a man seriously wounded a police officer outside the embassy by shooting him in the neck with a crossbow.
Wednesday’s incident came the day after Israel held parliamentary elections, with preliminary results suggesting that neither Prime Minister Benjamin Netanyahu’s coalition nor the opposition bloc had secured a governing majority.
Serbia had its own pivotal election on Sunday, with the country’s student-led protest movement defeating the bloc led by longtime nationalist leader Aleksandar Vučić. Under Vučić, Serbia deepened ties with Israel, including through a new joint combat drone manufacturing plant.
The victorious Student List movement said in its platform, “We will not be complicit in the systematic attempt to destroy the Palestinian people that Israel is carrying out in the Gaza Strip, and we will intensify the delivery of humanitarian aid to Palestine in order to save lives and reduce the number of casualties.”
This article originally appeared on JTA.org.
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Netherlands reverses course, will sit out Eurovision again over Israel’s participation
(JTA) — The Netherlands is withdrawing from the Eurovision Song Contest, reversing an announcement that it would join the event and citing “sensitivity” over Israel’s participation.
The Dutch organization that oversees public broadcasting, the Nederlandse Publieke Omroep, or NPO, said on Tuesday that it failed to find sufficient support from broadcasters to ensure a Dutch artist could go to Eurovision.
“We have known for some time that Israel’s participation elicits various reactions in society and causes discussion and division,” said Jurre Bosman, NPO’s media director. “This is also the case among broadcasters and staff, and we understand that sensitivity.”
NPO said last month that the Netherlands would reenter Eurovision in 2027, when the world’s largest music competition will take place in Burgas, Bulgaria. The Netherlands boycotted the contest in May 2026, alongside Spain, Ireland, Iceland and Slovenia, because of Israel’s inclusion.
NPO’s pledge to rejoin Eurovision overrode a decision by the Dutch network Avrotros, which usually oversees the Dutch entry. Avrotros withdrew from Eurovision in August, saying the event “can no longer be considered neutral” with Israel taking part amid “the severe humanitarian suffering in Gaza and the ongoing restrictions on press freedom.”
Initially, NPO believed there was “sufficient support” among public broadcasters to allow the Netherlands to return, said Jet de Ranitz, the chair of NPO’s executive board. But the decision sparked backlash. Earlier this month, about 400 public broadcasting employees signed a letter titled “#NotMyEurovision” to NPO’s management and board, urging the organization to reconsider returning to the contest.
“We only want to send an artist or artists and staff to the festival if they can count on the full support of one or more broadcasters,” Bosman said.
The contest will still be broadcast in the Netherlands by the network NOS, as it was this year.
Eurovision director Martin Green said he was “deeply sorry” that the Netherlands would not participate, adding that the organizers understood the decision and “respect the strength of feeling behind it in the Netherlands.”
Ireland will also remain absent from Eurovision next year. The country’s broadcaster RTÉ said in September that “Ireland’s participation cannot be justified given the appalling and ongoing loss of lives in Gaza and the humanitarian crisis there.” In Spain, the head of broadcaster RTVE also said he favored a continued boycott.
Czechia pulled out of the event this month, but its public broadcaster cited budget cuts as the reason.
The controversy over Israel’s inclusion in Eurovision has prompted mass protests. The 2026 contest drew 131 million viewers, down 35 million from the previous year.
This article originally appeared on JTA.org.
The post Netherlands reverses course, will sit out Eurovision again over Israel’s participation appeared first on The Forward.
