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‘Fleishman is in Trouble’ hits FX Thursday. Just don’t call it a Jewish series, says its creator.
(JTA) — From Taffy Brodesser-Akner’s point of view, her best-selling 2019 novel “Fleishman Is in Trouble” wasn’t all that Jewish. She’s a little perplexed by the deluge of press junket questions about its Jewish essence.
“It’s funny: I don’t think of it as a Jewish book. I know people do,” she said.
Brodesser-Akner, a journalist famous for her sharp celebrity profiles, is now the showrunner of the book’s star-studded TV adaptation, an 8-episode FX series that debuts on Hulu on Thursday. In the story, Toby Fleishman (played by Jesse Eisenberg) is a 41-year-old Jewish hepatologist who has recently divorced Rachel (Claire Danes), his ambitious, icy, blonde theater agent wife. Early on in the story, Rachel disappears in the middle of the night, leaving Toby with their two children and a truckload of resentment. Toby, who had a nebbishy and romantically insecure youth before marrying Rachel, is now drowning in the sexual bounty of dating apps.
On Zoom, Brodesser-Akner was speaking a few days after the show’s blowout bash at Carnegie Hall and Tavern on the Green, an iconic Central Park restaurant. “I’ve never been to an event like that. It was 600 people,” she said. It sounded like a scene that could have been plucked right from “Fleishman,” which is set on the extremely wealthy Upper East Side, and in which the responsibilities of marriage and parenthood are at odds with the ambitions and personal longings of its middle-aged characters.
Brodesser-Akner, 47, who was both adrenalized and a little frazzled, had to balance the premiere with parenting duties — she’s a mother of two boys, ages 15 and 12. “I’m still picking sequins from my teeth.”
As a writer, Brodesser-Akner likes to play with the power of subjectivity, and she built “Fleishman” on it. Though the story begins as Toby’s, it eventually morphs into a “Rashomon”-esque take on the divorce and what really went wrong in the Fleishmans’ marriage. The story is narrated by Libby (Lizzy Caplan), Toby’s friend from their year abroad in Israel. A former men’s magazine writer, Libby is now a lost and frustrated stay-at-home mom in suburban New Jersey (and a stand-in for Brodesser-Akner). Adam Brody steals scenes as Seth, an immature finance bro and another year-in-Israel friend with whom Toby reconnects after the divorce. (His presence is a homecoming of sorts for those of us who spent our tween years watching him play a different Seth in “The O.C.”)
“I don’t think of it as a Jewish book,” says Taffy Brodesser-Akner.
Brodesser-Akner pieced together the story’s Jewish elements: a doctor named Fleishman, a bat mitzvah, Friday night dinners, a year abroad in Israel, a few jokes about Jews being bad at home repairs (which is the subject of a very funny scene in episode six between Toby and Seth). There are a few insidery details that she fails to mention, like a fake Jewish sleepaway camp called Camp Marah, which sounds like the real Camp Ramah but roughly translates to “Camp Bitter” in Hebrew. Does all this add up to a “Jewish” story?
“I read ‘The Corrections’ by Jonathan Franzen, and it mentions Christmas I think 47 times. I read ‘Crossroads’ and it’s about the family of a youth minister. But neither of those is ever called a Christian book. This is called a Jewish book. I don’t object to it being called a Jewish book. But to me it’s mostly an American story. As a writer and as an observer of the culture, I think that calling this a Jewish book is proof of the answer to an old question: are Jews considered Americans? And the answer is no.” She threw in her characteristic meta analysis: “So now you have a very Jewish profile. How Jewish is that, Sarah?”
The self-aware comment is a good reminder that although her responses may be unguarded, she has not forgotten that she’s on the record. A name in New York media, Brodesser-Akner wrote for GQ and is now a staff writer for The New York Times Magazine, having profiled Gwyneth Paltrow, Ethan Hawke and Tom Hanks and written about the Joshua Cohen novel “The Netanyahus,” the television show “Thirtysomething” and much more. She inserts herself often into her writing, not to make it about herself, but to remind the reader that every profile is by nature filtered through the lens of the writer crafting it. Her writing is searing, self-deprecating — so raw it’s still bleeding and often quite funny.
“I wrote the book the way I would write a profile, just like I always do. But this man doesn’t exist,” she said.
RELATED: 5 Jewish places that inspired Taffy Brodesser-Akner’s ‘Fleishman Is in Trouble’
We had tried to meet in person near her home on the Upper West Side, but by the time she was available, I was in Tel Aviv, placing us along the Israel-New York axis on which “Fleishman” is set. When Toby suddenly calls Libby to tell her he’s getting divorced, he catapults her into memories of their early twenties in Jerusalem. Those thoughts make Libby miss the possibilities of her youth, the ones time has ruthlessly and inevitably extinguished. Eventually her longing for her past becomes so overwhelming that it threatens her marriage to her menschy and patient husband, played by Josh Radnor. (For more longing-for-younger-days while in Israel content, Brodesser-Akner wrote a Saveur essay about vegetable soup in Jerusalem — her Proustian madeleine. Interviewing Brodesser-Akner from my friend’s apartment in Tel Aviv, a city where I lived in my twenties, I found the theme of longing for the past hit almost too close to home.)
Part of the reason Brodesser-Akner doesn’t think the “Fleishman” story is all that Jewish is that she doesn’t feel all that Jewish — at least not relative to her mother and sisters, who are aligned with the Hasidic Chabad-Lubavitch movement and live within a few blocks of each other in Crown Heights, Brooklyn.
“I don’t think any writer has ever gotten it right,” she says of her Jewish background. “They say I was raised Orthodox. It’s interesting because it always makes me look like the black sheep in my family, when really they are. I’m exactly how I was raised to be until I was 12.”
After her mother, a secular Israeli, and her father, a Conservative Long Islander, divorced, her mother put Brodesser-Akner and her sisters in Jewish school. Some Jewish observance trickled back to her mother, who ended up going the Chabad route.
“My mom had never been inside a synagogue until the day she married my father. Now that is what we call ironic,” Brodesser-Akner said.
Brodesser-Akner’s two sisters followed, and her mother eventually remarried and had another child, the only sibling born into a religious household.
“The thing that made me a journalist was being raised in a home where, at age 12, I was relegated to observer. I had to learn how to understand other people’s points of view. And now that’s what I do,” she said.
Despite their religious differences — Brodesser-Akner attends an Orthodox synagogue but sends her children to an unaffiliated Jewish school and says she wakes up “every morning with new ideas” — the author is very close with her family, and her sisters were at the “Fleishman” premiere.
“They were at the premiere of my perverted sex show,” she joked with a laugh referring to the Hulu series, which features some sexual content as Toby explores the post-divorce New York dating scene. “They show up for me and I show up for them. I have my challenges with it, but I think their challenges must be greater. They never say this to me, but they must think that my life is comparatively…” She looked away thoughtfully, trying to find the right words. “They must think my lifestyle is comparatively less worthwhile. But we really love each other.”
To Brodesser-Akner, the most Jewish show on television is “The Patient,” which she calls “the best show I have seen in 100 years.” And that’s not because it (like “Fleishman”) is on FX. “I’m not that kind of interview!” she said.
Lizzy Caplan plays Toby’s friend Libby. (FX Networks)
“It’s the most Jewish show in all of the Jewish ways. It grapples with a Jewish prisoner; with the difference between a Conservative Jewish female cantor whose son becomes ultra-Orthodox — I’d never seen that on screen. It was kind of the only relatable Jewish matter I’ve ever seen. People ask me if I’ve watched ‘Shtisel.’ And I always say, I’m in the 47th season of an ultra-Orthodox family drama myself and not really interested!” She laughed. “But also I think of the other Jewish matters on television, which are adapted memoirs of people who were ultra-Orthodox and now aren’t. It’s like no one can imagine religious people being happy in their lives. And that’s really shocking to me. My family is very happy.”
Brodesser-Akner wound up with her dream cast: she had a list of five actors — Lizzy Caplan, Jesse Eisenberg, Claire Danes, Josh Radnor and Adam Brody — and no backup plan. She noted the fact that viewers have seen them grow up on screen as one reason they were right for the roles. For many, watching Caplan, Eisenberg and Brody sit across from each other in a diner will feel like a camp reunion, the fulfillment of a Jewish television fantasy they never knew they had.
“One thing that we were trying to get across is ‘how could it be that I am this old when I was once this young?’ And the fact that you have a memory of Claire from ‘My So-Called Life,’ or Jesse from ‘The Squid and the Whale’ — that does so much of the work of the show without writing a word,” Brodesser-Akner said.
Besides Danes (who plays the only main character with a non-Jewish parent, whom the book makes clear she resembles) the lead actors are all Jewish — a notable fact in a time when Jewish representation on screen, and who should be allowed to play Jewish characters, is the subject of continued debate.
Last month, New Yorker TV critic Emily Nussbaum, who is Jewish, tweeted, “There is a simple solution to the question of whether various non-Jewish actors are allowed to play Jews & that is to ask me.” Brodesser-Akner responded to the tweet, writing “[Non-Jew] Oscar Isaac in Scenes from a Marriage is the best ex-ortho I ever saw on screen!”
About casting Jewish actors, Brodesser-Akner noted a legal issue rarely mentioned in the representation debate: one can cast based on looks, but it’s illegal in the United States to cast based on religion. She took this very seriously.
“I spoke to [‘The Plot Against America’ director] David Simon about it and he said, ‘They’re actors. You let them act.’ And I agree with that. The question that I asked myself was who was perfect for it?” she said.
Even if Brodesser-Akner rejects the claim that “Fleishman” is a definitively Jewish story, wasn’t she consciously playing with some Philip Roth-inspired Jewish archetypes? Toby the nice Jewish doctor, the devoted, idealistic dad who’s also self-righteous, horny and insecure.
No, she insists she wasn’t. But also Philip Roth is so ingrained in her that who’s to say? And isn’t the question flawed in the first place?
“All I can say is that I am made out of Philip Roth. I’m so formed by his books. I actually would say that you have a bias in the asking of your question, in that you’re Jewish too. And you also are made out of Philip Roth books since you’re a writer. Again, that goes back to the same question as ‘are we American?’ To me, Toby is not ‘a Jewish guy.’ He’s just a guy! He’s the kind of guy I know! I was just trying to be myself.”
“Fleishman is in Trouble” premieres its first two episodes on Hulu on Nov. 17. It will release each of its six remaining episodes weekly on Thursdays.
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Israel gives in to the politics of debasement
A small episode this week crystallized the broader pathology of Israeli Prime Minister Benjamin Netayahu more clearly than any grand speech or ideological argument ever could: the Knesset vote for state comptroller, one of the most sensitive institutional positions in Israeli public life.
In Israel, the 120 members of the Knesset elect the comptroller by secret ballot. The office audits government ministries, investigates failures of governance, oversees public integrity, and possesses enormous influence over public accountability. In the aftermath of the Hamas attack of Oct. 7, 2023, and the Gaza war, the role carries even greater significance. The comptroller may shape future investigations into catastrophic national failures and wartime decision-making.
This week — in a move straight out of United States President Donald Trump’s playbook — Netanyahu nominated his longtime personal lawyer, Michael Rabello, for the role.
Historically, the comptroller’s office has been occupied by senior judges, jurists, or respected public servants with reputations for independence. Figures such as Miriam Ben-Porat, Eliezer Goldberg, and Micha Lindenstrauss embodied a certain ethos: they were stern institutional guardians standing somewhat above partisan warfare.
The idea of placing the prime minister’s own attorney into the country’s central oversight institution struck many Israelis as grotesquely inappropriate.
Yet the truly astonishing part came during the voting itself, in which the opposition candidate was a former justice on the Supreme Court — an institution Netanyahu’s coalition has long vilified. The first round reportedly revealed substantial defections among Netanyahu’s coalition. His preferred candidate fell short. Panic spread.
Suddenly, allegations and reports emerged that coalition lawmakers were being encouraged to photograph or film their ballots in order to prove their loyalty. There was a pause in the proceedings as the Knesset speaker, Likud’s Amir Ohana, received legal advice to not allow phones in the voting area. He restarted the vote anyway. Israeli media filled with coalition lawmakers posting images of themselves voting the right way. The images and reports were the excruciating stuff of banana republics.
I cannot recall ever seeing a similar scene in a functioning democracy. Rabello was elected.
Secret ballots exist precisely because democracies understand that free voting collapses when superiors can verify obedience. The entire purpose of ballot secrecy is to protect individuals from coercion, intimidation, retaliation and patronage systems.
Modern democracies adopted secret ballots in the nineteenth century to break the power of bosses, landlords, oligarchs, and political machines that demanded proof of loyalty.
The blatant violation of these norms by Netanyahu’s coalition helps explain why so many Israelis react to him not merely with opposition, but with exhaustion, fury, and moral revulsion.
It’s not just the corruption trials, the permanent manipulation, the serial falsehoods, the failed strategic assumptions about Hamas, the relentless cultivation of tribal resentment, the attacks on state institutions, the politics of personal loyalty and the transformation of every disagreement into an existential struggle between patriots and traitors. It’s the cumulative exhaustion of watching every institutional norm eventually be subordinated to the most vulgar politics imaginable.
The episode revealed something larger than one parliamentary scandal: the culture Netanyahu has spent years cultivating. It is a system organized increasingly around personal allegiance rather than institutional responsibility. A political environment in which independent judgment becomes suspicious, dissent becomes betrayal, and every institution gradually bends toward one man’s political ambition.
So we have here a prime minister under criminal indictment pushing his own lawyer into a top civil service oversight role.
Opposition leaders Naftali Bennett and Yair Lapid plan to appeal Rabello’s election to the Supreme Court, calling the vote “tainted.” Even that might not work. Several government ministers, including the justice minister, have suggested in recent months that they no longer consider court decisions binding.
And that is what outsiders often miss about Netanyahu fatigue in Israel. The anger does not emerge from one scandal, one trial, one war, or one speech. It comes from the constant sense of humiliation. This week, inside Knesset voting booths that were meant to be hidden from view, Israelis saw the whole story compressed into a single degrading scene.
The post Israel gives in to the politics of debasement appeared first on The Forward.
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My irrational, possibly problematic obsession with an $85 yarmulke
Growing up, we had a rule of thumb about yarmulkes: the closer yours was to your forehead, the more strictly religious you were. The frum bochurim placed theirs practically on their noses; the boys from Conservative families bobby-pinned their kippahs on the back of their heads, like climbers gripping a rockface. The cool kids, of course, stuffed theirs in their pockets.
The Jewish skullcap, in other words, was a signifier of much more than the religious precept it embodied. Over the years not only a yarmulke’s positioning but also its style, size and material have come to place its wearer somewhere on a continuum of Jewish identity. Trends in yarmulke wearing, then, may tell us a story about where Judaism is — forgive me — headed.
So what kind of Jew wears an $85 yarmulke, and what kind of Judaism demands it? These questions gnawed at me when I first learned about Rubenstein Paris, a new kippah couturier whose ads found me on Instagram. Available in a range of expensive-looking solid colors (copper, cream, sapphire) and fabrics (velvet, corduroy, even horsehair), these kippahs are here to replace your tattered souvenirs.
“Everybody’s just walking around with their kippot from — I don’t know, Mendel and Rachel’s wedding, 2019,” Jonathan Hirsch, Rubenstein’s German-Israeli founder, told me recently. “I was like, ‘It’s such a sacred item, you know? Why isn’t there any beautiful kippah, that you can really acknowledge for what it is?’”

He’s onto something. Even as an image-conscious, Shabbat-observant millennial, I had largely neglected the yarmulke; when I wanted to look sharp, I ditched it. I was not completely out on Jew-caps, to be sure — like every other frat boy who thought Mac Miller was Moses, I went through a vintage snapback phase in college. But when I’ve had to clip up, I’ve made do with whatever I had lying around — usually something suede, dark, and folded more times than an origami fortune teller.
Hirsch offered to send a freebie, but at $85, accepting it felt compromising. The loaner we agreed to instead came in a branded drawstring bag, which was accompanied by a sleek black storage box. Though I’d secretly hoped for the horsehair model, the kippah Hirsch sent was more utilitarian: a ribbed velvet, golden brown, with the rise and structural integrity of one of those dome-houses you see in Architectural Digest. Velvet piping twisted around its circumference; its cloth inner lining depicted a globe and a shofar.
I put it on.
Skullcap semiotics

The story of the kippah begins in the Talmud, when 3rd-century sage Rav Huna proclaimed that he never walked more than four cubits without his head covered to symbolize that the divine presence was always above him. After rabbinic law codified the practice in the 1500s, the kippah evolved into a marker of Jewish cultural mores.
For example, 20 years ago, most Modern Orthodox boys wore black suede kippahs, but today, as people debate whether Modern Orthodoxy is dead, suede is disappearing, replaced by black velvet, the standard among Haredi Jews, and the kippah sruga — the crocheted yarmulke associated with the Israeli Religious Zionist movement. Pluralism out, orthodoxy in.
But it’s also a fraught moment to be displaying any marker of Jewish identity. Wearing a kippah in public makes you subject to a certain type of attention these days: the glare of being Jewish at a time when the Jewish state is embroiled in enormously unpopular and destructive wars. Hirsch, who is 29 and lives in Berlin, knows this firsthand — these days he doesn’t feel safe wearing a kippah in public.
And yet I suspect that growing Jewish isolation also puts the lie to our assimilation fantasies; it makes us more likely to wear the things that attach us to each other. Indeed, there is a renaissance in Judaica today driven by new designers and younger consumers finding joy in their heritage. The name Rubenstein is a play on Hirsch’s middle name, Reuven. But he also just thought it sounded cool.
All about the Benyamins
First ironically, then with some resignation, I found that the Rubenstein was the only kippah I wanted to wear — my fancy kippah became my everyday kippah. Putting it on was a daily treat — I was humored by the upgrade. I began picturing how gloomy and shallow life would be without it. I debated the unthinkable — ponying up to keep the loaner.
I was still conflicted about the idea of the object, which felt like a metaphor for the sticker-shock that accompanies Jewish life, especially Orthodox life, in the U.S. today. There’s the skyrocketing cost of real estate in Jewish neighborhoods, the eyewatering day school tuition, even the price of kosher meat and grape juice. Was it an $85 kippah, or a yeshiva-league Sorting Hat?
I put the questions to Hirsch. There are very few ritual objects, he pointed out, from the kiddush cup to candlesticks to one’s tallit, that we pride ourselves on buying cheap. Why should kippot be the exception? “You’re giving your humility a bigger meaning,” he said, “by the fact that you’re wearing this on your head.”
It was true — I felt more humble than ever before, and expected others to acknowledge my commitment and my sophistication. I can see you are a man of taste, they would say, presumably lowering a monocle. (I would nod, then dip my double-dark chocolate Milano cookie into a steaming teacup.)
It was true my designer yarmulke was not the conversation starter I’d anticipated. Only one person complimented me on it unprompted — that singular infallible judge of quality, my mother. Everyone else, I’m certain, was stealing covetous glances. But they didn’t need to praise, ask about, or even notice my beloved yarmulke, which I’m sure I’ll return soon. The premium fabrics, the shofar in the lining and the devotion it all symbolized were between me and Hashem.
The post My irrational, possibly problematic obsession with an $85 yarmulke appeared first on The Forward.
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How Iran is outsourcing terror plots against Jews
The prosecution of an Iraqi national in connection with thwarted alleged terror plots in the U.S. and Europe has put the behind-the-scenes role of Iran in the spotlight — part of what security experts say is a growing and hard-to-trace threat.
Mohammad Baqer Saad Dawood Al-Saadi, a 32-year-old Iraqi national accused of ties to an Iran-backed militia, pleaded not guilty in Manhattan federal court this week to charges linking him to a series of attacks and alleged terror plots targeting American interests and Jewish communities in Europe and the United States.
Prosecutors allege Al-Saadi was connected to attacks, including the stabbing of two Jewish men in London’s heavily Jewish Golders Green neighborhood and an arson attack on a synagogue in North Macedonia. They also accuse him of attempting to recruit individuals online to firebomb synagogues in New York, Los Angeles and Scottsdale, Arizona.
He also reportedly planned to attack Ivanka Trump, who is both the president’s daughter and an Orthodox Jew — making her a “double target,” in the words of Oren Segal, vice president at the Center on Extremism at the Anti-Defamation League.
Iranian attacks on Jewish and Israeli institutions abroad are not new. Since the 1979 Islamic Revolution, Iran and its proxies have targeted diplomats, Jews, Israelis, political dissidents and others perceived as aligned with the West.
Matthew Levitt, director of the Counterterrorism and Intelligence Program at the Washington Institute for Near East Policy, maintains a detailed database of such attacks. He told the Forward that since the current war began, such plots have significantly increased.
The Al-Saadi case is a prime example of what Levitt calls Iran’s “gig economy” model of terrorism. Rather than dispatching trained operatives directly from Iran, Iranian-linked actors and proxy groups are recruiting individuals online who live in the country they wish to target. Some are not even aware they are attacking on behalf of Iran or its proxies.
In court filings, prosecutors allege that Al-Saadi, who prosecutors link to the terror organization Kata’ib Hezbollah and Iran’s Islamic Revolutionary Guard Corps, sent maps and photographs of a prominent Manhattan synagogue and other Jewish institutions to an undercover agent he was attempting to recruit to firebomb them. He allegedly offered the agent $10,000 in cryptocurrency in exchange for carrying out the plot, and discussed whether the recruit should “set the place on fire” or use an improvised explosive device.
Iranian-linked operatives, who are either part of Iran’s security apparatus or within its network of terror proxies, reach out to potential recruits on encrypted platforms like Telegram.
According to Levitt, the operatives are ordered by “very senior” elements of the Iranian regime to find recruits. “It stretches the limits of credulity to think that plots like this in the United States could be done without very senior top-down instruction,” Levitt said. “These are not rogue actors.”
Those they manage to recruit online are often financially motivated, agreeing to carry out attacks like vandalism, surveillance, or assaults in exchange for cryptocurrency payments. Others appear driven by ideology or online radicalization. Over the years, Iran’s recruits have included teenagers as young as 13.
“These are inexpensive plots,” said Levitt. “It requires just a few people to sit at a computer and try to recruit people and direct people.”
For Iran, this method is particularly strategic amid wartime. “Iran can’t go toe to toe with the U.S. or Israeli militaries, but it can engage in these asymmetric plots to show that they can still reach out and touch us to increase the cost of continuing to prosecute the war and to make people feel afraid,” said Levitt.
By relying on online recruits and loosely connected operatives, Levitt says Iranian-linked actors can obscure their involvement and maintain reasonable deniability. The calculation, he explained, is that authorities will be satisfied with arresting and prosecuting the individual carrying out the attack, rather than blaming Iran. This allows Iran to limit the risk of direct military escalation with the United States while continuing to conduct operations against it.
The Online Battlefield
According to Segal, Iranian influence increasingly permeates online.
“The threat to Jewish communities right now is multidimensional — Iranian-linked plots, cyberattacks, online propaganda,” he said. “They’re all converging at once, making it one of the more complex threat environments for the Jewish community in a long time.”
For years, Iranian state media outlets such as Press TV have targeted Western audiences with antisemitic content, including Holocaust denial, claims that Zionists control world events and other extremist narratives. A 2023 report by the ADL and the Center for Countering Digital Hate found that Press TV receives roughly one million monthly visits, with more than half of its traffic coming from Western countries.
Segal said Iranian-linked propaganda networks also increasingly operate in online spaces that overlap with broader activist communities. One such example is Resistance News Network, a Telegram channel with over 150,000 subscribers frequented by members of pro-Palestinian activist groups like Students for Justice in Palestine. The channel is filled with official Hamas, Hezbollah, and Houthi propaganda that is then reshared by American activists on mainstream social media accounts.
“What that does is enable the exchange of ideas, of propaganda, and of narrative that we then see show up at actual events on the ground,” he said.
Segal argues that exposure to such propaganda can make recruitment efforts easier.
“Our concerns are not only from somebody who may have been placed here or somewhere in Europe,” said Segal, “but from individuals who are animated by the propaganda they ingest every single day.”
Levitt agreed, stating that rising antisemitic and anti-Israel sentiment since the outbreak of the Gaza war has created a larger pool of individuals who may view attacks on Jewish or Zionist targets as justified.
“A lot of people are going to be much more willing to do something … especially if it’s not actually killing someone, but fire bombing something and/or targeting property that has symbolic value,” he said.
But the threat is not limited to physical violence.
Since the war began, Segal said Iranian-linked cyberattacks have “gone into overdrive.”
He says Jewish organizations and media outlets have faced hacking attempts on their websites, while Jewish individuals have had their identities stolen, with personal information being exposed online in mass doxxing campaigns.
Many such attacks are conducted by Iranian hacking collectives. One of the most notorious among them is Iranian hacker group Handala Hackers, which has conducted several attacks against Jews, Israelis and Americans. The FBI reported that in March, the group claimed to have stolen 851 gigabytes of confidential data from Sanzer Hasidic Jewish community members, which the hackers described as “documents of financial cooperation, witchcraft ceremonies, and secret correspondences with Netanyahu …” They added, “We warn the leaders and members of the Sanzer Hasidic community: No place is safe for you. Betrayal of the oppressed leads to nothing but disgrace and shame. Expect more documents to be revealed.”
Despite the growing number of plots, experts say the relative lack of successful attacks inside the United States reflects the effectiveness of American counterterrorism efforts.
Still, Jewish communities across the United States are investing heavily in security upgrades. Asher Lopatin, director of community relations at the Jewish Federation of Greater Ann Arbor, said synagogues in Michigan have increased security following a March attack on Temple Israel in West Bloomfield by a Hezbollah-linked man. Communities are installing bollards, expanding surveillance systems, and hiring additional guards.
“People are definitely doubling up on security,” Lopatin said. “Everyone is traumatized.”
Levitt says that even after the war concludes, he does not expect the plots targeting American interests and Jews to cease.
“I do not think that when the war ends, these necessarily stop,” Levitt said. “The pace may change, but Iran has a distinct interest in exacting revenge for all the damage that was done to it.”
The post How Iran is outsourcing terror plots against Jews appeared first on The Forward.
