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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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The post ‘Fleishman is in Trouble’ hits FX Thursday. Just don’t call it a Jewish series, says its creator. appeared first on Jewish Telegraphic Agency.
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For ill and for good, this ‘Wicked’ song has become ubiquitous
In the final minutes of the second act of the Broadway musical Wicked, Glinda and Elphaba sing together one last time. They have reached their ultimate, iconic forms: Glinda is the Good Witch, ringletted and resplendent. Elphaba is the Wicked Witch of the West, caped and glittering. They suspect they will never see each other again. And so the two women sing a duet that is part yearbook note, part deathbed confession.
“Because I knew you,” Glinda sings, “I have been changed for good.”
Jenna and her husband watched from their orchestra seats. It was 2005, Wicked was the toast of Broadway, and the tickets were a splurge. When the actress playing Elphaba sang, “It well may be that we will never meet again in this lifetime, so let me say before we part: so much of me is made of what I learned from you. You’ll be with me, like a handprint on my heart,” Jenna’s eyes filled with tears. Her husband reached over and took her hand.
Four months later, they separated. On her birthday that year, Jenna’s ex-husband sent her a card. “Because I knew you,” he wrote, “I have been changed for good.”
“I love the double meaning of that,” said Jenna, now 57 and a volunteer manager at a nonprofit in Maryland. “I have been changed to be a better person, but I have also been changed permanently, for good. There’s no going back.”
The second life of ‘For Good’
Amidst cheers and ballyhoo — to borrow a phrase from Glinda — a second Wicked movie is now hitting theaters. To mark the distinction between this movie and its predecessor, the 2025 edition is called Wicked: For Good.
“For Good,” the song, has attained an unusual second life outside of the musical. In Wicked, Jewish composer-lyricist Stephen Schwartz launched a number of forever entries into the musical theater book of standards — “Defying Gravity,” “Popular,” “The Wizard and I” — but “For Good” belongs to an exclusive category: songs that have become staples at graduations, retirement celebrations and funerals. If you see a cap and gown, you are not safe from a heartfelt rendition of “For Good.” If there is a casket on a table, these days you may be as likely to hear “For Good” as you are to hear “Wind Beneath My Wings” or “Candle in the Wind.”
“As a cantor, it’s impossible to hear ‘For Good’ from Wicked without sensing that the song is doing something deeply Jewish, whether or not its creators intended it,” said Neil Michaels of Temple Israel in West Bloomfield, Michigan. “It has become, in many sanctuaries and life-cycle moments, a kind of contemporary niggun, carrying emotional truth where spoken liturgy might fall short.”
“I’ve played it for a funeral,” said Joe Wicht, who has accompanied singers for 18 years at the San Francisco piano bar Martuni’s. “I’ve played it for singers at wedding receptions, too.” But most often, he said, the song is sung “by two best friends.” Duos who request “For Good” are often about to be separated by a move, or redefined by one person getting married, he said. Sometimes, the singers are a parent and a child.
“This isn’t the kind of song where people just willy-nilly decide to sing it in a bar, a la karaoke,” he said. “It’s always sung with intent.”
“It’s always the same scenario — best friends,” he added. “I’ve never heard this song performed between two people in love.”
An anthem of friendship for this generation
Few songs aim to articulate the way that two people can alter each other’s lives and edit each other’s characters, sans romantic love. Schwartz has said in interviews that he wrote the song after sitting down with his daughter and asking her about her best friend. “If you could never see Sarah again and you had one chance to tell her what she’s meant to you,” he asked, “what would you say?”
The song, which lifts some of Schwartz’s daughter’s words directly, literalizes the way two people can blend without losing their own specificity. It begins with a solo for each woman, then they sing in counterpoint, then harmony. “For Good” is sometimes derided as schmaltzy and overearnest. But its impact is indelible: it is a song people rely on to express a kind of love that often goes unsung.
“For those of us who have lost someone,” wrote vocal coach and therapist Petra Borzynski in a recent essay, ‘For Good’ is “the song that speaks the unspeakable: that the person who is gone still lives in every choice we make, every kindness we extend, every moment we choose differently because they existed (for better, for worse).”
Borzynski sang the song for years. Then her mother died, at 59, of ovarian cancer. When Borzynski attempted to sing the song, she recalled, “my voice literally broke.”
When 75-year-old Melbourne resident Des Flannery was in his late 60s, he got into a fight with his best friend, Max. They made up when Des sent Max a written apology, Des’ daughter, Breanna, told me. In his note, Des quoted the opening lyrics from “For Good.” When Max died several years later, Des eulogized him, reciting the lyrics that had helped bring him and his friend back together.
“He wasn’t confident he could get through it without becoming a wailing mess,” his daughter, Breanna Flannery, said. “So reading it seemed the best way to get it out.” (Afterwards, women mourners crowded around Des to praise his bold, emotional writing, unaware that he had been quoting Wicked.)
Drew Wutke, a pianist at Marie’s Crisis, the famed Broadway musical singalong bar in the West Village, is used to looking up from the piano during “For Good” and seeing drinkers crying into their tequila sodas.
“It is the friendship anthem of the last 25 years,” he said.
“I don’t know another way to say it other than: it is a heaven-blessed song,” he said. “The hope that soul-friendship exists, that chosen family exists — those are the wires that get tripped when that introduction starts,” he said, humming the song’s opening notes. “Even though it is lyrically nonsensical at times.” One lyric often maligned even by fans is, “Like a seed dropped by a sky bird, in a distant wood.”
“A skybird! Please!” said Wutke. “We could have workshopped that lyric.”
I’ve heard it said…but what does it mean?
As with the rest of the musical, the universality of “For Good” is both a strength and weakness. Wicked is a musical about a woman who faces cruelty and discrimination because of her skin color. It has been called a parable about fascism, and an allegory for racism and ableism. But no Black actress played Elphaba full-time on Broadway for the musical’s first 22 years. And though one character in Wicked uses a wheelchair, the first time a wheelchair user ever played Nessarose was in last year’s movie.
Though the Wicked movies have been released during a time of rising authoritarianism, the movie’s stars and creators have limited themselves to comments like the joint statement Cynthia Erivo and Ariana Grande made recently, which spoke of “times like these that feel so divided, as if we’re reading from different pages and different books.”
Though the song is deeply meaningful to listeners, the meaning those listeners derive is not consistent. “At its core, ‘For Good’ is about hineni — ‘here I am’: standing fully present in relationship,” said the cantor, Michaels. “It is the musical embodiment of the Jewish belief that who we become is inextricably shaped by the people who walk beside us.” The song, he argued, “echoes the teaching that every person you encounter teaches you something, that chevruta (sacred partnership) shapes the soul, and that human connection is one of Judaism’s most powerful agents of transformation.”
No one religion or perspective has a monopoly on interpreting Schwartz’s message. Ali, a friend of mine, and a 31-year-old interior designer from Los Angeles, grew up singing songs from Wicked with her friend Brittany. “She would always be Elphaba and I would always be Glinda, even though I secretly wanted to sing the Elphaba part,” Ali said.
Ali was active in the Catholic church, and the girls were often asked to perform at fundraisers and other events. They reserved “For Good” for the finale. “It’s about connection and sisterhood, and friendship,” Ali said. “It was a tearjerker.”
As 14 year olds, the two girls were summoned to perform in a hotel ballroom for a group of about “200 nuns and other women,” Ali remembered. After the song, the nuns thanked them profusely for lending their voices to their cause. The two girls exited the stage to wild applause, then sat down to eat lunch and when they looked back up, “they were literally showing fetuses on the screen and just spewing anti-abortion rhetoric,” Ali remembered. The shift was shocking, she said. “From sisterhood and friendship to hating other women for having abortions.”
Changed for good? Or just good at singing?
“For Good” is usually performed in the context of honoring another person. No matter how tragic or poignant an event is, though, for a theater kid it’s also an opportunity to perform “For Good.” If that sounds cynical, it comes from personal experience: Your author performed the Elphaba part at her high school graduation. I knew that it was my job to move the audience to tears, but my thoughts were largely about how to achieve vocal clarity and resonance. Also, my ankle was broken, and my secular high school had rented out a synagogue for graduation, so I sang the song on the steps of the bima, mindful of the fact that my cast was wider than the steps and if I gestured emotionally during the “like a comet pulled from orbit” harmony I could roll forward and crash to the ground.
But Victoria, 21, who sang the song just a few years ago at her high school graduation in Port Richey, Florida, begs to differ. “I think that vocally, it is not an extremely challenging song,” she said. The real challenge, she said, is allowing yourself to feel the meaning of the song, and conveying that depth of feeling to the audience. “I couldn’t help but really internalize the lyrics I was singing,” she said.
“I was reflecting on all of the relationships I had made with my fellow students, as well as my teachers,” Victoria said. “And I knew then that they had changed and helped create the person I am today, because I knew them.” Among masses who will see Wicked: For Good in the coming weeks, there will be many who weep throughout the title song, and many who call the song saccharine and sentimental. The second group is missing the point. “For Good” is meant to be saccharine. It takes on the most cringe-inducing, embarrassing topic in the world: human connection. If you love it, it probably came into your life for a reason.
The post For ill and for good, this ‘Wicked’ song has become ubiquitous appeared first on The Forward.
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Eurovision Song Contest Changes Public Voting Rules After Israel Scandal: ‘We’ve Listened and We’ve Acted’
Yuval Raphael from Israel with the title “New Day Will Rise” on stage at the second semi-final of the 69th Eurovision Song Contest in the Arena St. Jakobshalle. Photo: Jens Büttner/dpa via Reuters Connect
The European Broadcasting Union (EBU), which organizes the Eurovision Song Contest, is enforcing new rules regarding its public voting ahead of the 2026 Eurovision in Vienna, Austria, following questions about Israel’s success in the competition this year, it announced on Friday.
In the 2025 Eurovision, held in Switzerland in May, Israel’s representative Yuval Raphael won first place in the public vote with her song “New Day Will Rise” and placed second overall in the competition, behind Austria, when the jury scores were counted. A number of countries — including national broadcasters in Spain, Belgium, Ireland, and the Netherlands — claimed the public vote was rigged in favor of Israel and asked for an audit. Eurovision Director Martin Green defended the results, saying at the time that the votes were “checked and verified,” and there was “no suspicion of bias or irregularities” in the voting process.
The EBU said on Friday it is now implementing new measures regarding its voting that are “designed to strengthen trust, transparency, and audience engagement.”
“We’ve listened and we’ve acted,” Green said on Friday. “The neutrality and integrity of the Eurovision Song Contest is of paramount importance to the EBU, its members, and all our audiences. It is essential that the fairness of the contest is always protected. We are taking clear and decisive steps to ensure the contest remains a celebration of music and unity. The contest should remain a neutral space and must not be instrumentalized.”
Fans will now be able to only cast 10 votes each — a decrease from 20 — via online, text, and phone call. Juries of music experts will also return for the semifinals for the first time since 2022, forming a 50-50 split vote between jury and audience votes at the grand final of the competition.
The number of jurors is increased from five to seven and there will be a greater range in their professional backgrounds. Jurors will now include music journalists and critics, music teachers, creative professionals, such as choreographers and stage directors, and experienced music industry figures. Each jury will now include at least two jurors aged 18-25, “to reflect the appeal of the contest with younger audiences.” All jurors will also be forced to sign a formal declaration confirming that they will vote independently and impartially; not coordinate with other jurors before the contest; and “be mindful of their social media use,” for example by not sharing their preferences online before the contest ends.
One of the jurors of the 2024 Eurovision Song Contest admitted that he refused to allocate points to Israeli singer Eden Golan because of his personal bias against Israel.
The EBU’s updates rules also “discourage disproportionate promotion campaigns” by third parties, including governments or governmental agencies. The EBU is barring its participating broadcasters and artists from “actively” engaging in, facilitating, or contributing to promotional campaigns by third parties “that could influence the voting outcome and, as outlined in the updated Code of Conduct, any attempts to unduly influence the results will lead to sanctions.” The EBU will strengthen its enforcement of its voting instructions and Code of Conduct to prevent “attempts to unfairly influence the vote.”
“These measures are designed to keep the focus where it belongs — on music, creativity, and connection,” said Green. “While we are confident the 2025 contest delivered a valid and robust result, these changes will help provide stronger safeguards and increase engagement so fans can be sure that every vote counts and every voice is heard. The Eurovision Song Contest must always remain a place where music takes center stage — and where we continue to stand truly United by Music.”
The EBU said the changes to the voting system were decided upon following an “extensive consultation exercise” with EBU members after the controversy surrounding Israel in the 2025 Eurovision. The EBU will also be strengthening its enforcement of existing rules “to prevent any misuse of the contest for example through song lyrics or staging.”
In the 2024 Eurovision Song Contest, Golan finished in fifth place with a modified song titled “Hurricane.” The original version was titled “October Rain” and included lyrics that referenced the deadly Hamas-led terrorist attacks on Oct. 7, 2023, in southern Israel. However, it was disqualified by EBU for breaking its rules on political neutrality. Israel was forced to change the song’s title and lyrics.
Several countries have called for Israel to be banned from the 2026 Eurovision competition because of its military actions in the Gaza Strip during the country’s war against Hamas terrorists following the Oct. 7 massacre. Some nations have threatened to pull out of next year’s competition if Israel participates, including Spain, The Netherlands, Slovenia, Iceland, and Ireland.
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Half of Britons Say UK Unsafe for Jews as Gov’t Hardens Anti-Israel Line
Demonstrators against antisemitism in London on Sept. 8, 2025. Photo: Campaign Against Antisemitism
Nearly half of British people now consider the country unsafe for Jewish communities, as the government maintains a strong anti-Israel stance over the Gaza war, seeking to undermine the Jewish state despite a US-brokered ceasefire that has held for over a month.
On Thursday, the London-based think tank More in Common released a study showing that six in 10 people worry about a rise in antisemitism, as British Jews continue to face an increasingly hostile environment and targeted attacks since the outbreak of the Israel-Hamas war in late 2023.
The report also found that 45 percent of people consider the UK an unsafe place for Jews, especially after the Yom Kippur terrorist attack in Manchester, which left two Jewish men dead, and incidents leading up to and during the Maccabi Tel Aviv soccer game in Britain last month. Meanwhile, 44 percent still believe the country is safe for Jewish communities.
By comparison, 37 percent of the population believe the country is unsafe for Muslims, while nearly a quarter feel personally at risk.
According to the newly released study, the British population is deeply polarized over the war in Gaza and its impact on society, with right-leaning individuals “much more likely to be concerned about antisemitism than Islamophobia,” and left-leaning groups “relatively more concerned about Islamophobia than antisemitism.”
Across the country, public patience for both anti- and pro-Israel protests is fading, with two-thirds of respondents saying the most disruptive demonstrations should be banned.
Amid growing hatred and hostility, the report also found that Jewish people are altering their behavior and avoiding religious symbols in order to feel safe.
“Many British Jews have felt targeted by other Britons for their beliefs about Israel, or for what other people assume are their beliefs, or simply for being Jewish,” the study says.
“While many Britons don’t personally know any Jews closely, the rise in antisemitism has become a top concern for the British public more widely,” it continues.
The Community Security Trust (CST) — a nonprofit charity that advises Britain’s Jewish community on security matters — recorded 1,521 antisemitic incidents from January to June this year. This was the second-highest number of antisemitic crimes ever recorded by CST in the first six months of any year, following 2,019 incidents in the first half of 2024.
In total last year, CST recorded 3,528 anti-Jewish hate crimes — the country’s second worst year for antisemitism, despite an 18 percent drop from 2023’s record of 4,296.
These latest figures come amid the British government’s ongoing campaign against Israel, which has only escalated since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
In one of its latest efforts, UK officials are reportedly considering imposing a ban on the import of goods from Israeli communities in the West Bank, according to the Middle East Eye news outlet.
This week, the country’s armed forces refused to attend a major international conference in Israel aimed at sharing military insights from the Gaza war, according to The Telegraph.
Hosted south of Tel Aviv, the multi-day seminar drew high-ranking military officials from several countries, including the United States, France, Germany, and Canada.
Since the start of the war in Gaza, British Prime Minister Keir Starmer has been publicly critical of Israel, even falsely accusing it of genocide and leading international campaigns in various forums aimed at halting the country’s defensive campaign against the Palestinian terrorist group Hamas.
In September, the British government — along with other Western countries such as France, Australia, and Canada — recognized a Palestinian state at the UN General Assembly, a move Israeli and US officials have criticized as rewarding terrorism.
Then this week, the UK voted for a UN Security Council resolution backing the US-backed Gaza peace plan, which notably acknowledges that no such state exits but rather “calls for a credible pathway to Palestinian self-determination and statehood” once “the [Palestinian Authority] reform program is faithfully carried out and Gaza redevelopment has advanced.”
London has not clarified the apparent contradiction between its September announcement and its vote this week regarding Palestinian statehood.