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In Mel Brooks’ ‘History of the World Part II,’ Jewish jokes reign from BCE to the Beatles
(JTA) — In a scene that will soon stream on Hulu, a group of early Christian bishops gathers to set a promotion strategy for their newish religion — to “make the Bible an international blockbuster,” as one puts it.
But the plot is unclear: “Who are the bad guys in this story?” asks one. He and his fellow clerics consider two options: the Jews and the Romans.
“Let’s make them the Jews, for sure,” says a bishop. “They run everything,” says another.
And thus the First Council of Nicaea, a gathering in 325 C.E. that is considered the birth of Christian antisemitism, gets the Mel Brooks treatment in “History of the World Part II,” the long-awaited sequel to the classic Mel Brooks film that revolves around Jewish history — and skewers it. The new four-part series even has a Jewish premiere date — March 6, the eve of the merrymaking holiday of Purim.
As with the 1981 original — written, directed and produced by Brooks, who also stars — the new series is littered with Jewish subject matter, even in the sketches that aren’t about Jews. And although comedy mores have changed in the past four decades, the series aims to retain Brooks’ signature combination of sharp parody, vaudevillian vulgarity and Borscht Belt antics.
“We really tried to embrace what we loved about [Brooks’] work and apply that to the work that we were doing, whether that was the themes of funny character names, or breaking the fourth wall or anachronisms or certain kinds of playful blocking,” director Alice Mathias told the Jewish Telegraphic Agency. “The kind of comedy work that I was doing up until this point was a touch more restrained and not quite as slapstick in places. So it was really fun to get a little sillier.”
And the creators aren’t concerned about a show with repeated send-ups of Jewish history at a time of rising antisemitism.
“Saying ‘the Jews are the bad guys’ is only funny because you’re making fun of the people saying it,” said showrunner David Stassen. “You’re punching up, you’re making fun of the bishops in power. That was the intent.”
Pictured from left to right: Nick Kroll, Wanda Sykes, Mel Brooks, Ike Barinholtz, and David Stassen at the Los Angeles premiere of History of the World Part II. (Tommaso Boddi via Getty Images)
Part of the series’ Jewishness is thanks to Nick Kroll, the Jewish comedian who had been interested in creating “History of the World Part II” for a very long time and “nudzhed” Brooks to agree, Stassen told JTA, using the Yiddish word for pester. Kroll is the co-creator of the critically acclaimed cartoon “Big Mouth,” which was largely based on his experience attending the Solomon Schechter School of Westchester. He also grew up in a Conservative, kosher-keeping household.
Kroll joins Brooks, 97, Wanda Sykes, Ike Barinholtz and David Stassen as a writer and executive producer, with Mathias of Netflix’s absurdist sketch series “I Think You Should Leave” as director.
“It wasn’t a matter of, is this the right time for this?” Stassen told JTA. “It was just like, how do we honor Mel? How do we do a show that’s different than current sketch shows, that is in Mel’s tone?”
“History of the World Part I” spoofs the epic films of the mid-20th century, with sketches including a musical number take on the Spanish Inquisition; an alternate history of Moses receiving the Ten Commandments; and cavemen discovering music. The new series puts a 21st century spin on that idea, reminiscent of Comedy Central’s “Drunk History” (and featuring many of the same cast members, including Joe Lo Truglio, who plays one of the bishops at Nicaea) with hints of the Netflix series “I Think You Should Leave.”
Audiences will see comedic sendups of historical events including Black congresswoman Shirley Chisholm’s historic run for president; Marco Polo’s arrival at the palace of Kublai Khan in China; the Russian Revolution; and the signing of the Oslo Accords, the 1993 Israeli-Palestinian peace agreement.
Schmuck Mudman (Nick Kroll), Fanny (Pamela Adlon), and Joshy (Charles Melton) discuss leaving the shtetl as the Russian Revolution breaks out. (Courtesy of Hulu)
Just a few of the Jewish jokes: Jason Alexander makes an appearance as a notary-slash-mohel who brings the wrong bag, full of his ritual tools, to the official signing of the Confederate Army’s surrender at the end of the Civil War.
“Useless. Unless somebody wants to take a little off the top,” Alexander’s character says, gesturing to his tools.
The story of Jesus Christ gets parodied via multiple genres and is arguably one of the most Jewish recurring sketches of the whole series. In a “Curb Your Enthusiasm”-inspired sketch in the second episode, Judas (Kroll) and Luke (JB Smoove) realize that Jesus (Jay Ellis) has abandoned keeping kosher when they catch him publicly eating a bacon cheeseburger. A subsequent sketch spoofs the documentary “The Beatles: Get Back,” in which fans of the apostles eat matzah on sticks outside of the Apples & Honey recording studio.
A fan of the apostles (Quinta Brunson) stands outside of Apples and Honey Studios. (Courtesy of Hulu)
And a recurring sketch focusing on the Russian Revolution and parodying parts of “Fiddler on the Roof” features a literal mud pie salesman named “Schmuck Mudman” who lives in an Eastern European shtetl. Mudman sells his wares via Putz Mates, a Yiddish play on the food delivery app PostMates. After moving from the village to Moscow, Mudman, played by Kroll, is surprised to find a meeting of the Mensheviks, the opposition to the Communist Bolshevik party, in his apartment.
“Your misery looks familiar to me. Are we from the same shtetl?” Mudman asks one of the Mensheviks in a depressing round of early 20th century Jewish geography.
“No. I get this all the time,” the man responds. “But I’m a miserable city Jew.”
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The post In Mel Brooks’ ‘History of the World Part II,’ Jewish jokes reign from BCE to the Beatles appeared first on Jewish Telegraphic Agency.
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‘Marty Supreme’ is an outstanding celebration — and indictment — of chutzpah
Marty Mouser will have the beef Wellington and caviar, as they are the most expensive items on the menu.
The 23-year-old table tennis phenom, heralded as “the chosen one,” is dining at the Ritz in London. Seated opposite him, his recent opponent, Bela Kletzki. The two are friends, but this didn’t stop Mouser from telling a gaggle of reporters before their match of his plans to “do to Kletzski what Auschwitz couldn’t.” He can say that, he assured them — he’s a Jew.
This, like Mouser’s remark that he is the “ultimate product of Hitler’s defeat,” is all bluster. (He’s really a lowly Lower East Side shoe clerk who stole money from his shop to fly to the tournament.) But we soon see what Auschwitz meant for his survivor companion: defusing bombs on the camp outskirts and once managing to sneak honey from a beehive onto his person, which his fellow prisoners licked off him for nourishment.
We get a flashback of Kletzki. It’s lensed like a Renaissance painting, with honey glistening off of the hairy chest of actor Géza Röhrig, (Hungarian star of the Sonderkommando drama Son of Saul).
You may wonder what exactly this moment is doing in Josh Safdie’s Marty Supreme, a walloping period piece that follows Mouser’s picaresque ploys to become a global icon by hustling, stealing and lying his way into a tournament in Japan. But there’s rarely a moment in the frenetic picture, set over eight months in 1952, where only one thing is happening. While Kletzki tells his haunting honey story, to pen magnate and potential patron Milton Rockwell (Kevin O’Leary, Mr. Wonderful, indeed), Marty makes eyes at Rockwell’s wife from across the room, another sort of honeypot in mind. The contrast is the point.
Unlike Kletzki, Marty — very loosely based on ping-pong champ Marty Reisman — is an American, New York-born, and believes in the Augie March doctrine of first knocked, first admitted. To get his foot in the door so he can stare down from his rightful place on a Wheaties box, he will shove anyone and everyone out of the way. He refuses to demean himself by playing Harlem Globetrotter halftime shows with Kletzki, or throwing a match for Rockwell — but his principles are malleable when the straits are dire.
Mouser feels entitled to everything: the money in his uncle’s safe at the shoe shop; a suite at the Ritz; other men’s wives; a chunk of the pyramids, which he presents to his manipulative mother (Fran Drescher) with the words, “We built that.”
We know from how he speaks about this hunk of Egyptian rock — and about Kletzki, the Holocaust and Hitler — his entitlement comes in part from a legacy of immiseration and violence he never suffered personally. But Mouser, this New Jew coming of age after the Shoah, claims redemption as his birthright while also striving to float above his people’s history of oppression and retail drudgery, concocting a mythology of self-invention and radical individualism. (Meanwhile, Kletzki, a world champ before the war, is all too happy to be treated kindly and paid decently for hitting balls with skillets for the Globetrotters.)
The tension between the horror of the recent past, and the just-dawning promise of an America where antisemitism is unfashionable, plays through Marty’s vision of what’s to come. He dreams up orange-colored ping-pong balls, a hue only approved for use by the International Table Tennis Federation in 2019. The 1980s synth-pop needle drops remixed by composer Daniel Lopatin, lean into futurism. Our hero is ahead of his time, chafing at the present to which he’s tethered. He wants an unready world to acknowledge his greatness now. He has no patience for a rocky transition.
If the opening credits of Uncut Gems bespeak a past-one’s-prime ritual — a colonoscopy — Marty Supreme‘s titles are set to a burst of youthful virility. (Inventive, hilarious, if something I’ve seen before.)
Timothée Chalamet, outfitted with prosthetic acne scars and eye-shrinking contact lenses, is incandescent and somehow stays to the right side of insufferable as he wrecks the lives of all around him with his singular focus. Unlike Gems’ Howard Ratner, a sleaze with a gambling addiction and little else to offer, Mouser’s talent is undeniable, but like any Safdie protagonist, he takes his licks.
The film, co-written and co-edited with Safdie’s constant collaborator Ronald Bronstein, is a rich Jewish text that alternates between wish fulfillment and nightmare. Mouser competes for the WASPy Rockwell’s patronage while shtupping his icy blonde wife (Gwyneth Paltrow). On the other side of the ledger, his lover, Rachel (a pitch-perfect Odessa A’zion), is attacked near a Forverts delivery truck. Marty’s uncle Murray (music journalist Larry “Ratso” Sloman) calls a cop goyische kopf for ordering the roast beef over pastrami at the Garden Cafe. It’s no mistake that, at his lowest, Mouser faces a treyf humiliation orchestrated by Rockwell: lose and kiss a pig.
But Marty Supreme is too dense with plot points and people to insist on a solely Jewish gloss, even as critics for the non-Jewish press have been tempted to apply one.
Exploring the warrens of postwar New York — the wings of a Broadway theater, the back alley of a Chinatown restaurant, stockrooms, airshafts and fire escapes — all outstandingly revived by legendary production designer Jack Fisk, Safdie proves he’s not only ready for a solo effort away from brother, Benny, but ready to leap over space and time. He may not be ready to say goodbye to all that (New York stuff), the backdrop for all his features up to now, but he easily could.
In this epic of chutzpah, we have a mature work via a singularly immature avatar. Mouser may have never reached the recognition he felt he was owed, but coming into awards season, there’s little doubt that Safdie’s film is a cross-category contender.
Should the gentleman order the caviar, there’s no doubt he’s earned it.
The post ‘Marty Supreme’ is an outstanding celebration — and indictment — of chutzpah appeared first on The Forward.
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The Future of War: Israel Takes Global Lead on Military Innovation With New AI Division, Iron Beam Laser System
A part of Iron Beam laser anti-missile interception system, developed by Israel, is seen in this handout image obtained by Reuters on Sept. 17, 2025. Photo: Israel Defense Ministry/Handout via REUTERS
The Israel Defense Forces (IDF) announced this week a revolutionary reorganization of the technology and artificial intelligence capabilities of the Jewish state’s military, unveiling new plans to prepare for future warfare with cutting-edge advancements.
Israel’s major defense overhaul, unveiled on Tuesday, comes in preparation for the deployment of the long-anticipated “Iron Beam” laser interceptor system, which will be delivered to the military at the end of the month.
Under the name “Bina” — Hebrew word “intelligence” — the IDF has chosen to shut down its Lotem Unit from the C41 Corps, replacing it with the Artificial Intelligence (AI) Division and the Spectrum Division. The latter will focus on communications and electronic warfare with an emphasis on threats from Iran, China, and Russia.
The AI Division will grow through merging other sections within the IDF, including Mamram (the abbreviation for the Center of Computing and Information Systems) and software development units Shahar and Mitzpen. This consolidation of AI-development related divisions intends both to intensify security and avoid accidentally duplicating research efforts. The project will align with Israel’s Project Nimbus cloud computing program supplied by Amazon and Google.
The IDF also announced the ICT Division, which will focus on satellite warfare in outer space.
According to the military, about 50 percent of the new divisions are composed of women soldiers, with female officers comprising 40 percent of the senior command including two of the five top leadership positions.
Brig. Gen. Yael Grossman now heads ICT and the Cyber Defense Division, and Brig Gen. Racheli Dembinsky will head the Spectrum Division. Others in leadership positions include Chief Signals Officer Brig. Gen. Omer Cohen and Maj. Gen. Aviad Dagan.
“I have no doubt that the world is heading towards a space war, especially after the US and China defined space as a possible war arena,” Dr. Moshik Cohen, CEO for defense technology company AIPEX which focuses on missiles, told the Israeli publication Globes.
“Rival powers are already using it on the battlefield,” Cohen continued. “The Chinese have developed a way to detect stealth aircraft using satellites, and the Russians have jammed GPS signals from US satellites, which have dropped thousands of smart bombs on earth and blocked satellite communications for the Ukrainians. At the same time, the US is promoting Golden Dome, which will consist of a network of low-flying satellites able to perform military missions such as intercepting ballistic and hypersonic missiles and blocking enemy communications.”
Dagan said that the new divisions aspired to use technology to “turn one tank into 100 tanks, one soldier into 100 fighters.”
On Monday, meanwhile, Danny Gold, the head of the Israeli Defense Ministry’s Directorate of Defense Research and Development, revealed that the military would soon receive the “Iron Beam” laser interception system, a project a decade in development.
“With development complete and a comprehensive testing program that has validated the system’s capabilities, we are prepared to deliver initial operational capability to the IDF on Dec. 30, 2025,” Gold said. “The Iron Beam laser system is expected to fundamentally change the rules of engagement on the battlefield. Simultaneously, we are already advancing the next-generation systems.”
Created by Rafael Advanced Systems Ltd., the Iron Beam is intended to supplement rather than replace Israel’s Iron Dome and other air defense systems, focusing especially on smaller targets. As long as the weapon maintains a power source then it cannot run out of ammunition. However, the system does not function optimally in situations with clouds or low visibility.
The IDF chose to rename the laser weapon from Magen Or (Light Shield) to Or Eitan (Eitan’s Light) in honor of Cpt. Eitan Oster, a member of the Egoz Commando Unit killed in October 2024 while fighting the Hezbollah terrorist group in Lebanon.
Brig. Gen. Benny Aminov also announced this week an Israeli breakthrough in countering enemy drone attacks.
“We are now working on interception solutions using drone-based systems that enable response to swarm scenarios while accelerating the development of new directed-energy weapons,” Aminov said. “The issue of low-altitude threats is an example of a challenge that requires our defense establishment to fundamentally change its operational approach, responding within compressed time frames, spiral development, accelerating testing during the development process, and bridging small defense-tech companies with major defense contractors.”
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‘Dancing With the Stars’ Airs Its First Dance Dedicated to Hanukkah During Holiday Special
Alan Bersten, Val Chmerkovskiy, Gleb Savchenko, Emma Slater, Onye Stevenson, and Hailey Bills dancing to “Miracle” by Matisyahu on “Dancing with the Stars” on Dec. 2, 2025, on ABC. Photo: Disney/Eric McCandless
“Dancing with the Stars” aired a holiday special on Wednesday night that included the show’s first celebration of the Jewish holiday of Hanukkah, which begins later this month.
The reality show and dancing competition aired its first full holiday special, titled “Dancing with the Holidays,” which highlighted the skills of its professional dancers without their celebrity partners. The dances mainly honored Christmas, but for the first time in the show’s 20-year history, there was a dance dedicated to Hanukkah.
Professional dancers Alan Bersten and Val Chmerkovskiy, who are both Jewish, along with four non-Jewish pros – Gleb Savchenko, Emma Slater, Onye Stevenson, and Hailey Bills – danced to “Miracle” by Matisyahu. Bersten choreographed the dance, which included the men linking their raised arms to form a menorah, a hora, a sit-spin as a nod to a spinning dreidel, and a take on some of the dances from the classic Jewish musical “Fiddler on the Roof.”
“We have a lot of work to do,” the Mirrorball champion told the dancers in rehearsal. “We need a miracle.”
In the intro package for the dance, Bersten, who is the son of Russian-Jewish immigrants, talked about not seeing much Hanukkah representation around the holiday season when he was growing up. Bersten said he wanted to create something that Jewish kids today could identify with.
“Everyone celebrates holidays in a different way. Growing up Jewish, you don’t really see a lot of Hanukkah representation, so tonight we’re doing a special performance to celebrate Hanukkah,” he said. “Hopefully a Jewish kid’s watching this, and they feel seen, and they feel proud.”
Following the dance, DWTS co-host Alfonso Ribeiro reminded the audience and viewers at home “that the holiday season is for everyone.”
The “Dancing with the Stars” holiday special was released on Disney+ and Hulu.