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Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play
(New York Jewish Week) — When Jewish literary power couple Jonathan Safran Foer and Nicole Krauss divorced in 2014 — amid rumors that he was in love with his longtime friend Natalie Portman — it captivated the nation.
Well, maybe not the nation, but certainly the literary and media worlds, as well as the hipster set in brownstone Brooklyn. Safran Foer and Krauss were rare literary megastars, whose “extremely loud and incredibly expensive” Park Slope brownstone was the subject of numerous articles (and a hefty dose of envy) when it hit the market for $14.5 million in 2013.
Portman, of course, was an actual megastar, and when the confessional correspondence between the celebrated actress and the “Everything Is Illuminated” writer was later published in 2016 in the New York Times, it elicited a fresh round of jealousy, speculation and eye-rolls from the masses, as well as numerous journalistic “takes” on the topic.
I was a teenager at the time, and had only a vague idea of why any of this mattered. But apparently it stayed with me for nearly a decade, because when I saw “The Wanderers,” a new Off-Broadway play running at the Roundabout Theatre Company, it didn’t take long for me to make the connection between this fictional production and the very real but mysterious drama that occurred between these famous Jewish writers.
“The Wanderers,” directed by Barry Edelstein, follows two couples in two different timelines. In the present day are Abe and Sophie, secular Jews and writers who live in Brooklyn and have been together since they were teenagers. The other storyline, set in the 1970s, centers around Esther and Schmuli, a Hasidic couple living in Satmar Williamsburg. The latter are introduced to the audience on the eve of their wedding, one of the first times they’ve ever been alone together.
Throughout the play, the couples, seemingly from different worlds, try to balance their careers, personal lives, internal desires and family obligations.
Abe (Eddie Kaye Thomas) is a writer who boasts a Pulitzer Prize and several other literary awards. But he struggles with certain aspects of his life — his frayed relationships, mostly — and is hamstrung by an immense ego that is tempered only by a hefty dose of insecurity. As I watched the play, I began to feel like I knew the man, but I couldn’t quite place him. Was he just a stand-in for every genuinely talented, semi-pretentious, self-important male writer living in Brooklyn?
Abe eventually finds an outlet for his woes by striking up an email correspondence with fictional Hollywood actress Julia Cheever (Katie Holmes, the real Hollywood actress), whom he met when she came to a reading of one of his novels. Eventually, he declares his love for her — a pronouncement that essentially goes ignored by the actress. (In the play, Holmes sports a chic brunette bob not unlike a Jewish actress near and dear to our hearts.)
It became pretty clear who served as the inspiration for this play — and when I asked playwright Anna Ziegler about it, she said I was one of the few she had spoken with who had made the connection.
“In the summer of 2016, when I was writing, Natalie Portman and Jonathan Safran Foer were writing to each other in a correspondence they published in the New York Times,” she said. “She was promoting a new movie of hers, and I guess they had a previous relationship — that sparked the idea for one of the storylines in the play.”
What’s funny, Ziegler said, was that most audience members haven’t made the connection. “We haven’t really been talking about [Safran Foer and Portman] as one of the inspirations, and not many people have raised it,” she said. “I assumed that that resonance would be there for a certain percentage of the audience but, to be honest, I don’t think it’s there for the vast majority of people.”
At one point in the play, after learning his father died, Abe even says the line “Hineni, here I am,” to ground himself and calm his emotions. It’s a phrase in the Torah that usually translates to “I am ready,” which Abraham says to God before being asked to sacrifice his son, Isaac, as well as a prayer of humility chanted on Rosh Hashanah. But it’s also, possibly, a nod to Safran Foer’s 2016 novel “Here I Am.”
Neither Krauss nor Safran Foer responded to requests for comment on the play. “For people in my generation and younger, the recognition might be there, but it was also so many years ago now,” said Zielger, 44. “So I guess the only people who remember it are the people on whom it made an impact.”
Which is fine — “The Wanderers” stands on its own even if you don’t know the backstory. Plus, the themes of the play stretch far beyond infidelity: It also explores loneliness, free will and inherited family trauma.
Originally, Ziegler set out to write something about arranged marriages, specifically within the Jewish community. “I had always been kind of fascinated and beguiled by the idea of arranged marriage — thinking about what it would be like spending that first night together, that notion always kind of haunted me,” she said.
“I had these two different plays [one about Portman and Safran Foer and the other about arranged marriages], and they seemed thematically related,” she added. “At some point, I concluded that they really were two strands at the same play and so I started weaving them together.”
Ziegler chose to write about the Hasidic Jewish community in particular because she was “somewhat familiar with that culture and community,” she told me.
Still, as a secular Jew, it’s a topic she approached delicately. She hired a cultural consultant and an accent coach for the actors who were both from the community. Ziegler herself, who lives in Brooklyn, spent time in Williamsburg, and read memoirs and watched documentaries.
In the play, the Hasidic wife Esther (Lucy Freyer) struggles to be seen by her community and to feel in control of her life. She doesn’t know where to turn and wonders if she’s fulfilled her potential — as a parent, wife, human and Jew. “One of the great joys of being an actor is being able to learn and dive head first into a community that you ordinarily wouldn’t get to know,” Freyer said.
As the story unfolds, it’s revealed that Esther left the community with her infant son, who grows up to be the renowned Jewish author Abe, who marries his childhood friend Sophie (Sarah Cooper, the comic and actress who broke big with videos mocking Donald Trump). The younger couple is almost entirely secular, yet they grapple with the same search for meaning and belonging, the same doubt as to whether they’ve chosen the right path for themselves — or if it had been chosen for them.
“All five characters, not just Schmuli and Esther, are trying to figure out how can you be happy with what you have, with where you stand in your own skin,” said Dave Klasko, who plays Schmuli.
“We say in the play the Hebrew phrase, ‘Ein ba’al hanes makir b’niso,’ which [Ziegler] poetically translates to ‘We are never aware of the miracles, especially when we are inside them,’” Klasko added. “How can I, in my own life, realize the miracle that I’m living in before I’m on the other side of it?”
For Ziegler, these are very Jewish questions — and the questions of the “Xillennial” generation. “We’re left [with] the complex heritage of feeling chosen, but also self-hating,” said Ziegler, whose previous plays include “Photograph 51,” about Rosalind Franklin, the Jewish X-ray crystallographer who helped Watson and Crick crack the DNA model. “I think this is the most Jewish of my plays, and it’s funny because I’m not that religious, but I have found in my career that there seems to be a hunger for plays about Judaism.”
“At some point in my career, I began to be thought of as a ‘Jewish writer’ — for better or for worse,” she added.
Safran Foer, 46, and Krauss, 48, have also wrestled with the “Jewish writer” term, as well as the play’s big questions of identity, self-doubt and complicated family relationships. In fact, as Ziegler and the actors point out, issues of the play are universal, and have nothing to do with how famous you are, how expensive your home may be, or how strictly you adhere to religious law. The celebrity allusion — plus the chance to see an actual celebrity, Holmes — may be a reason to buy a ticket to see “The Wanderers,” but the timeless message is what will keep you in your seat.
“The Wanderers” is playing at the Roundabout Theatre Company (111 West 46th Street) through April 2. Find tickets and more information here.
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The post Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play appeared first on Jewish Telegraphic Agency.
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Javier Bardem Slams Trump, Netanyahu for Iran War Before Declaring ‘Free Palestine’ at Academy Awards
Javier Bardem and Priyanka Chopra Jonas on stage during the Oscars show at the 98th Academy Awards in Hollywood, Los Angeles, California, US, March 15, 2026. Photo: REUTERS/Mike Blake
Spanish actor Javier Bardem protested the US-Israeli war with Iran while speaking to reporters on the red carpet at the 98th Academy Awards on Sunday night, before taking to the stage at the awards show in Los Angeles and declaring “Free Palestine.”
The Oscar winner, 57, attended the ceremony at the Dolby Theater wearing on his tuxedo lapel a pin that said, “No a la Guerra,” which in Spanish means, “No to War.” He wore the same pin in 2003 to protest the US invasion of Iraq.
The “F1” star has been a vocal critic of Israel’s military actions in the Gaza Strip during the Israel-Hamas war and has publicly voiced support for a “Free Palestine” several times in the past. While speaking to reporters at the Academy Awards, he blasted the US and Israel for their joint strikes against Iran, specifically calling out US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu.
“I’m wearing a pin that I used in 2003 with the Iraq war, which was an illegal war,” Bardem told The Hollywood Reporter on Sunday night on the Oscars red carpet. “And we are here, 23 years after, with another illegal war, created by Trump and Netanyahu with another lie, which is to defeat the regime. But they are radicalizing the regime by their horrific actions. So that’s not the reason, as it was not the reason weapons of mass destruction in 2003.”
Bardem also wore to the Oscars this year a pin in support of Palestinian resistance on his tuxedo lapel. On the pin was a drawing of Handala, a character created by Palestinian newspaper cartoonist Naji al-Ali in 1969. Handala is a 10-year-old Palestinian refugee who is turning his back to the world and has become a long-standing symbol for Palestinians. Bardem said it is a “Palestine symbol of resistance.”
Later on in the evening, while co-presenting the award for best international feature film with actress Priyanka Chopra Jonas, Bardem made more political comments, but this time about “Palestine.” When he walked on stage, the first thing he said was, “No to war. Free Palestine,” before presenting the nominees for the category.
After getting off stage, he told Variety he felt compelled to take about the “injustice” he feels is taking place in the Middle East. “Which in this case is the genocide in Palestine that is still going on … what is going on in the West Bank, the abuse of civil rights and human rights and ethnic cleansing,” he added. “It’s horrible … and then the illegal war [in Iran].”
“They are not defeating any regime, they are radicalizing the regime, bombing innocent people,” Bardem claimed about the US-Israeli joint strikes against Iran.
Before entering the Vanity Fair afterparty, he told USA Today: “We are going back to the same beginning of lying and manipulating us … it’s not about freedom. It’s not about changing any regime. It’s about creating a chaos that only benefits the richest and the people that have the power to control the area.”
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College Republicans Federation Disbands University of Florida Chapter Over Nazi Pictures
An entrance to the University of Florida in Gainesville, Dec. 4, 2020. Photo: USA Today Network via Reuters Connect
The Florida Federation of College Republicans (FFCR) has disbanded its chapter at the University of Florida and asked the school to deactivate it following an investigation which revealed that student leaders photographed themselves pantomiming the Nazi salute.
“This request is based on the FFCR’s findings that some Local CR [College Republicans] members engaged in a pattern of conduct that violated its rules and values, including a recent antisemitic gesture,” the university said in a statement on Saturday. “In compliance with its policies, the University of Florida is in the process of deactivating the Local CR as a registered student organization. When the FFCR is ready, the university will also assist it with reactivating the Local CR under new student leadership.”
Since reports of the action emerged, the UF College Republicans chapter has alleged that the Florida Federation lacks jurisdiction over the organization, insisting that it is registered with the College Republicans of America group. There are several contending “College Republican” groups, including the original College Republican National Committee founded in 1892, College Republicans United, the National Federation of College Republicans (NFCR), and College Republicans.
“They cited the FFFCR, an organization that we are not a part of that has no authority over our chapter [sic],” College Republicans of America said in a statement. “We look forward to the university reinstating our club and correcting this statement. We have retained counsel and have received information that this is not the first time that FFCR has lied to silence Christian conservative groups on campus.”
Regardless of the outcome of the dispute, the incident marks the second time this month that conservative youth were publicly outed for indulging Nazism and the white supremacist movement. Earlier this month, leaked texts revealed dozens of antisemitic and racist texts exchanged by young Republicans in Miami-Dade County, Florida, some of which fantasized about engaging in onanism in an all-white country.
As first reported by The Miami Herald, the group chat, created on WhatsApp, was described by its members as “Nazi heaven” for the daily barrage of extremist comments contributed to it. Individuals affiliated with the Miami-Dade Country Republicans, Turning Point USA, and College Republicans casually said “ni—er,” denounced women as “whores,” and spoke rapturously about Adolf Hitler.
Dariel Gonzalez, according to the Herald, was one of the chat’s most prolific contributors, bandying about comments regarding “color professors” and telling members that “You can f—k all the k—kes you want. Just don’t marry them and procreate.”
The group chat’s exposure comes at a time when, according to recent polling, young Republicans have increasingly embraced antisemitism and conspiracy theories.
As The Algemeiner has previously reported, antisemitism has permeated college campuses across the US for years, even before the recent surge in incidents amid the Israel-Hamas war in Gaza.
In 2022 alone, anti-Zionists at State University of New York (SUNY) New Paltz expelled a sexual assault survivor from a victim support group over her support for Zionism; a former University of California, Los Angeles (UCLA) lecturer threatened to commit a mass shooting of Jews on campus, saying in a note to former colleagues that “Violence against Jews should happen. Retaliation and retribution for what they have stolen is legitimate and a good thing”; and students at Indiana University posted messages on a social media forum which lambasted “east coast Jews” as rapists, charging that their “huge noses, afros, and smelliness prevent them from being attractive.”
The Palestinian terrorist group’s Oct. 7, 2023, massacre across southern Israel unleashed a historic surge in such outrages on US campuses. College students, joined by faculty, carried out a number of antisemitic incidents and hate crimes — spitting on Jewish students at the University of California, Berkeley while calling them “Jew”; gang assaulting Jewish students at Columbia University’s Butler Library; vandalizing public spaces with swastika graffiti; and chasing Jewish students out of graduate programs by denying them religious accommodations and smearing their reputations.
While much of the anti-Zionist movement on campus has been associated politically with the far left, the far right has recently been involved with a series of antisemitic incidents on campuses,
In October, for example, a conservative student magazine at Harvard University published an essay which bore likeness to key tenets of Nazi doctrine. In January, a sophomore and right-wing social media influencer at the University of Miami verbally attacked a Jewish student group, calling its members disgusting while accusing rabbis of eating infants.
Campus antisemitism has changed the college experience for American Jewish students, affecting how they live, socialize, and perceive themselves as Jews, according to new survey results released by the American Jewish Committee (AJC) in partnership with Hillel International.
A striking 42 percent of Jewish students reported experiencing antisemitism during their time on campus, and of that group, 55 percent said they felt that being Jewish at a campus event threatened their safety. The survey also found that 34 percent of Jewish students avoid being detected as Jews, hiding their Jewish identity due to fear of antisemitism. Meanwhile, 38 percent of Jewish students said they decline to utter pro-Israel viewpoints on campus, including in class, for fear of being targeted by anti-Zionists. The rate of self-censorship is significantly higher for Jewish students who have already been subjected to antisemitism, registering at 68 percent.
“No Jewish student should have to hide their identity out of fear of antisemitism, yet that’s the reality for too many students today,” Hillel International chief executive officer Adam Lehman said in February. “Our work on the ground every day is focused on changing that reality by creating environments where all Jewish students can find welcoming communities and can fully and proudly express their Jewish identities without fear or concern.”
Follow Dion J. Pierre @DionJPierre.
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Amsterdam’s New Warning to Europe on Antisemitism
Anti-Israel protesters clash with police outside Amsterdam’s Concertgebouw, breaking through barricades and setting off smoke bombs during a demonstration against a performance by the IDF’s chief cantor. Photo: Screenshot
Amsterdam likes to present itself as a city of tolerance. It celebrates diversity, prides itself on openness, and often reminds the world of its history as a refuge for those seeking freedom. Yet something deeply troubling happened in Amsterdam last week that should concern not only the Netherlands, but all of Europe:
A municipal debate about antisemitism had to be held at a secret location because of security concerns.
Pause for a moment and consider what that means. In a democratic European capital, a discussion about protecting a Jewish minority could not take place openly for fear of threats and intimidation. If that does not signal a serious problem, what does?
That’s in addition to the bombing of a Jewish school, and another attack that just occurred.
During the meeting, a 15-year old Jewish boy addressed the room. His testimony cut through political rhetoric and statistics with the clarity only a young voice can bring. Since the October 7, 2023, massacre in Israel, he said, life for Jewish students in Amsterdam has changed dramatically. Many of his friends have already left the city. They no longer see a future there.
Imagine hearing those words in 2026 in one of Europe’s most celebrated liberal cities. A teenager speaking calmly about the disappearance of his community.
Amsterdam alderman Melanie van der Horst was visibly moved and struggled to hold back tears. The emotional moment showed that some political leaders understand the gravity of what is happening. Yet empathy alone will not solve the problem.
Another participant in the debate raised a painful but necessary question: How must it feel for Jewish residents to walk daily through public spaces where demonstrations take place in which their country and their people are shouted down? Pro-Palestinian protests have become a constant presence in parts of the city. Political protest is a democratic right, but when rhetoric turns into open hostility toward Jews, society has crossed a dangerous line.
One proposal during the debate illustrated the level of frustration. A politician suggested sending undercover police officers into the streets wearing a kippah in order to identify those who harass Jews. Critics called the idea controversial. But the fact that such a measure is even being discussed reveals how serious the situation has become.
The problem extends beyond the streets. Jewish organizations in the Netherlands increasingly report difficulties renting venues for events. Cultural gatherings and lectures sometimes struggle to find halls willing to host them. It rarely makes headlines, but this quiet exclusion sends a clear message: you are welcome in theory, but not visibly.
History has taught Europe where that kind of atmosphere can lead. Antisemitism rarely begins with violence. It begins with discomfort, social pressure, and the slow normalization of hostility toward Jewish identity.
Meanwhile, another factor fuels the problem. Much of the European media landscape presents Israel through a lens that reduces a complex reality to a simple narrative of aggressor and victim. When context disappears and facts are replaced by slogans, public perception shifts. The hostility directed at Israel easily spills over into hostility toward Jews living thousands of kilometers away.
That is why factual education and responsible journalism matter so much. Civil society organizations that work to counter misinformation often struggle to be heard. Yet without a commitment to truth, public debate becomes an echo chamber for activism rather than a search for understanding.
There is also a question for Jewish communities themselves. When fear grows, the instinct to become less visible is understandable. But invisibility comes at a cost. If intimidation forces people to hide their identity, those spreading hatred learn that their tactics work.
The lesson of Jewish history is painfully clear. Silence has never protected Jewish communities.
Strength does not mean confrontation. It means refusing to surrender identity and dignity to intimidation. It means raising a generation that is proud rather than afraid. It means understanding that resilience is sometimes the only answer to those who seek to erase a people’s presence.
The young boy in Amsterdam asked a simple question without even intending to pose a challenge to Europe: will the Jewish community still exist here in the future?
That question should echo far beyond the walls of the municipal chamber where he spoke. Because if a Jewish teenager in Amsterdam already doubts his future in the city, then Europe is facing not just a Jewish problem.
It is facing a moral test of its own values.