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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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Iran Posts AI Video Showing Missile Striking Statue of Liberty
An Israeli air defense system intercepts a ballistic missile barrage launched from Iran to central Israel during the missile attack, February 27, 2026. Photo: Eli Basri / SOPA Images via Reuters Connect
Iran on Tuesday released an AI-generated video depicting a missile striking the Statue of Liberty in New York Harbor, a global symbol of American freedom and democracy, in one of the regime’s latest propaganda efforts to influence public perception abroad.
Shared by Iranian state broadcaster IRIB as well as a Telegram channel affiliated with the Islamic Revolutionary Guard Corps (IRGC), the minute-long video ends with the slogan “One vengeance for all.”
IRGC Official Telegram Channel Releases AI Video Depicting Iranian Ballistic Missile Strike on United States, Hitting New York City and Toppling Statue of Liberty Shown as Idol of Baal Holding Babylonian Talmud pic.twitter.com/JhgNgHW2Zz
— MEMRI (@MEMRIReports) March 25, 2026
The video was also circulated by Russian state outlet RT, in what appears to be a stark and symbolic threat against the United States.
‘ONE VENGEANCE FOR ALL’ — Iran ‘bombs’ the Statue of Liberty WITH THE HEAD OF BAAL pic.twitter.com/6tPH15fqkZ
— RT (@RT_com) March 25, 2026
Since the start of the US-Israel war with Iran, which began on Feb. 28, Iranian officials have ramped up their propaganda and disinformation efforts, trying to portray Washington and Jerusalem as responsible for decades of regional conflict while seeking to influence left-leaning Americans to mobilize domestic opposition to the war.
This latest widely circulated video presents a striking sequence portraying the United States as the world’s enemy, drawing on imagery from the dispossession of Native Americans and the atomic bombings of Japan to the Vietnam War and more recent Middle Eastern conflicts to craft a sweeping narrative of American aggression.
The clip also features footage alluding to a child on Jeffrey Epstein’s private island — a recurring theme in Iran’s messaging used to suggest that US President Donald Trump launched the current war to distract the public from the Epstein scandal, in which the late financier was convicted of running a sex-trafficking ring involving underage girls and, allegedly, various influential figures.
Later in the video, AI-generated figures of Iran’s former Supreme Leader Ayatollah Ali Khamenei and the late Iranian Major General Qassem Soleimani are shown gazing skyward. Khamenei was killed in an Israeli airstrike on Feb. 28, and Soleimani was killed in a US drone strike in 2020.
The final sequence of the video depicts a missile in Iranian colors striking the Statue of Liberty in New York Harbor, whose head has been replaced with that of Baal, a false god from the Bible, while the statue holds the Talmud, a key collection of Jewish religious teachings and laws.
This video is the latest example of AI-generated propaganda released since the start of the war with Iran.
Last week, Chinese state television CCTV released a separate AI-generated clip illustrating Beijing’s perspective on the Strait of Hormuz crisis, featuring Persian cats in martial arts combat and an eagle-headed human representing the United States.
Experts note that Russian dissemination of Tehran’s video reflects a broader coordinated effort to use visual propaganda to challenge US foreign policy and influence global perceptions amid rising regional tensions.
The latest video came as the US and Iran began engaging in diplomacy over a possible resolution to the war, although Tehran has reportedly responded negatively to Washington’s proposal.
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US Sen. Bill Cassidy Demands Answers From Mamdani on Taxpayer-Funded Anti-Israel Activity
New York City Mayor Zohran Mamdani holds a press conference at the New York City Office of Emergency Management, as a major winter storm spreads across a large swath of the United States, in Brooklyn, New York City, US, Jan. 25, 2026. Photo: REUTERS/Bing Guan
A senior Republican lawmaker in the US Congress is sounding the alarm over actions by New York City Mayor Zohran Mamdani’s administration, arguing that the use of public resources to advance what he describes as a politically charged, anti-Israel agenda risks alienating Jewish residents and may conflict with federal funding requirements.
Sen. Bill Cassidy (R-LA), chair of the Senate Health, Education, Labor, and Pensions (HELP) Committee, on Monday expanded an investigation into whether New York City agencies have improperly incorporated geopolitical advocacy into taxpayer-funded programs. The move reflects growing scrutiny in Washington over how local governments engage with issues related to Israel amid heightened tensions and record levels of antisemitic hate crimes following the conflict in Gaza.
In a new letter to Mamdani, Cassidy said he is concerned that certain city initiatives, particularly within public health programming, may be framing Israel in a way that undermines inclusivity and raises potential civil rights concerns. He pointed to reports of internal discussions and working groups within the New York City Department of Health and Mental Hygiene that examine global conflicts, including Israel’s war against Hamas, through an “oppression” or “equity” lens.
“These taxpayer dollars are meant to improve New Yorkers’ health, not push a far-left agenda that discriminates against Jewish families,” Cassidy said in a statement announcing the letter and expanded probe. “At a time of rising antisemitism, Mamdani is failing Jewish New Yorkers.”
The senator also warned that merging political advocacy with federally supported programs could jeopardize compliance with federal guidelines, potentially putting funding streams at risk. His office has requested documentation and clarification from city officials regarding the scope and purpose of the “Global Oppression and Public Health Working Group” and to turn over all documents disseminated at the meeting sessions.
In February, a cohort of staffers within the New York City Department of Health and Mental Hygiene reportedly formed the group and declared its purpose is to explore how supposed “global oppression” operates and affects health equity and the wellbeing of certain communities in the city. In its initial meeting, which lasted one hour, a presenter explicitly cited the conflict in Gaza as an “ongoing genocide” and framed it along with other forms of alleged oppression as relevant to health outcomes, the New York Post reported.
“We really developed in response to the ongoing genocide in Palestine,” one presenter said, according to video acquired by the Post. “And the working group aims to address the growing interests among the health department staff to learn about current and ongoing global oppression in its many forms and how it influences the advancement of health equity.”
Critics, including City Council leaders, say the working group crossed a line by focusing on international politics and critiques of a foreign government instead of core public health responsibilities like managing diseases, especially on city time with taxpayer-funded time and resources.
“The department’s focus on the Israeli-Palestinian conflict and the creation of an internal ‘working group’ organized around a particular ethnic or national group underscores the need to ensure that workplace initiatives are administered in a manner that does not leave other employees — in this case, Jewish employees — feeling excluded or marginalized,” Cassidy wrote in his letter.
“Additionally, the question remains as to whether the department will hold similar discussions through either this or separate working groups for other ethnic or national groups affected by global geopolitical conflicts, or whether the department’s sole interest is in denouncing the Israeli-Palestinian conflict to the exclusion of all others,” the senator added. “These circumstances warrant review of whether the agency’s internal activities are being structured in a manner consistent with federal nondiscrimination requirements.”
Cassidy initially announced a probe into the matter in early February but expanded his requests for documentation in this week’s letter. He also noted recent statements by the city’s new health commissioner, Dr. Alister Martin, who said in an interview that the department is “not gonna stop doing that work on equity,” even if the federal government “comes and messes with our money.”
“Statements made by Dr. Martin suggesting that the agency will continue advancing certain equity initiatives despite federal policy changes, warrant careful review of the department’s adherence to federal requirements governing programs supported by federal funds,” Cassidy wrote.
His investigation comes amid ongoing concern over Mamdani’s approach to the Jewish community and antisemitism in New York City,
Mamdani, a far-left democratic socialist and anti-Zionist, is an avid supporter of boycotting all Israeli-tied entities who has been widely accused of promoting antisemitic rhetoric. He has repeatedly accused Israel of “apartheid” and “genocide”; refused to recognize the country’s right to exist as a Jewish state; and refused to explicitly condemn the phrase “globalize the intifada,” which has been associated with calls for violence against Jews and Israelis worldwide.
Leading members of the Jewish community in New York have expressed alarm about Mamdani’s election, fearing what may come in a city already experiencing a surge in antisemitic hate crimes.
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Mamdani voices concerns about synagogue buffer zone bill poised to pass NYC Council
The New York City Council is poised to pass legislation aimed at curbing disruptive protests outside synagogues, as officials weigh Jewish security concerns against free speech protections for pro-Palestinian and progressive activists. Mayor Zohran Mamdani has not taken an official position on the legislation.
The 51-member legislative body is set to vote Thursday on two bills directing the NYPD to develop a plan for protest buffer zones around houses of worship and educational centers. It is part of Council Speaker Julie Menin’s five-point plan to combat antisemitism, as anti-Jewish incidents continue to make up a majority of reported hate crimes in New York City. In recent months, at least two protests outside synagogues featured antisemitic slogans and chants, heightening tensions and drawing condemnation. Some see Menin as a check on the mayor and a potential guardrail against his actions.
The package of bills includes $1.25 million in funding to the Museum of Jewish Heritage for Holocaust education and the creation of a hotline to report antisemitic incidents.
Mamdani allies’ opposition
The buffer zone proposal is facing pushback from allies of Mamdani, a strident Israel critic who faces scrutiny from mainstream Jewish organizations over his response to antisemitism and pro-Palestinian protests. The Democratic Socialists of America and some progressive Jewish groups, as well as free speech advocates, claim the legislation unfairly targets pro-Palestinian protests and said it gives authorities too much discretion in how the rules are enforced.
Mamdani said in January that he ordered his law department and police leadership to review the proposal’s legality. Mamdani told the Forward he would veto it if he determines it’s illegal.
City Hall has not released the findings of the internal review. A Mamdani spokesperson didn’t say whether the mayor would sign the bills if they pass. But he might not need to. The bill has 35 co-sponsors, giving it the veto-proof, two-thirds majority needed to pass the legislation into law without the mayor’s signature.
Mamdani “is keenly aware of the serious concerns regarding these bills’ limiting of New Yorkers’ constitutional rights, and he will keep these concerns in mind for any bills that land on his desk,” Dora Pekec, a City Hall spokesperson, said in a statement provided to the Forward. “He wants to ensure both the right to prayer and the right to protest are protected here in New York City.”
The bills do not explicitly bar protests or codify a specific distance requirement. Its initial proposal to establish buffer zones of up to 100 feet outside synagogues and other houses of worship was omitted following reservations expressed by Police Commissioner Jessica Tisch, who, like Menin, is Jewish, and cautioned that a one-size-fits-all rule might not withstand legal challenge and could prove unworkable across neighborhoods with vastly different street layouts. The Council agreed to revise the language of the bill, placing implementation authority squarely with the police department.
At the state level, Kathy Hochul has proposed similar legislation that would create a 25-foot buffer zone around houses of worship statewide. The measure is being negotiated as part of budget talks ahead of an April 1 deadline. A similar effort is also under consideration in California.
The post Mamdani voices concerns about synagogue buffer zone bill poised to pass NYC Council appeared first on The Forward.