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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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At Sundance, the AIDS crisis through the eyes of a bar mitzvah boy
If you were swept up by Aftersun when it debuted on the festival circuit three years ago, Israeli director Moshe Rosenthal’s new film Tell Me Everything may hit you immediately with a sense of deja vu.
It opens on thrashing bodies moving in slow motion in a dark club. Slowly, the strobe lights reveal a figure: a vision of a lost father, just out of reach to his adult child. The scene recalls, and could even be read as a quotation of Charlotte Wells’ semi-autobiographical portrait of a daughter and her tortured father on vacation at a Turkish resort in the 1990s.
While that sequence is very after Aftersun, Rosenthal’s film, in competition at Sundance, has its own merits and its own unwelcome glut of cliches. Tell Me Everything concerns the relationship of a son and a father, and where the source of the anguish of the father in Wells’ is never stated outright, here it’s made explicit.
A memory film split between the 1980s and 1990s, Rosenthal’s drama is told almost exclusively through the perspective of Boaz (Yair Mazor), introduced in the 1980s as a self-conscious soon-to-be bar mitzvah boy. One day, amid the confusion of the early AIDS crisis, Boaz sees his father Meir (Assi Cohen) with another man behind a stall at the pool showers.
Keeping the secret, Boaz grows paranoid about illness and insecure about his own masculinity. Where before he danced to Ilana Avital, voguing with the encouragement of his older sisters, he soon pivots to the edgier pop-rock of the Israeli band Mashina, punching the air with his sister’s mini weights. (He wraps the weights in black tape, he tells Meir, pointedly, using a slur for gay men, because they were pink.)
Teased in school for being small and coddled by the women in his family, not least his beautician mother Bella (Karen Tzur), when Boaz learns of Meir’s sexuality it awakens him to the ways he may fall short of the stereotypical Israeli swagger.
Rosenthal, who broke out four years ago with his debut feature Karaoke, has a deft touch for the period. Shooting in soft focus and working with a pastel palette, he evokes the haziness of the remembered past, half-understood even in the moment.
Tell Me Everything captures how kids process — in overheard snippets, glimpsed scenes — the adult world and the tactics of older siblings shielding a younger one from parental fights. (This family plays Scattergories when voices are raised in the hall.) It also gets at, a bit too strongly, the surrogate husband role often forced on a son by an unsatisfied and possessive mother.
Rosenthal sometimes overdoes it. He shows Boaz in bed, reading sensationalist newspaper headlines about AIDS by flashlight. His growing awareness of his father’s sexuality — and predicament — are shot like a horror film, a sarcoma lensed like a zombie bite. A later montage, showing the redesign of the home after Meir’s exit, is so on-the-nose it belongs in a different kind of ‘80s movie (one from the actual 1980s).
A cut to the late ‘90s, where Boaz (now played by Ido Tako) works at a gas station and nurses an ill-defined homophobia, brings a contrived closure that leaves an earlier plot point dangling.
But when the film works, as in a notable sequence set to Air Supply’s “Making Love Out of Nothing At All” — Boaz and his sisters scramble to tape it off the car radio — it can be moving.
It won’t do for that song what Aftersun, a far quieter film, did for “Under Pressure” in the one moment it got loud, but the drama works as a time capsule. While today Israel is heralded as a gay mecca in the Middle East, the stigma the film hints at still exists with its own strain of toxic masculinity and machismo. (That Boaz’s army service doesn’t feature is notable, and could have made the film a richer text.)
Rosenthal has made a sensitive, if at times excessive, portrait of family life grounded in an uncertain past. That its story speaks to today is to be expected; that it might, at times, seem quaint or nostalgic is a sad truth of history.
Moshe Rosenthal’s Tell Me Everything debuts Jan. 25 at the Sundance Film Festival. More information can be found here.
The post At Sundance, the AIDS crisis through the eyes of a bar mitzvah boy appeared first on The Forward.
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I’m a rabbi arrested for protesting ICE in Minneapolis. The Book of Exodus shows us how this ends
On Friday, hours before Shabbat began, I was arrested with 96 other multifaith clergy members and Faith in Minnesota leaders while protesting ICE in Minneapolis.
“Who could have imagined such times as these?” we sang, in the words of local songmaker Sarina Partridge. “We will grieve through these times, and soon enough we’ll be grieving on the other side.”
We cannot keep on with business as usual when our federal government is engaged in escalating state terror right here, right now. To grieve through these times is not enough; we must also act.
In the bitter cold, thousands of Minnesotans gathered at that airport. Tens of thousands more marched downtown, and others simply stayed home in the largest work stoppage in this country in many decades, the Day of Truth and Freedom. Nearly one thousand interfaith clergy answered the call to come to Minnesota — as they did for the Civil Rights Movement call to march in Selma in 1965 — to join us in the fight.
Standing there among them, on erev shabbes in the cold, I thought about the Torah portion we would read the next morning in shul: parashat Bo, from the Book of Exodus.
In it, the darkness of the ninth plague that befell the Egyptians is described as something that the oppressors — the mitzrim, which I’ll translate as “the ones of narrowed sight” — could actually touch. It was so thick that it kept them isolated from each other, unable to move.
In contrast, the dwellings of those seeking liberation were full of light.
I imagined that palpable darkness not as a punishment, but as a reflection of reality. The oppressors were unwilling to see the humanity of their neighbors. But if they had been, they too could have found themselves in dwellings full of light, able to clearly perceive the richness and possibility of living in a multiethnic community.
So too with the federal oppressors here in Minnesota, and those who collude with them. They are so welcome to join us in the light of that recognition. We were there at the airport to invite them in.
Instead, they arrested nearly 100 of us, while we sang and prayed for the protection of our people in the languages of our diverse traditions. Doing this work in coalition builds the power we need to break through the oppression: Our differences make us stronger.
As a minister next to me chanted the Lord’s Prayer, and a clergy member close by meditated with closed eyes, I chimed in with “Ana Bekoach,” a kabbalistic prayer that is part of Friday night services, envisioning divine protection holding close all the people of this place.
At our airport, Signature Aviation is facilitating the internment of our fellow Minnesotans every day, adults and children alike, flying them to detention centers where they suffer in conditions that deny their humanity. ICE is even disappearing workers at that airport from the jobs they work every day, keeping all of us safe and supported as we travel.
The airport is supposed to encourage connection. Come join us in our city, it is supposed to say; come see the beauty of our communities. Come, with your eyes open, to join a dwelling of light. Instead, it has turned into a hub of darkness, and separation.
As Jews, so many aspects of our history are particularly resonant in this moment.
As ICE has engaged in a campaign of terror in our city since the start of the year, I have heard Jews in my community reflecting on their families’ experiences with state terror in Nazi Germany, Soviet Russia, and under dictatorships in Latin America. We join neighbors, refugees and immigrants from around the world, who never thought those feelings of suffocating fear would again define their lives here in the United States.
Now that they are, our obligation is to resist.
I was moved to tears during a march last week, when I saw families in hiding peeking out from behind their attic blinds as we sang of our love for our immigrant neighbors. It reminded me of Jewish families reduced to hiding in Nazi Germany, and of those brave souls who tried to protect them.
When I was arrested, I felt my heart open to the clergy standing and kneeling together with me, and all those in our state who have stood up with courage and generosity throughout these weeks and months. I hoped that all those who would see or hear of our arrest would be motivated to join this work.
The safety of all marginalized communities in this country, our Jewish community included, depends on our efforts to protect our democratic practices, and one another. You can join us, in Minnesota, or wherever you are.
Call for ICE to get out of Minnesota. Their presence is endangering us all. Just yesterday, Alex Jeffrey Pretti — an ICU nurse, mountain bike enthusiast, dog lover and beloved community member — was shot and killed by federal agents while attempting to aid a fellow protester. Our government, rather than accept responsibility for the injustice of his death, and that of Renée Nicole Good, is already lying about who these upstanding Minnesotans were and what those agents did.
Learn from us and protect each other in your home communities. You can stand with Minnesota; we’ll stand with you too. Call your senators to demand that they deny ICE funding in an upcoming vote this week. Push for prosecution of ICE agents who kill our civilians. Together we will fight the plague of narrow sight, instead creating dwellings of warm light where we hold and honor the fullness of humanity of each and every one of us.
On Saturday night, Minnesotans gathered in candlelight vigils on street corners in our neighborhoods to mourn and remember Pretti. I was with hundreds of my students on campus. We imagined, together, all the vigil-goers, holding candles to decry Pretti’s death and honor his memory, as points of light, linked across Minnesota and the country, and around the world.
The stars came out just then, as if the universe was joining us in a vast web of care and light. We sang a song from Heidi Wilson: “Hold on, hold on, my dear ones, here comes the dawn.”
The post I’m a rabbi arrested for protesting ICE in Minneapolis. The Book of Exodus shows us how this ends appeared first on The Forward.
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US-Brokered Peace Talks Break Off Without Deal After Overnight Russian Bombardment of Ukraine
Some windows glow in a residential building left without heating and facing long power cuts after critical civil infrastructure was hit by recent Russian missile and drone strikes, amid Russia’s attack on Ukraine, in Kyiv, Ukraine, January 23, 2026. Photo: REUTERS/Alina Smutko
Ukraine and Russia ended a second day of US-brokered talks in Abu Dhabi on Saturday without a deal but with more talks expected next weekend, even as overnight Russian airstrikes knocked out power for over a million Ukrainians amid subzero winter cold.
Statements after the conclusion of the talks did not indicate that any agreements had been reached, but Moscow and Kyiv both said they were open to further dialogue.
“The central focus of the discussions was the possible parameters for ending the war,” President Volodymyr Zelensky wrote on X after the meeting.
More discussions were expected next Sunday in Abu Dhabi, said a US official who spoke to reporters immediately after the talks.
“We saw a lot of respect in the room between the parties because they were really looking to find solutions,” said the official, speaking on condition of anonymity.
“We got to real granular detail and (we feel) that next Sunday will be, God willing, another meeting where we push this deal towards its final culmination.”
A UAE government spokesperson said there was face-to-face engagement between Ukraine and Russia — rare in the almost four-year-old war triggered by a full-scale Russian invasion — and negotiators tackled “outstanding elements” of Washington’s peace framework.
Looking beyond next week’s negotiations in Abu Dhabi, the US official voiced hopes for further talks, possibly in Moscow or Kyiv.
“Those sorts of meetings have to happen, in our view, before we get a bilateral between (Russian President Vladimir) Putin and Zelensky, or a trilateral with Putin, Zelensky and President Trump. But I don’t think we’re so far away from that,” the official said.
BOMBARDMENT OF UKRAINE BEFORE SECOND DAY OF TALKS
The bombardment of Ukraine’s capital Kyiv and its second-largest city Kharkiv by hundreds of Russian drones and missiles prompted Foreign Minister Andrii Sybiha – who was not at the talks – to accuse Putin of acting “cynically.”
“This barbaric attack once again proves that Putin’s place is not at (US President Donald Trump’s) Board of Peace, but in the dock of the special tribunal,” Sybiha wrote on X.
“His missiles hit not only our people, but also the negotiation table.”
Saturday was scheduled to be the final day of the talks, billed by Zelensky as the first trilateral meeting under the US-mediated peace process.
The UAE statement said the talks were conducted in a “constructive and positive atmosphere” and included discussions about confidence-building measures.
Kyiv is under mounting Trump administration pressure to make concessions to reach a deal to end Europe’s deadliest and most destructive conflict since World War Two.
US peace envoy Steve Witkoff said at the annual World Economic Forum in Davos this week that a lot of progress had been made in the talks and only one sticking point remained. However, Russian officials have sounded more skeptical.
RUSSIA WANTS ALL OF DONBAS
After Saturday’s talks, Zelensky said the US delegation had raised the issue of “potential formats for formalizing the parameters for ending the war, as well as the security conditions required to achieve this”.
The US official said the proposed security protocols were widely seen as “very, very strong.”
“The Ukrainians and many of the national security advisors of all the European countries have reviewed these security protocols. And to a person, and this includes NATO, including (NATO Secretary General) Mark Rutte, they have expressed the fact that they’ve never seen security protocols this robust,” the official said.
Ahead of the discussions, Kremlin spokesman Dmitry Peskov said on Friday Russia had not dropped its insistence on Ukraine yielding all of its eastern area of Donbas, the industrial heartland grouping the regions of Donetsk and Luhansk.
Putin’s demand that Ukraine surrender the 20 percent it still holds of Donetsk – about 5,000 sq km (1,900 sq miles) – has proven a major stumbling block to any deal. Most countries recognize Donetsk as part of Ukraine. Putin says Donetsk is part of Russia’s “historical lands.”
Zelensky has ruled out giving up territory that Russia has not been able to capture in four years of grinding, attritional warfare against a much smaller foe. Polls show little appetite among Ukrainians for any territorial concessions.
Russia says it wants a diplomatic solution but will keep working to achieve its goals by military means as long as a negotiated solution remains elusive.
Umerov, the secretary of Ukraine’s National Security and Defense Council, said late on Friday that the first day of talks had addressed parameters for ending the war and the “further logic of the negotiation process.”
Meanwhile, Ukraine came under renewed Russian bombardment.
Ukraine’s air force said Russia had launched 375 drones and 21 missiles in the overnight salvo, which once again targeted energy infrastructure, knocking out power and heat for large parts of Kyiv, the capital. At least one person was killed and over 30 injured.
Before Saturday’s bombardment, Kyiv had already endured two mass overnight attacks since the New Year that cut electricity and heating to hundreds of residential buildings. Ukraine’s deputy prime minister said on Saturday that 800,000 people in Kyiv – where temperatures were around -10 degrees Celsius – had been left without power after the latest Russian assault.
Zelensky said on Saturday Russia’s heavy overnight strikes showed that agreements on further air defense support made with Trump in Davos this week must be “fully implemented.”