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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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What I discovered during my visit to the Swedish paradise
נאָך אַ רעפֿעראַט וועגן דעם מצבֿ פֿון ייִדיש אין שוועדן, האָט פּראָפֿ׳ אַנאַ שטערנשיס אַ מאָל געזאָגט: „שוועדן איז אַ מין גן־עדן פֿאַר ייִדיש“.
איך בין לעצטנס געפֿאָרן קיין שטאָקהאָלם, כּדי צו האַלטן אַ לעקציע פֿאַר די אָרטיקע ייִדישיסטן — האָב איך געהאַט אַ געלעגנהייט צו זען דעם דאָזיקן גן־עדן מיט די אייגענע אויגן. פֿריִער האָט ער עקסיסטירט נאָר אין די לעגענדעס, וואָס אַנדערע ייִדישיסטן האָבן דערציילט: אַ לאַנד, וווּ ייִדיש איז אַן אָפֿיציעלע מינדערהייט־שפּראַך; אַ לאַנד וואָס שטיצט ייִדיש נישט בלויז מיט ווערטער, נאָר מיט אמתע געלטער; וווּ די מלוכה העלפֿט אַרויסצוגעבן ייִדישע ביכער, רעקאָרדירונגען, טעלעוויזיע און ראַדיאָ־פּראָגראַמען; וווּ עטלעכע פּראָפֿעסאָרן לערנען די שפּראַך אין אוניוועריסיטעט; וווּ יעדעס קינד האָט אַ רעכט צו פֿאָדערן דעם ייִדיש־לימוד און יעדע ביבליאָטעק דאַרף קויפֿן ייִדישע ביכער, אויב אַ בירגער וויל זיי לייענען.
פֿאַר מײַן נסיעה האָב איך געכאַפּט אַ שמועס מיט אַ רבֿ פֿון דער וואַרשעווער קהילה, וואָס איז געבוירן געוואָרן אין שטאָקהאָלם: הרבֿ יצחק ראַפּאָפּאָרט. שפּעטער האָב איך אויך געטראָפֿן הרבֿ ראַפּאָפּאָרטס מאַמע, וואָס וווינט אין שטאָקהאָלם, כאָטש זי שטאַמט פֿון פּוילן. זייער קוק אויף שוועדן איז ווייניקער גן־עדנדיק. למשל, אין שוועדן גייט הרבֿ ראַפּאָפּאָרט נישט אויף דער גאַס טראָגנדיק אַ יאַרמקלע, אַזוי ווי אין וואַרשע. אין שוועדן קען עס זײַן אַ סכּנה. טראָגט ער דאָרט אַ היטל איבער דער יאַרמלקע.
אָבער בשעת מײַן וויזיט האָב איך נישט געזען וואָס מורא צו האָבן, נישט קיין אַנטי־ישׂראל־פּראָטעסטן אָדער קיין גראַפֿיטי, ווי מע זעט אין אַ סך אייראָפּעיִשע שטעט. איך האָב יאָ געזען אַ סך יונגע משפּחות מיט קליינע קינדער, וואָס לויפֿן אַרום פֿראַנק און פֿרײַ אין אַלע עפֿנטלעכע ערטער. דאָס איז אַ סימן פֿון אַ לאַנד, וווּ מענטשן פֿילן זיך זיכער און פֿאַרזיכערט. אָבער, צוריק גערעדט, האָב איך זיך געדרייט בלויז אין צענטער שטאָט, אין די רײַכע, טוריסטישע געגנטן. דאָרט זענען מסתּמא נישט פֿאַראַן קיין סך אַנטיסעמיטן און טעראָריסטן.
אָבער פּלוצלינג האָט מיר פּאַסירט אַן אומגליק. איך בין אַרויס פֿון טראַמווײַ און זיך געכאַפּט, אַז איך האָב נישט מײַן טעלעפֿאָן. איך בין נאָכגעלאָפֿן דעם טראַמווײַ, אָבער — פֿאַרפֿאַלן. ער איז אַוועק מיט מײַן טעלעפֿאָן אָן אַ זײַ געזונט. די איבעריקע טעג פֿון מײַן וויזיט האָב איך פֿאַרבראַכט ווי אַ טוריסט פֿון די 1990ער יאָרן: נישט וויסנדיק וווּ איך פֿאָר און נישט וויסנדיק וואָס איך זע.
פֿון דעסט וועגן, האָב איך געזען, אַז שוועדן איז אַ געבענטשט לאַנד: שיין און ריין און אָן קיין אמתע פּראָבלעמען, אַחוץ אפֿשר דעם קאַלטן ווינטער. שוועדן האָט נישט געהאַט קיין מלחמה זײַט איבער צוויי הונדערט יאָר. קומענדיק פֿון פּוילן, וווּ מלחמות האָבן כּסדר חרובֿ געמאַכט דאָס לאַנד אין משך פֿון דער גאַנצער געשיכטע, איז געווען אינטערעסאַנט צו זען אַן אָרט, וווּ גאָרנישט איז נישט חרובֿ געוואָרן.
די הײַנטיקע שוועדן זענען אָבער גאָר נישט ענלעך צו די אַמאָליקע. הײַנט איז שוועדן אַ לאַנד פֿון ליבעראַליזם, פֿעמיניזם, און טאָלעראַנץ. מיט הונדערטער יאָרן פֿריִער האָבן די שוועדישע אַרמייען געוואָרפֿן אַ פּחד אויף גאַנץ אייראָפּע. אין פּוילן געדענקט מען נאָך די „שוועדישע פֿאַרפֿלייצונג“ פֿון 17טן י״ה, ווען די שוועדישע סאָלדאַטן האָבן פֿאַרוויסט און באַראַבעוועט דאָס לאַנד. אין משך פֿון די מלחמות דעמאָלטס איז אומגעקומען אַ דריטל פֿון דער פּוילישער באַפֿעלקערונג. אין די שוועדישע מוזייען קען מען נאָך הײַנט זען שיינע קונסטווערק און סקולפּטורן, און פֿון די אויפֿשריפֿטן לעבן די חפֿצים דערוויסט מען זיך, אַז דאָס האָבן די שוועדן אין יענע יאָרן געגנבֿעט פֿון די פּוילישע פּאַלאַצן.
סוף־כּל־סוף זענען די שוועדן געוואָרן מיד פֿון די אַלע מלחמות. די געווינערס זענען סײַ ווי געווען נישט די שוועדן און נישט די פּאָליאַקן, נאָר די רוסן. רוסלאַנד האָט פֿאַרכאַפּט די שוועדישע אימפּעריע בײַם באַלטישן ים, אַרײַנגערעכנט פֿינלאַנד. זײַט דעמאָלטס איז שוועדן געוואָרן אַ לאַנד פֿון שלום און ראַציאָנאַליזם.
בשעת דער צווייטער וועלט־מלחמה האָט די שוועדישע רעגירונג געהאָלפֿן צו ראַטעווען טויזנטער ייִדן. אין 1943 האָבן די שוועדן מיטגעאַרבעט מיט די דענער, וואָס זענען געווען אונטער דער דײַטשער אָקופּאַציע, כּדי אַריבערצושמוגלען די דענישע ייִדן קיין שוועדן. דענישע פֿישערס האָבן אין זייערע שיפֿלעך אַריבערגעבראַכט קיין שוועדן איבער 7,000 ייִדן. אין 1944, בעת די דעפּאָרטאַציעס פֿון אונגערישע ייִדן קיין אוישוויץ, האָט די שוועדישע רעגירונג געשיקט דעם דיפּלאָמאַט ראַוּל וואַלענבערג קיין בודאַפּעשט, כּדי צו ראַטעווען וואָס מער ייִדן. וואַלענבערג האָט צעטיילט „שוצפּאַסן“, וואָס האָבן געמאַכט די ייִדן פֿאַר פּאָטענציעלע שוועדישע בירגער. ער האָט באַהויזט עטלעכע טויזנט אונגערישע ייִדן אין געוויסע בנינים, וואָס מע האָט גערופֿן די „שוועדישע הײַזער“. אַזוי זענען איבער פֿיר טויזנט ייִדן געראַטעוועט געוואָרן.
נאָך דער מלחמה זענען טויזנטער ייִדישע פּליטים געקומען קיין שוועדן. אַ סך זענען ווײַטער געפֿאָרן קיין ישׂראל אָדער אַמעריקע, אָבער אַ טייל זענען געבליבן. אַ סך פּליטים זענען געקומען דווקא פֿון פּוילן און דערפֿאַר רעדן די שוועדישע ייִדן — אויב זיי קענען ייִדיש — געוויינלעך פּויליש ייִדיש. איך האָב געהאַלטן אַ לעקציע מיטן טיטל „פּויליש ייִדיש איז דאָס בעסטע ייִדיש“ און דאָס איז אַלעמען געפֿעלן — אַחוץ איין ליטוואַטשקע (הרבֿ ראַפּאָפּאָרטס מאַמע).
איך האָב גערעדט מיט עטלעכע ייִדן פֿונעם „דור פֿון 1968“. אין יענעם יאָר האָט די פּוילישע רעגירונג דורכגעפֿירט אַן אַנטיסעמיטישע קאַמפּאַניע און פֿאַרטריבן די מערסטע ייִדן פֿון לאַנד. איין פֿרוי האָט מיר געזאָגט, אַז זי וויל אַפֿילו נישט באַזוכן פּוילן. זי איז נאָך אַלץ אין כּעס איבער דעם אופֿן, ווי אַזוי די פּאָליאַקן — די פּשוטע מענטשן, נישט די רעגירונג — האָבן זי באַהאַנדלט מיט 60 יאָר צוריק. זיי האָבן אויסגעכאַפּט די געלעגנהייט אויסצודריקן זייער אַנטיסעמיטיזם. איך האָב איר געזאָגט, אַז די הײַנטיקע פּאָליאַקן זענען גאַנץ אַנדערש, אָבער עס איז שווער איבערצורעדן אַן עלטערן מענטשן.
ייִדן זאָגן: אַ גאַסט אויף אַ ווײַל זעט אויף אַ מײַל. אַ באַזוכער זעט זאַכן, וואָס די אײַנוווינערס זעען נישט, ווײַל זיי זענען אַזוי צוגעוווינט צום אָרט, אויך צו זײַנע חסרונות. אָבער אין מײַן פֿאַל איז דאָס ווערטל פֿאַלש, ווײַל איך האָב נישט באַוויזן זיי צו זען.
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An Israeli dissident filmmaker finds tainted love amid the Gaza rubble
Nadav Lapid started writing his Oct. 7 movie in summer 2021 — before the events that shaped it took place. He says it hasn’t changed much, and that it’s not really about Oct. 7.
“It’s the same bitter reflection about the place of the artist,” Lapid told me on a Zoom call, a day after arriving in New York for the American debut of Yes, his withering satire of Israeli complacency.
“In a way, in the first version, you could notice the shadow of a catastrophe, the shadow of a disaster and a society on the edge of the abyss,” he said. “With the second version, this society made another few steps and went and fell down from the hill to the valley of hell”
As the title might suggest, Yes — which is sometimes styled with an exclamation mark — is about a kind of maximalist version of affirmative consent that ends in complicity. It follows Y (Ariel Bronz), a jazz pianist, who with his wife, Yasmin (Efrat Dor), serves as a willing entertainer and sex slave for the Israeli elite. The couple submit to almost anything, no questions asked. But when a Russian oligarch commissions Y to write an “anthem for the victory generation,” with bloodthirsty lyrics about annihilating Gaza, it’s (almost) too big of an ask.
What follows is a kind of Israeli Mephisto, alternating from orgiastic spectacle (fellated baguettes, geysers of cherry tomatoes, drugs) to biblical indictment (Y is pelted with stones from heaven for cravenly taking his hasbara assignment).
The film is well within Lapid’s oeuvre, which has skewered Israeli masculinity (Synonyms) and Israeli restrictions on free expression (Ahed’s Knee, which also featured a protagonist named Y, who contra our present hero is characterized by defiance). But the film has ratcheted up its critique along with its experimentation, seeming to say yes to its every outlandish idea.
Lapid was living in Paris on Oct. 7, 2023. He returned to Tel Aviv a couple of weeks later to see the aftermath with his own eyes, and later to begin filming.
“Almost immediately, when the airplane landed, I was taken by two, I think, contradictory feelings,” Lapid said the first was an “unfamiliar empathy” (he is famously conflicted about his home country) and a sense that the nation was partaking in a “collective shiva.”
At first there was a rare tenderness.
“It didn’t last long,” he said. “It was quickly replaced by what you see in the movie, by the kind of morbid vivacity, this ecstatic, dark party by a nation which, in a way, deeply knows that it’s giving up all its limits.”
Lapid saw his fellow artists throwing their weight behind the war and lending their talents to the government. He started production on Yes while drones were still bombarding Gaza. He filmed the smoke plumes from the border, guerilla style. It was an active military zone and he was only allowed to stay on thanks to the intercession of an interested officer, who peppered them with questions about the cameras. (When crew members learned the film was critical of the war, some walked off set — a career first for Lapid.)
In a film with extravagant, overstimulating set pieces, the sequence that takes place at the border stands out for its stillness.
During a road trip to find inspiration for his chest-thumping anthem, Y’s ex-girlfriend Leah (Naama Preis) explains to him the Hamas crimes she translates for the government on social media. It’s a gutting list of real-life murders and maimings. She interrupts the litany with the dismissive comments she sees daily, a signal of the world’s limited empathy.
Lapid chose to film this sequence simply in a static shot, emphasizing what he calls the “destabilizing power of the accumulation of facts.” Facts, he says, that many who he agrees with politically have difficulty acknowledging over a “childish lack of complexity, in the incapacity of looking at reality as it is.”
He sees the scene as a complement to the film’s main subject: the Israeli blindness to the humanitarian crisis in Gaza.
The director lets the weight of Leah’s words sink in, but doesn’t offer them as an excuse. Even these horrors are commoditized by our opportunistic hero. The next shot shows Y trudging up a hill overlooking Gaza, muttering the Hamas atrocities Leah recited. He’s using them to find the melody for a song that lauds how Israel will “exterminate our enemies.” (The camera then pans to Gaza, and we hear Leah and Y, unbothered, making out.)
The lyrics Y is tasked with working off are from an actual altered version of Haim Gouri’s poem “The Brotherhood” that emerged during the Gaza war. Asked if the song, in its original form from 1949, represented a purer vision of Israel, Lapid offered a kind of yes and.
“On one hand, of course, there’s a huge gap between a genocidal anthem and the song talking about, you know, brotherhood in battlefield,” Lapid said. At the same time, both versions refer in their chorus to a “love sanctified by blood,” what he thinks may be the “most important collective myth in Israel.”
“In the heart of Yes there is also this question whether it’s possible in such a society, in such a place, to love,” Lapid said of Israel, which he deems a failed experiment. “And the answer is ‘no.’ The answer is that at the very end, everything will be stained, will be polluted, will be contaminated.”
With a new war in Iran only a month old, Lapid thinks the film is only growing more relevant, reflecting a society mixing vulgarity and nationalism, communicating only in slogans.
But he’s a more even-handed critic of slogans than some seem to think. He was surprised that most reviews of the film overlook a moment critiquing performative activism in the west. The film isn’t just taking aim at the Israeli institutions and hardliners that have ended up condemning it.
“I haven’t done this movie in order to flatter or to polish the ego, or to give a kind of audiovisual demonstration of the theory of anyone,” he said. “I think the artist, filmmaker shouldn’t and doesn’t belong to any camp. His only real place and true place is in the contradiction.”
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Iran Sees US Peace Plan as ‘One-Sided’ as Trump Presses for Deal
A view of a residential building damaged by a strike, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 23, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
A US proposal for ending nearly four weeks of fighting is “one-sided and unfair,” a senior Iranian official told Reuters on Thursday, while US President Donald Trump said Iran must make a deal or face a continued onslaught.
The Iranian official said the proposal, conveyed to Tehran by Pakistan, “was reviewed in detail on Wednesday night by senior Iranian officials and the representative of Iran‘s Supreme Leader.”
It lacked the minimum requirements for success and served only US and Israeli interests, the official said, while stressing that diplomacy had not ended despite the lack for now of a realistic plan for peace talks.
Trump described the Iranians as “great negotiators” but added that he was not sure he was “willing to make a deal with them to end the war.”
Iran has launched strikes against Israel as well as US bases and civilian sites in the Gulf states. The Iranian regime has also effectively blocked Middle East fuel exports via the Strait of Hormuz since the US and Israel attacked Iran on Feb. 28.
“They now have the chance, that is Iran, to permanently abandon their nuclear ambitions and to join a new path forward,” Trump said during a Cabinet meeting at the White House.
“We’ll see if they want to do it. If they don’t, we’re their worst nightmare. In the meantime, we’ll just keep blowing them away.”
Oil jumped to $105 a barrel on Thursday and stock markets fell on renewed pessimism over ceasefire prospects as global plastics, technology, retail, and tourism struggled with the impact.
STRAIT OF HORMUZ A CRUCIAL ISSUE
Trump suggested on Thursday that Iran let 10 oil tankers transit the Strait of Hormuz as a goodwill gesture in negotiations, including some Pakistan-flagged vessels, elaborating on what he had described as a “present” from Iran.
The president, who is expected to send thousands of troops to the Middle East, driving expectations of a ground invasion, also said taking control of Iran‘s oil was an option but gave no further details.
A note seen by Reuters on Tuesday to the United Nations from Iran said “non-hostile vessels” could transit the strait if they coordinated with Iranian authorities.
A Thai oil tanker has passed through the strait following diplomatic coordination with Iran, and Malaysia said its vessels were also being allowed to transit in a sign that restrictions were loosening for some countries. Iran would be receptive to any request from Spain related to the strait, its embassy in Madrid said, in the first such offer to an EU state.
US Special Envoy Steve Witkoff confirmed that the US had sent a “15-point action list” as a basis for negotiations to end the war.
Pakistan’s foreign minister said “indirect talks” between the US and Iran were taking place through messages relayed by Islamabad, with other states including Turkey and Egypt also supporting mediation efforts.
Any talks, were they to happen, would likely prove very difficult given the positions laid out by both sides.
According to sources and reports, the 15-point proposal includes demands ranging from dismantling Iran‘s nuclear program and curbing its missiles to effectively handing over control of the strait.
Iran has hardened its stance since the war began, demanding guarantees against future military action, compensation for losses, and formal control of the strait, Iranian sources say.
It also told intermediaries that Lebanon must be included in any ceasefire deal, regional sources said.
Trump has not identified who the US is negotiating with in Iran, with many high-ranking officials among the thousands of people killed in the war across the Middle East.
Israel removed Iranian Foreign Minister Abbas Araqchi and Parliamentary Speaker Mohammad Baqer Qalibaf from its hit list after Pakistan urged Washington to press Israel not to target them, a Pakistani source with knowledge of the discussions told Reuters. An Israeli military spokesperson declined to comment.
A Western diplomat said the US had taken a “maximalist” position and it was not clear if Washington was seeking to end the war or to calm markets before a potential ground operation.
WAVES OF MISSILES
On Thursday, Iran launched multiple waves of missiles at Israel, striking Tel Aviv, Haifa and other areas, including a Palestinian town in central Israel.
At least one ballistic missile hit Tel Aviv, according to the military, while others carried cluster munitions that dispersed smaller explosives, damaging homes and cars. Israel’s ambulance service said a man was killed in Nahariya after Hezbollah fired a rocket barrage at the northern city.
In Iran, strikes hit a residential zone in the southern city of Bandar Abbas and a village on the outskirts of the southern city of Shiraz, where two teenage brothers were killed, Iran‘s Tasnim news agency said. A university building in Isfahan was reported to have been hit.
US and Israeli officials said Israel had killed the naval commander of Iran‘s Revolutionary Guards, and that it had many more targets left as it degraded Iranian capabilities.