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As ‘The Marvelous Mrs Maisel’ ends, will its Jewish legacy be more than a punchline?
(JTA) — After five seasons, 20 Emmy awards and plenty of Jewish jokes, “The Marvelous Mrs. Maisel” airs its final episode on Friday.
The lauded Amazon Prime show from Amy Sherman-Palladino has enveloped viewers in a shimmering, candy-colored version of New York during the late 1950s and early 1960s — a world in which “humor” has meant Jewish humor and “culture” has meant Jewish culture.
But as it comes to an end, the show’s Jewish legacy is still up for debate: Did its representation of Jews on mainstream TV make it a pioneer of the 2010s? Or did it do more harm than good in the battle for better representation, by reinforcing decades-old comedic tropes about Jews?
The comedy-drama followed the vivacious Midge Maisel (Rachel Brosnahan) on a journey from prim Upper West Side housewife — left in the lurch after her husband has an affair with his secretary — to ambitious, foul-mouthed comic fighting her way through the male-dominated standup comedy industry. Her New York Jewishness colored her jokes, her accent, her mannerisms and much of her daily life.
That’s because the whole landscape of the show was Jewish, from the well-to-do, acculturated intelligentsia (such as Midge’s parents) to the self-made garment factory owners (such as her in-laws). Even the radical Jewish comic Lenny Bruce, a countercultural icon of the midcentury, appeared as a recurring character who propels Midge’s success.
Henry Bial, a professor specializing in performance theory and Jewish popular culture at the University of Kansas, said the emergence of “The Marvelous Mrs. Maisel” in 2017 exemplified a shift to more overt portrayals of Jews on TV — especially on streaming services. Although Jewish characters featured in TV shows throughout the 20th century, such as “The Goldbergs” in the 1950s, “Rhoda” in the 1970s and “Seinfeld” in the 1990s, their Jewishness was often more coded than explicit. Network television, seeking to attract the majority of Americans coveted by advertisers, feared alienating audiences who couldn’t “relate” to ethnic and racial minorities.
“If there are only three things you can put on television at 8 o’clock on Tuesday night, then there’s a lot more incentive for networks and advertisers to stay close to the herd, because you’re competing for the same eyeballs,” said Bial. “But when people can watch whatever they want whenever they want, then it opens up for a much wider range of stories.”
Other shows such as “Transparent,” “Broad City” and “Crazy Ex-Girlfriend,” which debuted in 2014 and 2015, are often cited alongside “Mrs. Maisel” as part of a new wave of Jewish representation.
Riv-Ellen Prell, a professor emerita of American studies at the University of Minnesota, argued that Midge subverts the stereotype of the “Jewish American princess.” At the start of the show, she appears to embrace that image: She is financially dependent on her father and husband and obsessive about her appearance, measuring her body every day to ensure that she doesn’t gain weight. Despite living with her husband for years, she always curls her hair, does her makeup and spritzes herself with perfume before he wakes up.
“She looks for all the world like the fantasy of a Jewish American princess,” said Prell. “And yet she is more ambitious than imaginable, she is a brilliant comic who draws on her own life. You have Amy Sherman-Palladino inventing the anti-Jewish princess.”
Bial said that Midge’s relationship with her Jewishness defies another stereotype: That identity is not a source of neurosis or self-loathing, as it often appears to be in the male archetypes of Woody Allen and Larry David, or in Rachel Bloom’s “Crazy Ex-Girlfriend.” Through the spirited banter, the pointed exclamations of “oy,” the titillation over a rabbi coming for Yom Kippur break fast — Midge’s Jewishness is a source of comforting ritual, joy and celebration.
“She has anxieties and issues, but none of them are because she’s Jewish,” said Bial.
Some critics argue the show’s depiction of Jewish culture relies on shallow tropes. In a 2019 review, TV critic Paul Brownfield said “The Marvelous Mrs. Maisel” repurposed stereotypes to appear “retro chic.” He pointed to a consistent contrast between the Weissmans (the assimilated, cultured Jews of the Upper West Side) and the Maisels (the boorish, money-focused Jews of the Garment District), arguing that these superficial types replace an exploration of what the period was actually like for American Jews.
“However ‘Jewish’ Sherman-Palladino wants the show to be, ‘Maisel’ fails to grapple with the realities of the moment in Jewish American history it portrays,” Brownfield wrote. “Which is ultimately what leaves me queasy about its tone — the shtick, the stereotypes, the comforting self-parody.”
Meanwhile, Andy Samberg took a jab while co-hosting the 2019 Golden Globes with Sandra Oh. “It’s the show that makes audiences sit up and say, ‘Wait, is this antisemitic?’” he joked.
Tony Shalhoub and Marin Hinkle, shown in a synagogue scene, are two of the show’s non-Jewish actors. (Nicole Rivelli/Amazon Studios)
Others have criticized the show’s casting: Its titular heroine, her parents Abe and Rose Weissman (Tony Shalhoub and Marin Hinkle) and Lenny Bruce (Luke Kirby) are all played by non-Jews. A debate over the casting of non-Jewish actors in Jewish roles has heated up in recent years, taking aim not only at Brosnahan as Midge Maisel, but also at Felicity Jones as Ruth Bader Ginsberg in “On The Basis of Sex,” Helen Mirren as Golda Meir in “Golda” and Gaby Hoffmann and Jay Duplass as the Pfefferman siblings in “Transparent.” Comedian Sarah Silverman popularized the term “Jewface” to critique the trend.
“Watching a gentile actor portraying, like, a Jew-y Jew is just — agh — feels, like, embarrassing and cringey,” Silverman said on her podcast in 2021.
Midge’s rise as a comedian is interlocked with her ally and one-time fling, the fictionalized Lenny Bruce. His character has a softened glow in the show, but in reality, Bruce was branded a “sick comic” for his scathing satire that railed against conservatism, racism and moral hypocrisy. Between 1961 and 1964, he was charged with violating obscenity laws in San Francisco, Los Angeles, Chicago and New York, and he was deported from England. At his Los Angeles trial in 1963, Bruce was accused of using the Yiddish word “shmuck,” taken as an obscenity to mean “penis.” He incorporated the charge into his standup, explaining that the colloquial Jewish meaning of “schmuck” was “fool.”
Driven to pennilessness by relentless prosecution, police harassment and blacklisting from most clubs across the country, he died of a morphine overdose in 1966 at 40 years old. The real Lenny Bruce’s tragedy lends a shadow to the fictional Midge Maisel’s triumphs.
The United States that he struggled with until his death also looks comparatively rosy through the lens of “The Marvelous Mrs. Maisel,” whose protagonist battles misogyny but takes little interest in other societal evils — including still-rampant antisemitism. Some critics have noted that she is oblivious to segregated facilities when she tours with Black singer Shy Baldwin, then nearly outs him as gay during her set.
“‘Mrs. Maisel’ takes place in a supersaturated fantasy 1958 New York, one where antisemitism, racism, homophobia and even sexism are barely a whisper,” Rokhl Kafrissen wrote in 2018.
Reflecting on the criticism that had piled up by 2020, Sherman-Palladino and her husband Daniel Palladino, also an executive producer and a lead writer for the show, told the Jewish Telegraphic Agency that trying to appease every Jewish viewer was a futile exercise.
“We knew that if we show a Jewish family at temple — if we show them and talk about Yom Kippur and all those kinds of things — there are going to be people who are going to nitpick at specifics that maybe we didn’t get exactly right,” said Palladino, who is not Jewish. “But a lot of the feedback that we’ve gotten has been ‘Thank you. Thank you for leaning into it and showing Jews being Jewish, as opposed to just name checking them as Jewish.’”
Sherman-Palladino added: “[T]here are many different kinds of Jews! To say, ‘oh, Jewish stereotypes,’ well, what are you talking about? Because we have an educated Jew, we have a woman who was happy to be a mother, we have another woman striking out as a stand up comic, and, you know, Susie Myerson’s [Alex Borstein’s character] a Jew! We’ve got a broad range of Jews in there.”
However “The Marvelous Mrs. Maisel” is assessed in the future, it will remain significant for thrusting a new kind of Jewish heroine into the mainstream consciousness, said Bial.
“Because of its popularity, its longevity and frankly its quality, it’s going to be the example,” Bial said. “In the history of Jews and TV, this is going to be the chapter for the late 2010s and early 2020s — you have to mention ‘Mrs. Maisel.’ It is very clearly a landmark in Jewish representation, particularly for Jewish women.”
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Long Island school district pays $125K to settle lawsuit over erased pro-Palestinian student art
(JTA) — A Long Island school district agreed to pay a $125,000 settlement to a former student whose pro-Palestinian artwork was painted over in a high school parking lot.
The lawsuit stemmed from a September 2024 incident at Half Hollow Hills High School West, which permitted seniors to decorate their campus parking spots. A Muslim-American student, who was a senior at the time, painted a watermelon featuring a keffiyeh pattern alongside her name in Arabic and the phrase “Peace be upon you” on her space.
At the time, protests against the war in Gaza were at a peak, and the watermelon and keffiyeh, the traditional Palestinian headscarf, are both widely used symbols of Palestinian solidarity. The school painted over the artwork after it drew outcry from some Jewish parents in the district, determining that it had run afoul of the district’s rules barring political designs.
“For the school district, neutrality is the single most important issue when it comes to limiting speech,” the Half Hollow Hills School District’s attorney, Jacob Feldman, said at a school board meeting at the time, according to a contemporaneous Newsday report.
The student, who has not been identified publicly, testified at that meeting last year. “I was told by my principal that the watermelon was being interpreted as antisemitic by anonymous adults,” she said, according to the Newsday footage. “I feel deeply offended that the word antisemitic was used to describe a piece of my artwork.”
In March 2025, the New York chapter of the Council on American-Islamic Relations filed a lawsuit on behalf of the student alongside Stoll, Glickman & Bellina LLP, alleging that the district had violated her free speech rights and caused her emotional distress.
“The whitewash of Plaintiff’s pro-Palestinian speech was not to prevent substantial disruption of any school activity or threatened harm to the rights of others, as Half Hollow permitted and even amplified speech on other equally, even more, controversial issues,” the lawsuit stated, according to the Associated Press.
In court filings, Steven Stern, an attorney appointed by the district’s insurance provider, wrote that the watermelon image “symbolized anti-Semitic hate speech,” arguing that the district should be able to dictate art allowed in the parking lot.
“Any student, teacher, or member of the public could have driven into the parking lot and reasonably understood the school was endorsing a political message — or worse, anti-Semitic hate speech — by allowing it,” Stern wrote, according to Newsday.
The settlement, which was approved by the Half Hollow Hills school board at a meeting on April 21, will be paid by the district’s insurance carrier, according to Superintendent John O’Farrell.
In a statement obtained by Newsday, O’Farrell said that students were no longer allowed to paint their parking spaces “following the incident and the disruption it caused.”
The lawsuit was not the first time that the school district had courted controversy over Israel-related issues. Last year, the district drew scrutiny after a study guide distributed to some 10th graders described Zionism as “an example of extreme nationalism,” prompting condemnation from Rep. Elise Stefanik.
Christina John, a staff attorney for the New York chapter of the Council on American-Islamic Relations, which filed the lawsuit alongside Stoll, Glickman & Bellina LLP, welcomed the outcome in a statement.
“This settlement sends a clear message that viewpoint discrimination and the censorship of Palestinian expression cannot be justified under the guise of neutrality,” John said. “No student should be interrogated, silenced, or punished for peacefully expressing their identity or solidarity with oppressed people.”
The post Long Island school district pays $125K to settle lawsuit over erased pro-Palestinian student art appeared first on The Forward.
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Assad Regime Remnants on the Ground in Lebanon Helping Hezbollah
Hezbollah fighters walk near a military tank in Western Qalamoun, Syria, Aug. 23, 2017. Photo: REUTERS/Omar Sanadiki
Senior officers from the former Assad regime in Syria are currently in neighboring Lebanon helping the terrorist group Hezbollah, raising tensions between Damascus and Beirut as the two governments seek to deepen their fragile cooperation.
The extensive coordination between Iran-backed Hezbollah and remnants of Assad’s security apparatus, which was also supported by the Iranian regime until its fall, has fueled fears of an emerging dynamic that could undermine Syria’s new government and deepen regional instability.
Last week, Lebanese Prime Minister Nawaf Salam met with Syrian President Ahmed al-Sharaa in Damascus as the two countries work to expand bilateral cooperation and engagement, with talks centered in part on former Syrian regime figures in Lebanon amid fears of emerging forces that could destabilize the new government.
Following the fall of long-time Syrian dictator Bashar al-Assad in December 2024, many officials in his regime are believed to have fled to or sought refuge in Lebanon, a development that has intensified diplomatic friction and security tensions between Damascus and Beirut.
Hundreds of pro-Assad military and intelligence officers and other security officials had reportedly entered the country through illegal border crossings in the Bekaa Valley in eastern Lebanon and via northern border regions.
In an interview with Saudi broadcaster Al Arabiya, Salam dismissed claims that most senior Assad-era officials have sought refuge in the country, while reaffirming the government’s commitment to help preserve Syria’s security interests.
“Most are in Russia and other countries, with just a small number still on Lebanese soil. But the government will work to ensure Beirut is not used as a base to undermine Damascus or to facilitate any political or military activity against it,” the Lebanese leader said.
During last week’s talks, Lebanese and Syrian officials agreed that any extradition of anti-regime forces would proceed under a joint legal framework to be coordinated through the justice and interior ministries in both countries.
The Syrian government has urged Lebanese authorities to arrest and extradite former Assad-era officers amid fears they are joining forces with Hezbollah and allied Alawite networks, where they have reportedly found refuge as part of a renewed effort to destabilize the country.
“We will not allow anyone on Lebanese soil to act against the Syrian government,” a Lebanese security source told Al Arabiya. “Lebanon will never serve as a platform for remnants of the former regime or militias operating against Arab states.”
Last year, al-Sharaa became Damascus’s president after leading the rebel campaign that ousted Assad, whose Iran-backed rule had strained ties with the Arab world during the nearly 14-year Syrian war, with an offensive spearheaded by al-Sharaa’s Islamist Hayat Tahrir al-Sham (HTS) group, a former al-Qaeda affiliate.
After years of intervening in Syria’s civil war to support Assad, the Lebanese terrorist group Hezbollah significantly expanded its political and military influence across the country as Iran’s chief proxy force.
However, the fall of Assad’s regime cut off Hezbollah’s key overland supply corridor through Syria, dealing a major setback to Iran’s “Axis of Resistance” and disrupting one of the group’s most vital strategic lifelines.
According to intelligence assessments, Assad regime supporters who fled into Lebanon have not simply gone into exile but are believed to have formed an organized network described by Syrian officials as the “operational brain” of Assad’s army on Lebanese territory, according to Arab and Israeli reports.
More than 200 former officers and senior figures from Assad’s military and intelligence apparatus have reportedly taken refuge in Hezbollah strongholds and heavily Alawite areas in northern Lebanon, where, Syrian officials warn, they are working to preserve the military infrastructure and strategic assets of the Iran-backed Shiite axis.
Arab media networks report that Hezbollah has provided former regime officers with protection and safe houses in exchange for intelligence expertise and operational support, aimed at helping establish armed cells and Alawite militias inside Lebanon.
Recently, Syrian authorities identified a covert Hezbollah-linked network allegedly plotting attacks against senior figures in the new Syrian government, with Damascus suspecting exiled Assad-era officers based in Lebanon are playing a central role in efforts to undermine the country’s stability.
Last week, Syria stopped a Hezbollah terrorist cell that was plotting to assassinate senior government officials, according to the Syrian Interior Ministry. With raids at multiple locations, Syrian security forces made 11 arrests and seized a cache of weaponry.
In April, the same Interior Ministry announced five arrests in another assassination attempt plotted by Hezbollah. The terrorists targeted Rabbi Michael Khoury in Damascus, with authorities identifying a woman who attempted to plant an explosive outside his home. The suspects later confessed to authorities they had drones supplied by Hezbollah they intended to use in an attack.
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1912 Yiddish operetta tackles class conflict and women’s rights
One of the smash hits of New York’s thriving Yiddish theater scene in the early 20th century grappled with socio-political issues that still resonate 100-plus years later. It’s coming back for a very limited run and you don’t have to speak Yiddish to enjoy it.
The production — a concert of songs from the 1912 Yiddish operetta Khantshe in Amerike — will be performed twice this month, first at Bard College in Annandale-on-Hudson, New York and then at the YIVO Institute for Jewish Research in Manhattan.
The protagonist, Khantshe, is a young working-class woman who dresses as a man, working as a chauffeur for a nouveau-riche immigrant family. Khantshe flirts with and romances the women she works for — mother and daughter alike. The operetta grapples with class conflict, women’s rights, gender fluidity and cars.
The performances, made possible by material reconstructed from archival documents, will feature students from Bard accompanied by piano. There will be no dialogue; instead the singers will deliver brief plot summaries in English before each song. A translation of the lyrics will be included in a booklet for the audience, who will also be able to follow along watching English supertitles.
The operetta first opened on Dec. 31, 1912 at Sarah Adler’s Novelty Theatre in Williamsburg, Brooklyn and was a runaway hit. It was mounted in Warsaw just six months after the New York premiere.
“This is one of the shows that were in dialogue with all of the political and social issues that people were talking about,” said Alex Weiser, director of public programs at YIVO and a member of the trio that reconstructed the performance materials. “They were made because the masses needed the cultural material in their language that spoke to the specificity of their milieu.”
Khantshe in Amerike was also a turning point in the career of both its composer, Joseph Rumshinsky, and its star, Bessie Thomashefsky. The previous year she had left her renowned husband Boris Thomashefsky, the titan of the Yiddish stage, known as a compulsive philanderer.
At the height of their influence, the Thomashefskys owned theaters in and out of New York, published their own magazine, The Yiddish Stage and wrote columns in the popular Yiddish newspapers of the day. When Boris Thomashefsky died in 1939, some 30,000 people lined the streets of the Lower East Side for his funeral.
“This show was a star vehicle for Bessie when she first left Boris,” notes Weiser. “They were a power couple and this was a really important turning point in her career. She left him, she went out on her own and there was a big question: ‘Is this it for her?’”
The angry, wily, rebellious and militantly feminist character that Bessie Thomashefsky portrayed became the prototype for a series of heroines she played going forward. They were tough, brassy, usually working-class fighters, endowed with chutzpah.
Bessie Thomashefsky also produced the operetta.
The musical was a watershed moment for Rumshinsky, as well. He went on to dominate the American Yiddish musical for the rest of the decade. It marked the first time that “American rhythm” had been incorporated in Yiddish music, a euphemism for acknowledging the influence of African-American music on the genre.
“Nothing had ever happened like that in Yiddish theater before,” said Ronald Robboy, who was part of the team that reconstructed the performance material. “Yiddish theater then quickly started incorporating elements of Tin Pan Alley. It also became interestingly more self-consciously Jewish, as smarter and better educated composers learned how to manipulate Jewish modal material, the scales that came from liturgical music and klezmer music. So the music was at once more American and at the same time more skillfully Jewish in its self-identity.”
Robboy’s connection to the material is a lengthy one. For five years he served as researcher for the Thomashefsky Project, an homage to the legacy of Boris and Bessie Thomashefsky instigated by their grandson, the late conductor Michael Tilson Thomas. The culmination of the project occurred in April 2005 with the premiere of The Thomashefskys: Music and Memories of a Life in the Yiddish Theater at Carnegie Hall. A recording of a subsequent performance in Miami Beach aired on the PBS series Great Performances in 2012.
Robboy worked with Weiser and Max Friedman, a law student in Memphis, to turn a number of archival documents into the printed matter needed to do the Khantshe performance. In 2023 the team reconstructed Rumshinsky’s Shir-hashirim operetta.
The documents for Khantshe came from YIVO and the American Jewish Historical Society, among other sources. They included a copy of the libretto that had been published as a bootleg in Warsaw.
Friedman got obsessed with Yiddish while studying for a master’s degree in music composition at Brandeis. For his master’s thesis he set to music sound recordings of Yiddish poets H. Leivick, Yankev Glatshteyn, Kadia Molodovsky, and Rokhl H. Korn reading their own work.
The last musical number in Khantshe in Amerike has the protagonist singing about herself. Soon the song Khantshe was played whenever Bessie Thomashefsky walked into restaurants and social gatherings. Tilson Thomas often played it as she made her triumphant entrance into the family living room.
Khantshe in Amerike will be performed on Thursday, May 14, in the Bitó Conservatory Building at Bard College from 7 – 8:30 p.m.
It will also be performed at YIVO on Monday May 18, at 7 p.m., as part of Carnegie Hall’s United in Sound: America at 250 festival. Admission is $15, $10 for YIVO members and students. Registration is required for the free livestream on Zoom.
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