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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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The post As ‘The Marvelous Mrs Maisel’ ends, will its Jewish legacy be more than a punchline? appeared first on Jewish Telegraphic Agency.
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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.