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Documentary explores the ‘Talmudic’ relationship between writer Robert Caro and his famous longtime editor
(New York Jewish Week) — Bob Gottlieb, who as editor-in-chief of Simon & Schuster, Alfred A. Knopf and The New Yorker ushered into print some of the 20th-century’s most accomplished writers — Nora Ephron, Toni Morrison, Salman Rushdie, John Cheever and Ray Bradbury, to name a few — believes editing is a service job, one that should go unnoticed by the reader.
And yet, it is the relationship between editor and writer that his daughter Lizzie Gottlieb, a documentary filmmaker, explores in her latest film, “Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb,” which premiered at the Tribeca Film Festival in 2022 and is now screening at theaters across the country.
Lizzie’s documentary sets out to explore the sometimes tense but ultimately caring relationship between her father, Bob, and one of his longest running authors, Robert Caro, who over the course of 50 years has produced “only” five major books: “The Power Broker,” a classic biography of urban planner Robert Moses, and four volumes of “The Years of Lyndon B. Johnson.”
Jews born and raised in Manhattan, Caro and Gottlieb have worked together since Gottlieb helped cut 350,000 words out of the first draft of “The Power Broker,” bringing it down to a book that ultimately ran 1,338 pages when it was published in 1974.
The thing they squabble over most often? Semicolons, still. Or, maybe, Caro’s overuse of the word “looms.”
The film, seven years in the making, takes on the ways Moses shaped New York City, the mysteries of LBJ’s political power, the sausage-making of bestselling books and the idiosyncrasies of two workaholics. It is also a story of two now elderly men — Caro is 87, Gottlieb is 91 — in what Bob Gottlieb calls an “actuarial” contest to finish Caro’s highly anticipated fifth volume of his Johnson biography.
“My dad and I are very close. We’re in constant contact with each other. If something funny happens, I call my dad. If something sad or confusing happens, I’ll call him. We’re just in each other’s lives all the time, so I didn’t feel that there was a secret I needed to uncover or something unexamined in our relationship,” said director Lizzie Gottlieb, who also teaches documentary filmmaking at the New York Film Academy.
“But the one thing I really knew nothing about in his life was his relationship with Bob Caro,” she said. “Because it was so different from anything else, and it was so kind of private. So really, the whole movie is the process of me understanding something that I didn’t understand before.”
The New York Jewish Week recently caught up with Gottlieb to talk about the making of the film, what it was like growing up in a high-profile family and how Jewishness impacts the work of the two men.
This interview has been lightly edited for length and clarity.
Lizzie Gottlieb is a documentary filmmaker who previously directed “Today’s Man” (2008) and “Romeo Romeo” (2012).
New York Jewish Week: You’ve been working on this movie for seven years. When did you realize you needed to make this movie and how did it get from start to finish?
For a long time, people would say to me, “You should make a film about your father.” I have an incredible father. He’s done a lot of great things. He’s interesting and funny. But I just thought, a film whose message is “look how great my dad is” is not a movie that anybody wants to see.
And then my father was given some award and Bob Caro was presenting the award. Bob Caro gave a speech about working with my dad over what was then 45 years. He talked about how he needs him, and he respects him and how they’re so productive. Then he started talking about their arguments. Somebody in the audience asked what they fought about and he said, “We have very different feelings about the semicolon.” Everybody erupted into laughs and it just hit me like a bolt of lightning. I thought, “This is the movie, this is the story.”
I wanted a story that had forward momentum and had something big at stake. A film about two men in their 60s who had done a lot of great stuff is not that interesting. But a film about two men who are hovering around 90 and are still in it, and engaged in their work, who have a dedication and passion and are in a race against time to finish their life’s work, felt really, really compelling to me.
People say, “Are you sure you should be wasting [Caro’s] time with a movie? He needs to be writing.” My producer Jen Small said we should put on the poster, “No Lyndon Johnson books were harmed in the making of this film.”
Do you think you had a perspective that made you the best person to try and talk about their relationship and document it, or was it challenging to make the leap of them being willing to open up to you?
There was definitely a pursuit of them. I called my father and I was like, “I have the best idea ever. I’m going to make a film about you and Robert Caro.” He said, “No way. Absolutely not. Never. It would not be good for our relationship.”
I just kept pestering and pestering and pestering him. Finally, he said I could call Bob Caro but he would say no and of course Bob Caro did initially say no. Then he said that he’d seen another film of mine and I could come and speak to him. Eventually, Caro said, “I’ve never seen a film about a writer and an editor, and I think this could be meaningful. I don’t think anyone’s ever seen this before.” So he let me start, but he had this kind of hilarious condition, which was that he didn’t want to ever appear in the same room as my father. That seemed funny and a little maddening and sort of endearing. It also seemed like an irresistible challenge to try to make a buddy film where they don’t appear in the same room as each other. A woman came to a screening recently and she said, “It’s a love story, and they don’t get together until the last scene.”
They both say that somehow the making of this movie has brought them closer together and that they have developed a real friendship after 50 years. Maybe just having to articulate what their relationship has meant to each other has made them appreciate it more.
What was it like to grow up in your household, with your father as this major editor and your mother (actress Maria Tucci) on Broadway?
I grew up in a really incredible household. My mother’s an actress, my father’s a publisher and editor. Our house was this kind of vibrant, boisterous household that was always filled with eccentric, incredible people — actors and writers. My dad’s writers would come for dinner and then my mother would go off and do a play on Broadway and then come back at midnight and make another dinner. It was incredible. So I feel that both of their work was kind of integrated into our life and into our family. All of his writers were really like family members, except for Bob Caro, who never came over and who I never met. I think that there’s something particular and peculiar about their relationship that they needed to stay apart and only come together over work. I guess that was something that intrigued me and that’s part of why I wanted to make the movie.
“Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb” (Courtesy Tribeca Film Festival)
The Jewishness in the film is a bit more implicit, though you discuss it when talking about their upbringings. How do you think their Jewish identities have impacted their work?
I don’t want to presume to speak for either of them about their Jewishness. I know they both very strongly identify as New York Jews, which probably means something slightly different to each of them, but I think it’s essential to their definitions of themselves. Their humor may be particularly Jewish as well. David Remnick uses a word at the end of the movie, where he says Caro needs to have “sitzfleisch” in order to finish the book. It’s this Yiddish [and German] word that means the ability to sit for long, long periods of time and apply yourself to something. I think that that is something that these two guys have: It’s almost a Talmudic focus on their craft, and without that they wouldn’t be who they are. So to the extent that that’s a Jewish quality, I think that’s essential to their being, to their achievements. There’s something like a Talmudic scholar in going over all these things, the industriousness and the empathy as well, this sort of looking at a thing from all sides and dedicating yourself to this pursuit.
Bonus question: You briefly show the various eccentric collections your dad has, including plastic handbags and kitschy Israeli record albums from the ’60s and ’70s. What is that about?
Yes, he has a lot of collections. He also has a collection of macramé owls. There are many that are not in the movie. Maybe that’s a Talmudic thing as well, like a deep dive into whatever it is that is interesting to him. He says that every subject gets more interesting the deeper you get into it. When something strikes him as charming or funny or curious, he goes all the way with it. My mother doesn’t love them. There’s a little bit of a power struggle there, but he wins. You grow up with something and you don’t really think about it. But I knew I had to find a way to put this in the movie. People kept saying it’s irrelevant, it’s to the side, but I knew I had to because it’s so weird and says so much about him.
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Mamdani Hedges in Response to Mob Targeting New York City Synagogue
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
Protests targeting an Israeli real estate event at a New York City synagogue have put Mayor Zohran Mamdani’s leadership under renewed scrutiny after demonstrators returned to the Upper East Side location on Tuesday night.
The demonstration prompted a significant police response and raised concerns about rising antisemitic rhetoric in the city home to the world’s largest Jewish population outside of Israel.
Protesters gathered outside Park East Synagogue in Manhattan during a showcase called “The Great Israeli Real Estate Event 2026,” which included the marketing of properties in Israel proper as well as West Bank settlements. At the demonstration, activists held signs and chanted slogans that went beyond criticism of Israel, seemingly calling for the death and expulsion of Jews and, in some cases, support for US-designated terrorist groups.
“Death, death to the IDF [Israel Defense Forces],” “Rapists,” and “Settlers, settlers go back home, Palestine is ours alone” were among the insults screamed by the protesters, some of whom also waved flags belonging to the Lebanese terrorist group Hezbollah.
The scene marked a return to the same synagogue that was the site of a contentious protest in November, which drew widespread condemnation and sparked debate over the boundaries between political expression and hate speech. At that gathering, demonstrators chanted “We don’t want no Zionists here” and “Resistance, you make us proud, take another settler out,” among others. One speaker claimed, “It is our duty to make them think twice before holding these events! We need to make them scared.”
Both protests were organized by the anti-Zionist activist organization Pal-Awda.
This time, however, the New York City Police Department (NYPD) appeared better prepared. Officers established barricades and maintained distance between demonstrators and synagogue attendees, preventing the kind of close confrontations seen in the earlier protest. While tensions remained high, authorities largely kept the situation contained, avoiding major physical clashes.
Still, video circulating on social media appeared to show hordes of protesters storming and attempting to penetrate the barricades erected by the NYPD to separate the synagogue from the demonstrations. According to multiple reports, police had to deploy pepper-spray and at least one officer was hospitalized during the chaos.
Ronen Levy, a Queens-based pro-Israel counterprotester, repudiated the demonstrations as a threat to the local Jewish community.
“You want to protest? You want to assemble on the street, you want to assemble in a park, you want to assemble in a center or Columbus Circle? You’re more than welcome,” Levy told AMNY. “But to protest in a shul or a mosque or a church, that’s unethical, that’s un-American.”
“It came to where they do it in the shul, because it’s a lot easier to get Jewish people to come down, because it’s a Jewish congregation,” Levy continued. “Most people in synagogues, they want to go live in Israel.”
The incident came amid an ongoing surge in antisemitic hate crimes in New York City. According to police data, Jews this year have been targeted in the majority of all hate crimes committed in the city, continuing a troubling trend of rising antisemitism following Hamas’s Oct. 7, 2023, massacre across southern Israel. Mamdani took office on Jan. 1.
Jewish community leaders have increasingly voiced concern about demonstrations occurring near religious institutions, warning that such actions blur the line between protest and intimidation.
Mamdani, who faced criticism over his response to the November protest outside the same Manhattan synagogue, on Wednesday expressed support for the police’s response but also condemned the Israeli real estate event.
“I think that I’ve made it clear time and time again that we in this city believe in the sacrosanct nature of the right to protest, and also are committed to ensuring that any New Yorker can safely enter or exit from a house of worship, and that access never be in question, while we also protect the First Amendment,” Mamdani said during a press conference. “And I do believe that the police ensured that yesterday evening.”
However, the mayor went on to defend the protesters’ cause.
“There is no tolerance for hatred of Jewish New Yorkers,” he said. “I’ve also been clear to New Yorkers, my honest opinions about the fact that when we have a real estate expo that is promoting the sale of land, which includes the sale of land in occupied West Bank in settlements that are a violation of international law, that that is something that I firmly disagree with.”
“I also believe that many New Yorkers firmly disagree with it, because it has been at the heart of an ongoing effort to displace Palestinians from their homes,” Mamdani added.
Mamdani’s office issued a similar statement on Tuesday in the hours leading up to the protest.
“He further inflamed tensions on an already volatile situation,” the Anti-Defamation League’s New York/New Jersey branch said of Mamdani’s comments. “The mayor had a responsibility to de-escalate. He did the opposite.”
Mamadani faced intense criticism from Jewish leaders and pro-Israel advocates after issuing a similar statement in November that appeared to legitimize the gathering of demonstrators who called for violence against Jews outside Park East Synagogue.
Julie Menin, the speaker of City Council, defended the protesters’ first Amendment Rights while admonishing efforts to intimidate synagogue attendees.
“The right to peaceful protest must be protected, and so must the ability of individuals to safely access a house of worship without fear or intimidation,” Menin said.
Mamdani has come under immense scrutiny over his record of anti-Israel statements, repeatedly accusing Israel of committing “genocide” in Gaza and claiming that Israel does not grant “equal rights” to all of its inhabitants. Given his track record of anti-Israel sentiment, which according to critics has fueled hostility toward Jews, Mamdani’s handling of antisemitism has come under the spotlight.
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AI-Generated ‘Rabbis’ on TikTok Push Antisemitism, Generate Over 10 Million Likes, Report Reveals
TikTok app logo is seen in this illustration taken, Aug. 22, 2022. Photo: REUTERS/Dado Ruvic
The Combat Antisemitism Movement (CAM) released a report on Tuesday exposing 49 TikTok accounts which have amassed large followings pushing bigoted stereotypes with phony rabbi videos created using generative artificial intelligence programs.
Analysts at CAM’s Antisemitism Research Center found that the accounts — which use handles such as @rabbirothstein @rabingoldmaan @rabbistirberg, and @rabbi_silverstein — had collected 950,000 users and provoked over 10 million likes.
Across accounts, researchers found similar narratives and linguistic patterns in service of a common modus operandi: recasting conventional antisemitic stereotypes by having rabbis promote them as obvious truths.
The first “rabbi” introduced in the report is “RabbiSilverman.” One video features the rabbi figure holding a bottle of Coca-Cola with the caption “$4 at the airport and $7 on a flight.” Another shows the rabbi sitting inside of a limo while he holds a gold bar and a stack of $100 bills alongside the description “when the dollar and gold go up together.” Three more images show the rabbi sitting and studying the Torah at a table while a red sports car sits in a showroom behind him.
The rabbi in one video sports a giant nose and says, “As Jews, never sign a contract without reading every single line.”
Another fake “rabbi” presented is “Rabbi StirBerg.” Sitting in front of a bookshelf in what resembles a synagogue’s office, videos include such instructions as “never give your kids an allowance” and “Jews are wealthy because we don’t feel guilty for wanting more money.” Another taunts, “by 8 our kids know why yours stay poor.”
Examples of AI-generated rabbi videos pushing antisemitism on TikTok. Photo: Screenshot
CAM noted that the antisemitism on TikTok would especially impact youth.
“The danger is clear. By masquerading as authentic Jewish voices, these ‘rabbis’ erode trust, normalize hatred, and incite real-world violence targeting Jews,” CAM said. “By amplifying this content to young, impressionable audiences, TikTok is complicit in accelerating radicalization in an era when AI is making disinformation increasingly difficult to detect.”
CAM called on TikTok to “immediately invest in AI detection tools specifically trained to identify synthetic religious impersonation, implement guidelines to ensure traffic is not actively directed to such accounts, and launch a public awareness campaign highlighting how to spot AI-generated propaganda.”
Jewish creators on TikTok have long objected to antisemitism on the platform. In November 2023, a group of more than 40 content creators and public figures raised the alarm about the antisemitism they had experienced on the platform, calling for more robust safety features and content moderation. TikTok responded at the time saying, “We’ve taken important steps to protect our community and prevent the spread of hate, and we appreciate ongoing, honest dialogue, and feedback as we continually work to strengthen these protections.”
The research into TikTok follows similar findings from CAM in a March report that revealed a proliferation of fake AI rabbis on Meta’s Instagram platform. One “Rabbi Goldman” account identified in the report had reached 1.4 million followers. Combined with 11 other imposters, the following reached 2.1 million. CAM noted how the variety of rabbis each presented with different voices and persona, but all promoted the same money-obsessed stereotypes.
Following the Instagram report, CAM reported that Meta had removed more than 60 Instagram accounts, including those in other languages like French, Italian, German, and Spanish. The watchdog group praised the technology company founded and led by CEO Mark Zuckerberg, saying that “Meta has been highly responsive in working with CAM to better understand this activity and identify ways to reduce its reach and minimize its exposure to users.”
CAM vowed to remain vigilant to the threat, warning that “these identities are easily recreated and quickly reappear. CAM will continue to cooperate with Meta to address this expanding network … without sustained monitoring and rapid response, these false identities will continue to shape online discourse, reinforcing hostility toward Jewish communities that translates into real-world violence.”
In March, OpenAI CEO Sam Altman announced his decision to shut down the AI video-generating app Sora, a platform which hosted videos showing Jews chasing after coins, cheating poor people out of money, and being run over by a car. Research released by the Anti-Defamation League (ADL) in October found that in at least 40 percent of cases, programs would still generate responses when given antisemitic, extremists, or other hateful prompts.
CAM warned of the real-world consequences from the TikTok videos.
The report stated that antisemitic tropes “have historically instigated violence — from pogroms to the Holocaust to contemporary attacks on Jews. In the digital age, this content contributes to a documented global rise in antisemitic incidents by providing ‘evidence’ that justifies hostility. The visual caricatures (large noses, ostentatious wealth) further dehumanize Jews, erasing a psychological barrier to violence.”
In February, police in the Netherlands arrested 15 people, charging them with using TikTok to promote propaganda for the Islamic State. Some videos reached as high as 100,000 views. They urged views to join the terrorist group and glorified the “martyrs” who had died in service of the group’s mission of creating a global caliphate empowered to impose strict, Salafi-interpretations of Shariah law across the entire planet.
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Artists, Cultural Workers Plan Strike for Venice Biennale in Protest of Israel’s Participation
Signage for the 61st Venice Biennale running from May 9 to November 22. Photo: IMAGO/Frank Ossenbrink via Reuters Connect
An anti-Israel collective announced a 24-hour strike for artists and cultural workers on Friday, the day before the 61st Venice Biennale opens to the public, in protest of Israel’s inclusion in the event.
The Art Not Genocide Alliance (ANGA) is organizing the strike on the city’s Viale Garibaldi, and a number of groups, unions, and art spaces have already vowed to participate including Biennaleocene, a coalition of cultural workers in Venice that formed in 2023. The strike was announced right before ANGA hosted a massive protest at the Biennale.
The international art exhibition opened for previews on Wednesday and ANGA disrupted the opening, assembling a protest outside of Israel’s temporary pavilion in the Biennale’s Arsenal complex. ANGA said “hundreds” participated in the protest and claimed the decision to include Israel in this year’s Biennale “constitutes active institutional support for a state committing genocide in Gaza against the Palestinian people.”
“Protestors marched through the Arsenale with large banners, Palestinian flags, placards, and distributed flyers calling for the shut down [sic] of the Genocide Pavilion,” ANGA wrote in an Instagram post that featured pictures from the protest. “ISRAEL YOU CAN’T HIDE, WE CHARGE YOU WITH GENOCIDE! The demand is clear: Boycott the Israeli pavilion and SHUT IT DOWN.”
ANGA previously published an open letter, signed by hundreds of event participants, that called for Israel to be boycotted from this year’s Venice Biennale. Last week, the jury for the 2026 Venice Biennale resigned mere days after saying it would not consider awarding the event’s top prizes to countries whose leaders are facing charges of crimes against humanity by the International Criminal Court, meaning Israel and Russia.
After the jury’s resignation, organizers of the Biennale announced new “Visitor’s Lion” awards. The public will vote for the winners, and Russia and Israel are both eligible to take home those awards. The award ceremony for the 2026 Venice Biennale has also been pushed from May 9 to Nov. 22, which is the last day of the show.
Romanian artist Belu-Simion Fainaru is representing Israel in this year’s event with his installation “Rose of Nothingness,” which will highlight Jewish mysticism, memory, and poetry.
At the 2024 Venice Biennale, artist Ruth Patir closed Israel’s official pavilion to the public until a ceasefire and hostage release agreement could be agreed upon. That same year ANGA supporters protested outside of the American and Israeli pavilions during previews for the Biennale, in condemnation of US support for Israel. The group of anti-Israel activists also protested outside the French, British, and German pavilions, because of each country’s relations with Israel.