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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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The post Jonathan Safran Foer’s online flirtation with Natalie Portman inspires a new play appeared first on Jewish Telegraphic Agency.
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How a klezmer parade became part of the annual carnival in Sao Paulo
דעם פֿאַרגאַנגענעם חודש איז אין סאַאָ־פּאָולאָ, בראַזיל פֿאָרגעקומען דער יערלעכער כּלי־זמר קאַרניוואַל און פּאַראַד — אַ טייל פֿונעם אַלגעמיינעם קאַרנאַװאַל וואָס איז די גרעסטע פֿאָלקס־שׂמחה אין לאַנד.
יעדן פֿעברואַר פֿאַרשטעלן זיך מיליאָנען מענטשן און גײען טאַנצן אױף די גאַסן פֿון טױזנטער שטעט און שטעטלעך צום טאַקט פֿון פֿרײלעכער מוזיק, דער עיקר — סאַמבאַ און אַשע מוזיק. אין באָם־רעטיראָ, אַ געגנט װאָס האָט זיך אױסגעפֿורעמט דורך כּסדרדיקע און פֿאַרשײדנאַרטיקע אימיגראַציע־כװאַליעס, איז די דאָזיקע שׂמחה געװאָרן אַ פּלאַטפֿאָרמע צו פֿײַערן אויך די ייִדישע קולטור.
אַ װידעאָ פֿונעם פּאַראַד קען מען זען דאָ.
די טעמע פֿונעם הײַיאָריקן פּאַראַד, וואָס איז פֿאָרגעקומען דעם 8טן פֿעברואַר, איז געווען „באָמרעלע“ — די הײמישע באַצײכענונג פֿון דער געגנט וווּ אימיגראַנטן האָבן געוווינט אױפֿן סאַאָ־פּאַולער ייִדיש. דער ציל איז געװען אָפּצוגעבן כּבֿוד די אומפֿאַרגעסלעכע ייִדישע פּאַרשױנען פֿונעם פֿאָלקלאָר פֿון דער אָרטיקער קהילה. אָט זענען עטלעכע פֿון זיי:
- מעכעלע דער קליענטלטשיק (פּעדלער, אױף בראַזיליאַנער ייִדיש) מיט זײַן גראָבן מאַנטל, פֿול געפּאַקט מיט סחורה
- בעני־יאַנגאַ, אַ ייִד פֿון ראַזשאַסטאַן װאָס האָט זיך אַזױ גוט אױסגעלערנט ייִדיש אַז ער איז געװאָרן אַ ייִדיש־לערער אין דער אָרטיקער שלום־עליכם שול
- דער בײגל־פֿאַרקױפֿער װאָס פֿלעג גײען איבער די גאַסן פֿון באָם־רעטיראָ שרײַענדיק „דער בײגלמאַן גײט שױן אַװעק!“
צװישן אַנדערע פֿיגורן האָט מען אויך אָפּגעגעבן כּבֿוד די אַזױ גערופֿענע „פּאָלאַקאַס“ — די ייִדישקעס, דער עיקר פֿון פּױלן, װאָס זײַנען געװאָרן קרבנות פֿון פֿרױען־האַנדל דורך דער „צבֿי־מגדל מאַפֿיע“ און אַנדערע קרימינעלע באַנדעס. דערבײַ האָט דאָס דערמאָנט אַלטע מחלוקתן און װײטיקדיקע קאַפּיטלען פֿון דער בראַזיליאַנער ייִדישער געשיכטע.
די מערהײט פֿון די דאָזיקע פֿרױען האָט מען אָפּגענאַרט נאָך איידער זיי זענען אַוועק פֿון פּוילן, צוזאָגנדיק זיי חתנים און פֿעסטע אַרבעט־שטעלעס. אָנקומענדיק קײן בראַזיל, האָט מען זײ אָבער געצװוּנגען צו אַרבעטן ווי פּראָסטיטוטקעס. די ייִדישע קהילה, אַנשטאָט זײ אױפֿצונעמען און העלפֿן פֿאַרבעסערן זײער לאַגע, האָט זײ באַרעדט און זיי אויסגעשלאָסן פֿון דער געזעלשאַפֿט. האָבן די דאָזיקע מוטיקע פֿרױען געמוזט גרינדן זײערע אײגענע ייִדישע אינסטיטוציעס, שולן און בית־עולמס.
די געגנט באָם־רעטיראָ איז דער טראַדיציאָנעלער ייִדישער קוואַרטאַל פֿון סאַאָ פּאַולאָ, װוּ טױזנטער ייִדישע אימיגראַנטן, דער עיקר פֿון מזרח־אײראָפּע, האָבן זיך באַזעצט במשך דעם 19טן און 20סטן יאָרהונדערט. אַחוץ ייִדן, האָט די געגנט מקבל־פּנים געװען איטאַליענישע, גריכישע און אַרמענישע אימיגראַנטן, װי אױך בראַזיליאַנער פֿון צפֿון־מזרח לאַנד. הײַנט װערט די געגנט איבערהױפּט באַצײכנט דורך די קאָרעאַנישע און לאַטײַן־אַמעריקאַנער באַפֿעלקערונגען. לעצטנס האַלטן די באָליװיאַנער אײַנוווינער אָפּ זייער אײגענעם קאַרנאַװאַל־פּאַראַד אין דעם קװאַרטאַל.
פּונקט אין דער דאָזיקער פֿאַרשײדנאַרטיקער טעריטאָריע דעפֿילירט די קאַפּעליע, „בלאָקאָ כּלי־זמר“. יעדעס יאָר קלײַבט זי צונױף איבער 30 כּלי־זמרים און ברענגט דערמיט די ייִדישע מוזיק צו די גאַסן לױטן בראַזיליאַנער סטיל׃ מיט שװוּנג און פֿרײד פֿון טאַנצנדיקע מאַסן.
דער בלאָקאָ באַגרענעצט זיך ניט נאָר מיט מוזיק, װאָרן עס באַטײליקן זיך אין פּאַראַד אױך אַקטיאָרן, פֿאָרשערס, פּאָעטן, פּראָדוצענטן, דעזײַנערס און אײַנװױנערס פֿון דער געגנט, װאָס גרײטן זיך צו במשך די פֿילצאָליקע רעפּעטיציעס ממש אַ יאָר לאַנג. דורך פֿילפֿאַרביקע קאָסטיומען און גרויסע טאַנצנדיקע ליאַלקעס ווערט די גאַס פֿאַרװאַנדלט אין אַ לעבעדיקן אַרכיװ פֿון ייִדישן געדעכעניש פֿון שטאָט.
דער „בלאָקאָ“ האָט דעפֿילירט צום ערשטן מאָל מיט צװײ יאָר צוריק און איז זינט דעמאָלט ממשותדיק געװאַקסן. אין 2025 איז דער לאָזונג פֿון פּאַראַד געװען „ס’איז פֿרײלעך אין שטעטל“ און מע האָט געפֿײַערט די „חתונה“ צװישן דער כּלי־זמר־מוזיק און דעם בראַזיליאַנער קאַרנאַװאַל, מיט אַ קאָלעקטיװן טאַנץ אונטער אַ גיגאַנטישער חופּה, װאָס איז געשטעלט געװאָרן אין מיטן גאַס.
אינספּירירט דורכן קאָנצעפּט פֿון דאָיִקײט, האָט דער בלאָקאָ װידער אױפֿגעלעבט די זכרונות פֿון אַ מאָל און באַװיזן אַז ייִדן געהערן אױך צו דער פֿילמיניקער קולטורעלער לאַנדשאַפֿט פֿון בראַזיל. דער בלאָקאָ כּלי־זמר האָט אױך דערװיזן אַז די רײַכע קולטור־ירושה פֿון מזרח־אײראָפּעיִשן ייִדנטום לעבט דאָ װײַטער, מחוץ אַרכיװן און אַקאַדעמישע אַנשטאַלטן. זי לעבט אױך אין דער היץ פֿונעם טראָפּישן זומער, צװישן קאָנפֿעטי, שװייס און די קלאַנגען פֿונעם קלאַרנעט.
[דער אַרטיקל איז רעדאַקטירט געוואָרן מיט דער הילף פֿון גוסטאַװאָ־גרשום עמאָס]
The post How a klezmer parade became part of the annual carnival in Sao Paulo appeared first on The Forward.
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Chabad on high alert after false Tucker Carlson and Candace Owens war claims
Jewish institutions are on high alert after Tucker Carlson falsely claimed on his podcast Wednesday that the Chabad-Lubavitch movement is behind the war in Iran.
Carlson claimed that Chabad is orchestrating a religious war aimed at destroying the Al-Aqsa mosque and the Dome of the Rock in Jerusalem’s Old City so that the Third Temple could be rebuilt in its place.
“This has been going on a long time in public through, in part, the efforts of a group called Chabad. C-H-A-B-A-D,” Carlson said.
Chabad, a sect of Hasidic Judaism known for its global religious outreach and houses on hundreds of college campuses, does not function as a political advocacy organization. Its teachings describe the rebuilding of the Third Temple as part of a future messianic redemption achieved through acts of mitzvot — not a project to be advanced through modern warfare or the destruction of the Al-Aqsa Mosque.
“To blame it on a Hasidic movement based in Brooklyn that just goes around the world, spreading Judaism, spreading love, spreading kindness, it’s the most ridiculous thing I’ve ever heard,” Yossi Farro, a member of the Chabad movement known for wrapping tefillin with celebrities, told the Forward in a phone interview. “He’s appealing to people that have never heard of Chabad and now, their first opinion is, this is horrible, these people are warmongers — which is the exact opposite of what we represent.”
The right-wing podcaster Candace Owens amplified the claim, posting to X, “Tucker is telling the truth about the Chabad Lubavitch.”
The comments come as Congress is set to vote today on a war powers resolution that would halt President Donald Trump’s military action in Iran. Several polls show that Republicans overwhelmingly support the decision to attack Iran, while a majority of Democrats oppose the military action.
The rhetoric also follows a series of attacks targeting Chabad celebrations. In December, a gunman opened fire at a Chabad Hanukkah celebration at Bondi Beach in Sydney, Australia. The incident left 15 people dead, including a Chabad rabbi, a Holocaust survivor and a 10-year-old girl.
In January, a driver repeatedly rammed his car into an entrance to the Chabad-Lubavitch world headquarters in Crown Heights, Brooklyn, damaging the building on a night thousands had gathered there to celebrate.
Both Owens and Carlson have ramped up their use of conspiratorial anti-Israel rhetoric over the past year. In October 2025, Carlson drew widespread condemnation after hosting avowed antisemite and white nationalist Nick Fuentes for a friendly conversation.
During yesterday’s podcast, Carlson showed photos of IDF soldiers wearing patches embroidered with an outline of the Temple Mount as evidence of his claim that Chabad was behind the war in Iran, saying that “it seems like, from the reading we did recently, that those patches actually came from Chabad.”
The photos Carlson shared match those posted by the Temple Institute in January 2024 — long before the U.S. military campaign in Iran. The Temple Institute is a Jerusalem-based nonprofit that aims to “bring about the building of the Holy Temple in our time” and is unaffiliated with Chabad.
“He is also wrong about the Temple patches. They did not come from Chabad. Had he done even basic research, that would be clear,” Rabbi Yaacov Berman, a Chabad spokesperson, posted to X. “It would also show that many who wear the Temple patches see them as symbols of faith and hope for peace, and a yearning for the day when there will be no more war.”
The post Chabad on high alert after false Tucker Carlson and Candace Owens war claims appeared first on The Forward.
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Top PLO, Fatah Officials: Hamas Should Join Us, No Need to Disarm
Hamas police officers stand guard, amid a ceasefire between Israel and Hamas, in Gaza City, Oct. 11, 2025. Photo: REUTERS/Stringer
The Palestinian Authority (PA) appears eager to hijack the Board of Peace’s UN Security Council-approved administration of Gaza and unite with Hamas to control the Strip themselves, according to comments made by a top PLO official in a new interview documented by Palestinian Media Watch.
According to Egyptian reports, PLO Executive Committee Secretary Azzam Al-Ahmad has been in Cairo meeting with Hamas and Palestinian Islamic Jihad:
Two informed Palestinian sources said Azzam Al-Ahmad, the secretary-general of the PLO Executive Committee, held talks in Cairo with faction leaders including Hamas and Islamic Jihad about the two movements joining the PLO.
[Manassa.news (Egypt), Feb. 22, 2026]
Officials from the governing PA and its parent political body the Palestine Liberation Organization have been making repeated overtures to Hamas to join the PLO.
In November 2025, Fatah Central Committee Secretary Jibril Rajoub called on Egyptian help to “bridge the gaps” between Fatah and Hamas so they can unite against Israel.
The previous month, PA Chairman Mahmoud Abbas’ Advisor Mahmoud Al-Habbash declared “our hands are extended, and our hearts are open to rapprochement with Hamas.”
The implicit hope behind the unity push is that move might satisfy international demands for Hamas to relinquish control of Gaza. Back in October, Al-Habbash said that Hamas needed to disarm, but clearly the PA position has since softened. As a sweetener for Hamas to agree to join the PLO, the PLO says it is now ready to appease the terror group by allowing it to keep its weapons and remain an armed force on the ground.
The PA and PLO are aware that to legitimize absorbing Hamas into the PLO, Hamas – the perpetrators of the largest massacre of Jews since the Holocaust – must also be laundered of the stigma of being defined as a terror organization.
During al-Ahmad’s visit, he was interviewed by an Egyptian newspaper, tacitly confirming his mission:
They [US President Donald Trump and the Board of Peace] do not want Hamas to play any role in the Gaza Strip, and we reject this completely, because Hamas is part of the Palestinian national activity. It is true that it has not yet joined the PLO, but we are in a constant national dialogue with them to complete what is required for their entry into the PLO. Therefore, all talk about disarming Hamas and it being a terror organization is unacceptable to us, because Hamas is not a terror organization. [emphasis added]
[Shorouk News (Egyptian paper), Feb. 23, 2026]
The immediate follow-up question in the interview was seen as so important by Al-Ahmad that he made it into a post for his Facebook page:
Shorouk News’ Mohammed Khayal: “You mean clearly that you in the PLO do not view Hamas as a terror organization?”
Azzam Al-Ahmad: “We have never viewed it as a terror organization, and we always oppose when a decision is made by any international institution or any government classifying them as a terror organization, because they are part of the Palestinian national fabric.”
[Azzam Al-Ahmed’s Facebook page, Feb. 23, 2026]
Lest anyone thought that Al-Ahmad had misspoken, his strong statement was soon backed by Rajoub:
“Fatah Central Committee [Secretary and] member Jibril Rajoub emphasized that [PLO Executive Committee member] Azzam Al-Ahmad did not err in defending the weapons of the Hamas Movement and stating that it is part of the Palestinian national fabric.”
[Shahed, independent Palestinian news website, Feb. 24, 2026]
Meanwhile, without referencing Al-Ahmad directly, Fatah Movement Central Committee member Abbas Zaki doubled down on the renewed push for unity with the Islamist terror groups.
“Fatah Movement Central Committee member Abbas Zaki emphasized that national dialogue among Palestinian factions, foremost among them Hamas and Islamic Jihad, constitutes a ‘necessary path and an urgent national need… The real enemy of this unity is the Israeli occupation, and those who stand behind it politically and militarily, foremost among them the US, which is working to rearrange the region in a way that will serve Israel’s sovereignty at the expense of the Arab and Islamic rights.’”
[Sanad News, independent Palestinian news agency, Feb. 26, 2026]
Statements like these are nothing new for PA or PLO officials, who have been making overtures to Hamas for years. Yet the timing and stridency of this particular effort is everything, as it seeks to directly undermine the Trump-brokered ceasefire agreement and Gaza reconstruction plan based on the establishment of a technocratic government.
A technocratic government, to be known as the National Committee for the Administration of Gaza (NCAG), was chosen as the most effective way to begin to restore services to Gazans, and that makes sense. It provides the administrative structure to deliver essential services while at the same time depriving oxygen to any resumption of warfare against Israel from the territory – at least the parts of Gaza that Hamas no longer controls.
While the PA has decided to go along with the plan, a recent letter from PA Vice Chairman Hussein Al-Sheikh welcoming a PA liaison office with the NCAG stressed the PA’s expectation that this was all just a “transitional” prelude to PA control.
“These constitute practical transitional steps that contribute to alleviating the suffering of our people and providing administrative and security services, without creating administrative, legal, or security duality among our people in Gaza and the West Bank, and while reinforcing the principle of one system, one law, and one legitimate authority over arms.”
[WAFA, official PA news agency, English edition, Feb. 21, 2026]
In the PA’s mindset, whatever moves can hasten the end of this transition, the better, as the notion of suspending conflict with Israel in any Palestinian-populated area even temporarily is anathema to the PLO and Hamas alike.
As evidenced by Al-Ahmad’s latest remarks and others, the PA and PLO have no problem whatsoever with Hamas’ zeal for terrorism – but only appear to differ with the Islamist terror group on who gets to decide when and how it is used.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.