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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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Germany’s Merz Heads to Saudi, Gulf in Quest for New Partners
German Chancellor Friedrich Merz speaks during a cabinet meeting at the Chancellery in Berlin, Germany, Feb. 4, 2026. Photo: REUTERS/Liesa Johannssen
German Chancellor Friedrich Merz began a tour of Saudi Arabia, Qatar, and the United Arab Emirates on Wednesday aiming to forge energy and arms partnerships as Europe’s biggest and richest economy sought to reduce dependence on the US and China.
“We need such partnerships more than ever at a time when politics is increasingly being determined by major powers,” Merz said at the start of his three-day trip, adding the aim of such alliances was to preserve freedom, security, and prosperity.
“Our partners may not all share the same values and interests, but they share the view that we need a world order in which we trust agreements and treat each other with respect,” he added.
The tour, which follows visits to Brazil and South Africa last year and India last month, is part of a broader German initiative to diversify global alliances.
“In such a network of partnerships, we reduce unilateral dependencies, mitigate risks and create new opportunities together for our mutual benefit,” said Merz.
In the Gulf, Merz said he wanted deeper cooperation in the energy and armaments sectors, adding Berlin was adopting a less restrictive approach on arms exports. Germany’s economy minister prepared the ground last week.
QATAR ALREADY ONE OF GERMANY’S BIGGEST FOREIGN INVESTORS
Relations with Saudi Arabia deteriorated after the killing of Saudi Arabian journalist Jamal Khashoggi in 2018. Merz said while some improvements in human rights had taken place, there was more to be done and he would discuss this.
The Gulf states, with large sovereign wealth funds, already play a role in Germany’s economy. Qatar is one of the largest foreign investors in Germany, holding stakes in companies such as Volkswagen, utility RWE and shipping group Hapag-Lloyd.
Merz said he would address broader regional issues, calling for greater peace, stability, and cooperation, including normalization with Israel.
“One day, Israel should also be a welcome part of this order, not a rejected foreign body,” said Merz, addressing the balance Gulf states maintain on Israel and Palestinians.
On Iran, Merz said he had three demands: that Tehran stops violence against its own people, halts its military nuclear program, and ends destabilizing activities in the region.
Germany remains one of Israel’s closest allies in Europe, while Gulf states have navigated differing approaches to Iran, particularly since the Gaza war.
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The US and Europe Are Funding a Palestinian Authority Army in Gaza — That Doesn’t Exist
People attend the funeral of Palestinian critic Nizar Banat, who died after being arrested by Palestinians Authority’s security forces, in Hebron in the Israeli-occupied West Bank, June 25, 2021. REUTERS/Mussa Qawasma
While donor countries continue sending hundreds of millions in aid for Palestinian Authority (PA) salaries, they might want to ask a simple question: What are we paying for?
In a staggering admission on official PA TV, a Palestinian economic expert revealed the existence of an entirely useless financial sinkhole:
Economic expert Muayyad Afaneh: “We have about 17,000 [PA] Security [Forces] employees in the Gaza Strip, and 20,000 civil employees. They are still receiving salaries from the PA, and there are many services in the Gaza Strip that the PA is spending money on.”
[Official PA TV, The Economic Discourse, Jan. 3, 2026]
Could you imagine that there are 17,000 PA Security Forces members in Gaza, where Hamas — not the PA — has ruled with an iron fist since 2007?
To be clear, these PA Security Forces have no authority and no involvement in Gazan policing. Hamas does not allow them to operate. They are a ghost payroll. Yet month after month, the PA sends them salaries funded by international aid.
This financial farce is made worse by the fact that Israel has already made it clear that these forces must not have any post-war role in Gaza. So, what exactly is the PA paying for?
Worse still, the economic expert on PA TV explained that PA employees in Gaza receive salaries equal to their counterparts in actual PA-controlled areas, despite doing nothing.
Currently the PA is paying twice to the Gaza Strip. The first time is the money being held [by Israel], and the second time, it is still obligated to pay the allocations to the Gaza Strip [it does] to the West Bank, meaning the same salary rate a [PA] employee in the West Bank receives, an employee in the Gaza Strip receives.
[Official PA TV, The Economic Discourse, Jan. 3, 2026]
This is a slap in the face to American and European taxpayers who genuinely believe they are contributing to peace, governance, and development.
The Palestinian Authority’s lack of respect for donor money is systemic. From glorifying terrorists with salaries and promotions to financing people not to work, the PA treats foreign aid like a bottomless ATM with no accountability.
It’s time donors ask: Why are you paying salaries to people who protect nothing and serve no one?
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
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How October 7 Changed Jewish Identity Across the World
The personal belongings of festival-goers are seen at the site of an attack on the Nova Festival by Hamas terrorists from Gaza, near Israel’s border with the Gaza Strip, in southern Israel, Oct. 12, 2023. Photo: REUTERS/Ronen Zvulun
The impact of October 7 and its aftermath on Jews around the world will be felt for at least a generation to come.
There is a concern that since the hostages have been returned, and the war in Gaza is over, that the energy and commitment on the part of Jewish people will subside. This is not the case. People have been recalibrated in ways that have not yet been fully understood, and those changes apply to Jewish people from all different walks of life.
Long after the headlines fade and the news cycle moves on, the psychological, emotional, and communal reverberations will continue to shape how Jewish people understand themselves and one another.
The questions about how to maintain “Jewish peoplehood,” have also largely been answered. For decades, Jewish leaders and thinkers have pondered how to maintain a shared sense of peoplehood — especially in open societies where assimilation and secularism were not only possible but often encouraged. Many Jews, particularly outside of Orthodox communities, experienced Jewishness as cultural, incidental, or even optional. The events surrounding October 7, 2023, shattered that assumption. What has become clear is that Jewish identity, whether embraced or ignored, is not something that can simply be set aside.
While Orthodox Jews may have always felt a strong and explicit sense of belonging to the Jewish people, the shift among secular and loosely affiliated Jews has been particularly striking. Individuals who once felt no sense of “otherness” have been forced to confront the reality that others see them as such.
A brief anecdote illustrates this shift. Recently, a customer of mine, who is otherwise completely secular, remarked to me during a routine conversation, “You know, Dan, I really didn’t realize how much people hate Jews. I’m honestly shocked by it.”
What had changed was not his theology or observance, but his awareness. He had come to recognize that his identity connected him to a broader people — and that this connection carried meaning, consequences, and responsibility. He indicated that while in the past he felt no particular affiliation, he now understood himself as part of something larger. The feeling of this man is not an isolated feeling; it is one that is shared by countless people. Out of his pain a reawakening occurred that will ultimately serve to preserve his Jewish identity.
When looking at the glass half full, one can take comfort from the phrase “what doesn’t kill you makes you stronger.” Jewish people have been quite literally forced to reinforce their connections and identification with their Jewishness. This has made the Jewish people stronger. It may be hard to see since people are still in the midst of it, but from 10,000 feet away and over the arc of time, this will become clear.
This observation does not, in any way, minimize the profound pain, grief, and suffering endured by victims, families, and communities. None of that is diminished here. But alongside the trauma exists another truth: a reawakened sense of peoplehood is real. This, too, is part of the Jewish story in this moment — and it deserves to be told.
Daniel Rosen is the co-founder of a non-profit technology company called Emissary4all, which is an app to organize people to move the needle on social media and beyond. He is the co-host of the podcast “Recalibration.” You can reach him at dmr224@yahoo.com