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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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Erdogan Names Prosecutor Who Led Opposition Crackdown as Turkey Justice Minister

Turkish President Tayyip Erdogan speaks during a ceremony for the handover of new vehicles to the gendarmerie and police forces in Istanbul, Turkey, Nov. 28, 2025. Photo: REUTERS/Murad Sezer

Turkish President Tayyip Erdogan appointed as his new justice minister Akin Gurlek, the Istanbul chief prosecutor behind the unprecedented crackdown on the main opposition party, drawing fierce criticism and defiance from the party on Wednesday.

Since his appointment as chief prosecutor in 2024, Gurlek has overseen a wave of arrests and indictments targeting the Republican People’s Party (CHP), including investigations into the Istanbul mayor, Ekrem Imamoglu, Erdogan‘s main political rival who has been jailed since his arrest in March last year.

In a 4,000-page indictment last November, Gurlek demanded a prison sentence of more than 2,000 years for Imamoglu for allegedly leading a vast corruption network, sparking Turkey‘s largest street protests in a decade.

The first hearing in that case, accusing hundreds of defendants linked to the Istanbul municipality of corruption and bribery, will be held next month.

A scuffle broke out in Turkey‘s parliament ahead of Gurlek’s swearing-in after opposition lawmakers protested against his appointment.

Main opposition CHP deputies gathered around the speaker’s podium to block Gurlek, calling his nomination “an attack on the rule of law.” TV footage showed lawmakers pushing and throwing punches and ruling AK Party lawmakers forming a protective ring around Gurlek as he read his oath.

FIRST CABINET SHUFFLE SINCE 2023 VOTE

In the first cabinet shuffle since mid-2023 elections, Gurlek replaced Yilmaz Tunc, who was first elected as a member of parliament in 2007.

The Official Gazette announcement also said that Erdogan had appointed Erzurum provincial governor Mustafa Ciftci as interior minister, replacing Ali Yerlikaya, who was the Istanbul governor before his appointment as minister.

A reason for the shuffle was not given.

Hundreds of party members and elected officials have been detained in Gurlek’s crackdown, which has been criticized as anti-democratic and politicized by opposition parties, rights groups and some foreign leaders – claims the government denies, saying the judiciary is independent.

CHP leader Ozgur Ozel said Gurlek’s cabinet appointment continued a “judicial coup attempt” while he was prosecutor and amounted to the latest step in a major attack on his party.

“We will not surrender… They cannot stop our march to power,” Ozel told reporters at a memorial ceremony for a former party leader, adding that there was no fair political competition left.

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France to Increase Visas for Iranian Seeking Refuge Amid Crackdown, Minister Says

French Minister for Europe and Foreign Affairs Jean-Noel Barrot holds a press conference at the Pine Residence, the official residence of the French ambassador to Lebanon, in Beirut, Lebanon, Feb. 6, 2026. Photo: REUTERS/Mohamed Azakir

France will increase the number of visas for Iranians seeking asylum as a result of the recent crackdown by Iranian authorities, Foreign Minister Jean-Noel Barrot said on Wednesday.

Speaking in parliament, Barrot said Paris wanted to support the Iranian people by any means possible.

“In particular by welcoming opponents persecuted by the regime who are seeking asylum and refuge in France. We will increase our humanitarian visas for asylum purposes for these individuals whom we must protect,” he said.

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How Social Media Got Hamas Casualty Figures Wrong

A Palestinian man points a weapon in the air after it was announced that Israel and Hamas agreed on the first phase of a Gaza ceasefire, in the central Gaza Strip, October 9. Photo: REUTERS/Mahmoud Issa

As the Israel-Hamas ceasefire continues to hold, many analysts have begun examining available data to better understand Hamas’ casualties throughout the war. This is no easy feat, considering Hamas has consistently lied and inflated the civilian casualty figures. The reality of urban warfare provides other challenges for the IDF to count every eliminated terrorist.

Varying numbers regarding Hamas’ casualty figures have been recently touted on social media. But many of them lack sources, or a breakdown of the statistics.

Conversely, some analysts, such as HonestReporting board member Salo Aizenberg, have done an exceptional job at critically analyzing the available casualty numbers.

The Hamas-run Ministry of Health has reported over 70,000 deaths in Gaza, including civilians.

But closer examination of these numbers displays that it also includes an estimated 22,000-25,000 Hamas fighters, around 11,000 natural deaths, and 4,000 casualties caused by internal fighting amongst Gazans. With 1,000 deaths attributed to reporting errors, this suggests that 25,000 casualties were terrorists, and 36,000 were civilians.

One suggestion that has gained momentum on social media suggests that the actual number of Hamas casualties is double this number, at 50,000 combatant deaths.

However, pre-war estimates by the IDF suggest that Hamas had 35,000 combatants. US estimates believe that Hamas recruited 10,000-15,000 new combatants throughout the war. This means that if the IDF had killed 50,000 Hamas terrorists, there would be virtually no Hamas terrorists left — an analysis that is unfortunately not accurate.

The claim of 50,000 eliminated Hamas terrorists is based on an announcement by the Hamas-run Ministry of Social Development of the start of a new program that would provide NIS 500 to the widows of Gazans killed in the war.

By February 8, 2026, payments had been made to 19,306 widows, totaling NIS 9.653 million or over three million US dollars.

The Ministry of Social Development further stated that 50,000 widowed families were set to receive these benefits, implying that more than widowed wives would be receiving the payments. This is likely where some analysts misinterpreted Hamas’ statement and took it to mean that for every Hamas terrorist, one wife would receive a payment. However, this payment is not exclusively for the wives of terrorists, and not every Hamas combatant would have been married by the time of his death.

What these numbers do suggest, however, is that claims of unreported casualties are likely to be false. The ability to receive a payment for reporting a death would presumably encourage many Gazans to submit claims of being widowed.

Since the early days of the war, news outlets and influencers on social media have blindly repeated Hamas’ claim that the majority of casualties were women and children. The claim implied that the IDF was specifically targeting both groups.

Beyond this claim not being true — men of combat age account for around 46.7% of total casualties — data from the World Health Organization (WHO) displays that 603,000 children under the age of 10 were vaccinated at the beginning of 2025. This number exceeds the pre-war population of that age group, indicating that the overall population of young children has remained stable or even grown despite the war.

With births being the same as, if not higher than, pre-war numbers, the claims of underreported casualties and casualties disproportionately targeting children fall apart. Despite this data being publicly available and offering important information about the war’s human toll, it has received no attention in media coverage, allowing the misleading child casualty narrative to persist.

These two case studies of terrorist casualty statistics and the reported number of children under 10 during the war highlight the need to analyze all available data with scrutiny. It is not enough to rely on unverified claims about casualty figures. Instead, accurate conclusions must be based on transparent analysis conducted by credible analysts who rely on publicly available data, verifiable sources, and clear methodology. Only through rigorous examination can casualty figures be properly understood, rather than simply repeated without question.

The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.

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