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Mimi Sheraton, pioneering food critic and scholar of the bialy, dies at 97
(JTA) — Growing up in a Jewish home in Sheepshead Bay, Brooklyn, Mimi Sheraton seemed destined for a life in food. Her father, Joseph, sold wholesale fruit and vegetables to vendors in the Lower East Side, and her maternal grandmother, Greta Breit, was a talented cook who made her strictly kosher food from scratch.
Her mother Beatrice, meanwhile, had a “certain low-key snobbish pride about her Austrian style of cooking” and eschewed Jewish dietary laws in favor of culinary exploration. “My mother supplemented her Eastern European Jewish dishes with a wide repertory of American recipes from newspaper clippings: lobster Newburg, shrimp creole, her take on on subgum chow mein, creamed chicken a la king in puff pastry,” Sheraton wrote in her 2004 memoir “Eating My Words.”
Sheraton, born Miriam Schulman, combined all of these influences to become one of the best-known food critics and writers of her generation. During a six-decade career, she served as a contributing editor and critic for New York magazine and, from 1976 to 1983, as the food and restaurant critic for The New York Times. She was a frequent contributor to other magazines, and the author of some 16 books, including a classic history of an iconic Jewish food, “The Bialy Eaters: The Story of a Bread and a Lost World.”
Sheraton died on Thursday in Manhattan. She was 97.
Sheraton, the first woman to serve as the Times’ chief restaurant critic, was widely praised for the research and sense of history she brought to her role as a critic and a journalist. “The most prominent characteristic of her reviews was the vast amount of knowledge she brought to the job and the enlivened, precise language she used to convey that information,” wrote Charlotte Druckman, in her 2019 book “Women On Food.” “It was service journalism with expertise and voice.”
Sheraton brought that expertise to the bialy, the sometimes overlooked cousin of the bagel. “‘The Bialy Eaters’ is essential reading for anyone who cares about Jewish and New York food culture, a book about the sadness and horror baked into a food she loves,” Chris Crowley, a writer for Grub Street, wrote Friday. “Published in 2000, it follows Sheraton’s search for bialys first in Bialystock, from which it had disappeared because of the Holocaust, and then throughout the Jewish diaspora.”
Sheraton also explored her Jewish background and influences in her 1985 memoir, “From My Mother’s Kitchen: Recipes and Reminiscences.”
“We were cultural Jews for sure,” Sheraton told Hadassah magazine in 2015; she was known for hosting an elaborate Passover seder “filled with food but absent the Haggada,” the Jewish text for the Passover meal. In other essays, she described the lavish preparations made for the seders of her childhood, which were presided over by her rabbi grandfather and featured gefilte fish prepared from carp that had been swimming in a bathtub until hours before the meal.
Sheraton was born in Brooklyn on Feb. 10, 1926. She graduated from Midwood High School and from New York University. Her marriage to William Schlifman ended in divorce in 1954, although she kept that new surname that he used, Sheraton. In 1955 she married Richard Falcone, who died in 2014; she is survived by their son, Marc, and a granddaughter.
Before landing a reporting job at The New York Times, Sheraton wrote for an ad agency and Good Housekeeping, worked as food editor for Seventeen magazine, and served as a restaurant critic for Cue magazine, The Village Voice and other publications.
Her books include “Is Salami and Eggs Better Than Sex?” (1985, written with the comedian Alan King), “The Whole World Loves Chicken Soup: Recipes and Lore to Comfort Body and Soul” (1995) and “The New York Times Jewish Cookbook” (2002, with Linda Amster).
In April 2016, the Culinary Institute of America honored her as a Legend of New York Dining.
In a 2009 essay in Tablet magazine, Sheraton made note of an increasingly creative Jewish cuisine and how Jewish cooks often absorbed the flavors and techniques of whatever culture they found themselves part of.
“In a way, Jews might well have been the unwitting pioneers in what is currently celebrated as fusion cooking,” she wrote. “Now, perhaps, a new worldwide Jewish cuisine is being born that, like the old Ashkenazic and Sephardic cookery, borrows from other cultures, fusing to modern tastes while still honoring their beliefs.”
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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