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‘Succession,’ ‘Barry’ and the very Jewish nature of unresolved endings
This story originally appeared on My Jewish Learning.
(JTA) — Over the past few weeks, a lot of sad faces were peering at their screens as two popular television shows came to an end. Two HBO staples, “Succession” and “Barry,” aired their season finales in late May. And as happens with all high-drama prestige television, the debates began the moment the episode was over. Did Kendall deserve what he got? Was justice served for Mr. Cousineau? Without revealing any details, it is fair to say that many fans were left with that gnawing feeling of an unresolved ending.
TV endings were not always this way. Decades before “The Sopranos” famously concluded with its cut to black, shows typically concluded with a nice emotional ribbon — loose ends tied up, characters discovering the promised land. On “Cheers,” Sam returned to his bar. “The Mary Tyler Moore Show” ended with an actual group hug. On “Friends,” Ross and Rachel finally got together. “M*A*S*H,” still the most watched television finale of all time, ended with the main character finally returning home, wistfully looking from a helicopter to the word “goodbye” spelled out in stone. The episode was aptly titled, “Goodbye, Farewell, and Amen.”
Then everything got darker and grittier. Today, TV fans have come to expect unsettling, unresolved and even unhinged endings to their favorite shows. I am here to say that such conclusions are quintessentially Jewish. The Torah itself is an ode to unresolved endings.
As you may already know, the Torah concludes (spoiler alert!) with the death of Moses on the edge of the promised land. I take it for granted now, but imagine reading this for the first time. What?! The leader of the Jewish people, who brought them out of Egypt, received the Torah on Sinai and led them through the desert for 40 years doesn’t live happily ever after in the promised land?
If the Torah were an HBO show, fans would have been outraged. Shouldn’t the final scene have seen Moses walking arm and arm with the Jewish people across the Jordan River, the sun slowly setting as the credits roll? Instead, we are left with our beloved leader buried right outside the land he yearned to enter. Why does the Torah end this way?
Franz Kafka — himself no stranger to unresolved endings (The Trial” ends with Joseph K. being beaten “like a dog”)— took an interest in this question. He writes:
The dying vision of it can only be intended to illustrate how incomplete a moment is human life, incomplete because a life like this could last forever and still be nothing but a moment. Moses fails to enter Canaan not because his life is too short but because it is a human life.
In Kafka’s reading, the Torah’s ending reflects the larger reality of human life itself, which is “nothing but a moment,” an exercise in incompleteness. Our personal narratives don’t fit neatly into a box. They don’t have ribbons on top and rarely end with group hugs. Human life ends unrequited, ever yearning, ever hoping. As Aviva Gottlieb Zornberg writes in her magisterial biography of Moses: “Veiled and unveiled, he remains lodged in the Jewish imagination, where, in his uncompleted humanity, he comes to represent the yet-unattained but attainable messianic future.”
And that is perhaps why I love abrupt endings most. They reflect the fabric of life itself. As David Foster Wallace once observed of Kafka’s narratives, they emphasize “[t]hat our endless and impossible journey toward home is in fact our home.” What is more human than an ending that just recursively folds into another beginning of longing and hoping? Moses’ unrealized dream and legacy continues, and begins again, in the minds and hearts of those captured by his story.
So save your group hugs for sitcoms. Real life doesn’t have a neat ending. We continue the journey where the last generation left off. An ending that perpetually endures.
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The post ‘Succession,’ ‘Barry’ and the very Jewish nature of unresolved endings appeared first on Jewish Telegraphic Agency.
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Strong start for Virginia’s first Yiddish culture festival
It’s not every day that you encounter a man in a Stetson hat singing Yiddish folksongs in the former capital of the Confederacy.
Yet that wasn’t the most unexpected thing this reporter experienced over Richmond Yiddish Week’s opening weekend. The grassroots Yiddish cultural festival, which began on Saturday, got off to an energetic, well-attended start.
The festival’s opening concert, a double billing of local klezmer bands The Vulgar Bulgars and My Son The Doctor, took place Saturday night at Gold Lion Community Café, an art-space in Richmond’s up-and-coming Manchester neighborhood.
Even before the concert began, the venue was standing-room only. “This is clearly the place to be in Manchester tonight,” remarked one attendee as he squeezed into a seat.
Before the first set, festival co-founder Sam Shokin addressed the audience, expressing her delight at the large turnout. “We weren’t sure how many like-minded people we were going to find for a Yiddish culture festival,” she said, “but judging by the crowd it seems like there are a lot of you.” Her remark elicited enthusiastic applause.
Thirty minutes into the first set, the space was so crowded that service staff had difficulty delivering customers’ food and drink orders to the tables. At least one woman gave up waiting in line to place her order until the break between sets.
The Vulgar Bulgars opened with several tightly harmonized and adventurously arranged klezmer instrumentals. Local singer Nina Lankin then joined in for a power ballad-esque and refreshingly non-maudlin rendition of the Yiddish theater classic Papirosn (Cigarettes).
She and the band also shined with a heartfelt rendition of the messianic Yiddish song Shnirele Perele (Ribbons and Pearls). Between sets, as attendees reordered food and drinks, this reporter had a chance to speak with a few attendees.
“I’ve been here for three years or so,” Rachel Enders, a local preschool teacher who told me she’s Catholic, said. “But I had no idea there was this big, vibrant Jewish community here.”
Festival co-founder Danny Kraft said that the local community has some “conservative and insular” tendencies. But at a time when many Jewish communities are retreating into explicitly Jewish spaces, the organizers of RYW chose more public venues for their programming. The local Jewish Federation lent support by funding security. One of Shokin’s and Kraft’s stated goals was to “bring some Yiddishkayt into the local arts community.”
Maribel Moheno — a language instructor at a local university who recently discovered her Jewish ancestry — was the first to start dancing. The rest of the audience got on their feet and joined Moheno during the second set. That set, played by My Son The Doctor, was less polished or interestingly arranged, but far more danceable.
Having finished the circle dance called a freylekhs with Moheno and a dozen or so others, this reporter refueled with a bagel made by local bakery Cupertino’s NY Bagels. It wasn’t bad. Also on offer was an unexpected soft drink called Palestine Cola.
As it turns out, the Gold Lion cafe has, like many such establishments of late, hosted pro-Palestine events. After some community members expressed concern about the festival being held there, the organizers explained that the festival had no stance vis-à-vis Israel-Palestine.
“People on both the left and the right who don’t know much about Yiddish think it’s synonymous with queer, anti-Zionist culture,” Kraft said. “That’s very reductive. Some people in the mainstream community saw this Yiddish event as a dog-whistle or code-word for anti-Zionism. Once we clarified this with the local Federation, that cleared the air a bit.”
“This is a week of celebrating Yiddishkeit,” said Shokin. “We’re focusing on arts and culture — politics, not so much.”
Despite this shturem in a glezl tey (tempest in a teacup), the opening concert had more than 100 people in attendance. Young families with toddlers and tweens mingled with elegantly dressed retirees, long-haired baby boomers, and 20- and 30-something hipsters.
The evening closed out with two lively songs that the audience joined in for: Ale Brider (We’re All Brothers), a popular anthem about Jewish unity, and the Yiddish birthday song Tsu Dayn Geburtstog in honor of an audience member’s birthday.
On Sunday afternoon, the Richmond Public Library’s main branch hosted a Yiddish story time event, which Kraft, who is also a poet and Yiddish translator, led. More than a dozen young families attended.
The program began with a brief Yiddish lesson. Kraft, himself the father of a toddler, then regaled children and parents with the unique Yiddish-Spanish-English picture book Beautiful Yetta: the Yiddish Chicken, using the book’s dialogue to teach more Yiddish phrases.
One high point of the afternoon was an interactive game called “Guess the Animal” where the audience learned the Yiddish terms for familiar animals, including the non-kosher khazer (pig), which got plenty of laughs.
A lot of Yiddish programming today tends to be adult-focused, often geared toward retirees. So a Yiddish festival for children and young parents seems like an expression of hope for Yiddish continuity — a leap of faith, even. Yet despite a small budget and all-volunteer staff, Kraft and Shokin seem to have stuck the landing.
The post Strong start for Virginia’s first Yiddish culture festival appeared first on The Forward.
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UK Prosecutors Try to Reinstate Terrorism Charge Against Kneecap Rapper
Member of Kneecap Liam O’Hanna, also known as Liam Og O hAnnaidh and performing under the name of Mo Chara, speaks to supporters outside Woolwich Crown Court, after a UK court threw out his prosecution for a terrorism offense, in London, Britain, Sept. 26, 2025. Photo: REUTERS/Hannah McKay
British prosecutors sought to reinstate a terrorism charge against a member of Irish rap group Kneecap on Wednesday for displaying a flag of Iran-backed Lebanese terrorist group Hezbollah at a London gig, after a court threw out the case last year.
Liam Óg Ó hAnnaidh, whose stage name is Mo Chara, was accused of having waved the flag of the banned Islamist group Hezbollah during a November 2024 gig.
The charge was thrown out in September after a court ruled it had originally been brought without the permission of the Director of Public Prosecutions and the Attorney General, and also one day outside the six-month statutory limit.
But the Crown Prosecution Service said it would challenge the ruling and its lawyer Paul Jarvis told London’s High Court on Wednesday that permission was only required by the time Ó hAnnaidh first appeared in court, meaning the case can proceed.
Kneecap – known for their politically charged lyrics and anti-Israel activism – have said the case is an attempt to distract from what they described as British complicity in Israel’s so-called “genocide” in Gaza. Israel strongly denies committing a genocide in the coastal territory, where it launched a military campaign against Hamas after the Palestinian terrorist group invaded Israeli territory.
J.J. Ó Dochartaigh, who goes by DJ Próvaí, was in court but Ó hAnnaidh was not required to attend and was not present.
KNEECAP SAYS PROSECUTION A DISTRACTION
Ó hAnnaidh was charged in May with displaying the Hezbollah flag in such a way that aroused reasonable suspicion that he supported the banned group, after footage emerged of him holding the flag on stage while saying “Up Hamas, up Hezbollah.”
Kneecap have previously said the flag was thrown on stage during their performance and that they “do not, and have never, supported Hamas or Hezbollah.”
The group, who rap about Irish identity and support the republican cause of uniting Northern Ireland with the Republic of Ireland, have become increasingly vocal about the war in Gaza, particularly after Ó hAnnaidh was charged in May.
During their performance at June’s Glastonbury Festival in England, Ó hAnnaidh accused Israel of committing war crimes, after Kneecap displayed pro-Palestinian messages during their set at the Coachella Festival in California in April.
Kneecap have since been banned from Hungary and Canada, also canceling a tour of the United States due to a clash with Ó hAnnaidh’s court appearances.
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German-Israel Deal Strengthens Cyber Defense, German Minister Says
A German and Israeli flag fly, on the day Chancellor Friedrich Merz meets with Israeli President Isaac Herzog for talks, in Berlin, Germany, May 12, 2025. Photo: REUTERS/Liesa Johannssen
A new German-Israel agreement aims to counter cyber threats and enhance security infrastructure, German Interior Minister Alexander Dobrindt told parliament on Wednesday.
Dobrindt signed the agreement with Israeli Prime Minister Benjamin Netanyahu in Jerusalem over the weekend.
The collaboration includes the development of a joint “cyber dome” system, an artificial intelligence and cyber innovation center, drone defense cooperation, and improved civilian warning systems.
“We have already had a trusting partnership in the past, which we want to strengthen further,” Dobrindt said. “Israel has extensive experience in cyber defense. We want to benefit from that.”
The German Interior Ministry said on Monday the agreement would extend to protecting energy infrastructure and connected vehicle networks, in addition to enhancing collaboration in civil protection, counter-terrorism, and criminal prosecution.
European countries are facing increasing pressure to fortify their cyber defense systems against sophisticated attacks.