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What the new season of ‘Nobody Wants This’ gets right — and very wrong — about Judaism

Despite the name, apparently everybody wanted a new season of Nobody Wants This; the first season of the comedy instantly became one of Netflix’s most-watched shows. Adam Brody charmed as Noah, a young, hot, menschy rabbi. Kristen Bell brought spunk and controversy as Joanne, his blonde, non-Jewish girlfriend. The pair had great onscreen chemistry. The writing was witty. The half-hour episodes made for an easy binge-watch.

Jews, however — myself included — had some sharper criticisms of season one, which we hoped season two might address. The Jewish women in the show were either vapid or harpies, and underdeveloped as characters to boot. And the depiction of Judaism itself wasn’t particularly enticing. Noah may have been a cool, young rabbi who smoked weed and had sex, but the show made it clear that he was the exception to the rule.

(For the record, I know many rabbis who smoke weed. Actually, the stereotype should go the other way; a recent study on psychedelics and spirituality that gave psilocybin to spiritual leaders couldn’t source enough rabbis who had not already tried a hallucinogen.)

Many — again, myself included — wondered whether the second season would take some of these complaints to heart and add some depth to the conversations around interfaith relationships, conversion, Jewish women and Judaism in general. And in a promising move, two Jews — Jenni Konner and Bruce Eric Kaplan, both of Girls fame — took over the showrunner role from its original creator, Erin Foster.

On the surface, the new season is a carbon copy of the first. Again, it is framed around the question of conversion. Noah, who has lost his promotion to senior rabbi because Joanne isn’t Jewish, admits that their relationship probably can’t progress if Joanne doesn’t convert. Joanne, who thought that the question had been put to bed — as many of us did, after the final episode of the last season in which she declared rather clearly that she would not convert for Noah — is taken aback, but decides to see if she can find a reason to fall in love with Judaism. And so we’re off to the races, with a baby naming, a Purim party, a Shabbat dinner, a conversion class.

Leighton Meester, Adam Brody’s real life non-Jewish wife, has a brief cameo as a mother who hired Rabbi Noah for her baby naming. Courtesy of Netflix

This gives the show numerous chances to offer nuggets of Jewish learning. In the Purim episode, Noah goes beyond the usual “Purim is about getting drunk” tagline and gives a nice spiel, explaining that the holiday is a time when expectations are turned upside down. True! Another time, he points out that Judaism is about “analyzing things from every direction,” not just following rigid rules — a concept that deeply appeals to Joanne. (“A religion that encourages you to argue? Love that,” she says.)

The Jewish women are also better this year. The word “shiksa,” a pejorative that season one deployed very, very liberally, always in the mouths of Jewish women, has been erased. And Esther, Noah’s sister-in-law, has some actual plotline — we dive into her marriage to Sasha and her dreams for the future. And her snark feels more like fond ribbing than cruel jabs this season.

The show is still far from perfect — Bina, Noah’s stereotypically overbearing Jewish mother — remains a miserable, meanspirited hag. And the show’s popularity has also led to several clunky product placements and ads for Netflix. (At one point we vicariously watch a whole scene of Love Is Blind, one of the streaming platform’s reality shows, on Joanne’s laptop.)

Perhaps the show’s strongest answer to criticism of last season comes in the form of Temple Ahava, a new, very open-minded synagogue that hires Noah and immediately shows itself to be more focused on vibes than Judaism. It’s a clever, inside-baseball kind of joke; most Jews know this kind of synagogue, where ritual and text is downplayed in favor of broad, easy-to-swallow messaging. Last season, Judaism was portrayed as close-minded and rigid, unwilling to accept Joanne. Ahava is open-minded, sure — but it has lost its depth as a result.

Seth Rogen and Kate Berlant as the leaders of Temple Ahava. Courtesy of Netflix

The head rabbi — played by Seth Rogen — encourages Noah to take off his kippah. (“I’m raw-dogging the world!” he says.) Teens are encouraged to skip Shabbat in favor of movie premieres. The synagogue speedruns their conversion classes, offering a six-month version because no one wanted to sign up for a full year. Noah is skeptical; isn’t Judaism supposed to require learning and commitment? He keeps his kippah on.

It’s a powerful lesson about what makes Judaism truly meaningful. But the show undoes this exact lesson in its final scene. Joanne has been waiting all season to feel like she wants to convert. And even though she loves Shabbat and she’s picked up Jewish expressions, she doesn’t.

But Esther thinks she’s focusing on the wrong things. “I feel like you have this idea of being Jewish that’s so much more complicated than it actually is. I mean, you feel Jewish to me. You’re warm and cozy, you always want to chat about everything,” she tells Joanne. “You’re funny — that’s Jewish. You love to overshare. No matter how much I resisted, you literally forced me to be friends with you — forced. You’re a true kibbitzer. You’re always getting in everyone’s business. Ever heard of a yente, Joanne? You’re a yente.”

Joanne, she concludes, is already Jewish.

But that’s not true. Noah was right that six months is too fast for a conversion, because there’s more to Judaism than a list of facts or rules; it’s a millennia-old tradition of rich thought, text and discourse. Joanne may align with cultural stereotypes of Jews, but those are considered stereotypes for a reason — they’re shallow and incomplete. Being neurotic or anxious does not make someone a Jew anymore than being funny does.

This ending shouldn’t be surprising, however. The show’s creator, Erin Foster — who herself converted to marry her husband — rejected the critiques of the first season’s stereotypes.

“With the heaviness of what’s going on in the world around the Jewish faith,” she said in an interview with Vanity Fair about the new season, “to have a lighthearted, sweet, happy show that reminds people how beautiful Judaism is — don’t find something wrong with it! Take the win, you know?”

In response to any criticism about its reliance on Jewish tropes, the new season seems to answer that those tropes are actually core to Jewishness. Sure, season two of Nobody Wants This gets rid of the term shiksa and has a few nice Jewish moments. But it comes to the same conclusion as the first: Judaism is about vibes, not ritual or learning or commitment. It’s the same message Ahava offers — and like Noah realized, it’s not satisfying.

In many ways, this ending is a carbon-copy of the first season’s; in fact, the closing scenes are almost shot-to-shot identical. Last season, Joanne decided she couldn’t convert and Noah decided it didn’t matter — if Judaism was limiting them, then he’d reject Judaism. In this ending, Joanne embraces Judaism, but only because she’s decided it doesn’t actually mean that much.

The post What the new season of ‘Nobody Wants This’ gets right — and very wrong — about Judaism appeared first on The Forward.

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Trump’s new White House ballroom architect is a Jewish immigrant who has advocated for refugees

(JTA) — After parting ways with the first architect hired to carry out his vision for the White House’s East Wing, President Donald Trump has picked a replacement — turning to a firm run by prominent Jewish architect who once called on Trump to keep the country’s doors open to refugees and immigrants.

Shalom Baranes was born soon after his parents fled Libya amid antisemitic sentiment there, coming to the United States as a child with the help of the Hebrew Immigrant Aid Society, now known as HIAS. He rose to prominence as an architect in Washington, D.C., where he has designed both private and government buildings, including the Pentagon, that trend toward the modern.

The White House confirmed on Friday that it had chosen his firm, Shalom Baranes Associates, to continue the East Wing project, centered around the ballroom that Trump wishes to construct. Trump clashed with the first architect on the job over the ballroom’s size.

“Shalom is an accomplished architect whose work has shaped the architectural identity of our nation’s capital for decades, and his experience will be a great asset to the completion of this project,” a White House spokesman, Davis Ingle, said in a statement on Friday.

The firm did not immediately publicly confirm its attachment to the project, and Baranes did not reply to a Jewish Telegraphic Agency request for comment.

Baranes’ selection stands out in an administration that has typically favored partisan and ideological loyalists. Baranes is a repeated donor to Democratic candidates who has openly advocated against one of Trump’s signature policies, his efforts to limit refugee admissions.

In 2017, two months into Trump’s first term, Baranes penned an op-ed for the Washington Post about the new president’s travel ban. Trump had declared a ban on migrants from seven mostly Muslim countries and refugees from around the world soon after taking office, igniting wide opposition including from Jewish groups.

“The anti-immigrant sentiment I feel today is nothing new to me,” he wrote. “When my Jewish parents arrived in the United States just a few years after fleeing persecution in an Arab regime, it was as difficult for them to be accepted here as it is for Muslims now.”

Baranes laid out his criticism gingerly while saying he hoped the travel ban would be short-lived.

“As I watch the news and see families struggling to leave their countries and escape tyranny, I wonder who among them will make it to our shores and become part of the next generation of researchers, teachers, inventors, real estate developers and, yes, architects,” he wrote. “My hope is that the Trump administration will take actions to ensure that the travel ban is indeed temporary, so that good, hard-working individuals fleeing tyranny can find a new home as I did — and that each of them will be given the same opportunity to help build this great nation that I had.”

Among the Jewish groups to lobby against Trump’s travel ban was HIAS, the organization that had helped Baranes and his family come to the United States. HIAS declined to comment on his selection as White House architect but said through a spokesperson that the organization was working to respond to Trump’s crackdown on refugees, which the president renewed last week after an Afghan refugee shot and killed a member of the National Guard in Washington.

To those who are familiar with Baranes’ style, he is a surprising pick for more than just because of his personal politics. His designs typically trend toward the modern, not the gilded classical style that Trump favors. He also has said he prefers to think carefully before tackling a project — an impossibility when it comes to the White House ballroom, which is already mid-construction.

“You have to wonder why he would risk a stellar career and near pristine reputation for a project that could possibly end up in disaster. He could be publicly fired and castigated by the developer-in-chief or ostracized among his colleagues and clients,” wrote Douglas Freuhling, the editor in chief of the Washington Business Journal, on Friday.

But Fruehling noted that a successful build at the White House — one that balances Trump’s tastes with the gravitas of the White House — would be a defining capstone for any architect’s career. “He may just be the perfect architect for the job. For his sake, I hope it turns out that way,” he wrote of Baranes.

Baranes’ portfolio includes multiple synagogue renovations. He donated his services to restore the interior of Sixth & I, the Jewish center in downtown Washington, D.C., when it was reconstructed just over two decades ago.

The post Trump’s new White House ballroom architect is a Jewish immigrant who has advocated for refugees appeared first on The Forward.

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It’s time to reconsider what we know about Jewish birthing rituals

For all living things, birth is our introduction to the world. So it’s a fitting theme for the first exhibit in the Museum at Eldridge Street’s new initiative, “Opening Doors to Intercultural Understanding.”

The multiyear project is centered around three themes: sacred space, sacred community and sacred time. First Light is inspired by sacred time, which focuses on lifecycle events and holidays in the Jewish calendar. The museum staff worked with curator Warren Klein, the director and curator at Herbert & Eileen Bernard Museum of Judaica, to come up with the idea for an exhibit on birth.

“Of course, there’s a universal resonance there,” Amanda Gordon, the museum’s director of public engagement, said. “But really First Light is all about examining Jewish birth traditions and different observance practices, how they’ve evolved, but also different kinds of aesthetic craftsmanship ideas.”

Visitors are first greeted with contemporary paintings from artists Tobi Kahn and Mark Podwal that depict the significance of birth both personally and biblically. Kahn’s abstract painting evokes one of his children’s sonograms through its textured exploration of rounded shapes. This is juxtaposed with Podwal’s depiction of Pharaoh’s daughter finding Moses in the Nile, using a classic Egyptian style to depict the female face looming over baby Moses, almost protectively. Further along in the exhibit are older examples of birth-related rituals both in art and in historic objects.


“These rotating exhibitions,” Gordon said. “They give us a chance to showcase not only cultures outside of Ashkenazi Jewish culture, but also contemporary work. So to have, you know, Tobi’s work and Mark Podwal’s work here in conversation with these pieces from the 19th and 18th century.”

One of the first photographs in the exhibit is of a two-seater bench; one seat is for the sandek, who holds the baby during the bris, and the other is for Elijah the Prophet.

Klein explained that Elijah is imagined to be at every circumcision ceremony, and some communities reserve a seat for him, much like how many families save him a glass of wine during a Passover seder.

“It’s hard to kind of pinpoint where the custom was created,” Klein said. “Across the board, Ashkenazi and Sephardic communities will have a chair reserved for Elijah.”

The exhibit also explores lesser-known traditions; though most people think that Jewish birthing customs are limited to “circumcision or bris milah and that’s it,” Klein said. “It’s truly not.”

For example, there is Pidyon haben, the redemption of the first born son, a tradition that dates back to the days of the high priest, when Israelites had to offer their firstborn sons as priestly assistants. In the era of rabbinic Judaism, the redemption became more symbolic, and families would offer coins on a platter to “purchase” their child back from the rabbi. In the exhibition, a photo of an ornate silver platter filled with coins illustrates the practice.

Although the exhibit could house only a limited number of physical objects, it displays a wide range of customs. There’s a decorative amulet case from the 19th century that once held a prayer to protect its holder from Lilith, a demon — or, according to some stories, Adam’s first wife before Eve — thought to harm the mother and child during labor or right after birth. One glass case hosts a printed prayer book for a German mohel, or ritual circumciser, dated to 1744. What makes this facsimile particularly interesting, Klein explained, is its depiction of women, who are usually not seen in the visual images of the bris.

Klein wanted to make sure women were more represented in this exhibit than they usually are in discussions of Jewish birthing customs. One photograph shows a girl’s baby naming in 20th-century Morocco and another depicts the outfit worn by a female baby at a Greek ceremony.

Curator Warren Klein gives a talk at the exhibition opening. Photo by Scott Brevda, 2025. Courtesy of the Museum at Eldridge Street

The exhibit also features a wimpel, a long piece of cloth used to tie the Torah scroll. Traditionally, wimpels are made from the cloth that swaddled a baby during his bris, and are decorated with prayers for the boy to grow strong, learn Torah and get married.

“These then would be deposited or used in the synagogue, maybe on his bar mitzvah, maybe on special occasions, and then given to the synagogue almost as a census that this person was a part of the community,” Klein said. “There would be communities that had truly thousands of these.”

“Unfortunately, this is a custom that almost died out after the Holocaust,” Klein said. “There was a resurgence in the 20th century and certain communities still practice it. But it is very rare to find.”

Both Gordon and Klein expressed hope that visitors of all backgrounds would gain something from the exhibit.

“It was my hope that, you know, visitors would come in with their traditions or their kind of preconceived notions on what maybe Jewish birth traditions and customs are,” Klein said. “And to also kind of have some ideas to take with them into their own communities.”

The exhibit First Light: Birth in the Jewish Tradition will be on view at the Museum at Eldridge Street until April 26, 2026.

The post It’s time to reconsider what we know about Jewish birthing rituals appeared first on The Forward.

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White House Releases New National Security Strategy Indicating Renewed Focus on Western Hemisphere

US President Donald Trump speaks at the White House in Washington, DC, US, Sept. 25, 2025. Photo: REUTERS/Kevin Lamarque

The White House late on Thursday night released its new “National Security Strategy,” indicating a sharp pivot of the nation’s strategic focus toward the Western Hemisphere while recalibrating US engagement with Europe, the Middle East, and Asia.

The 33-page document only mentions Israel and the Middle East briefly, instead focusing closer to home.

“After years of neglect, the United States will reassert and enforce the Monroe Doctrine to restore American preeminence in the Western Hemisphere, and to protect our homeland and our access to key geographies throughout the region,” the strategy states. “We will deny non-Hemispheric competitors the ability to position forces or other threatening capabilities, or to own or control strategically vital assets, in our Hemisphere. This ‘Trump Corollary’ to the Monroe Doctrine is a common-sense and potent restoration of American power and priorities, consistent with American security interests.”

The strategy adds that the Trump administration wants “to ensure that the Western Hemisphere remains reasonably stable and well-governed enough to prevent and discourage mass migration to the
United States; we want a Hemisphere whose governments cooperate with us against narco-terrorists, cartels, and other transnational criminal organizations; we want a Hemisphere that remains free of hostile foreign incursion or ownership of key assets, and that supports critical supply chains; and we want to ensure our continued access to key strategic locations.”

Publication of the strategy came just after the results of a major new defense survey showed that the American public still overwhelmingly supports active US global leadership and robust military strength.

The White House argues in its strategy that more local challenges represent the most urgent threats to US sovereignty and domestic stability. At the same time, the document downplays the view that deep involvement in conflicts abroad advances US interests. While it reaffirms the importance of alliances and deterrence commitments, it rejects the role of Washington as “global policeman,” instead prioritizing a stronger homeland, resilient supply chains, and revitalized domestic industrial capacity. The strategy also calls for major investment in missile-defense capabilities, including a nationwide system sometimes referred to as a “Golden Dome for America,” echoing Israel’s longstanding layered defense architecture.

The White House’s strategy coincides with the release of data from the newly published Reagan National Defense Survey, which finds Americans more supportive of engagement and global leadership than many pundits have suggested. According to the findings, 64 percent of Americans want the US to be more engaged in world affairs, not less, and 87 percent believe maintaining the strongest military in the world is essential. Meanwhile, 71 percent of Americans say global peace is most likely when the US holds clear military superiority. The data also shows strong majorities support defending key allies if attacked, while 68 percent back building a national missile-defense system, reflecting rising concern about long-range threats. 

For Israel and the Middle East, the White House strategy signals a recalibrated emphasis on preventing Iran from acquiring a nuclear weapon, securing vital maritime chokepoints, and supporting Israel’s long-term security, including cooperation on advanced defense technologies.

Public support for the Jewish state remains strong, though there are indications of waning. Sixty-six percent of Americans view Israel as an ally, a decrease from 72 percent the year prior, according to the Reagan survey.

The survey indicates that 60 percent of Americans approved of the June 2025 US airstrike targeting Iranian nuclear infrastructure, though partisan divides remain prevalent. Enhanced pressure on Tehran, including sanctions and cyber measures, garner even broader bipartisan support. 

Experts indicate that for Israel, a long-standing partner deeply affected by US posture in both Europe and the Middle East, the strategy’s emphasis on missile defense, deterrence, and countering Iranian ambitions will be particularly reassuring. However, some analysts argue that the strategy’s overall de-emphasis on the Middle East and apparent desire to be less engaged outside the Western Hemisphere could prove problematic for the Jewish state.

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