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With 1.6M followers, TikTok influencer Miriam Ezagui teaches the masses about her Orthodox lifestyle
(JTA) — “Hi my name is Miriam,” the video begins. “I’m an Orthodox Jew, and I share what my life is like.”
So opens a typical TikTok post from Miriam Ezagui, a 37-year-old Brooklyn-based labor and delivery nurse who has amassed 1.6 million followers on the social media platform. Users who make their way to “JewTok,” as the Jewish corner of TikTok is known, have likely encountered Ezagui’s videos, which cover everything from purchasing a sheitel to making matzah ball soup to a makeup tutorial with her daughter.
Since starting her account in May 2020, Ezagui has cemented herself at the top of the searches for “Jewish” and “Orthodox Jewish” thanks to her warm demeanor, easy humor and information-based approach. But she didn’t set out to become a Jewish influencer.
“I didn’t originally start as a Jewish account,” Ezagui told the Jewish Telegraphic Agency. Instead, it was a way to be productive while on maternity leave for her fourth child: “It gave me an excuse to get dressed and not just walk around in pajamas all day.”
“I never would have imagined that it would be where it is today,” Ezagui said of her TikTok account. “It’s been a little life-changing.”
These days, Ezagui gets invited to numerous events and Jewish product launches: she’s received free clothes thanks to collaborations with local retailers; tickets to see the off-Broadway play “The Wanderers” in exchange for an ad on her account, as well as discounts at the well-known Shani Wigs store in Brooklyn. Ezagui, who collaborates with both Jewish and non-Jewish influencers, said she’s often recognized as she goes about her day-to-day life.
Ezagui, who is Hasidic and whose four daughters range in age from 18 months to 9 years old, began her account as a way to share tips on the best ways to safely and comfortably hold a baby using woven wraps. But that all changed in late January 2022, when comedian and “The View” host Whoopi Goldberg said on air that “the Holocaust isn’t about race.”
As the granddaughter of Holocaust survivors, Ezagui said she questioned how someone with as much of a platform as Goldberg had such a lack of understanding about the Holocaust — so she decided to speak up and create a video that debunked Goldberg’s claims.
“I really had a long, hard think about whether I wanted to come out as being openly Jewish online because I was really scared of hatred and antisemitism because it’s so easy for people to do that online because they can just be a blank profile or screen,” Ezagui explained of why she was initially skeptical to post. “I never hide the fact that I’m Jewish, but I was not a social media personality … I share things personally but not with the world.”
Ezagui made her first explainer video in February 2022, breaking down why the Holocaust was an attempt to eliminate the Jewish people because the Nazis viewed them as a lesser race. “I feel like I have an obligation as a Jewish woman,” she said in the three-minute clip. “As the granddaughter of not one, but two, Holocaust survivors, I feel like my voice needs to be heard.”
“The Nazi movement wanted to eradicate Jewish people from the world. They saw us as subhuman, they saw us as inferior, something that the world needed cleansing of,” she added. “If you read the Nuremberg Laws, they refer to us as the Jewish race. They racialized us, they slapped stars on our arms, put us in concentration camps, sent us to gas chambers because we were Jewish — our whiteness didn’t save us.”
Though the video got positive feedback from her followers, the video only received around 350 likes. But her account started attracting a large following in April 2022, when she featured her grandmother, Lilly Malnik, who discussed her memories of the Holocaust. The video, titled “Meet my Bubby,” racked up over 30,000 likes.
In the next four months, several of Ezagui’s videos began to rack up anywhere from tens of thousands to millions of likes and views. In one particular TikTok from June 2022, Malnik discusses how she lost her menstrual cycle while in Auschwitz. The clip garnered 3.1 million likes and 23.4 million views.
Along the way, Ezagui began producing more Judaism-focused content. Within two months of her first Jewish video, half of Ezagui’s content had become talking about the Jewishness of her day-to-day life. These days, she posts a mix of storytimes (a popular type of TikTok video in which creators recount a story about their lives), explainer videos on Orthodox customs and scenes from her days as a mom and nurse.
“It’s a lot about multitasking or it’s a lot about me just filming my everyday life,” she added, explaining how she manages to fit between one and four hours of filming each day, except on Shabbat. “You know, ‘OK, I’m making some chicken matzah ball soup. Let’s take out the camera.’”
It’s a mixture that’s clearly working for her. Fans say that it’s Ezagui’s authenticity — her children are often yelling in the background, for example — is what sets her apart. “I like Miriam so much because I feel like she embodies the idea of an influencer staying true to themselves,” said Alyssa Cruz,19, of Toledo, Ohio. “She does not apologize for living her life a certain way, but she also handles hate and criticism with grace and respect. You can tell her what her true intentions are, and she never tries to be anyone but herself.”
“I like that she’s not as much of an ‘influencer’ as some other similar types of TikTok channels,” said Rachel Delman Turniansky, 57, from Baltimore. “I get that there are people who have been able to monetize their accounts, and good for them, but it’s kind of a nice break from that to see someone who isn’t doing it for that reason.”
“Miriam is a friend of mine, so it’s been fun to watch her grow,” said Shaina, a 25-year-old in Wellington, Florida, who knows Ezagui personally and did not want to share her last name for privacy reasons. “I’m also an Orthodox nurse, and I love seeing the way she runs so many different parts of her life — work, family, religion, TikTok, her own hobbies, etc. — in such a great rhythm. She doesn’t hide behind filters, and set ups. What you see is her real day to day life.”
Though Ezagui’s approach is often no-nonsense and educational, her videos are occasionally livened up with her unique blend of sarcasm and cheekiness — something her fans lovingly call “spicy Miriam.”
“I love Miriam’s humor — it’s mom humor so it reminds me of my own mother,” said 22-year-old Los Angeles native Alexa Hirsch. “I love her sexual innuendos because they’re so lighthearted and cute! I love how she manages to maintain her family friendly persona while also normalizing discussions about personal and private aspects of Orthodox Judaism.”
When asked whether Orthodox Jews can have sex on Shabbat, Miriam responded that the practice is “actually encouraged,” then boldly calls for her husband to help her push the beds together, raising her eyebrows and smirking.
Replying to @greysanatomyfanatic is making a baby allowed on shabbos? #babymaking #shabbos #religion #jewishtiktok #husbandwife
♬ original sound – Miriam Ezagui
As her internet fame has grown, so, too, has the amount of antisemitic comments Ezagui has received on her accounts. Perhaps not surprisingly, she has found that her posts about Judaism have received the most hate. “When people are trolling my account, I’m not afraid to call them out, but I don’t want to make it [my account] all about that,” she said. “But when I do call out, I like to do them in a tasteful way.”
For example Ezagui, in response to a comment saying “go in the oven jew,” Ezagui filmed a video in which she superimposed the comment over a video in which she says: “For thousands of years Jews have been persecuted. Great empires have tried to extinguish our flame, but we survive. We. Will. Always. Survive! Your hatred has no power over me.”
Ezagui emphasized how important it is for her account to be a safe space for all people, regardless of their race, gender or religion. She consistently features content creators and also man-on-the-street videos of people of all backgrounds — in one video, she and a Muslim friend discuss why they cover their hair, and in another she discusses topics like why Purim costumes should not appropriate other cultures.
“I welcome everyone to my channel,” she said. “ I accept people as they are, I think it makes them feel comfortable.”
“She’s all about education, and in a world filled with falsehoods and stereotypes about Jews, it’s nice to see someone actively combatting it and engaging with people’s questions,” said Olivia, a 21-year-old living in Morningside Heights who declined to provide her last name. “There are so many people in the world who have never met anyone Jewish in their lives, and to them, Jews are almost fictitious, mythical, evil creatures rather than just real people. It’s really difficult to be so visible as a Jewish person, especially an Orthodox one, yet she does it anyway, and I think that’s really brave and commendable.”
When the busy mom isn’t on camera and or at work, she enjoys reading, experimenting in the kitchen and getting some much needed R&R at the nail salon.
In the future, Ezagui hopes to bring the birthing classes she runs in the Orthodox community to a wider audience, or even to start a podcast. Both ideas are still in their early stages but would continue her TikTok account’s mission of education.
“A lot of people don’t know Orthodox Jews, and there’s a lot of antisemitism surrounding Jews from a place of not, like, extreme hatred,” Ezagui said. “I’m not here to change anybody’s mind if they hate us for no reason, just to hate. But there’s a lot of people that hate Jews, just because of stereotypes that are not real or because there’s a lack of information.
“One of the things that I hope to accomplish with my account is that people can learn from a Jewish person directly,” she added. “And that has a positive impact.”
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The post With 1.6M followers, TikTok influencer Miriam Ezagui teaches the masses about her Orthodox lifestyle appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”