“The Nanny” Is the Kind of Celebratory, Unabashed Representation Jewish Women Deserve

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“The Nanny” Is the Kind of Celebratory, Unabashed Representation Jewish Women Deserve
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On the anniversary of TheNanny's 1993 premiere date, ykhabinsky explores the joyous and much-needed representation the show gave to Jewish women. OpEd

extraordinary was happening on-screen. Fran Fine and her mother, Sylvia, were at temple after learning that the new cantor was both good-lookingsingle, and Fran was getting ready to flirt her way into his arms. For a few seconds, however, we’re treated to notes of Jewish liturgy from the cantor, played by Philip Casnoff, a veteran actor who’s appeared on Broadway. It was beautiful, yes.

I don’t want to portray myself as something I’m not: I’m not religious. I’m what many would define as a secular Jew. Though I attended an Orthodox yeshiva for Russian immigrants for three years after my family’s arrival in New York City from the Soviet Union, I was eventually enrolled in public school when we moved out of state. I go to Conservative temple mainly on the high holidays. When I do go, though, I enjoy it. The melodies move me in a way no other music does.

And yet, the times I’ve seen temple-going or Jewish religious practice portrayed by Jews like me, it’s almost always from the male Jewish perspective and under an umbrella of “reckoning,” a la the Coen brothers orJewish on screen—they are forced to examine their Jewishness, turn it over, dig for clues, use the religion as a lens through which to dissect their relationship with their mother or whatever. Theirs is a Judaism that’s self-conscious and questioning. It can feel, at times, apologetic.

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