As a Jewish viewer and podcast enthusiast, I must confess that “Nobody Wants This” has left me feeling rather conflicted. On one hand, the chemistry between Brody and Bell is undeniable, and their romantic banter is delightful to watch. However, on the other hand, the portrayal of Joanne’s general cluelessness about Judaism seems less like a character quirk and more like willful ignorance.
Many viewers are likely to find “Nobody Wants This” on Netflix quite delightful due to its traditional and generally appealing romantic comedy style.
Despite the predictably sitcom-like feel throughout, the pairing of Kristen Bell and Adam Brody is electric, hinting at the undeniable connection they shared as witty high school teens in 2004. Now, two decades later, they’re ready to prove that they’ve grown up gracefully, inviting viewers to appreciate their timeless charm. The duo is joined by a seasoned ensemble of scene-stealers, and the narrative, created by Erin Foster, offers a unique twist on the typical tale of two mismatched lovers.
Precision comes with its own set of obligations, and while I don’t wish to find myself contemplating “is this beneficial for the Jewish community?”, it’s something I can’t avoid if I were in your shoes (which most of you aren’t). It’s in these circumstances that interacting with “Nobody Wants This” becomes a more debatable matter.
As much as I’m inclined and predisposed to like any comedy in which the male romantic lead calls a love match “bashert,” in which celebrating the rituals of havdalah is treated like foreplay, in which gefilte fish jokes abound, Nobody Wants This leans as heavily into stereotypes as it does sitcom tropes. Occasionally it upends those pieces of too-familiar representation, but it just as frequently doesn’t.
As a passionate viewer, I must acknowledge that the show made a commendable attempt to feature Jewish actors in significant roles. However, it occasionally crosses a line by portraying certain Jewish characteristics as humorous idiosyncrasies, which can unintentionally normalize subtle forms of antisemitism.
The romantic comedy loosely draws inspiration from Foster’s actual life experiences, excluding the unexpected arrival of Katharine McPhee as his stepmother. In this narrative, Bell plays Joanne, who oscillates between enduring unsuccessful first dates and confiding in her sister Morgan (Justine Lupe) about these dismal encounters on their podcast titled “Nobody Wants This“. Critics find the title unappealing for both the podcast and the television series. Joanne’s misadventures in dating serve as the backbone of their show, with some seeing it as an empowerment platform, while others perceive it primarily as a discussion about intimacy.
There’s no greater hindrance for the podcast than Joanne falling in love, especially with Noah (Brody). He had recently come out of a near-engagement with Rebecca (Emily Arlook), after discovering that the relationship was what she, his family, and everyone else wanted, not what he truly desired.
Noah possesses a charming, humble demeanor, coupled with an attractive physique, making him unlike any man Joanne has encountered before, as he’s also a rabbi. However, for a religious leader like Noah, there might be nothing more challenging than falling in love with a non-Jewish woman, and Joanne clearly fits that description.
Noah tells Joanne that originally it’s an offensive term in Yiddish for someone who is unclean and despicable,” said Noah, “but nowadays, people use it more casually to describe a particularly attractive, blond woman who isn’t Jewish.
Joanne agrees, saying it’s quite fitting as she doesn’t adhere to any specific spiritual belief system herself, and surprisingly, she’s not particularly aware of the Jewish culture, given her residence in Los Angeles,” Joanne says.
In a seemingly progressive synagogue, Noah holds the junior rabbi position, with the senior role within reach. However, the complications arise when he considers dating someone who isn’t Jewish. This appears to be a potential problem not just for him, but also his family, especially his parents Bina (Tovah Feldshuh) and Ilan (Paul Ben-Victor). His carefree younger brother Sasha (Timothy Simons) seems unfazed by the situation, but his sister-in-law Esther (Jackie Tohn), who is close friends with Rebecca, harbors resentment that seems to be more than enough for both of them.
Fundamentally, the series “Nobody Wants This” doesn’t offer anything extraordinary. There were instances where I found myself questioning, “Is this really going down this overused plotline?” Granted, being on Netflix gives it the freedom to delve deeper into a sex shop scene than, say, CBS. However, despite its occasional forays, it remains a typical farce that leans heavily on predictable misunderstandings and miscommunications.
First weekend getaway goes astray? Check! Female lead gets the questionable advice that she needs to play harder to get and not throw herself at the man she’s beginning to love? Check! First meetings with various family members go embarrassingly wrong? Double check! The dialogue has a nice crackle and there are some semi-fresh ideas — I liked “The Ick,” to refer to that moment a new love does something small but odd that permanently alters the way you see them. But this is generally a much more conventional take than recent revisionist love stories like You’re the Worst or Colin from Accounts.
The unique Jewish perspective lends a sharpness to “Nobody Wants This,” and I’d be more than happy to delve into the many aspects that the series gets right, such as an episode set in a Jewish summer camp, numerous humorous references, and intricate religious nuances. In terms of stereotyping, there’s a good-humored satire present in Noah’s basketball team, the Matzah Ballers, as well as his interactions with his supervisor, the talented Stephen Tobolowsky.
However, Bina’s characterization lacks the warmth found elsewhere in the narrative, as Feldshuh seems to have reprised a role that feels overly familiar. While it’s acknowledged that the stereotype of “Jewish boys and their co-dependent relationships with their mothers” can hold some truth, it’s disappointing to see such an unsubtle portrayal in 2024, particularly when compared to the affection shown towards Ilan, played by Ben-Victor.
The impact Jewishness poses for this couple is deeply rooted in their real-life situations, particularly that of Foster. Over time, these shared hardships start to seem less like personal anecdotes and more like collective tales spun by a writing team.
Joanne’s lack of knowledge about Jewish customs and practices is increasingly problematic, especially considering her relationship with a rabbi. For instance, if she hasn’t even bothered to find out what a rabbi does, despite hosting a podcast that he listens to, or if she doesn’t know the difference between “shalom” and “shabbat,” it raises questions about her level of interest and respect for his faith. It’s acceptable not to know minor details, but when she brings non-kosher food to a family gathering without asking if it contains pork, it suggests a lack of thoughtfulness or awareness that undermines their relationship.
However, considering all those points, one has to wonder if he isn’t putting in as much effort as expected. Over such a long period, wouldn’t she at least have watched “Fiddler on the Roof” out of simple curiosity? If this lack of interest is intentionally portraying his character, it might be acceptable, but it seems otherwise.
Morgan could potentially be more problematic, though it seems Joanne might just be naive. However, Morgan appears to exhibit active antisemitism, making jokes about Jewish physical traits and engaging in sexual acts while keeping sheets between partners. Despite Lupe being incredibly funny, particularly when compared to her character’s curiosity towards Jews in “The Marvelous Mrs. Maisel”, and their great comedic chemistry with Bell, I chuckled at some of the lines. Yet, I couldn’t shake off the feeling that there was an attempt to make them more likable, or as I refer to it, charm-washing. If the actresses portraying Joanne and Morgan were less charming than Bell and Lupe, I believe their characters would be perceived as unpleasant individuals.
This goes both ways, mind you. One or two jokes about Joanne being a shiksa? Amusing and real! Ten or 15 jokes about Joanne being a shiksa? At that point, it’s a reminder that “shiksa” is, indeed, a slur and bullying is very rarely, in and of itself, funny. Do better by digging deeper!
However, if you only focus on the surface, it’s easy to view this as a love story where one character is confident about their identity and desires, while the other is still figuring things out. Regardless of the intricacies, you can simply enjoy watching Brody and Bell engage in charming flirtations across ten half-hour episodes.
From a devoted fan’s perspective, the engaging banter between Sasha and Morgan becomes a consistent source of amusement, though it seems their dynamic could have been better explored in later seasons. However, Shiloh Bearman’s performance as Sasha and Esther’s bat mitzvah-aged daughter stands out, adding depth to each character through her heartfelt interactions with Joanne, Sasha, and Esther.
As a gaming enthusiast, I can’t help but ponder over the potential that Sherry Cola as Joanne brought to the table in our favorite series. Her comedic prowess, evident from her role in Joy Ride, was simply electric and could have added depth to the podcasting aspect of the storyline. Regrettably, this part of the narrative felt rather thin and could have benefited immensely from her involvement.
“The storyline has potential for development in a second season of ‘Nobody Wants This’, which I’d still be excited about, even with my doubts. Contrary to the show’s title, it’s not that I don’t desire this; on the contrary, I long for it intensely. However, to use an analogy from a completely unrelated romantic comedy, it’s a bit complex.
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2024-09-26 10:25