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And even when they do manage to notice a rise in antagonism, they somehow employ the wrong strategy to placate it.

As we often read, Jewish ethnic campaigners and institutions (ADL, AJC, BOD etc’) are always flagging up statistics, they prefer to present numbers of ‘anti Semitic’ incidents instead of wondering why these incidents occur in the first place.” In Barton Fink, the eponymous protagonist also fails to process danger after unwittingly befriending a serial killer who he initially pisses off after complaining to the front desk of a hotel they were both occupying despite said serial killer also being the sort of goy “common man” that that he oftentimes speaks so reverently about.

Wherefore, within the Jewish cultural establishment, Jewishness as an entrance ticket has tended to be fused with vaguely leftist, pro-underdog attitudes.

Jewishness alone merely gets you into the lobby.” While they might use somewhat aberrant humor as their weapon of choice as opposed to some turgid academic text, the Coens demonstrate with Barton Fink to be, quite unlike Rosenbaum, the sort of genuinely intellectual curious Jews that a great sage like van den Haag could have appreciated.

While Rosenbaum describes the characters in the film as “comic-book-style Jewish caricatures,” I think they more clearly represent perennial post-religious Jewish archetypes that most Jews, like Rosenbaum, probably wish did not exist yet are ultimately quite clear to anyone that is familiar with Hollywood—both of the past and present as Harvey Weinstein has recently highlighted with his Philip Roth-esque sexcapades in shiksa-defiling.

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