Community Television Series: The Unexpected Success of “Shtisel”
The creators of “Shtisel,” Yehonatan Indursky and Ori Elon, established two guidelines: no mikveh (ritual bath) and no depictions of sex. This wasn’t self-censorship, but a conscious decision to avoid an outsider’s gaze on a closed society. They aimed to portray universal human experiences, hoping that would resonate with mainstream Israeli audiences.
Initially, “Shtisel” aired on a niche channel and received modest ratings. Critics, however, lauded the series, with one proclaiming it “the best show you didn’t bother watching.” In 2014, “Shtisel” swept eleven Ophirs (Israeli Emmys), including awards for best drama and best original screenplay. Two years later, Israel’s public broadcaster acquired the rights, propelling the series to national prominence. By December 2018, Netflix secured international distribution rights, and a Brooklyn-based American adaptation is in development for Amazon, produced by “Friends” co-creator Marta Kauffman. The show’s success defied expectations, particularly given the absence of physical intimacy onscreen.
Indursky and Elon, despite their different backgrounds, found common ground in storytelling focused on ordinary people living Orthodox lives. Indursky, raised in a Haredi community in Jerusalem, discovered secular literature and film after leaving yeshiva. Elon, from a religious Zionist family in a West Bank settlement, navigates the complexities of his upbringing with a strong sense of humanism. Their collaboration brought a unique perspective to Israeli television, often dominated by secular narratives.
While not intended for Haredi audiences (most of whom don’t own televisions), “Shtisel” gained a cult following within the community, shared illicitly on social media platforms like Telegram. The show’s meticulous attention to detail, particularly its portrayal of the chalmers (Jerusalem’s ultra-Orthodox community), resonated deeply. Phrases from the series entered everyday Haredi lexicon, and the show’s music found its way into ultra-Orthodox weddings. This unexpected success transformed “Shtisel” into a cultural phenomenon, sparking discussions and inspiring artistic endeavors within the Haredi community. The series’ popularity even led one Haredi newspaper to search for the next generation of “Akiva Shtisels” among ultra-Orthodox artists.
This widespread embrace of “Shtisel” within the Haredi community presented a complex dilemma for Indursky. While proud of the show’s achievement, he felt a sense of unease, concerned about the potential impact of representation on a society that traditionally shies away from media exposure. He worried about the “disenchantment” effect, recognizing that watching a portrayal of their own lives could irrevocably alter viewers’ perspectives. Despite the show’s global reach through Netflix, Indursky remained ambivalent about its consumption within the Haredi community, aware of the potential cultural shifts it could trigger. He preferred viewers to understand the inherent trade-offs of engaging with media representations of their closely guarded world.
