Shtisel: The Unexpected Global Success of an Orthodox Drama

The creators of “Shtisel,” Yehonatan Indursky and Ori Elon, made a conscious decision: no mikveh or depictions of sex. This wasn’t censorship but a choice to avoid an outsider’s gaze, focusing on universal themes to resonate with mainstream Israeli audiences.

Initially airing on a niche channel with modest ratings, “Shtisel” garnered critical acclaim. One critic called it “the best show you didn’t bother watching.” In 2014, it won eleven Ophirs (Israeli Emmys), including best drama. Two years later, Israel’s public broadcaster acquired the rights, catapulting the series to national fame. By December 2018, Netflix secured international distribution, and a Brooklyn-based American adaptation is in development for Amazon, produced by “Friends” co-creator Marta Kauffman. The show’s success, especially without onscreen physical intimacy, defied expectations.

Indursky, from a Haredi background, and Elon, from a religious Zionist family, found common ground in stories about ordinary Orthodox lives. Indursky discovered secular art after leaving yeshiva, while Elon navigates his upbringing with humanism. Their collaboration brought a unique perspective to Israeli television, often dominated by secular narratives.

While not intended for the Haredi community (most lack televisions), “Shtisel” became a cult hit, shared illicitly on platforms like Telegram. Its meticulous detail, particularly of the chalmers (Jerusalem’s ultra-Orthodox community), resonated deeply. Phrases from the show entered everyday Haredi lexicon, and its music played at ultra-Orthodox weddings. This unexpected success transformed “Shtisel” into a cultural phenomenon, sparking discussions and inspiring art within the Haredi community. One Haredi newspaper even searched for the next generation of “Akiva Shtisels” among ultra-Orthodox artists.

This Haredi embrace presented a dilemma for Indursky. Proud of the show’s success, he felt uneasy about its impact on a media-shy society. He worried about “disenchantment,” fearing that watching their lives portrayed could irrevocably alter viewers’ perspectives. Despite “Shtisel’s” global Netflix reach, Indursky remained ambivalent about its Haredi consumption, aware of potential cultural shifts. He preferred viewers understand the trade-offs of engaging with media representations of their closely guarded world.