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In the past few months, I have encountered three new English-language books that all have Hebrew in them. Though it’s become fairly common for English language books to contain snippets of Spanish — Promises of Gold by José Olivarez, for instance, or Junot Diaz’s The Brief Wondrous Life of Oscar Wao —blending Hebrew and English, to my eye and ear, is significantly different. And there is also, of course, something special and notable about centering Hebrew right now.
Most English-language readers can make out a little bit of Spanish. In the United States, Spanish is widely studied and, according to the U.S. Census, more than 41 million Americans speak Spanish at home. The Spanish alphabet and the English alphabet are far closer than the Hebrew and English alphabets, which are wildly different. And Hebrew, of course, is written from right to left.
About 2.4% of America’s population is Jewish, numbering 7.5 million according to Pew, yet only a tiny fraction of American Jews speak Hebrew at home. Sure, day school students can handle a bit of Hebrew, and can read a few sentences of it in a novel or a poetry collection. “In the 2018–2019 school year, a total of 292,172 students were enrolled in Jewish elementary and secondary schools in the U.S.,” according to a report from The Avi Chai Foundation. Yet 65 % of these students are from Hasidic or “Yeshiva World” schools, and unlikely to be reading literary novels and poetry collections.
Meanwhile, Hebrew-school attendance, usually for the non-Orthodox, has decreased over 40 % between 2006 and 2019.
Yet two of the books I saw — Unalone, a poetry collection by Jessica Jacobs, who lives in Asheville, NC, and The Safekeep, a debut novel by Yael Van Der Wouden, who lives in the Netherlands — have actual Hebrew letters, the words spelled correctly, in the text. The third book, Fervor, an ambitious debut novel by the London-based Toby Lloyd, touches on many Jewish themes, from the memory of the Holocaust to the baal tshuva experience. It has a lot of Hebrew transliteration, though no actual Hebrew.
The phrase Baruch Hashem — blessed is God — appears over and over in Fervor, sometimes in places where it seems awkward. I also found myself wondering if it should have been Boruch Hashem, in the Yiddish pronunciation, since a key character in the book is a grandfather from Yiddish-speaking Europe, recounting his memories. But transliteration aside, Fervor is a novel that sticks in my mind, because it is the rare book that addresses the question of belief; it also confronts Jewish history, and how individuals respond to it, and it also offers an up-close portrait of campus antisemitism that seems especially relevant right now.
The main character, Tovyah, a young man who grows up with a writer as a mother and a lawyer as a father, is an intriguing true intellectual; he really loves to learn, and has a voracious appetite for books. Still though he grew up religious, he does not believe in anything. Naturally, his neighbor at Oxford is a young woman with a tenuous connection to Judaism, and a curiosity about it; the chapters she narrates are to my ear the strongest.
The book explores the question of what a writer can write about, and who a writer damages when she has free rein; it is a question most writers have come up against at some point. Fervor culminates in a horrifying event where a family member is destroyed by her own mother’s writing, or so the novel hints at, even as it allows for other possibilities — and other heartbreaks.
Having known individuals deeply damaged by a publication, this did not seem that far-fetched to me. Neither did some of the novel’s other dramatic moments — including a swastika and Star of David carved into Tovyah’s dorm door, or the memory of the Holocaust which haunts a grandfather on his deathbed. I won’t forget the grandfather’s haunting memory of walking a little boy into the gas chambers. As I read Fervor, I found myself thinking that the question of how we the grandchildren of survivors are affected by the Holocaust remains very much alive.
Yael Van Der Wouden’s The Safekeep, also confronts the long shadow of the Holocaust; like Fervor, it has many twists and turns within a gripping family narrative. But I was not expecting it to end with a quote from Isaiah 56:7. For my house will be called.
“She put the Bible away,” Van Der Wouden writes, “and went downstairs to finish the day: to sweep the rooms and wash this morning’s dishes and peel potatoes for dinner. Inside her the words repeated themselves, tumbled around: my house, my house, my house, echoed with her hands in a bucket of suds; devotion devotion devotion, a loop, drying a single knife. A single fork. A small teaspoon, its twisted neck; its drop of a head.”
Seven pages later, the book ends with Isaiah 56:7 in Hebrew, in bold, Hebrew letters. Not a translation, not a transliteration, but actual Hebrew.
In Jessica Jacobs’ Unalone, described as “poems in conversation with the Book of Genesis,” the Hebrew was less of a surprise: it was right there, in the beginning, in the table of contents. The book is arranged according to the parashot of the Book of Genesis, and the table of contents has the names of those parashot — like “Bereishit” — in actual Hebrew letters. I was delighted to see bits of Hebrew in the poems, as well, often when I least expected them.
So what does all of this mean? I think it says that several things are happening in the English-speaking world, all at once. Yes, there is increasing antisemitism and deepening concern in some circles about its spread in literary and cultural spaces; I say “some circles” because anti-Zionist Jews see this differently.
Fervor explores some of this tension, and does a good job depicting the isolation that Jewish students feel — even if they don’t agree with their parents’ views on Israel, or their parents’ takes on Jewish observance. It’s also true that the history of the Holocaust continues to haunt Jewish novelists in many countries, as can be seen in The Safekeep, from The Netherlands, and Fervor, from England. And while Hebrew itself is under attack, as the official language of Israel, which I believe is one reason why Yiddish and Ladino have been gaining popularity among younger language learners, there also seems to be a simultaneous rebellion — a desire to center Hebrew, to include it, to say, this language is a part of all these stories. There is a desire to insist on what Hebrew readers know: this language is eternally relevant.
This language is part of both belief and the questioning of it. It is there in England, in the Netherlands, in Asheville, NC. It is ancient and contemporary. And rather than hiding in the shadows, at this fraught moment, there it is, in both a table of contents and on the very last page of a novel. Take a moment to notice Hebrew making appearances in unexpected places. Long live this trend.
The post Why Hebrew is showing up in unexpected places — and why that matters appeared first on The Forward.
Brendon Thorne/Getty Images
This Memorial Day Weekend was not great for the box office. In fact, it was the worst Memorial Day for the movies since the ’90s. The entire domestic box office pulled in just $126 million — in years past, the No. 1 movie alone has made as much as $160 million, as “Top Gun: Maverick” did in 2022.
A few factors have led to this. First, the WGA/SAG strikes last year put many productions on pause, so some of the bigger movies won’t come out until later in the year.
Another factor is streaming and VOD. “The Fall Guy,” which came out just a month ago, is already available to rent at home. For a family, it’s cheaper to spend $20 to rent something at home than $50-plus on tickets, snacks, and drinks.
And finally? People just weren’t convinced they needed to see some of these films on the big screen.
Here are some of the biggest surprise bombs at the box office this year.
Warner Bros.
As The Wrap pointed out, “Furiosa’s” $32 million opening weekend is the lowest No. 1 total for a Memorial Day Weekend since 1995, when “Casper” topped the box office with $22 million.
Another depressing stat for the “Mad Max: Fury Road” prequel? According to Screen Rant, it had the worst second-week drop of any “Mad Max” movie, plunging a staggering 59%.
Now, why exactly is “Furiosa” flopping so hard? It might be a case of unreasonable expectations. “Fury Road” is rightfully hailed as one of the best action movies of all time, but it didn’t light the box office on fire at first either. Its domestic opening in 2015 was $42.4 million, ending up at a respectable $380 million worldwide.
Also, Anya-Taylor Joy (who plays the titular Furiosa) is famous but not a definite movie star yet — arguably, her big break was for a TV show (“The Queen’s Gambit”), and her last big cinematic hits (“Dune: Part Two” and “The Menu”) were sold on bigger stars like Timothée Chalamet, Zendaya, and Ralph Fiennes.
Sony Pictures Releasing
We can’t only blame “Furiosa” for the abysmal Memorial Day box office. The other film that opened as counter-programming that weekend was “The Garfield Movie,” the second animated adaptation of everyone’s favorite grumpy cat.
The film, which stars Chris Pratt as Garfield, made just $31 million on its opening weekend. So, between “Garfield” and “Furiosa,” the top two movies at the box office made a total of $63 million.
For context, the No. 1 movie at the box office last Memorial Day weekend was “The Little Mermaid,” which made $118 million.
After the billion-dollar success of “The Super Mario Bros. Movie” (also starring Pratt), “Garfield” simply couldn’t measure up. The other big animated movie of the year, “Kung Fu Panda 4,” opened to $57 million and has made $541 million worldwide.
Another test for “Garfield” will be how it fares against “Inside Out 2” on June 14.
Universal
An action rom-com led by the two of the stars of last year’s box-office phenomenon, Barbenheimer? You’d think that’d be a no-brainer smash, but “The Fall Guy” hasn’t lived up to those lofty expectations.
Variety reported that the film was projected to debut between $30 and $40 million, but it made just $28.5 million. At this point, it’s made $158 million worldwide.
As Business Insider’s Jason Guerrasio noted before the film premiered, this May was the first time in 17 years (excluding 2020) that a Marvel movie of some kind hasn’t kicked off the summer. Last May’s Marvel film, “Guardians of the Galaxy Vol. 3,” made $118 million domestically in its opening weekend.
With that looming over its head, it’s no surprise that “The Fall Guy,” based on the little-remembered ’80s TV show of the same name, couldn’t measure up.
Peter Mountain/Universal Pictures, Apple Original Films, and MARV
Put aside the deeply annoying “Who is the real Agent Argylle?” marketing campaign and think about how wild this is: “Argylle,” an action spy-thriller starring Oscar-winner Sam Rockwell, former Superman Henry Cavill, the former star of a multi-billion-dollar franchise Bryce Dallas Howard, living legend Samuel L. Jackson, comedy icon Catherine O’Hara, beloved actor Bryan Cranston, and current pop star Dua Lipa couldn’t crack $100 million at the box-office.
Compare that to the $200 million it cost Apple to make, as reported by Indiewire, and that’s a true box-office bomb, even if Apple claims otherwise.
Jessica Kourkounis/Sony Pictures
If you’re unfamiliar with the Sony Spider-Man Universe (or the SSU), here’s a quick explanation: Marvel (and, therefore, Disney) now owns the rights to almost all of its comic characters. The one property it can’t get back? Spider-Man and all his related villains, friends, and love interests, which are still owned by Sony.
Although Sony and Disney have agreed on a deal that allows Spidey to appear in the MCU, Sony is still holding tight to the rest of his associates, which is how we end up with films like “Venom,” “Morbius,” “Kraven the Hunter,” and yes, “Madame Web.”
Why Sony thought this movie was a good idea is beyond us — Madame Web is a little-known character (and matters even less without, you know, Spider-Man around to help save the day), and star Dakota Johnson hasn’t proven herself to be a cinematic draw outside IP-driven properties like “Fifty Shades of Grey,” which made a combined $1.3 billion worldwide.
With a dismal worldwide box office of $100 million, all that the SSU has proven is that these movies make for good memes.
Moris Puccio/20th Century Studios
“The First Omen” is by no means a huge disappointment for 20th Century Studios — it’s made $53 million worldwide against a $30 million budget — but it wasn’t the hit you might’ve expected from one of the most iconic franchises in horror history.
Variety even reported that projections expected the film to make $14 to $15 million on opening weekend. It made a little over half that: just $8.3 million.
Daniel Smith for Lionsgate
Director Guy Ritchie’s latest film is about Winston Churchill’s secret special forces team that operated in World War II. This team would perform top-secret missions to take down the Nazis — it’s destined to become a No. 1 dad movie in the future.
But for now, this film starring Cavill, Eiza González, Alan Ritchson, and Henry Golding will be known as a movie that cost $60 million to make, according to Variety, and earned just $25.3 million.
It’s been a rough few years for Cavill post-“Justice League” in 2017. He began starring in “The Witcher” in 2019 (a very successful show by all accounts), only to leave after season three. It’s never been officially announced why he left, but the timing did line up with his cameo as Superman in the DCEU film “Black Adam” in 2022.
Unfortunately for Cavill, when James Gunn took over the DC film division, he announced his plans to scrap the entire DCEU (DC Extended Universe) and start fresh with a brand-new Superman, now played by David Corenswet.
And now, Cavill’s last two films since his last appearance as Superman in “The Flash” have bombed.
TriStar Pictures
“The Book of Clarence” is an alternate-history biblical comedy that posits the existence of a 13th Apostle, Clarence.
“The Book of Clarence” is only director Jeymes Samuel’s second film. His first, “The Harder They Fall,” was a critical success and enjoyed by viewers, but it debuted on Netflix, so it was hard to gauge what the box office would be like for his follow-up.
It turns out that biblical comedy doesn’t go over as well as a Western. According to Variety, “The Book of Clarence” cost $40 million to produce and made only $6.2 million worldwide.
Michele K. Short/2024 Focus Features LLC
Cole Sprouse and Kathryn Newton have been tapped as potential movie stars in the next generation of Hollywood and have each been in successful films.
However, their star power and the value of “Frankenstein” as intellectual property didn’t help this ’80s teen comedy earn money.
Even though it was a relatively cheap film to make at just $13 million, according to Variety, it couldn’t crack double digits at the box office. It made only $9.9 million.
Focus Features
“Drive-Away Dolls” was directed by Ethan Coen and was the first film he directed on his own without his brother, Joel (excluding the 2022 documentary, “Jerry Lee Lewis: Trouble in Mind”).
It was also the first Coen film to make less than $10 million since 1991’s “Barton Fink,” which made $6.2 million to “Drive-Away Dolls’” $6.8 million. The Coens have since made 14 films, some of which made as much as $252 million (“True Grit”).
Getty Images; Chelsea Jia Feng/BI
Scientists have reported a major breakthrough in our understanding of inflammatory bowel disorder. It could lead to more effective treatments for conditions like Crohn’s disease, according to a new study.
Researchers from University College London and the Francis Crick Institute used genetic editing to show how specific genes could be cranking up inflammation in the cells.
The underlying pathway for inflammatory bowel disease had previously been poorly understood, making it difficult to find treatments.
The researchers found answers by exploring a “gene desert,” which is an area empty of protein-coding genes that were once thought to be unimportant but make up as much as 25% of the human genome.
Within the gene desert, the researchers discovered a section of DNA termed an “enhancer,” so-called because it can turn up the volume on other genes.
The enhancer was active in specific immune cells called macrophages, previously known to be important for inflammatory bowel disorders. It also appeared to influence a gene called ETS2, a risk factor in IBD.
“Using genetics as a starting point, we’ve uncovered a pathway that appears to play a major role in IBD and other inflammatory diseases,” Dr James Lee, clinical scientist at University College London, consultant gastroenterologist at the Royal Free Hospital, and senior author of the paper, told The Guardian.
Plus, Lee said, an existing class of drugs may be able to halt the process and treat the disease. The discovery is a “holy grail” that offers major hope for a treatment, he told The Guardian.
“Excitingly, we’ve shown that this can be targeted therapeutically, and we’re now working on how to ensure this approach is safe and effective for treating people in the future,” Lee said in a press release.
It’s one thing identifying the root of a mysterious disease. It’s another thing putting that knowledge into practice.
With the help of genetic editing, Lee’s team was able to test the connection between the “enhancer” and IBD. They dialed up the ETS2 in macrophages in the lab, and sure enough, inflammation similar to that seen in patients with inflammatory bowel disease.
That’s important because it means that drugs could help interrupt the cycle to reduce inflammation and treat disease.
Previously, only a small percentage of drugs tested to treat conditions like inflammatory bowel disease were approved, in part because the causes were poorly understood.
Even better, the drugs needed to target this pathway might already be available: the researchers found an existing class of medications prescribed for other conditions helped “switch off” the culprit gene in both macrophages and in gut samples from patients.
The next step in the research is fine-tuning how the drugs are delivered into the body to target specific cells and reduce side effects.
Conditions like inflammatory bowel disease and Crohn’s disease affect almost 5% of the population, and there is currently no cure.
Understanding the potential biological pathways that underlie these diseases could also help researchers fight inflammatory conditions like autoimmune disorders, too.
“IBD and other autoimmune conditions are really complex, with multiple genetic and environmental risk factors, so to find one of the central pathways, and show how this can be switched off with an existing drug, is a massive step forward,” Christina Stankey, a PhD student at the Francis Crick Institute and first author of the paper, said in a press release.
The findings were published June 5 in Nature.
Joey Hadden/Business Insider
In the last three years, I’ve spent over 150 hours traveling 5,000 miles on trains, from 30-hour overnight rides to quick, three-hour journeys.
I’ve taken trains along the East Coast of the US, into the Canadian provinces of Ontario and Québec, and between the European countries of Austria, France, Germany, Italy, and Switzerland. Along the way, I’ve tried out a wide range of seating options, from business and first classes to shared bunks and private rooms.
In August of 2022, I spent six hours traveling in business class from Toronto to Montreal on Via Rail, Canada’s main railroad system. It was my first time using Via Rail, and I was surprised by all the business class offerings, from comfy seats to snacks and meals. It was better than my business-class Amtrak experiences in the US — and totally worth the $200 ticket.
Joey Hadden/Business Insider
ViaRail serves more than 400 stations in eight provinces across Canada with economy seating, business class, and sleeper accommodation, according to the train line’s website.
Joey Hadden/Business Insider
I arrived at 7 a.m. for my 8:30 a.m. train to Montreal.
Joey Hadden/Business Insider
According to its website, Via Rail’s lounges are available to passengers traveling in business class, sleeper plus, prestige, and VIA Rail Premier members traveling in economy.
Amtrak has lounges at select stations too, but they’re only free to access for first-class passengers.
Joey Hadden/Business Insider
I thought it was a quiet and peaceful place to enjoy a coffee and get some work done.
Joey Hadden/Business Insider
My business-class ticket came with priority boarding, so I was able to skip a long line of passengers.
Joey Hadden/Business Insider
No train I’ve ever been on in the US has offered two tables per passenger.
Throughout the trip, I used the side table to hold my coffee while working and to store my laptop while taking work breaks. Beneath the side table, a conveniently placed outlet charged my devices.
Joey Hadden/Business Insider
The Toronto Star reported that Via Rail business-class seats are 18.5 inches wide with a 39-inch seat pitch.
An Amtrak representative told BI that their business-class seats are about an inch wider than Via Rail’s with an additional three inches of legroom, but I don’t think they’re nearly as comfortable.
Joey Hadden/Business Insider
The seats reclined, too, just like in the US. This made them even more comfortable.
Joey Hadden/Business Insider
I found this comforting.
Joey Hadden/Business Insider
Shortly after leaving, a train attendant came around with a complimentary drink service. I ordered a coffee.
Joey Hadden/Business Insider
The train served a warm bagel with cream cheese. It was no New York bagel, I thought, but it was decent and filled me up.
Joey Hadden/Business Insider
Then, train attendants came around again with warm hand wipes before lunch service, which I thought was a nice touch.
Joey Hadden/Business Insider
I went with the pasta. It was a rigatoni dish with sides of corn salad, bread, and carrot bread for dessert. The meal was better than I expected with an al dente cook on the pasta. I also thought it was much better than the pasta I’ve tried on Amtrak trains.
Joey Hadden/Business Insider
I often find overflowing trash cans in train bathrooms, but VIA Rail’s looked like it was cleaned recently.
Joey Hadden/Business Insider
While I thought this was frustrating, at least I was comfortable.
Joey Hadden/Business Insider
Even though we were late, I found business-class train travel to be more comfortable and pleasant in Canada than I typically do in the US. Now I want to explore more of Canada by train.
HBO
“Sex and the City” premiered 26 years ago on June 6, 1998.
The HBO show is undoubtedly a cultural phenomenon, and made actors like Sarah Jessica Parker and Cynthia Nixon household names. Its movie spinoffs were also huge moneymakers: The first film, which was released in 2008, earned over $418 million at the worldwide box office, while 2010’s “Sex and the City 2” earned over $290 million, according to Box Office Mojo data.
The series recently landed on Netflix for the first time, bringing all six seasons of the iconic show to a whole new audience. However, despite its popularity, there are quite a few episodes of “SATC” that haven’t aged well, especially for Gen-Z viewers who might be watching the show for the first time.
Here are nine of the most controversial episodes of “Sex and the City.”
HBO
Episode: Season 1, episode 2
Not only is this behavior morally wrong, it’s also illegal. However, Carrie simply brushes it off as something off-putting. To make matters worse, Samantha finds the fact he videotapes his sexual encounters endearing and even asks him to film her. At the very least, he does so with her consent.
In a 2018 exploration of “Sex and the City” and the #MeToo era for Vanity Fair, “Sex and the City and Us” author Jennifer Keishin Armstrong called attention to this moment as something sexually predatory that likely flew over everyone’s heads at the time.
HBO
Episode: Season 2, episode 10
Even the name of the episode is culturally insensitive, but the problems don’t end there. While Miranda takes out Steve to improve his wardrobe, Samantha dates a man with a live-in Southeast Asian female “servant” named Sum. In the episode, Sum’s only purpose is to act as a villain. She pretends to not speak English well in order to get closer to her employer and make him break up with Samantha, then paints herself as a victim.
The storyline is a classic case of othering and includes racist puns at Sum’s expense.
In a 2016 Refinery29 article, writer Hunter Harris observed that “Sex and the City” was “a show that was simultaneously progressive and regressive, where people of color were either stereotypes or punchlines.”
HBO
Episode: Season 2, episode 11
The man Charlotte is dating reveals he loves Cher, compliments her on her Cynthia Rowley dress, and is terrified of a mouse.
In the episode, the girls discuss whether he is a “gay straight man” — a straight man who comes across as gay — or a “straight gay man” — a man who is really gay but presents himself as straight. The problematic conversation buys into stereotypes about straight and gay people and their interests.
HBO
Episode: Season 3, episode 4
In a brunch scene, there are many problematic statements about bisexuality. Carrie, for example, describes bisexuality as a “layover on the way to gay town.” Charlotte also weighs in on the subject, saying people should “pick a side and stay there.” Miranda calls bisexuality “greedy” and “a problem.”
Throughout the episode, Carrie repeatedly pesters her bisexual love interest about whether he is attracted to men or women more and even asks if she “kisses better than a guy.” Carrie ends up leaving him at a party after a game of all-gendered spin the bottle, where she describes herself as an “old fart.”
In 2018, even Sarah Jessica Parker, who played Carrie, told a reporter at the Wall Street Journal’s Future of Everything Festival that “there was no substantial conversation about the LGBTQ community” on the show, according to Refinery 29, which cited an article by Pink News.
HBO
Episode: Season 2, episode 16
Patrick Casey and Carrie met on the street and immediately got off to a rough start. He told her he was in Alcoholics Anonymous and that his sponsor had told him not to date anyone until he’d been sober for a full year. However, they began dating anyway.
Carrie soon realizes Patrick had become addicted to having sex, which he’d never done without alcohol. After Carrie says she wants to take a break from their relationship, he relapses and strips in the street outside her apartment, calling out her name in the middle of the night.
The episode did little to highlight the nuances of alcoholism. To make matters worse, Carrie even joked that she’d “like to be [an alcoholic] someday” after Casey told her about being in AA.
HBO
Episode: Season 3, episode 5
After Samantha gets more serious with top record producer Chivon Williams, his sister Adeena confronts Samantha to tell her she doesn’t approve of her older brother dating a white woman. The two get into an argument, in which they both say racially charged and insensitive things.
The episode is uncomfortable at best — and downright racist at worst — in its depiction of interracial relationships, and it makes out Adeena to be the closed-minded one.
Sundra Oakley, who played Adeena, told Vanity Fair in 2018 that she was overjoyed to have a role on the show, but “even a few years later … it’s like, oh man, why did it have to be that way? Why couldn’t it have been a different story?”
HBO
Episode: Season 3, episode 18
In arguably one of the most controversial episodes of “Sex and the City,” Samantha gets into a turf war with sex workers who frequent her neighborhood in the Meatpacking District and are described as being transgender (this is never confirmed by the characters themselves, only alleged by the four main girls). She explains how every night, she can hear them yelling outside her window.
While no one likes to deal with noise late at night, she handles it in a problematic way, using a derogatory slur for transgender people and even throwing a bucket of water on them one night.
“It was disappointing to me, as a Black trans woman, to see Black trans women enter the world of ‘Sex and the City’ and be so thoroughly othered,” actress Laverne Cox told Variety’s “My Favorite Episode” podcast in 2019. She added, however, that she still loved the show.
HBO
Episode: Season 4, episode 4
This is another example of problematic language around non-straight relationships. Carrie, Charlotte, and Miranda repeatedly make fun of and invalidate Samantha’s new relationship by comparing Samantha’s shift in sexuality to saying she’s a fire hydrant or a shoe.
The episode does little to discuss the idea of bisexuality or sexual fluidity and provides a terrible example of how to react to a friend coming out.
HBO
Episode: Season 6, episode 12
In the scene, Carrie attempts to get past the embarrassing, problematic exchange by pretending that Petrovsky was talking to her “sister” instead of her. Carrie also proceeds to refer to Petrovsky as “the Russian” throughout the season, and when she tells Mr. Big she’s moving to Paris to be with her new boyfriend, he calls him a mildly derogatory slur for Russian people.
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