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When war needs you in two very different capacities, how on earth do you decide what to do?

The end song is Ana Efneh ("Where Shall I Turn?") by Erez Lev Ari.

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Families, lovers, fighters, and more: one year of Wartime Diaries.

The end song is B'Shana Haba'ah ("In the Next Year") by Shiri Maimon.

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A parent being called to war impacts the entire family. So she stepped up.

The end song is Imma ("Mom") by Shiri Maimon.

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Two bus stops in two neighboring towns capture how war can unify, and how it can divide.

The end song is Autobus Mispar Echad ("Bus Number One") by Shlomo Artzi.

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Seeking love. Called to war.

For our Tu B'Av special, we wanted to get a bird's eye view of the local, post-October 7th dating scene. So we went to visit Rebetzin Toby Einhorn, who runs a one-stop-shop for all matters of the heart.

Image courtesy of Jenny Peperman.

The end song is Shir HaShadchanit ("Matchmaker, Matchmaker") from the Hebrew adaptation of Fiddler on the Roof.

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Despite all the experts and pundits out there, few know Hezbollah as well as the members of a small, and often forgotten, community living in Israel.

This community has found itself in an impossible position: Their adoptive country (Israel) is at war with their sworn enemy (Hezbollah), but is also - as a by-product - bombing their hometowns and villages in Southern Lebanon, where many of their friends and family members still reside. 

Welcome to the Middle East. As always, it’s complicated.     

In today's episode, we hear from Maryam Younnes, whose father was an SLA commander who relocated to Israel back in May 2000.

The end song is Shir Matzav ("A Song of the Situation") by Mika Karni.

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For the last nine-and-a-half months, we’ve been experiencing different kinds of battlefields: There are actual battlefields, where people fight and are wounded and killed. And then, of course, there are secondary battlefields - on college campuses, in the court of public opinion, on social media, on TV, in newspapers, via text messages. And while no one has, thankfully, been killed on those battlefields, they are - in disturbing ways - no less vicious. This reality is so pervasive that for many it’s become the haunting soundtrack of the entire period. But today we want to share one small story, one of countless similar ones that have crossed our radar - about trolling, virtual bullying and Israel bashing.

The end song is Kol Ha'Olam Kulo ("The Whole Wide World") by the Djamchid Sisters.

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Arab-Israelis, or Palestinian Citizens of Israel, or Palestinian-Israelis - all these definitions are obviously complicated and personal and have hefty connotations - found themselves in a very difficult place following the attacks of October 7th. There was a lot of confusion, a lot of suspicion and mainly - a lot of fear. Any statement, any post, any tweet came under extreme scrutiny. Most people chose, therefore, to remain silent. They figured that the benefits of speaking up seemed to be dwarfed by the possible outcomes - being fired, arrested, accused of treason or support of terrorism. 

But Ibrahim Abu Ahmad and Amira Mohammed are not most people. They’re both peace activists who live in between the two societies: They’re Muslim and proud Palestinians, on the one hand, but they are also Israeli citizens, speak Hebrew, have many Jewish friends and either live or work in predominantly Jewish cities in the center of Israel.

So when many people around them retreated into a self-imposed post-October 7th silence, they did the exact opposite: They started a podcast called “Unapologetic: The Third Narrative.” On the show they explore their complex identities, and talk to a wide range of guests - Jews, Arabs, Gazans, Israelis. The podcast has taken off, and Amira and Ibrahim have come to model a different kind of discourse, one that challenges the binary and dichotomous definitions we’re so accustomed to hearing.

The end song is Bahlawan ("Acrobat") by Mira Awad.

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