In a recent session of my comedy class for Jewish high schoolers, I instructed the students to re-do a scene in the style of the "Tonight Show with Johnny Carson." I might as well have said "gee willakers" and put on my newsies cap.

This past weekend I saw a documentary film called Who Does She Think She Is?. The film profiles five female artists who are also mothers, as well as several commentators including Tiffany Shlain, creator of The Tribe, and Courtney Martin author of Perfect Girls, Starving Daughters and contributor to Feministing.com.

I've always had a soft spot for Joan Rivers. Once, as a student at Barnard, (BC '98), Rivers's Alma Mater, I was highlighted by a Barnard publication for my work as a comedian, and was noted to be "the next Joan Rivers." Erroneously, this allowed me to believe that we were secret best friends, and that if ever I was to meet Joan -I would say "Hello, I am the next You; we are best friends, yes?"  Also erroneous is the claim itself - there is no "Next Joan Rivers" - she is irreplaceable  (nor do I come close).

If I ever had any doubt about whether "the ordinary" mattered, Beautiful Hills of Brooklyn drove such doubt away. Based on a true story, and adapted from the play by Ellen Cassedy, Beautiful Hills of Brooklyn is a life portrait of Jessie Singer Sylvester, a retired elderly Jewish woman living on a pension in 1976 who is confronting the changes in her life and in her beloved Brooklyn neighborhood.

Last night I watched Joanna Rudnick's intimate and informative documentary, "In the Family," about the BRCA genetic mutations that cause a predisposition to breast and ovarian cancer. Using her own story as the framework for the film - she learned that she is a BRCA mutation carrier at age 27 - Rudnick speaks with cancer survivors, doctors, genetic counselors, other "previvors" like herself, and family members about what it's like to know that your body is, as she puts it, a "time bomb."

Ah, Fanny Brice. The name alone evokes the image of a Jewish woman on-stage in glamorous costume, making fun of herself. Well, that and, of course, Barbra Streisand singing “People.” This week marks the 98^th anniversary of Ms. Brice’s iconic debut in Ziegfield’s Follies as “Sadie Salome,” her breakthrough role.

Filmmaker Michal Goldman's At Home in Utopia is a new documentary that traces the history of these "Bronx utopias," focusing on the United Workers Cooperative Colony, or simply "The Coops."

Anyone who was charmed by Jennifer Grey in Dirty Dancing and Ferris Bueller's Day Off could not help but mourn the loss of Jennifer's face after her nose job, (and other facial re-constructions).  What Grey thought to be "enhancements" only resulted in dried up acting gigs and disenchanted fans. 

Yesterday I finally got to see Making Trouble, the film produced by the Jewish Women's Archive, on the big screen. After sold-out shows at film festivals around the country (plus Jerusalem!), Making Trouble made its Boston premiere as part of the Boston Jewish Film Festival. Though I've seen the film several times, and in various versions, it was exciting to see it in a theater, with a big audience.

I was 14 when the movie Dirty Dancing came out, and I was utterly entranced. I loved watching the frizzy-haired Jewish girl not only prove her sexiness and get the guy but also change the people around her. At the time, I didn’t think much about the Jewish subtext of the movie – I just knew that it felt familiar and relevant in some way.

What does a 4'11'' Yiddish theatre gender-bender have to do with a brassy woman in blackface? Making Trouble!

Check out the official website for Making Trouble, the new full-length documentary film about Jewish women comedians, produced by the Jewish Women's Archive.

Be sure to view the trailer, sign-up for our film newsletter, and tune in to film screenings in your neck of the woods. Happy laughing!

That’s what writer David Marchese is looking for, according to the article he wrote last week for Salon.com. He laments the fact that long gone are the hip male Jews of the 60s and 70s like Dustin Hoffman, Bob Dylan, Gene Simmons, Starsky and James Caan (to name just a few). These were Jewish men who came across as tough and multi-layered and complicated in a way that made us love them.

When Sarah Silverman: Jesus is Magic, basically a filmed version of Sarah’s comedy act, came out in theaters last year, I didn’t see it. I knew nothing about her brand of comedy, and was hardly willing to commit to being trapped in a theater for two hours. But a bunch of friends recommended it, so I decided to check it out when it came to video.