Scholarly Consensus on Zoroastrian influence on the Afterlife and Eschatology?

It’s unsure if there was a full consensus but many scholars believe that there was some influence from Iranian religion; however it was not a matter of a simple borrowing per se but rather an interaction of Persian influence (in possibly Hellenized form) and internal eschatological development. Jon D. Levenson in Resurrection and the Restoration of Israel (Yale, 2008) says that Zoroastrian theology “has obvious and striking connections with Jewish apocalyptic in general” and “probably influenced the development of apocalyptic in Jewish circles,” (pp. 215-216), but characterizes it as indirect and having a catalytic role on internal developments (pp. 216, 218).
C. E. Elledge in Resurrection of the Dead in Early Judaism, 200 BCE-CE 200 (Oxford, 2017) discusses the evidence for Persian influence on the resurrection belief and finds that Jewish reception of Zoroastrianism was likely transformative, as “Persian influence may have made it plausible for Judaism to reinterpret the imagery of earlier prophetic texts in a more literalizing way,” with “some sectors within Jewish society were more (and less) susceptible to Persian influence than others” (pp. 52-53). The influence was mediated by Hellenistic channels, as “it is within the Hellenistic era, not the Persian, that Jewish literature seems to preserve the closest putative correspondences with Zoroastrianism” (p. 53), with the sectarian literature at Qumran possibly evidencing direct borrowing of Zoroastrian ideas. Another scholar working on this topic, Antonio Panaino, characterizes Zoroastrian influence on Judaism in this way:
“Rather than deciding between interreligious impact or isolated development within a religious structure, we should consider a kind of evolution of ideas within a particular community’s consciousness which also takes up, or at least is stimulated by, compatible elements from other communities which are both physically and in consciousness in close proximity” (“Trends and problems concerning mutual relations between Iranian pre-Islamic and Jewish cultures,” in Proceedings of the Fourth Annual Symposium of the Assyrian and Babylonian Intellectual Heritage Project, 2004, pp. 220-221).
The similarity is strongest in the complex of ideas pertaining to end-times eschatology: the appearance of an end-times Savior (Saoshyant), a final struggle between good and evil, a resurrection of the dead for judgment, then the Last Judgment occurs, the wicked and righteous are given different destinies, and the renovation of the world (Frašgird) occurs with the dissolution of all evil. Although this apocalyptic scenario is fully expressed in Pahlavi texts, we find it attested in the Younger Avesta (dating no later than c. 300 BCE) with Yt. 19 combining the resurrection with final judgment and the Renovation. Plutarch (De Iside, 47) on the authority of Theopompus (fourth century BCE) gives a brief summary of the final defeat of evil and the Renovation, with details paralleling the one Hellenistic Zoroastrian apocalypse we know about, the Oracles of Hystaspes (first century CE). There are specific details in Second Temple writings that betray a possible acquaintance with Zoroastrian concepts. The demon Asmodeus in the apocryphal book of Tobit (third century BCE) is generally thought to be a borrowing from Avestan Aešma daeuua “(demon of) wrath”. The “bridge of the a[byss]” from 4Q521 (mentioned in relation to the accursed in contrast to those welcomed to heaven) potentially parallels the Kinvat Bridge in Zoroastrian eschatology (Y. 46:10–11, 51:13; Vendidad 19:29–36). The metal mountains in the Book of Parables of 1 Enoch may draw on Zoroastrian apocalyptic notions. The book of Daniel in particular has strong parallels to Zoroastrian material. Two major works on this topic are Jason M. Silverman’s Persepolis and Jerusalem: Iranian Influence on the Apocalyptic Hermeneutic (A&C Black, 2012) and Vicente Dobroruka’s forthcoming Persian Influence on Daniel and Jewish Apocalyptic Literature (Bloomsbury, 2021).