Features
Canadian Associates of Ben Gurion University hold online gala event featuring Shira Haas of “Shtisel” and “Unorthodox” fame
By BERNIE BELLAN Shira Haas may be only 26 years old, but she has already become one of Israel’s best known actors, having starred as an Orthodox Jew in both “Shtisel” and “Unorthodox”. (In real life Shira is not Orthodox, by the way.)
On Wednesday, July 7th, Canadian Associates of Ben Gurion University presented a cross-Canada online event promoting brain research at Ben Gurion University, during which Senator Linda Frum, who was in Toronto, took a leaf from her late mother, Barbara Frum’s playbook, and interviewed Shira Haas, who was in Tel Aviv, in what turned out to be an enjoyable and quite interesting 40 minutes back and forth.
In introducing the event, CABGU National CEO Mark Mendelson said that the event had raised a total of $850,000 toward brain research at BGU.
Mendelson also noted that last year’s “Support our Students” campaign had also raised $1.4 million starting in the spring of 2020 – when Covid was taking an especially heavy toll in Israel. The funds raised were used to allow students at the university to remain in school rather than having to drop out due to financial constraints brought about by Covid.
“Canadian Associates of Ben Gurion University” is “the number one Israel based organization in Canada,” Mendelson said.
Proceeds from the gala event will “fund research into neuro-degenerative disease,” Mendelson explained, including Epilepsy, ALS, Alzheimer’s,
Parkinson’s, Dementia, and Stroke. Prior to Senator Frum’s interview of Haas, some 1500 audience members were given an overview of the advances various researchers at BGU have been making in the treatment of different disorders associated with the brain.
Five different researchers at BGU offered explanations of new developments in which they have been involved in each of those areas. In commenting on the challenges they face, BGU President Daniel Chamovitz quoted David Ben Gurion himself, who once said: “If an expert says it’s impossible, find another expert.”
Chamovitz, who was born in Pennsylvania and obtained his undergraduate degree from Columbia before transferring to the Hebrew University of Jerusalem, where he obtained his Ph.D. in plant science, offered the audience some very personal reflections about the toll Covid had taken on both him and his wife.
Chamovitz noted that he had his own experience dealing with Covid, when both he and his wife, Shira, came down with Covid last September. (Chamovitz has been keeping a very interesting online journal tracking Covid at BGU, called “My Covid Year”.) He said that he’s still dealing with the effects of Covid many months later, noting that “Post Covid Syndrome” affects about 10-15% of individuals – mostly women, who have come down with Covid.
Later, however, during the portion of the evening in which Shira Haas was being interviewed, Chamovitz, who displayed a wry sense of humour whenever he appeared during the event, made a funny observation about his Hebrew-speaking ability.
It turns out that Haas’s next starring role will be as a young Golda Meir in a movie about Golda’s life, to be produced by none other than Barba Streisand, called “Lioness”. Haas was asked how she will master Golda’s American-accented Hebrew. (Golda Meir, although born in Russia, moved to Milwaukee as a young woman, which is where she learned to speak English.)
Haas said it was really just a matter of mastering an accent, to which Chamovitz added that he can readily identify with Golda Meir, whom Israelis often made fun of for her American English manner of speaking Hebrew.
In accepting the position of President of BGU, Chamovitz said, he was proud to become head of a university that has been at the forefront of so many advances within Israeli society, including its inclusion of many members of the Bedouin minority who live near Beer Sheva.
Ben Gurion University is now home to the first female Bedouin professor in Israel, he noted: Sarab Abu-Rabia-Queder, who was also the first Bedouin woman to receive a Ph.D.
When it comes to innovation, Chamovitz observed, “All the nations in the Middle East are looking to us (in Israel) for answers. We’ve been living in the desert” – no university more so than BGU.
Turning to Senator Linda Frum’s question and answer session with Shira Haas, while Frum was seated in some sort of studio, Haas was in a room in her home, which looked quite unadorned – hardly what you would expect to see in the home of a major television star. Following are excerpts from the interview:
Frum: “What’s it like to be an Israeli celebrity?”
Haas: “It’s a feeling of being a family in Israel. Everyone knows everyone. When you walk in the streets and get compliments it’s like people feel they know you.”
Frum: “How did you know you were going to be an actor?”
Haas: “I was very shy. I never thought I’d be an actor. Thanks to Facebook I auditioned for a part just before I turned 16. One of my first auditions was for ‘Shtisel’ (in which she played the part of Ruchamie). It’s hard to believe that was already 10 years ago.”
Frum: “Did you think you’d have a career only in Hebrew or did you want to be an international actor?”
Haas: “When we were doing ‘Shtisel’ or ‘Unorthodox’ nobody ever thought it would get to Netflix – so I never thought I would become an international actor.”
Frum: “When you choose your projects, you don’t take the easy road. Of all the difficult things you’ve done, what was the hardest?”
Haas: “Your question reminded me that a few weeks ago someone stopped me on the street and complimented me. I gave him a big smile and he said: ‘Omigod, it’s so nice to see you smile!’” (in reference to Haas’s roles in “Shtisel” and “Unorthodox” where she faced unremittingly difficult choices and hardly ever smiled.)
“My most challenging role was in ‘Asia’ (pronounced A-seea – in which Haas plays a young girl struggling with a degenerative neurological disease. It hasn’t reached Winnipeg yet.) It was very personal for me.” (Haas had kidney cancer when she was 2, and saw her growth stunted as a result of her chemotherapy treatments, according to a story we ran in our June 23 issue.)
Frum: “You are obviously secular. How did you prepare yourself for ‘Shtisel’ and ‘Unorthdox’?”
Haas: “I was very young when I started doing ‘Shtisel’. I didn’t know much about the Orthodox world. It didn’t occur to me that it’s an Orthodox story. It’s a story about people. It brings people together.”
Frum: “It’s popular because it’s unusual, but also because it humanizes a group about which we don’t know very much. Did it change the dialogue in Israel?”
Haas: “It opened people’s minds – the power of watching art. People all over were suddenly interested.”
Frum: “Did you learn Yiddish for ‘Unorthodox’?”
Haas: “I found out that the Yiddish I needed to learn was completely different from the Yiddish I learned for ‘Shtisel’. Two of my favourite words from ‘Shtisel’ were a ‘bissel’ (meaning “a little”) and ‘koach’ (pronounced “coy-ach” – meaning “strength”).
“I know there are a lot of curse words in Yiddish, but I played Orthodox characters, so I didn’t learn any Yiddish curse words.”
Frum: ‘You’re on a list of the ten hottest Israeli women. (Haas blushed.) How are you going to play Golda Meir?”
Haas: “When she was a young lady she had lovers. I’m going to tell her story. I’m not going to imitate her.”
Frum: “Golda had an American accent. How are you going to pick it up?”
Haas: “Her Hebrew was good, but not as good as her English or Yiddish. She learned Hebrew in her 20s.”
Question from Daniel Chamovitz: “Without Covid, would you be where you are today” (referring to the fact that ‘Unorthodox’ first debuted on Netflix on March 26, 2020 – just as so much of the world was going into lockdown mode)?
Haas: “The first time I knew it (‘Unorthodox’) was a big success was when I was in quarantine and I looked out my window and saw my face on so many screens. I wish circumstances were different.”
Chamovitz: “Covid opened up markets for smaller scale TV shows. Shira, I read that you said you might have been a psychologist. Is that something you’d still consider doing? We have a great psychology program at Ben Gurion University.”
Haas: “Yes, I know. My sister studied psychology at Ben Gurion for her first degree.”
Frum began reading questions sent in by audience members. The first one was: “Time Magazine named you one of the 100 most influential people in the world. How do you feel about that?”
Haas: “It’s amazing. Here I am in Tel Aviv in my pajamas. It’s hard to think of me as one of the 100 most influential people in the world!”
Question: “Are you very active on social media?”
Haas: “Not much. I have an Instagram account, but to me it is something that doesn’t come naturally.”
Chamovitz: “You said that as a child you were shy. Maybe that explains it (her not being active on social media).”
Frum: “I wonder about that – you’re being private and interior, and forcing yourself to expose yourself A lot of times actors let their acting speak for themselves rather than talking.”
Frum: “Why do you feel it’s important to do events such as these? We’re in a moment when it’s not so easy.”
Haas: “I am Jewish, I am Israeli. Even if I play Mary Magdalene, I’m still Shira. I’m very proud Ben Gurion University is where my sister studied, and where my best friend is now studying.”
Frum: “Do you feel pressure to be a voice for Israel?“
Haas: “I don’t have to be political to do what I do.”
Frum: “Are you close with the ‘Shtisel’ family? Will there be a Season 4?”
Haas: “Very close. They will forever by my ‘mishpoche’. (But), it doesn’t feel like there will be a fourth season.”
At that point, various representatives of CABGU came on screen to thank Shira Haas and Linda Frum. And, even though it was the middle of the night in Israel, Shira said she had enjoyed herself so much she would have liked to continue. (There’s an idea for some other Winnipeg organizations.) It was a truly delightful evening. There’s something to be said for a well-planned online event. Congratulations to the organizers.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.