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In ‘The Offering,’ the latest Yiddish-inflected horror movie, a Jewish spirit haunts Hasidic Brooklyn

(JTA) — British filmmaker Oliver Park isn’t Jewish, but he does have a deep appreciation for the Jewish roots of the horror genre that informed his work on “The Offering,” his feature debut as director about an ancient demon set in a Hasidic enclave in Brooklyn.

“Jewish horror stories have been around for thousands of years,” Park told the Jewish Telegraphic Agency. “All of these fantastic and rich stories come from this Jewish space.”

The first horror movie franchise, he points out, centered on the Jewish Golem monster and was produced in the 1910s, years before “Nosferatu,” the well-known silent vampire film from 1922.

The legend of the Golem, said to have originated in 16th-century Prague, has been credited with inspiring “Frankenstein.”

“Having been a lifelong fan, obsessed horror nut that I am, I’ve always wanted to get into the Jewish space,” Park said.

The demon in “The Offering” is known as Abyzou. “She is this very, very old ancient demon. For all we know, she could be Lilith herself,” Park said, referring to a spirit of darkness and sexuality found in biblical and Talmudic texts.

In the film, which hits theaters and on-demand platforms on Friday (the 13th), a young man (Nick Blood) brings his pregnant, non-Jewish fiancé (Emily Weisman) to meet his long-estranged father (Allan Corduner), a Hasidic man who works at a funeral home and morgue in Brooklyn. Long-buried tensions are revealed and revisited, and there are several lines of Yiddish dialogue.

The screenwriter and producer, Hank Hoffman, is the son of a rabbi and has a background in Kabbalah, the Jewish mystical tradition. The main producer, Jonathan “Yoni” Yunger, comes from a Jewish background as well. Hoffman worked in a morgue for a time in his youth.

“Both of them immediately, their brains just exploded with ideas,” Park said. The film was in the making for about six years. He called it “a passion project, and very much their baby.”

“The Offering” was shot in early 2021, with Bulgaria standing in for Brooklyn, and the production was able to continue during a particularly nasty stage of the pandemic. Park called the script “so rich with characters, and so rich with horror, and mythology and rituals, and the occult and esotericism, and all within this beautiful Jewish community.”

Theres has been a boom in the Jewish-themed horror realm in recent years. “The Vigil,” from 2020, took as its subject matter shemira, or the Jewish ritual of watching over a dead body. “The Unborn” was a dybbuk-themed horror movie that came out in 2009 — featuring Gary Oldman as a rabbi — and in 2021, a movie called “Dybbuk” was made in India, in Hindi. That was itself a remake of a 2017 film called “Ezra,” which was made in Malayalam, an Indian language, and involved an Indian Jewish protagonist.

“I’m so excited that in the last 30 or so years, they’ve slowly trickled back through and we’re seeing more and more of them now,” Park said of Jewish-themed horror movies. “So I’m really hoping that there are many more terrifying and disturbing tales that are inspired richly in Jewish folklore.”

Lead actor Nick Blood may have a perfect name for horror — “I think I’m destined to play Dracula one day,” he said — but he described himself as not particularly an enthusiast of the genre. However, he told JTA that the director and writers’ “passion for it convinced me straight away” to star in the film.

Blood said he had some Zoom sessions with a Yiddish teacher in New York, who helped him get words and pronunciations right. Some of the spells and incantations used in the film were in Aramaic, a language with which Hoffman, the screenwriter, is familiar.

“The Offering,” which premiered at festivals last year, comes from Millennium Films, founded by the Israeli-American producer Avi Lerner. Corduner, who plays the father, was raised Jewish, as was actor Paul Kaye (who played Thoros of Myr on “Game of Thrones”), actor Daniel Ben-Zenou and several background actors in the film.

Park and Blood both said that the Coen brothers’ “A Serious Man” was frequently cited in the production of “The Offering,” and not only because of a scene in which a Kabbalah passage appears inside a dead body — much like the Hebrew passage engraved on a dental patient’s teeth in the Coens’ very Jewish movie. In the opening scene of “A Serious Man,” a possible dybbuk appears in a 19th-century shtetl.

“There was an enormous amount of inspiration taken from that film,” Park said.


The post In ‘The Offering,’ the latest Yiddish-inflected horror movie, a Jewish spirit haunts Hasidic Brooklyn appeared first on Jewish Telegraphic Agency.

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Why the Super Bowl antisemitism ad uses a familiar slur

To the editors:

The sticky note cruelly slapped on a high school student’s backpack didn’t have to say “Dirty Jew.”

It could have been any one of dozens of other antisemitic slurs, and believe me, throughout my life and current line of work, I’ve seen and heard them all. At the Blue Square Alliance Against Hate, our Command Center closely tracks the spread of antisemitism online, in all its pernicious forms.

In his piece for the Forward about our new Super Bowl ad, PJ Grisar argues that the ad misses the mark by using “Dirty Jew,” characterizing it as old-fashioned and out of touch with the heavily coded, meme-driven ways students typically express antisemitism today.

We’ve seen all of those slurs gaining traction among younger people that Grisar gave as examples of how kids hate today.

But we didn’t pull “Dirty Jew” out of the history books. In creating the ad, the Blue Square Alliance made a conscious decision to follow the research. Our decisions are based on data, from the one billion social media posts we analyze daily, to our semi-annual 7,000-participant survey on American sentiment toward Jews and antisemitism, to our multi-stage audience testing that is foundational to our creative development.

Here’s the hard data: With nearly 500 million social media impressions since 2023, “Dirty Jew” is a slur that has managed to penetrate all corners of American discourse. Worse yet, its usage online has increased by 174% in the past three years, growing at a significantly higher rate than other slurs. And sadly, the last few years have seen more than a few disturbing and real incidents of the scenario in the ad play out in real life. In U.S. high schools. Right now. Not 1950.

This data-guided approach drove our selection of “Dirty Jew” among all the possible antisemitic slurs as the one to appear on the sticky note. Even though at first glance this phraseology may seem dated, it’s actually timeless and ubiquitous — scarily — and is even outpacing other slurs in frequency of use.

So, whether you’re a Boomer, Millennial or Gen Z, there’s no subtlety to what this ad is showing you: this is antisemitism, pure and simple. And, as Grisar acknowledges in his piece, the challenge of storytelling within a 30-second ad window requires a clear, unambiguous message. In that short time, clarity beats complexity.

It was also important to us to use the high school setting and focus our ad on a younger demographic because that is where we have seen the most concerning trends in antisemitism data. Our most recent survey data shows that Gen Z is three times more likely to witness antisemitism than older generations, and yet nearly twice as likely to say it is not a problem.

At the heart of this campaign is Blue Square Alliance’s dedication to addressing another data point: more than 100 million Americans say they are unengaged in the collective effort to stand up against anti-Jewish hate. We have spent the past few years closely studying this segment, and our surveys show that unengaged Americans often don’t know Jewish Americans, they aren’t familiar with antisemitism (their news feeds and social feeds don’t share the awful stories that we all know too well), and they don’t think antisemitism is a significant problem. Importantly, they don’t feel personal or societal pressure to be an ally.

That’s exactly why we’re using the Super Bowl — a cultural touchstone for the entire country — to raise awareness and model allyship. We test all of our ads, including “Sticky Note” and our earlier ads like “Tony,” specifically with this target audience. What we’re seeing is promising.

Among the unengaged, exposure to our messaging measurably shifts attitudes: viewers become 36% more familiar with recent antisemitic incidents and 41% more likely to see antisemitism as a major problem in the United States. And the impact doesn’t stop at awareness — it moves people to act. After seeing our ads, unengaged viewers are 27% more likely to say they would speak up when they witness antisemitism.

And our work to cultivate allies extends far beyond the television screen. We complement our social media, outdoor and audio campaigns with on-the-ground bridge-building to strengthen connections with Americans across communities and reach those who have not yet been meaningfully involved in this issue. Over the past year, we’ve expanded our programs to bring more people into the conversation, like our partnership with UNCF and Hillel International, now on a 14-stop “Unity Dinner” tour, to connect Black and Jewish students on campuses nationwide. And last fall, we joined with the Appeal of Conscience Foundation to launch “Stand Up Sunday,” an interfaith effort that mobilized hundreds of thousands of congregants across the nation to reject antisemitism and all faith-based hate.

Our founder, Robert Kraft, created the Blue Square Alliance Against Hate in 2019 because he recognized that reversing the rise in antisemitism would require both awareness and empathy.

With “Sticky Note,” we’re showing what it means to be an upstander and giving Americans a clear, accessible way to step off the sidelines. We won’t simply win over the unengaged through displays of toughness and bravado alone, as some people have suggested. To reach the unengaged majority, you have to meet them where they are — not where we, as a deeply committed Jewish community, already stand.

The post Why the Super Bowl antisemitism ad uses a familiar slur appeared first on The Forward.

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Amid Iran Standoff, Witkoff and Kushner Pose Aboard USS Abraham Lincoln Aircraft Carrier

Steve Witkoff (R) aboard the aircraft carrier Lincoln. Photo via i24 / social media used in accordance with Clause 27a of the Copyright Law

i24 NewsSpecial US envoys Steve Witkoff and Jared Kushner visited on Saturday the USS Abraham Lincoln aircraft carrier.

The duo, who led the US in the indirect nuclear talks with Iran on Friday, visited the aircraft carrier at the invitation of US Central Command chief, Adm. Brad Cooper.

The carrier arrived in the region last week as part of a US “armada” amid rising tensions with the Islamic regime of Iran. It is stationed in the Arabian Sea.

The visit came hours after US President Donald Trump stated that while the talks went well, “But I think Iran looks like they want to make a deal very badly, as they should. Last time, they decided maybe not to do it, but I think they probably feel differently. We’ll see what the deal is. It’ll be different than last time. And we have a big armada. We have a big fleet heading in that direction. It’ll be there pretty soon. So we’ll see how that works out.”

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Pentagon Says It Will Cut Academic Ties With Harvard University

U.S. Defense Secretary Pete Hegseth arrives to administer the oath to U.S. Army National Guard soldiers during a re-enlistment ceremony at the base of the Washington Monument in Washington, D.C., U.S., February 6, 2026. REUTERS/Jonathan Ernst

Pentagon chief Pete Hegseth said on Friday his department was ending professional military education, fellowships, and certificate programs with Harvard University, marking the Trump administration’s latest escalation against the school.

President Donald Trump’s administration has cracked down on top US universities, including Harvard, over a range of issues such as pro-Palestinian protests against US ally Israel’s assault on Gaza, diversity programs, transgender policies and climate initiatives.

“Starting now and beginning in the 2026-27 school year, I am discontinuing all graduate level Professional Military Education (PME), all fellowships and certificate programs between Harvard University and the War Department for active duty service members,” Hegseth, who himself holds a master’s degree in public policy from the Harvard Kennedy School, said on X.

The policy will apply to service members enrolling in future programs while those currently enrolled will be allowed to finish their courses, Hegseth said.

He also added that the Pentagon will evaluate similar relationships with other universities in the coming weeks.

Rights advocates have raised free speech, academic freedom and due process concerns over the government’s actions against universities.

A Harvard spokesperson directed Reuters to a page on the history of the university’s ties with the US military that says Harvard has played a “significant role” in America’s military traditions since the nation’s founding.

TRUMP-HARVARD TENSIONS CONTINUE

The university has previously sued the Trump administration over the government’s attempt to freeze federal funding.

Hegseth accused Harvard of “hate America activism,” also calling the university antisemitic in a reference to pro-Palestinian protests.

Protesters, including some Jewish groups, say the government wrongly equates criticism of Israel’s assault on Gaza with antisemitism and advocacy for Palestinian rights with support for extremism.

Harvard has condemned discrimination on campus. Its antisemitism and Islamophobia task forces found last year that Jews and Muslims faced bigotry after the start of Israel’s war in Gaza following an October 2023 Hamas attack.

Trump’s attempts to freeze federal funds for Harvard have faced legal resistance and the two sides have failed to reach a deal thus far.

Trump said this week his administration was seeking $1 billion from Harvard to settle probes into school policies.

Some Ivy League schools have reached agreements with the Trump administration and accepted certain government demands. Columbia University has agreed to pay more than $220 million to the government while Brown University has agreed to pay $50 million to support local workforce development.

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