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Book bans, Ukraine and the end of Roe: The year 2022 in Jewish ideas
(JTA) — Jewish eras can be defined by events (the fall of the Second Temple, the Inquisition, the founding of Israel) and by ideas (the rabbinic era, emancipation, post-denominationalism). A community reveals itself in the things it argues about most passionately.
It’s too early to tell what ideas will define this era, although a look back at the big debates of 2022 suggests Jews in North America will be discussing a few issues for a long time: the resurgence of antisemitism, the boundaries of free speech, the red/blue culture wars.
Below are eight of some of the key debates of the past year as (mostly) reflected in the Jewish Telegraphic Agency’s opinion section (which I have a hand in editing). They suggest, above all, a community anxious about its standing in the American body politic despite its strength and self-confidence.
Antisemitism and the Black-Jewish alliance
The rapper Kanye West spread canards about Jews and power. Brooklyn Nets star Kyrie Irving shared an antisemitic film on Twitter. And comedian Dave Chappelle made light of both incidents on “Saturday Night Live,” suggesting comics like him had more to fear from cancellation than Jews did from rising antisemitism. The central roles played in these controversies by three African-American celebrities revived longstanding tensions between two communities who haven’t been able to count on their historic ties since the end of the civil rights era. The war of words was particularly vexing for Jews of color, like the rabbi known as MaNishtana and Rabbi Kendell Pinkney — who wondered whether “my mixed Jewish child will grow up in an America where she feels compelled to closet aspects of her identity because society cannot hold the wonder of her complexity.”
Jewish attitudes toward Ukraine
Russia’s war on Ukraine stirred up complex feelings among Jews. It led to an outpouring of support for the innocents caught up in or sent fleeing by Russia’s invasion, and the Jewish president who became their symbol of defiance. It reinvigorated a Jewish rescue apparatus that seemed to have been in hibernation for years. And it probed Jews’ memories of their own historic suffering in Ukraine, often at the hands of the ancestors of those now under attack.
Jews and the end of Roe v. Wade
In June the U.S. Supreme Court voted 5-4 to overturn Roe v. Wade. It was an unthinkable outcome for liberal Jewish activists, women especially, who for 50 years and more had regarded the right to an abortion as integral to their Jewish identity and political worldview. Before the decision came down, Jewish studies scholar Michael Raucher questioned long-held Jewish organizational views that justified abortion only on the narrowest of religious grounds without acknowledging that women “have the bodily autonomy to make that decision on their own.” Conversely, Avi Shafran of Agudath Israel of America welcomed the end of Roe on behalf of his haredi Orthodox organization, writing that the rabbis “who guide us indisputably hold that, absent extraordinary circumstances, terminating a pregnancy is a grave sin.” Responding to Shafran, Daphne Lazar Price, an Orthodox Jewish feminist, argued that even in her stringently religious community, getting an abortion is a “conscious choice by women to follow their religious convictions and maintain their human dignity.”
Colleyville and synagogue safety
A police chaplain walks near the Congregation Beth Israel Synagogue in Colleyville, Texas Jan. 15, 2022. (Andy Jacobsohn/AFP via Getty Images)
After a gunman held a rabbi and three congregants hostage at a Colleyville, Texas synagogue in January, Jewish institutions called for even tighter security at buildings that had already been hardened after the Pittsburgh synagogue massacre in 2018. And yet for some, the sight of armed guards and locked doors undermines the spirit of a house of worship. Raphael Magarik of the University of Illinois Chicago argued that the Colleyville incident shouldn’t lead to an overreaction, especially when congregations are struggling to come back together after the pandemic. Rabbi Joshua Ladon warned about the “impulse to allow fear to define our actions.” Meanwhile, Jews of color said armed guards and police patrols can make them feel unsafe. In a powerful response, Mijal Bitton and Rabbi Isaiah Rothstein of the Shalom Hartman Center wrote that Jewish institutions must think in “expansive and creative ways about how to fight for our combined safety in a way that takes into account the rich ethnic and racial diversity of our communities.”
Anti-Zionism, antisemitism and “Jew-free zones”
When nine student groups at UC Berkeley’s law school adopted by-laws saying that they will not invite speakers who support Zionism, the Jewish Journal in Los Angeles ran an op-ed with the provocative headline, “Berkeley Develops Jewish Free Zones.” In the essay, Kenneth L. Marcus, who heads the Brandeis Center for Human Rights Under Law, argued that “Zionism is an integral aspect of the identity of many Jews,” and that the bylaws act as “racially restrictive covenants,” precluding Jewish participation. Defenders of the pro-Palestinian students countered that groups often invite only like-minded speakers, and that while being Jewish is an identity, Zionism is a political viewpoint. Faculty, politicians and activists weighed in on both sides of what has become a central debate on campuses and beyond: When does anti-Zionism become antisemitism, and how do you balance free speech rights against the claims by some students that their personal safety hangs in the balance?
“Maus” and school book bans
A Tennessee school board voted to remove “Maus” — Art Speigelman’s epic cartoon memoir about the Holocaust — from middle-school classrooms. (JTA photo)
Caught up in an epidemic of book-banning were Jewish books for children and young adults, a list that includes “The Purim Superhero,” “Family Fletcher” and “Chik Chak Shabbat.” A Texas school board removed a 2018 graphic novel adaptation of Anne Frank’s diary. But perhaps the highest profile case of a Jewish-interest book being banned came when a Tennessee school board voted to remove “Maus” — Art Speigelman’s epic cartoon memoir about the Holocaust — from middle-school classrooms, citing its use of profanity, nudity and depictions of “killing kids.” Coverage of the ban misleadingly depicted “Maus” as an introduction to the Shoah for young adults, while Speigelman recently noted that he had become a reluctant “metonym” for the book-banning issue. Jennifer Caplan explained why the book is indispensable: “‘Maus’ forces the reader to bear witness in a way no written account can, and the [illustrations] are especially good at forcing the eye to see what the mind prefers to glide past.”
Artificial intelligence and real-life dilemmas
Artificial intelligence, or AI, has become a fact of corporate life, with computing advances that power robotic automation, computer vision and natural-language text generation. But what captured the public imagination — and dread — this year were sites like Dall-E, which threatened the livelihood of graphic designers by generating original, credible illustrations with no more than a simple prompt, and ChatGPT, which is able to expound cogently and humanly on practically any topic. Beyond everyday ethical dilemmas (“Can I write my book report using ChatGPT?”) AI raised profound questions about what it means to be human. “Rabbis have historically been very open to the idea of nonhuman sentience and have tended to see parallels between humans and nonhumans as an excuse to treat nonhumans better,” wrote David Zvi Kalman in an essay on the prospect of creating artificial life. Similarly, Mois Navon suggested in JTA that “if a machine is sentient, it is no longer an inanimate object with no moral status or ‘rights’ … but rather an animate being with the status of a ‘moral patient’ to whom we owe consideration.
A Pulitzer for “The Netanyahus”
Author Joshua Cohen won the 2022 Pulitzer Prize in Fiction for his novel “The Netanyahus.” (Roberto Serra—Iguana Press/Getty Images)
Joshua Cohen was the somewhat surprising winner of the Pulitzer Prize in Fiction for his novel “The Netanyahus: An Account of a Minor and Ultimately Even Negligible Episode in the History of a Very Famous Family.” Or maybe not so surprising: The book is a fictionalized treatment of a real-life visit in the late 1950s by the Israeli historian Benzion Netanyahu for a job interview at a university very much like Cornell. With Benzion’s son Benjamin angling for an ultimately successful return to office in real life, a satire about Jewish power, right-wing Zionism and Israeli self-regard might have seemed to the judges very much of the moment. As critic Adam Kirsch wrote in a JTA essay, Cohen concludes that both American and Israeli Jewish identities “are absurd, crying out for the kind of satire that can only come from intimate knowledge.” Others weren’t amused. Jewish Currents criticized the novel for being derivative of both Philip Roth and Saul Bellow, and the Jewish Review of Books said that the novel includes “a capsule history of Zionism that is so blatant a distortion that I just gave up.”
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The post Book bans, Ukraine and the end of Roe: The year 2022 in Jewish ideas appeared first on Jewish Telegraphic Agency.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
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