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King David gets the kiddie treatment
The figure of David is most often imagined nude, and for some people that’s a problem.
Michelangelo’s statue was once made to don a fig leaf in exhibition replicas. As recently as 2023, a school principal in Tallahassee, Florida resigned after parents complained that an image of the marble used in a lesson on Renaissance art was pornographic. (Interestingly, no one is calling for a redacted edition of the Bible, where David is an unabashed adulterer who dances naked before the lord.)
David, like Odysseus, was a man of twists and turns, and that’s what makes him so compelling. Yet there has always been a temptation to contort him into a tidier package, PG and legible to youth. In Hebrew school — and, I imagine, Christian Sunday schools — we hear of his underdog exploits with Goliath. We rarely hear what happens next.
As novelist Geraldine Brooks observed in her book The Secret Chord, David was “the first man in literature whose story is told in detail from early childhood to extreme old age.” It is also a singularly strange story to adapt for children beyond that initial showdown with a Philistine with a pituitary disorder — the rest of David’s story is rife with sex and violence.
Even so, Angel Pictures, the up-and-coming, largely faith-based production house behind The Sound of Freedom (a fear-mongering pageant about human trafficking) and The King of Kings (about you know who) endeavored to put this narrative to film, following a “prequel” series, called Young David. The resulting animated musical David punches above its weight in production value with meticulous filaments of CGI hair and charismatic character design. If you’re looking for biblical fidelity, it mostly follows the text, but in making it family friendly — and perhaps to point in the direction of a certain legacy sequel — it slaps a narrative fig leaf over the interesting bits. Somehow, like so many neutered renditions of Leonard Cohen’s “Hallelujah,” it makes David boring.
Why target this one to kids? David is introduced as a shepherd boy with a sling, making him ripe for a young audience, at least if you skip the part where he decapitates Goliath and carries his head around as a trophy, which this film does. Most children’s media about him emphasizes those salad days heroics or his side hustle as a psalmist.
But the boy will go on, soon after he reaches his age of majority, to procure 200 Philistine foreskins in battle as a bride price. In exile from Saul, we’re told that, when he raided a region, “he would leave no man or woman alive.” At Hebron, he rewards the eager assassins of his rival by relieving them of their hands and feet.
What about this demands the Dreamworks treatment? The aforementioned prequel kiddie show, with its humble pastoral lessons, had to lead to something, I suppose, and here it’s a musical time jump with a new character model and older voice actor. The ads invite us to “watch how a boy becomes a man,” and, more saliently, to do the watching “this Christmas.”
To Christians, David is a sort of Old Testament flashing arrow pointing to Christ. “Christ” means anointed one; David, as we see in the film’s opening moments, after he saves a whelping lamb from a lion, had a horn of oil poured over him by Samuel. Jesus, a metaphorical shepherd, is sometimes called the Son of David.
As scholars of Christianity like Elaine Pagels have noted, the genealogy laid out by Matthew and Luke connects Jesus to David as a way of fulfilling messianic prophecies in Isaiah. This is then, a stealth Christmas story or almost a Jesus prequel, kind of a biblical Phantom Menace, with the added benefit of capturing a Jewish audience that goes out to the movies on Christmas and may be looking for family fare. Catholic comedian Kevin James has promoted it, as has Michael Rappaport.
The story, buoyed by boilerplate praise pop that sings of running towards adventure and “following the light,” tracks the moment David is selected as the future king up to his coronation, stopping before his uniting of the kingdoms in a new capital and his late vocation as a rooftop voyeur with major character flaws.
This David — auburn-haired and American-accented, while all other characters sound vaguely Israeli — is instantly likable, and unbearably insipid, “a man after God’s own heart.” The film had a rabbi advisor — one whose focus is on “ministering to Christians” — and that brings a veneer of Jewish authenticity. Samuel sings some of Psalm 118 in Hebrew as he anoints David (an odd choice given that David is the traditionally-credited author). Production notes boast of paleo Hebrew text appearing throughout and identify some of the songwriters as “Jewish believers in Jesus.” There are wolf motifs littering in the palace of Saul, whose tribe’s founder was likened to a ravenous wolf. Despite these trappings, the project feels derived from a familiar Christian impulse, and errs by taking David’s story beyond the Valley of Elah, where our hero still had a semblance of innocence.
The infancy narrative of Jesus may work for young people around Christmas time, sparing them the gory details of the crucifixion. But beyond a point, David’s early life can’t be so neatly detached from what follows, as the rest of the Bible, even the Christian parts, relies on it. It is hard to imagine this David — pure, faithful, a good shepherd who is reluctant to lead and ostensibly asexual — conquering Jerusalem. It’s harder still to imagine him having his way with Bathsheba (in what many now regard as rape), sending her husband to his death and losing several children as God’s punishment for these transgressions.
None of these events are the film’s concern, but without those pivotal plot points, we don’t have the Temple or the king — Solomon, born of Bathsheba — to build it. Without a temple in Jerusalem, there’s no backdrop for the Passion the film’s hinting at to play against.
The screenplay, by directors Brent Dawes and Phil Cunningham, seems to be optimizing for action — Cunningham described David’s journey as “packed with adventure, with music, with fun” — while staying too squeamish to mount a proper battle scene. There’s the intrigue of Saul’s court, and the thread of dramatic irony, as the old king confides in David about his fear of God’s appointed successor, not knowing it’s him. We see David dash into exile in the wilderness, but we don’t witness his raids or any other mischief, only a crisis of faith. We get a glimpse of the mincing Philistine king Achish (we know he’s evil because of his eyeshadow and earrings) and the skull-laden Amalekites who raze David’s outpost at Ziklag and take his followers captive. (Saul’s failure with the Amalekites is appropriately sanitized — he fell short by letting them escape, not in sparing Agag’s life and keeping his best livestock. If God ordered their genocide, as he does in the source material, we don’t hear about it.)
In case there was any doubt, after David’s mom — here a speaking character — praises God as “the way and the light,” there’s a specific endgame in mind that necessitates our hero be presented as older and on his way to kingship.
To drive the point home, in an invention of the film, the Amalekites hoist David onto a tree to kill him while his mother weeps at his feet. This isn’t some first chapter of David’s rule but the foreshadowing of Jesus’ reign, and you can’t exactly crucify the little shepherd boy with the lyre. (Spoiler: He lives.)
While not to my taste, this would be forgivable if the film, however handsomely animated, didn’t fall into the same old timeworn tropes that even kids are surely bored of now: the precocious younger sister, the fat brother gorging on dates, the upstart Israelite army with vases for helmets who gulp, “Yup, we’re dead,” upon seeing the well-equipped Philistines and their six-cubit champion.
Worse still, the film calls to mind other, better ones, appropriate for children but nowhere near as condescending.
A standout number has David’s mother singing about the world as a tapestry (Carole King she ain’t) and “the view that heaven sees,” essentially a rip off of Prince of Egypt’s “Through Heaven’s Eyes.” You may also cringe at the line “like the way we work the loom, he knit you from inside the womb,” seemingly a play on Jeremiah 1:5, often used by Christians to justify pro-life positions.
David deserves better, but the good news is there’s competition. Amazon’s House of David, now in its second season, goes deep on the dynamics of Judah and Israel, often employing midrash to add texture to the intrigue, and it was reported in 2022 that Leviathan Productions, an outfit focused on Jewish stories, had optioned Brooks’ excellent The Secret Chord.
That shepherd boy from Bethlehem became a giant himself — and we will never stop singing his psalms or wrestling with his complicated, at times cancel-worthy, story. Angel Studios’ David may still challenge Goliath, just not the audience.
The post King David gets the kiddie treatment appeared first on The Forward.
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With the last hostage released, is American Jewish unity over?
When the remains of the last Israeli hostage in Gaza returned to Israel this week, Scott Spindel, a lawyer in Encino, Calif., finally took off the thick steel dog tag he had put on after the Hamas attack of Oct. 7, 2023.
His friend Lauren Krieger, an orthopedic surgeon, did the same. And he pulled down the last of the names of the hostages remaining in Gaza that his wife, Jenn Roth Krieger, had placed in the window of their Santa Monica home.
During the nearly 28 months that Israeli hostages remained in captivity in Gaza, Krieger, 61, and Spindel, 55, consistently argued over Israel’s war in the strip.
“Lauren would say that we probably were a little too extreme,” Spindel, whose daughter serves in the IDF, told me in a telephone interview. “I don’t think we blew up enough buildings.”
But those differences paled beside their mutual concern over the fate of the hostages.
“Unfortunately,” said Spindel, “it took tragedy to pull us together.”
So it was across the American Jewish landscape. Then, the body of Staff Sergeant Ran Gvili, the 24-year-old Israeli police officer killed on Oct. 7 and taken by Hamas terrorists back into the enclave, was returned to Israel — the last of the hostages to come home.
Jews from across the political spectrum unpinned yellow ribbon buttons from their lapels, removed the hostage posters from their synagogues, and folded up and put away the blue-and-white flags displayed as a symbol of the missing Israelis.
The marches and vigils American Jews held on behalf of the hostages — small but meaningful echoes of the mass rallies that roiled Israel — came to a quiet halt.
Jewish unity is forged in adversity. Without it, we are apt to find enemies among ourselves. And as painful as the hostage saga was, it unified an otherwise fractious American Jewish community in a time of crisis.
Without that common concern, are even deeper rifts our future?
“As committed and connected as we were,” said Spindel, “it doesn’t change the fact that we also were still divided about solutions.”
A family in distress
Across the United States, synagogues of all religious and political bents regularly joined in the same Acheinu prayer for the release and return of the hostages.
“Our family, the whole house of Israel, who are in distress,” the prayer begins — a wholly accurate summation of the totality of Jewish concern.
Surveys showed that the hostages unified American Jews even when Israel’s Gaza campaign divided them. An October 2025 Washington Post poll found that a plurality of American Jews disapproved of Israel’s military actions in Gaza — but a whopping 79% said they were “very concerned” about the hostages.
There have been other moments in recent Jewish history when calamity created unity. The 1995 assassination of Prime Minister Yitzhak Rabin, for instance, brought together the vast majority of American Jews in mourning, even those who opposed his policies.
And, of course the brutal Oct. 7 attack, which claimed almost 1,200 lives, created a near-universal sense of shock and sorrow.
But the hostage crisis may have had an even deeper emotional — and perhaps political — impact.
“Even for people who were not affiliated Jewishly, those hostages struck a deep, deep chord,” Krieger told me. “It felt personal. I don’t think we’ve had that level of collective trauma in our lifetimes in that same way.”
And a family divided
The hostage crisis bonded American Jews to one another, and to their Israeli counterparts, at a time when enormous political rifts were opening within their communities.
In the U.S., as in Israel, there were sharp disagreements over Prime Minister Benjamin Netanyahu’s conduct of the war and whether he was even prioritizing the hostages’ safety.
And the encampments and protests against the war at college campuses — in which many Jewish students participated, and to which many others objected — created even deeper divisions over support for the Jewish state.
But if the hostage issue didn’t erase such differences, it muted them. Krieger and Spindel could frustrate each other in conversations about the conduct of the war, or American support for it. But in the end, they were both in that 79% that the Washington Post poll identified.
What will hold them — and the rest of us — together, now?
The hostage crisis provided something history unfortunately bestows upon Jews with regularity: an external enemy that transcended ideological differences. With it gone, American Jews return to what they’ve always been — a community bound by tradition, and riven by politics.
Krieger and Spindel have already resumed their arguments. But even though the dog tags are gone, they’re both still wearing Jewish stars on silver chains around their necks. When someone admires Krieger’s, he takes it off and gives it to them. He buys his metal stars in bulk on Amazon, and has given away dozens since Oct. 7.
“I want people to feel like I do,” he said, “like we’re a peoplehood worth cherishing.”
Worth cherishing — even though we can’t agree on much else.
The post With the last hostage released, is American Jewish unity over? appeared first on The Forward.
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Iran President Says Trump, Netanyahu, Europe Stirred Tensions in Protests
Amnesty International Greek activists and Iranians living in Athens hold candles and placards in front of the Greek Parliament to support the people of Iran, in Athens, Greece, January 30, 2026. Photo: REUTERS/Louisa Gouliamaki TPX IMAGES OF THE DAY
Iranian President Masoud Pezeshkian said on Saturday that US, Israeli and European leaders had exploited Iran’s economic problems, incited unrest and provided people with the means to “tear the nation apart” in recent protests.
The two-week long nationwide protests, which began in late December over an economic crisis marked by soaring inflation and rising living costs, have abated after a bloody crackdown by the clerical authorities that US-based rights group HRANA says has killed at least 6,563, including 6,170 protesters and 214 security forces.
Iranian Foreign Minister Abbas Araqchi told CNN Turk that 3,100, including 2,000 security forces, had been killed.
The US, Israeli and European leaders tried to “provoke, create division, and supplied resources, drawing some innocent people into this movement,” Pezeshkian said in a live state TV broadcast.
US President Donald Trump has repeatedly voiced support for the demonstrators, saying the US was prepared to take action if Iran continued to kill protesters. US officials said on Friday that Trump was reviewing his options but had not decided whether to strike Iran.
Israel’s Ynet news website said on Friday that a US Navy destroyer had docked at the Israeli port of Eilat.
Trump, Israeli Prime Minister Benjamin Netanyahu and Europeans “rode on our problems, provoked, and were seeking — and still seek — to fragment society,” said Pezeshkian.
“They brought them into the streets and wanted, as they said, to tear this country apart, to sow conflict and hatred among the people and create division,” Pezeshkian said.
“Everyone knows that the issue was not just a social protest,” he added.
Regional allies including Turkey, the United Arab Emirates, and Saudi Arabia have been engaging in diplomatic efforts to prevent a military confrontation between Washington and Tehran.
The US is demanding that Iran curb its missile program if the two nations are to instead resume talks, but Iran has rejected that demand.
Foreign Minister Araqchi said in Turkey on Tuesday that missiles would never be the subject of any negotiations.
In response to US threats of military action, Araqchi said Tehran was ready for either negotiations or warfare, and also ready to engage with regional countries to promote stability and peace.
“Regime change is a complete fantasy. Some have fallen for this illusion,” Araqchi told CNN Turk. “Our system is so deeply rooted and so firmly established that the comings and goings of individuals make no difference.”
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CBS News Chief Weiss Touts Commentator Push, Draws Mixed Reaction in Newsroom
FILE PHOTO: Bari Weiss speaks at the 2022 Milken Institute Global Conference in Beverly Hills, California, U.S., May 3, 2022. REUTERS/Mike Blake/File Photo
Three months into her tenure, CBS News Editor-in-Chief Bari Weiss presented a vision this week to revitalize the nearly century-old broadcaster, in part by applying the same formula that fueled the rise of The Free Press – recruiting commentators who offer observations about news, politics and culture.
From adding 19 new commentators, including some drawn from The Free Press ranks, to introducing new podcasts, newsletters and live events, employees were variously energized or skeptical of the ideas presented by CBS’ new boss. Weiss’ notions about how to thrive in a post-Walter Cronkite era struck some as in conflict with the stated mission of doing great journalism, according to seven current and former CBS News employees and industry insiders.
In her presentation, Weiss also envisioned a galaxy of cross-platform stars, like New York Times columnist and CNBC host Andrew Ross Sorkin, whom she highlighted with a meme: “Sorkining.” The Dealbook founder is the author of several business books, executive producer of the Showtime series “Billions,” and maestro of the New York Times premiere live event, and a Davos fixture.
“It’s like saying ‘Hey, Hollywood. Why can’t you just be like Leonardo DiCaprio?’ If people knew how to bottle that magic and make someone a star, they would do it,” said a former CBS employee.
An industry veteran said the idea suggested a lack of appreciation for the power of television, which has been making stars for generations: among them “CBS Evening News” anchors Dan Rather, Connie Chung, Walter Cronkite and Katie Couric.
The 41-year-old Weiss, who has no broadcast experience and has been described as a distant leader by six current and former CBS News sources, now has to deliver on her promise of capturing new and younger viewers – including political independents who don’t see themselves reflected in mainstream media. It is a daunting undertaking that has hobbled executives across broadcast and cable, including former CNN chief Chris Licht, ousted in June 2023.
One supporter sees the charismatic Weiss as a modern-day Katharine Graham, the legendary publisher of the Washington Post, who was undermined by underlings when she took over in 1963. Graham transformed the paper and led it through its Watergate-era heyday, and generally left editorial decisions to Executive Editor Ben Bradlee.
A current staffer, speaking on background, said, “People are saying, ‘Let’s give her a chance’ … I want to see her succeed. If she succeeds, we all succeed.”
CBS News and Weiss did not immediately respond to requests for comment.
PRIORITIES FOR CBS NEWS
Weiss, a former opinion journalist and media entrepreneur, joined CBS after parent Paramount owner David Ellison bought her five-year-old media company, The Free Press, for $150 million in October.
Some see Weiss’ playbook of expanding CBS’s journalism ranks with commentators as conflicting with other initiatives including breaking news and landing deep investigative stories, according to three current and former CBS News staffers and an industry veteran.
“There’s nothing wrong with that,” said the former employee. “But is that what a news division is or are they craving something completely different? That’s fine but don’t pretend it’s a news division.”
Another current CBS News staffer talked about past failures to capitalize on new ways of reaching the audience, such as leveraging the power of the Paramount+ streaming service to promote news shows, observing, “We have done a wretched job of being on the internet.”
Weiss is also attempting to change the news network’s political orientation, appealing to a wider cross-section of Americans, according to her remarks Tuesday. Weiss said she wants CBS News to reflect the friction animating the national conversation.
In broadening its perspective to include more diverse viewpoints, CBS News could ultimately lay claim to the uncharted ground for a center-right broadcaster, said Integrated Media Chief Executive Jonathan Miller, a veteran media executive who has held senior positions at News Corp and AOL.
“We need to commission and greenlight stories that will surprise and provoke – including inside our own newsroom,” Weiss said in her address to employees. “We also have to widen the aperture of the stories we tell.”
On that front, CBS has had mixed results so far. Earlier this month, “CBS Evening News” broadcast a widely panned segment featuring U.S. Secretary of State Marco Rubio in various meme-like situations, saluting him as “the ultimate Florida man.”
EARLY SUCCESSES
It has also seen successes, including Lesley Stahl’s interview with Trump son-in-law and Middle East advisor Jared Kushner and Special Envoy Steve Witkoff, within a week of brokering a peace deal between Israel and Hamas, and Norah O’Donnell’s “60 Minutes” interview with Trump. Paramount paid Trump $16 million to settle a lawsuit over its editing of an interview with his White House rival, former Vice President Kamala Harris.
It landed journalistic scoops, including interviewing the man who charged one of two gunmen who attacked a Jewish community gathering in Sydney, and exclusive video of Alex Pretti, the man killed by Border Patrol in Minneapolis, reading a tribute to a veteran who died in 2024.
Weiss announced that the network would bring in contributors with expertise in politics, health, happiness, food and culture, whom she encouraged staffers to use on-air. The roster includes Free Press columnist Niall Ferguson of the conservative Hoover Institution, as well as Casey Lewis, a former Teen Vogue and MTV editor who writes about youth culture.
“It’s great to have younger people, a diverse demographic and diverse ideology represented,” said Kathy Kiely, the chair in Free-Press Studies at the Missouri School of Journalism. “Newsrooms can’t do a good job unless we have that diversity in our ranks. What worries me is the emphasis on opinion over primary-sourced, reported facts.”
Weiss emphasized making content available online before it airs on TV to reach more viewers. CBS has long been in third place behind rivals ABC and NBC and, like most mainstream media, is struggling with audience declines as consumers migrate to social platforms.
Pew Research estimates about one-third of all adults get at least some news from podcasts. CBS News does not appear among Spotify’s or Apple’s rankings of the top 50 news podcasts.
One former employee expects the digital-first goal to be complicated because CBS hasn’t devoted sufficient resources to helping correspondents or anchors curate their social media presence or re-edit television interviews for YouTube or streaming.
Weiss encouraged staffers to think of the news organization as the best-capitalized media startup in the world.
“We are in a position, with the support of all of the leadership of this company, to really make the change we need.”