“There’s no one I can ask, ‘Gee, how did you feel?’ I can’t call Figaro or Carmen and say, ‘Hey, how did you feel about your opera?’”
‘Angels in America” is a play of its time and for ours, too. Tony Kushner’s magnum opus — currently in revival at London’s National Theater, and due in movie theaters here this July — is appropriately apocalyptic, informed by an impression of impending catastrophe. “History is about to crack wide open,” Ethel Rosenberg warns Roy Cohn as he makes the case for his own immortality. “Millennium approaches.” When the angel draws near toward the end of part one, an apparition sighs: “The 20th century. Oh, dear, the world has gotten so terribly, terribly old.”
Transformers embody the Jewish experience — the struggle of Jews to blend into, and pass, in western Christian society.7
“I never wear a yarmulke,” Weinstein said. “But I do when I come into this neighborhood. It’s a sign of respect.”
“Johansson has also been successful because she projects an alienation from her own perfection.”
In this episode of ‘All in the Family,’ the audience sees a swastika on the door before Archie does.
Director Joachim Schroeder said that the government-funded Arte network failed to recognize that “modern anti-Semitism is anti-Zionism.”
Calling Wonder Woman “white” seems to make a lot of people angry — particularly if they’re white.
“Wonder Woman” is the most important superhero of all right now — thanks, in part to Gal Gadot; no thanks to David Edelstein.
Edelstein wrote, in parentheses, “Israeli women are a breed unto themselves, which I say with both admiration and trepidation.”
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