“The Golem” presents an alternative solution to the ravages of a plague: Jewish mysticism. Spoilers — it goes badly.
“Golem,” a new exhibit in Berlin views the mythical, clay creation from its very beginning to its relevance in the present day.
In a bewildering twist, Spencer is wielding the very same golem metaphor that the media previously used to describe Trump’s growing power.
After 70 seasons, the Chicago Cubs’ World Series appearance seems almost too improbable to believe; especially given the team’s long tradition of dramatic late-season collapses. But now that the team is actually favored to win the series against the Cleveland Indians—their first-game rout notwithstanding—it’s no surprise that fans are beginning to think of supernatural forces.
HBO’s “Westworld” updates the 1973 Michael Crichton film with nods to I.B. Singer and Frankenstein while critiquing capitalism and prejudice. It premieres on October 2.
Gustav Meyrink’s novel ‘Der Golem’ made the Jewish Frankenstein a household name. A century later, authors and readers are still conflicted about literary value.
Long before Stephen Hawking warned us about the dangers of artificial intelligence, the legend of the Golem conveyed to Jews the same subliminal message.
Jonathan and Jesse Kellerman’s opus, ‘The Golem of Hollywood,’ is as ambitious as it is completely ridiculous. Laura Moser explains why that’s not altogether a bad thing.
“We chose the name Golem,” explains singer, accordionist and bandleader Annette Ezekiel Kogan, “because we play Jewish music like a wild, uninhibited monster. But the Golem has a heart, and we too have great reverence for tradition.”
Pearl Loew was the wife of magical Rabbi Yehudah Leib ben Betsalel. He was known as Rav Loew of medieval Prague, and thought to be the creator of the Golem.