Pop Culture

Washington Post's Jewish-Art-About-Jesus 'taboo' extends to theology, too

That Jews have issues in considering the life and ministry of Jesus of Nazareth should come as little surprise. Christ, as Jesus was later called, challenged the spiritual orthodoxy of his day, and remains a challenge to the faith of millions. The bottom line: If Jesus is the Messiah, then Jews (and everyone else) has to make a decision to accept or reject Him.

In Israel, where, cultural sensitivities are high, then, it’s no surprise that Jewish art challenges the taboo of Jesus,” as the Washington Post noted recently.

Nevertheless, it is a little surprising that at the very epicenter of news coverage of this issue in Jewish and Christian experience, there’s practically no discussion of, well, theology.

Diving in:

At the center of the Israel Museum’s newest art exhibit stands an imposing, life-size marble figure of Jesus. The sculpture, titled “Christ Before the People’s Court,” would not be out of place in a church in Rome.
Yet in this depiction, the Christian savior wears a Jewish skullcap.
The sculpture, created by Russian Jewish artist Mark Antokolsky in 1876, is part of a collection of more than 150 artworks by 40 Jewish and Israeli artists who have used Christian imagery to challenge long-held taboos in both communities. It showcases the evolving attitudes of Jewish, Zionist and Israeli artists toward a figure whose place in Jewish history has been negotiated and reinterpreted over more than two millennia.
It is a risky statement for an Israeli museum.
Throughout history, Jews have traditionally shunned Jesus and his gospel. And while the Holy Land might be his accepted birthplace, for Jews in the modern state of Israel there is often resistance to learning about or even acknowledging Christianity.

Again, that's no surprise: As the Post notes, the better part of the past two millennia have been occupied by those blaming Jews for the death of Christ, culminating in the Shoah, the attempt to exterminate the Jewish race undertaken by Germany's National Socialist, or Nazi, party.


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What Meryl Streep said, kind of: LA Times offers Hollywood values (minus you know what)

First things first: I confess that I would pay money to hear Meryl Streep read the ingredients off the side of a cereal box and she could choose the accent she used. I'm a fan. However, to continue my confessions, my reaction to the Twitter storm about her Golden Globes sermon (text here) is rather mixed.

Any reader of this blog knows that I am with her when it comes to cheering for the press to play a watchdog role with the Powers That Be. I would back that argument no matter who is in the White House, not just during GOP (or whatever Citizen Donald Trump is) administrations. As a First Amendment liberal, I would also like to see her cheer for freedom of speech, freedom of association and the free exercise of religion.

But here is my main question, after reading some of the press coverage: Is Streep actually on Trump's payroll?

She could not have given a speech that helped Trump more and, perhaps, hurt the mainstream press more than the one she gave last night. As a #NeverTrump (and #NeverHillary) voter, this has nothing to do with protecting Trump. No, Streep poured more gasoline on the old Hollywood values fires, a fact explored -- kind of -- in a massive Los Angeles Times reaction package on Hollywood, values issues and Trump (and to a lesser extent, Trump voters).

What does this have to do with religion-beat coverage?

Absolutely nothing, in this case. That's bad.

You know that whole "Does Hollywood get the religion market" thing? Don't expect to read about that in this tsunami of digital ink. Maybe there is some thoughtful material in there on entertainment colliding with faith, morality and culture issues, but I couldn't find it before the Times firewall shut me down.

The key statement can be seen in one bold headline: "The notion of a liberal agenda in Hollywood is absurd."


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Taking down Kim Burrell: Sermon on homosexuality gets quick, one-sided media react

When I read about pastor and entertainer Kim Burrell’s sermon where she called homosexuality “perverted,” I knew she was going to be made to pay for that and pay big.

Not only is her name mud in the entertainment world, but her recently launched radio show on a local Texas station just got cancelled.

Believe me, that will just be the beginning. What makes this so timely is that the movie, “Hidden Figures,” in which Burrell sings for the soundtrack is opening this week.

Here’s how the Los Angeles Times explained things:

Gospel singer Kim Burrell labeled homosexuality “perverted” in a sermon she gave in her other life as a Pentecostal preacher, quickly eliciting responses from both Pharrell Williams, with whom she sings on the “Hidden Figures” soundtrack, and two stars from that film, Octavia Spencer and Janelle Monáe.
Burrell and Williams were originally scheduled to perform the soundtrack song “I See a Victory,” on which he is also a producer, on “The Ellen Show” on Thursday, with Monáe also slated to appear as a guest. But on Tuesday morning, show host Ellen DeGeneres announced on Twitter that Burrell would not join Monáe and Williams on Thursday’s show.

Then followed the withering tweet by DeGeneres and then:

“I came to tell you about sin,” Burrell said in the recent sermon at the Houston church she founded and where she is pastor, Love and Liberty Fellowship Church International. “That perverted homosexual spirit, and the spirit of delusion and confusion, it has deceived many men and women.”
A firestorm of criticism was touched off when video of the sermon began to circulate and Burrell took to Facebook Live to add, “There are a lot of people that I’m aware of that struggle or deal [with] or have that spirit. Have I discriminated against them? Have I ever outright told them that I don’t love you and you going to hell? … I don’t give that call.”

That and USA Today’s account were two of the less hysterical stories on the issue.


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Hollywood discovers God! Again! Seriously, this New York Times piece is worth reading

I've been around the Godbeat scene so long that I can remember the days when journalists would wait four of five years before they would write the same Big Trend Story all over again.

You know the ones I'm talking about. Things like the whole "Death of the Religious Right" story or the latest update on "Why megachurches are getting bigger." And did you know that interfaith marriages are a big deal in modern Judaism?

Another one of the standards has been the "Hollywood discovers that religious people watch movies" story. Because of my longstanding interest in this topic (hint, hint), I have been watching journalists discover this trend over and over ever since "Field of Dreams" and  "Home Alone." Hey, do you remember Michael Medved? Then in 2009, The Los Angeles Times even interviewed me about the roots of this trend behind the hit movie, "The Blind Side."

You can blame Mel Gibson and "The Passion of the Christ," of course, but there is more to this evergreen story than one or two big-ticket items.

Still, I was cynical when I saw this New York Times headline the other day: "Secular Hollywood Quietly Courts the Faithful." I expected another quick-turn news feature about this "hot topic."

In this case I was wrong. The basic message of this in-depth business feature was that this is a topic that is not new and that it is not going away, in part because Hollywood has entered an era in which making profitable niche-market films is almost as important as making special-effects blockbusters. And then there is the trend of evangelical churches adding massive video screens to their sanctuaries, so that preachers can spice up their sermons with video clips.

Instead of settling for shallow coverage of the latest wrinkle in this old story, this Times piece went for the deep dive. Here is the overture:

The Rev. Roderick Dwayne Belin, a senior A.M.E. Church leader, stood before a gathering of more than 1,000 pastors in a drafty Marriott ballroom in Naperville, Ill., this month and extolled the virtues of a Hollywood movie.


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'The Shack' movie cometh, but mainstream reporters miss the real religion issues

I first heard of William Young’s “The Shack” in 2008, about a year after it came out. I knew it was an indie book set in the Pacific Northwest and, as it turned out, one of the main characters was kidnapped at an eastern Oregon campground that I’d once frequented. When the father of the victim wanders about the wilderness near Hell’s Canyon trying to find his daughter –- or at least her body -– I knew exactly where he was driving.

The book got a very mixed reception due to its unorthodox theology, but when I traveled to Oregon in the summer of 2009 for vacation –- and to interview the author -– I found him a likable, unassuming man. Despite the fact that he was now worth millions, he was plainly dressed and we met in a coffeeshop near his home in Gresham, a suburb east of Portland.

So it’s no surprise that 10 years after the initial 2007 release date, this story has been turned into a major movie. A writer for the Washington Post previewed it in a piece under a headline touting God as a "curvy black woman." Here's how that starts:

In the coming film adaptation of “The Shack,” a fictional book by William P. Young about a father’s path to renewed faith and healing after his young daughter’s murder, the character of God -- as depicted in the novel -- is portrayed as a curvy, maternal black woman. ...
At issue is Young’s characterization of the Holy Trinity, seen through the eyes of the story’s main character, who on the four-year anniversary of his daughter’s brutal killing is mysteriously invited by someone named “Papa” -- his wife’s affectionate name for God -- to the abandoned shack in the Oregon woods where the girl died.
He goes, reluctant and angry, unsure if he’ll be met by his daughter’s murderer.
Instead, he finds this: a Middle Eastern, Jewish carpenter named Jesus; the Holy Spirit embodied in a wispy Asian woman who loves to garden and God (played by “The Help” star Octavia Spencer) as the very opposite of the Gandolf-like grandpa figure modern society is used to seeing.
This depiction -- God as a woman despite its gender-less designation in the Bible -- has some critics incensed.

Whoa –- wait –- God in the Bible is genderless?


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Fine Washington Post story about Dolly Parton (but try to guess what part got left out)

Quite some time ago, the world-weary team of journalists at Entertainment Weekly produced a surprisingly serious and well thought out list of the most important women in the history of the American entertainment business.

I wish I could give you a URL for that article, but I have never been able to figure out that magazine's approach to digital content. 

Anyway, my memory is that Lucille Ball was No. 1, in large part because of her revolutionary role in managing her own career options. Oh, and she was a brilliant comic actress.

Dolly Parton was No. 2 for pretty much the same reason. Bluntly stated, she was and is a brilliant businesswoman who has opened all kinds of doors for other women in Nashville and the entertainment biz, period. She is also one of the most underrated songwriters, and stage performers, of all time.

I bring this up for a simple reason. Dolly is always news here in East Tennessee, where she is to our culture sort of what the Queen is to England -- only Parton has tons of business clout to go with all of her earth mama of the Smokes symbolism.

Now Dolly has gone and done something really important linked to the wildfires that ravaged our region a few weeks ago. You may have seen one or two short items about that on the national news. Maybe. For elite media, this was kind of like the Louisiana floods 2.0, as in something going on in red-state land that really didn't matter that much. Maybe if Donald Trump had paid a visit?

Parton has pledged, through her foundation, to give every family that lost a home -- 700 homes and businesses were destroyed -- $1000 a month for six months to help get them back on their feet. Her do-it-yourself TV telethon raised about $9 million to help out, too.

You can imagine the local coverage here in East Tennessee. However, Dolly's crusade also caught the eye of editors at The Washington Post, which printed nice, long, highly detailed feature on her. However, anyone want to guess what part of Parton's story the Post pretty much ignored?


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Yes, Virginia ... There IS more Santa Claus-related Clickbait, and it's context-free!

The lot of a newspaper general assignment reporter these days -- even in the tony precincts of the Washington Post -- can't always be a happy one. You're slapped around by the day's events: a Cadillac TV ad "casting call" for an "alt-right" type one day, the tragic story of a guy who turned his life around, only to die while attempting to help someone in distress the next.

It's a tough spot, particularly when one appears to be tasked with aggregating news that happens far from your desk. That generally involves looking at, collecting, paraphrasing and linking to stories from external sources. (Your commentator does something similar with Utah-related business news five nights a week, Sunday through Thursday; I understand a bit of what's involved. Trust me on that.)

So one can have a bit of empathy for Cleve R. Wootson Jr., the Post reporter in question, when it comes to the question of a clearly idiosyncratic individual in Amarillo, Texas, one David Grisham, who apparently feels led to share the "good news" that there is no Santa Claus.

To children. At a mall. While they are waiting in line for interviews with the aforementioned non-existent Santa.

Can you say "clickbait"? I knew you could! (Sorry, couldn't resist.)

At first, the parents try to ignore the screaming man at the mall telling their children they’ve been lied to about Santa Claus.
Then it becomes clear he’s not going to stop.


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Fixer Upper update (with M.Z. flashback): Was Gaines slam just BuzzFeed news style?

Over the past few days, I have been searching for actual updates on the whole BuzzFeed vs. Chip and Joanna Gaines story and, as far as I can tell, there has been little or no news to speak of on that front.

It's clear that, for most journalists, these HGTV stars are cultural heretics who are on the wrong side of history, if not the cable-TV ratings. However, some commentators -- including a few on the cultural left (Brandon Ambrosino here in The Washington Post) -- have asked whether Kate Aurthur of BuzzFeed did the right thing when she probed the couple's silence and, in effect, blamed them for the traditional Christian teachings (on marriage and sex) voiced by their pastor, the Rev. Jimmy Seibert.

For example, Vox has issued one of its usual pieces on What. It. All. Means. The headline is logical: "Chip and Joanna Gaines and the anti-gay controversy over HGTV's Fixer Upper, explained." That's as good a place to start as any, in terms of the status of the journalism issues in this high-profile case.

After expressing lots of outrage over the religious beliefs at the center of the case, Vox reaches the summary paragraphs: "What the fight over the Gaineses’ beliefs is really about." Let's read that:

HGTV has a long history of leaning toward the progressive in the types of people it features on its shows. Same-sex couples are featured in many of its programs. The network airs programs like House Hunters International that sometimes feature non-American same-sex couples, and shows like Property Brothers and Love It or List It have had same-sex couples who had their homes renovated. And the channel stated on December 1 that all of its current programs are open to LGBTQ couples. ...
In 2014 the channel canceled a proposed show, Flip It Forward, because its hosts, David and Jason Benham, were vocally anti-gay. The Benham brothers are sons of a man named Flip Benham, the leader of an organization called Operation Save America, who has gone on the record in saying that “Jesus hates Muslims” and blamed the 2012 Aurora massacre on Democrats. David Benham spoke to a conservative talk show in September 2012 and said, “Homosexuality and its agenda ... is attacking the nation,” plus some nonsense about "demonic ideologies."

Then there is this, the only real commentary on journalism questions:


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Major anniversary for an American classic: The 'It's a Wonderful Life' arguments roll on

Major anniversary for an American classic: The 'It's a Wonderful Life' arguments roll on

In about a week, Seneca Falls, N.Y., will be hosting a celebration of the 70th anniversary of the release of filmmaker Frank Capra's classic (more to come on that adjective) Christmas classic, "It's a Wonderful Life."

This town was the model, in many ways, for Capra's vision of the fictional Bedford Falls, home of the angry, but blessed, dreamer named George Bailey, portrayed in the film by the great Jimmy Stewart. Some of the events will be held, I am sure, at the town's It's a Wonderful Life Museum

I wrote about the ongoing interest in this film this week in my On Religion column for the Universal syndicate, after interviewing Catholic film critic Steven D. Greydanus and digging through my old copies of "The It's a Wonderful Life Book" and "The Name Above the Title," Capra's chatty, but at times philosophical autobiography.

That led to this week's Crossroads podcast (click here to tune that in), in which host Todd Wilken and focused on a two-part question: (1) Is there any real news in the anniversary of this film and (2), while we are at it, what are journalists to make of the fact that "It's a Wonderful Life" remains so popular AND controversial?

Well, I think it's likely that some feature writers will cover the Seneca Falls events as a hook for coverage of the anniversary -- period. However, the real question is whether anyone will probe deeper, exploring the debates that have raged about this film since it was first released (and flopped at the box office).

What kind of debates? That's where you get into the details of Capra's whole worldview -- which is both Catholic and fiercely American -- and the film's unique blend of stark darkness, even anger, and light. The key is that you really need to watch the whole movie, not just the joyful end of the famous final act.

As a clue to the contents of the podcast, let's compare two different views of this movie. First, there is this material from the values section of the Vatican's Best Films List:

This well-known film directed by Frank Capra is made great by the acting of Jimmy Stewart as a genuinely good man who resigns himself to having all of his life plans thwarted by his duty to his community and family. Sometimes vocation is more about doing one’s duty than fulfilling one’s desires. It is only when Stewart’s character submits entirely to his calling, and sees what good he has done for others in his life, that he realizes that his life has been worth living.


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