In November 2017, the newly constructed Museum of the Bible opened in Washington, DC. It is reportedly the most technologically advanced museum ever built in the United States, and it is the largest privately funded museum in the country. The majority of the financial backing for the museum, which is free to the public, comes from the Oklahoma-based Green family, founder of the Hobby Lobby chain of craft stores and champion of Christian causes. Despite its backers’ beliefs, the Museum of the Bible goes out of its way to make religious Jews comfortable. To take one of many examples, a visitor must strain his or her eyes in order to see the term “Old Testament” used anywhere in the museum. Instead, it is almost always the “Hebrew Bible” or even the “Jewish Bible”—a signal to Jews that their Torah has not been superseded by Christianity. All of that said, the Museum of the Bible is not a Jewish museum, nor should it be mistaken for one. Nevertheless, Jewish visitors who remain aware of the limitations inherent in such an enterprise have much to gain from the Museum of the Bible. Indeed, somewhat paradoxically, a visit to the museum provides an opportunity even for literate Jews to learn something about the impact of our central sacred texts on the wider world and can have a profound impact on our sense of Jewish pride and religious mission.
Israel has produced several fabulous television series in recent years, perhaps especially those which depict fictional lives of religious Jews. These include the iconic Srugim, which tracks the Friends-like relationships between a group of single friends navigating the South Jerusalem “national religious” dating scene. The entertaining, if somewhat melodramatic, Kathmandu follows the legitimately exciting lives of a Chabad couple living and working in Nepal. Shtisel, both hysterically funny and understated, set a new bar for subtlety and depth in exploring the dynamics of a rather dysfunctional but wholly endearing hasidic-haredi family in Jerusalem.
Shababnikim, one of the latest additions to the mix, is a slickly produced and fast-paced series that chronicles the adventures, both external and internal, of four twenty-something denizens of an elite haredi yeshiva in Jerusalem. The aesthetics, four studs sauntering off to some irrelevant destination with the backdrop of a throbbing rock soundtrack, recalls the HBO series Entourage. The substance spans the gamut from romantic comedy to profound observations about Judaism, the relationship between the religious and secular worlds, and what it means to be a man. In other words, it’s the kind of series that could only exist in present-day Israel, and it’s the invention of a talented religious graduate of the Ma’aleh film school named Eliran Malka.
For the full review see here