#george wyner

[moviesbabe]

"Have you talked to the rabbi?" A Serious Man (2009) dir. Joel and Ethan Coen

[marley-bean]

Is that George Wyner?

[spockvarietyhour]

George Wyner

[kuzakvanowenshays]

L.A. LAW season 7 guest stars: DIANE LADD, GEORGE WYNER, MICHAEL LEMBECK, SHIRLEY KNIGHT + GREG GERMANN

[abs0luteb4stard]

W A T C H I N G

[kwebtv]

Gilda Radner: It's Always Something - ABC - April 29, 2002

Biography

Running Time: 120 minutes

Stars:

Jami Gertz as Gilda Radner

Tom Rooney as Gene Wilder

George Wyner as Herman Radner

Eric Siegel as John Belushi

John Viener as Chevy Chase

Patrick Fischler as Eugene Levy

Marcia Bennett as Mrs. Elizabeth Clementine "Dibby" Gilles

Dixie Seatle as Joanna Bull

Danilo Di Julio as Dan Aykroyd

Maureen Ross Neilson as Laraine Newman

Jennifer Irwin as Jane Curtin

Kathryn Winslow as Judy

Ari Cohen as Lorne Michaels

Mather Zickel as Bill Murray

[moviehealthcommunity]

Spaceballs (1987)

This is a Movie Health Community evaluation. It is intended to inform people of potential health hazards in movies and does not reflect the quality of the film itself. The information presented here has not been reviewed by any medical professionals.

Spaceballs has a few laser battles with rapid fire and sparks on impact. There are a few moments of TV static, most of which happen in sudden split-second bursts. Several sci-fi decorations use blinking lights in the background.

All of the camera motion in this film is either stationary or very smooth.

Flashing Lights: 6/10. Motion Sickness: 1/10.

TRIGGER WARNING: One character’s name is a euphemism for vomit, and there are a couple of jokes about it.

NOTE: This evaluation is posted on May 4, commonly accepted as Star Wars Day, as this film is a vital part of Star Wars culture.

Image ID: A promotional poster for Spaceballs

[tuttle-did-it]

‘The Committee’ Murder, She Wrote guest stars:

Norman Lloyd (Dead Poet’s Society, The Age of Innocence, Alfred Hitchcock Presents, ST:TNG, Amityville Horror, The Twilight Zone (1986), Quincy ME) He is also a producer with a lot of interesting credits over the years.

Edward Winter (M*A*S*H, The Greatest American Hero, Project UFO, The Angry Beavers, Seinfeld, Step by Step, Herman’s Head, Empty Nest, Who’s the Boss, Columbo, Night Court, The Golden Girls, etc)

George Wyner (Spaceballs, A Serious Man, Fletch, Reboot, The Resident, Grace and Frankie, The Umbrella Academy NCIS, Days of Our Lives, Desperate Housewives, Bones)

John McMartin (All the President’s Men, Blow Out, No Reservations, Kinsey, Law & Order, Fraiser, Coach, Empty Nest, Cheers, Beauty and the Beast, The Golden Girls, Magnum PI, Native Son, The Mary Tyler Moore Show, etc)

John Kapelos (Big Sky, The Umbrella Academy, The Shape of Water, The Breakfast Club, Days of Our Lives, Suits, The Expanse, NCIS, Republic of Doyle, Castle, etc)

S8 E9 1 Dec 1991

[themovieworldaccordingtotps]

TPS’S 25 ADDITIONAL FAVORITE MOVIES OF ALL TIME (2022 Edition)

Spaceballs Director: Mel Brooks Cast: Mel Brooks, John Candy, Rick Moranis, Bill Pullman, Daphne Zuniga, Dick Van Patten, George Wyner, Joan Rivers Best Moment: The Dark Helmet fourth-wall break   Over the Hedge Director: Tim Johnson, Karey Kirkpatrick Cast: Bruce Willis, Garry Shandling, Steve Carell, William Shatner, Wanda Sykes, Nick Nolte, Thomas Haden Church, Allison Janney, Eugene Levy, Catherine O'Hara, Avril Lavigne, Omid Djalili Best Moment: House heist   Babel Director:  Cast: Brad Pitt, Cate Blanchett, Mohamed Akhzam, Adriana Barraza, Gael García Bernal, Elle Fanning, Nathan Gamble, Clifton Collins, Jr., Michael Peña, Rinko Kikuchi, Kōji Yakusho Best Moment: Chase in the border   Courageous Director: Alex Kendrick Cast: Alex Kendrick, Ken Bevel, Kevin Downes, Ben Davies, Renee Jewell, Elanor Brown, Taylor Hutcherson, Robert Amaya, Rusty Martin Best Moment: Javier’s test of honesty   Ernest & Celestine Director: Stéphane Aubier, Vincent Patar, Benjamin Renner Cast: Lambert Wilson, Forest Whitaker, Pauline Brunner, Mackenzie Foy, Lauren Bacall, Paul Giamatti, William H. Macy, Megan Mullally, Nick Offerman, Jeffrey Wright, David Boat Best Moment: Escape to Ernest's cabin

[byneddiedingo]

Michael Stuhlbarg in A Serious Man (Joel Coen and Ethan Coen, 2009) Cast: Michael Stuhlbarg, Richard Kind, Fred Melamed, Sari Lennick, Aaron Wolff, Jessica McManus, Alan Mandel, Adam Arkin, George Wyner, Amy Landecker. Screenplay: Joel Coen, Ethan Coen. Cinematography: Roger Deakins. Production design: Jess Gonchor. Film editing: Joel Coen, Ethan Coen. Music: Carter Burwell. Joel and Ethan Coen's A Serious Man is a mordant tragicomedy that was surprisingly nominated for a best picture Oscar, edging out films like A Single Man (Tom Ford), Julie & Julia (Nora Ephron), Bright Star (Jane Campion), Fantastic Mr. Fox (Wes Anderson), and my own preference, About Elly (Asghar Farhadi). Perhaps the Coen brothers were still coasting on the acclaim and the Oscars they received for No Country for Old Men (2007), but A Serious Man seems to me a decidedly lesser work, too dependent on comic Jewish stereotypes -- the pot-smoking kid studying for his bar mitzvah, the sister saving for a nose job, the feckless uncle who hogs the bathroom, and so on. The protagonist, Larry Gopnik (Michael Stuhlbarg), is a lesser, latter-day Job, whose "comforters" include some preoccupied, cliché-spouting rabbis whom Larry seeks out as he tries to deal with his troubles: His wife (Sari Lennick) wants a divorce so she can marry a widowed family friend, Sy Abelman (Fred Melamed); his freeloading brother Arthur (Richard Kind) keeps getting in trouble with the police; his bid for tenure as a physics professor is threatened by a student -- a stereotyped Asian -- who tries to slip him an envelope full of cash so Larry will change his grade; a gentile neighbor seems to be displaying passive-aggressive hostility; a provocatively sexy neighbor sunbathes naked while Larry is on the roof trying to adjust the TV antenna, and so on. He is plagued with nightmares in which all of these figures combine to torment him. The Coens seem to regard all of this as a kind of parable: They begin the film with their version of a Jewish folktale involving a man, his wife, and a dybbuk, and they end it with an approaching tornado -- is God going to speak out of the whirlwind? But the result, especially given the setting in 1960s suburbia, feels more like imitation Philip Roth. There's a lot to admire in the film, including Roger Deakins's cinematography, and some of the theological issues it raises are worth raising, but it left me with a sour feeling.

[spockvarietyhour]

[thecollectors-world]

"Spaceballs" ist ein amerikanischer Parodie-Film aus dem Jahr 1987, der von Mel Brooks mitverfasst, produziert und inszeniert wurde. Er ist hauptsächlich eine Parodie auf die originale Star Wars-Trilogie, parodiert aber auch andere Science-Fiction-Filme und beliebte Franchises wie Star Trek, Alien, Der Zauberer von Oz, 2001: Odyssee im Weltraum und Planet der Affen . Der Film wird von Bill Pullman, John Candy und Rick Moranis in den Hauptrollen gespielt, wobei die Nebenrollen von Daphne Zuniga, Dick Van Patten, George Wyner, Lorene Yarnell und der Stimme von Joan Rivers besetzt sind. Neben Brooks, der eine Doppelrolle spielt, sind auch Brooks' Stammkräfte Dom DeLuise und Rudy De Luca in Cameo-Auftritten zu sehen.

Als Mel Brooks "Spaceballs" entwickelte, wollte er seine Parodie so nah wie möglich am Original halten. Obwohl die Figur Yogurt (gespielt von Mel Brooks) im Film Merchandising erwähnt, war die Vereinbarung von Brooks mit George Lucas bezüglich der Parodie auf Star Wars, dass keine Spaceballs-Actionfiguren hergestellt werden sollten.

Laut Brooks sagte Lucas: 'Deine Actionfiguren werden meinen ähneln.' Ich sagte OK."

Diese Vereinbarung inspirierte Brooks jedoch dazu, die Szene mit Yogurts "Merchandising" zu schreiben und im Film verschiedene Spaceballs-markierte Produkte wie Tischsets und Toilettenpapier einzufügen.

Außerdem ließ Brooks Lucas' Firma die Postproduktion des Films durchführen, da er sagte: "Ich spielte mit den Leuten, die Nein sagen hätten können." Lucas schickte später Brooks eine Nachricht, in der er seine Liebe zum Film und seiner Storystruktur zum Ausdruck brachte, und gestand, dass er "Angst hatte, sich kaputt zu lachen."

Bill Pullman erhielt die Rolle des Lone Starr, als Brooks und seine Frau Anne Bancroft ihn in einem Theaterstück sahen. Pullman hatte zuvor nie Star Wars gesehen. Brooks hatte zuvor vergeblich versucht, große Namen wie Tom Cruise und Tom Hanks für den Film zu gewinnen. Pullman sagte:

"Ich denke, [Mel] war enttäuscht, dass sie nicht darauf eingegangen sind ... aber dann zog es zwei der großen Comedians dieser Zeit an: John Candy und Rick Moranis. Als das gesichert war, sagte er: 'Hölle, ich werde jemanden nehmen, den niemand kennt!' Und ich bekam die Chance dazu."

Daphne Zuniga empfand Brooks' Film-Parodien zunächst als zu derb und nicht besonders lustig. Nach der Zusammenarbeit mit Brooks änderte sie jedoch ihre Meinung.

Der Film hatte ein geschätztes Budget von 22,7 Millionen US-Dollar und erzielte letztendlich während seiner Laufzeit in den USA Einnahmen in Höhe von 38.119.483 US-Dollar. An seinem Eröffnungswochenende nahm er 6.613.837 US-Dollar ein und landete damit auf dem zweiten Platz hinter "Dragnet".

Zur Zeit der Veröffentlichung gab Roger Ebert von der Chicago Sun-Times dem Film 2,5 von 4 Sternen und bemerkte: "Ich habe viele Teile des Films genossen, aber ich hatte ständig das Gefühl, bei einer Wiederaufführung zu sein... er hätte vor einigen Jahren gemacht werden sollen, bevor unser Appetit auf Star Wars-Parodien völlig gestillt war." Gene Siskel von der Chicago Tribune gab dem Film 3 von 4 Sternen und sagte, dass es "genug lustige visuelle Gags gibt, um diesen wild ungleichen Film zu empfehlen." Variety kritisierte jedoch den Film und nannte ihn eine fehlgeleitete Parodie, die nicht sehr lustig sei.

Interessanterweise gewann der Film den Preis für "Schlechtester Film" bei den Stinkers Bad Movie Awards von 1987.

Kritiken die ich nicht teilen kann...

Der Film ist eine großartige Parodie auf die Originale Star Wars Trillogie.

Wer keine Klamaukfilme mag,sollte es natürlich lassen denn der Humor ist teilweise etwas spezieller so wie es für Mel Brooks Filme allgemein üblich ist..

[motionpicturelover]

"My Favorite Year" (1982) - Richard Benjamin

Films I've watched in 2022 (197/210)

Full film on Archive.org

[matan4il]

Here's the article in full:

One of the marks of anti-Semitism, George Orwell observed in 1945, is “an ability to believe stories that could not possibly be true”. Which brings us smartly to Hamas and how the broadcast media, aid organisations, international bodies and world leaders take its disinformation as gospel. Last week it became clear that this gullibility may have led to a crime against reality.

A new analysis of the group’s casualty statistics indicates that the rag-tag terror army may have pulled off one of the biggest propaganda coups of modern times. The figures, repeated by everyone from the White House to the BBC, are freighted with familiarity: 30,000 dead in Gaza, 70 per cent of whom are women and children. Yet it now seems overwhelmingly likely that these statistics are fabricated.

Professor Abraham Wyner, a data scientist at the University of Pennsylvania, has conducted a thorough analysis. He found that Hamas’s official civilian death toll was statistically impossible. “Most likely, the Hamas ministry settled on a daily total arbitrarily,” he wrote in an incendiary essay in Tablet. “We know this because the daily totals increase too consistently to be real. Then they assigned about 70 per cent of the total to be women and children, splitting that amount randomly from day to day. Then they in-filled the number of men as set by the predetermined total. This explains all the data observed.”

The giveaways were many. For example, the reported death toll mounted “with almost metronomical linearity”, Prof Wyner found, showing little daily variation. Obviously, this bore no resemblance to any plausible version of reality. Then there was the fact that, according to Hamas data from 29 October, 26 men came back to life; and the fact that on several days, no men were apparently killed at all, but only women. Were we really supposed to believe any of this?

In February, Hamas admitted to losing 6,000 of its fighters, representing more than 20 per cent of the total casualties reported. Given its claims that 70 per cent of the dead were women and children, there were two possible conclusions: either almost no male civilians had died, or almost all the men in Gaza were fighting for Hamas. Both were obviously absurd.

Therefore, the number of women and children killed was likely grossly exaggerated. If that is the case – if, as Prof Wyner suggests, “the casualties are not overwhelmingly women and children, and the majority may be Hamas fighters” – where does that leave western outrage? Has the West fallen victim to a monstrous con?

The true ratio of civilian casualties to combatants is likely to be exceptionally low, “at most 1.4 to 1 and perhaps as low as 1 to 1”. This, Prof Wyner says, is a “successful effort to prevent unnecessary loss of life while fighting an implacable enemy that protects itself with civilians”.

By rights, if the central pillar of the anti-Israel edifice has been discredited, the whole structure should come tumbling down. But don’t hold your breath. The reason why Hamas’s dodgy data is so easily believed is confirmation bias. The drip-drip of Israelophobic propaganda over the years has created a powerful tendency to view the Jewish state, Britain’s democratic ally, as a colonialist aggressor and the Palestinians – even as they butcher children – as the “freedom fighters”. Regardless of the evidence, to many people this has become second nature.

It speaks of millennia of inherited anti-Semitism. A 2012 study by economists Nico Voigtländer and Hans-Joachim Voth found that Germans from towns where Jews were blamed for the Black Death and burnt alive in the 14th century were significantly more likely to vote for the Nazis 600 years later. In his 1945 essay, Orwell recalls a “young intellectual, communist or near-communist” remarking: “No, I do not like Jews. I’ve never made any secret of that. I can’t stick them. Mind you, I’m not anti-Semitic, of course.” Depressingly little has changed.

That is the advantage enjoyed by the jihadis of Gaza. They didn’t even need to keep their strategy a secret. Everyone knows they try to get civilians killed for propaganda gains, aiming to curtail Israeli operations with international outrage. Everyone knows that their censors keep dead terrorists away from the cameras, giving the world the impression that Israel is only attacking civilians (look up former AP reporter Matti Friedman’s seminal 2014 essay, “What the media gets wrong about Israel”, for a sense of how long such games have been played). A gang that murdered and mutilated babies may also, on occasion, be tempted to lie. So much should be obvious. But all this is smoothly eclipsed when a greater narrative is at work.

It’s not that there is a lack of journalistic curiosity in large parts of the media. It’s just that, when it comes to Israel, facts are subordinated to assumptions. In February, BBC Verify quoted a World Health Organisation official: The [Hamas] ministry has “‘good capacity in data collection’ and its previous reporting has been credible and ‘well developed’”. This was the same WHO that had singled out Israel for condemnation at an international assembly largely devoted to Covid. And this was the same BBC Verify that had partly based a story on an eyewitness who had reportedly worked for an Iranian state news outlet and celebrated the deaths of Jews on social media.

It is time for us to say: J’Accuse. Just as Emile Zola laid the charge of anti-Semitism at the feet of the French establishment during the Dreyfus Affair in 1898, we must do so to the international establishment today.

by Jake Wallis Simons

Therefore, the number of women and children killed was likely grossly exaggerated. If that is the case – if, as Prof Wyner suggests, “the casualties are not overwhelmingly women and children, and the majority may be Hamas fighters” – where does that leave western outrage? Has the West fallen victim to a monstrous con?

The true ratio of civilian casualties to combatants is likely to be exceptionally low, “at most 1.4 to 1 and perhaps as low as 1 to 1”. This, Prof Wyner says, is a “successful effort to prevent unnecessary loss of life while fighting an implacable enemy that protects itself with civilians”.

By rights, if the central pillar of the anti-Israel edifice has been discredited, the whole structure should come tumbling down. But don’t hold your breath. The reason why Hamas’s dodgy data is so easily believed is confirmation bias. The drip-drip of Israelophobic propaganda over the years has created a powerful tendency to view the Jewish state, Britain’s democratic ally, as a colonialist aggressor and the Palestinians – even as they butcher children – as the “freedom fighters”. Regardless of the evidence, to many people this has become second nature.

It speaks of millennia of inherited anti-Semitism. A 2012 study by economists Nico Voigtländer and Hans-Joachim Voth found that Germans from towns where Jews were blamed for the Black Death and burnt alive in the 14th century were significantly more likely to vote for the Nazis 600 years later. In his 1945 essay, Orwell recalls a “young intellectual, communist or near-communist” remarking: “No, I do not like Jews. I’ve never made any secret of that. I can’t stick them. Mind you, I’m not anti-Semitic, of course.” Depressingly little has changed.

That is the advantage enjoyed by the jihadis of Gaza. They didn’t even need to keep their strategy a secret. Everyone knows they try to get civilians killed for propaganda gains, aiming to curtail Israeli operations with international outrage. Everyone knows that their censors keep dead terrorists away from the cameras, giving the world the impression that Israel is only attacking civilians (look up former AP reporter Matti Friedman’s seminal 2014 essay, “What the media gets wrong about Israel”, for a sense of how long such games have been played). A gang that murdered and mutilated babies may also, on occasion, be tempted to lie. So much should be obvious. But all this is smoothly eclipsed when a greater narrative is at work.

[dollcrimes]

"the radar, sir -- it appears to be jammed!"

[simonbakeralbum]

The Mentalist S03 E18