Features
Winnipeg-born and raised Michael Lang is at the forefront of a technological innovation that can help to change the way neurosurgery is performed and how brain diseases such as Alzheimer’s Disease are treated
By BERNIE BELLAN We’ve often heard that one of the main reasons Manitoba lags behind other provinces when it comes to economic development is because there is both a lack of entrepreneurial capital in this province and innovative individuals who are willing to base their operations here.
Thus, it was refreshing to hear of one young man who not only grew up in Winnipeg, but who has also decided to stay here and work to help turn a company which he co-founded into a successful start-up.
That young man’s name is Michael Lang, 37. I first met Michael when he was in a bar mitzvah class at Temple Shalom with my daughter, Shira. Having grown up in River Heights, the son of Ida and Sherman Lang, Michael attended, in order, Ecole Robert H. Smith, River Heights Middle School, and Kelvin High School.
Michael notes that, as a young boy, he and several other students, including Ben Carr, would go to Hebrew teacher Ethel Amihude’s home for Hebrew lessons. As a side note I should mention that the same day I interviewed Michael for this story, I also received a phone call from Ben Carr, who is now the Member of Parliament for Winnipeg South Centre. When I mentioned to Ben that I had just got off the phone with his former classmate Michael Lang, Ben said to me that, during the rally held in support of Israel on October 10, at which Ben spoke, he was approached by a woman who said, “I’ll bet you don’t remember me. I taught you Hebrew in my home.” Of course, it was Ethel Amihude – and yes, Ben did recognize her immediately.
Returning to Michael Lang – upon graduating from Kelvin High School, Michael enrolled at the University of Winnipeg to study science, with a particular interest in Physics, which is something he’s always loved, he says. Michael went on to complete his Masters and Ph.D. in Physics at the University of Manitoba, he notes, although his he did much of his research at the University of Winnipeg – “a great experience,” he observes.
I asked him how the Physics Department at the University of Winnipeg would compare with other Physics departments in Canada and the US and, although Michael acknowledges that “it’s a small faculty” – maybe 10 professors in total, they definitely “punch above their weight.”
Now, in order to keep this article at a level that would be understandable to most readers (and to this writer as well), I wanted to avoid asking Michael to go into any great detail about what his area of specialty in Physics was, but – just to give you a taste of what it was that he concentrated upon in his studies, here’s a brief excerpt from his bio on the company website (known as tauMEDIS) that he’s helped to found: “Michael received his Ph.D. in Physics from the University of Manitoba with work on hyperpolarized 129Xe gas production for high-precision co-magnetometry.”
The key word in that sentence is “magnetometry,” because it helps to explain how Michael’s research in that field eventually led him into the field of magnetic resonance imaging – or, as the acronym of that term is much more familiar to most of us: “MRI.”
By now, getting an MRI performed for a host of medical issues is something a lot of us expect to have done – and not with undue delays – and when we must wait for an MRI to be performed, which was something greatly exacerbated as a result of Covid disruptions to our medical system, it can be excruciatingly trying.
In the spring of 2020 – shortly after the start of the pandemic, Michael was working as a lab technician at the University of Winnipeg, where he maintained that university’s small animal MRI facility. It was then that the Principal Investigator of the lab, Dr. Melanie Martin, introduced Michael to members of a group working on a novel intraoperative MRI system. Michael would soon after join the group as a post-doctoral fellow, helping to lay the groundwork for what became tauMEDIS.
What is tauMEDIS? According to information available on its website, “Originally formed in 2018, and officially founded in 2023 by a group of Canadian scientists and engineers who are passionate about medical imaging, the name TauMEDIS is an acronym for tau Medical Imaging Solutions…” (tau is a letter in the Greek alphabet that “has significance in both magnetic resonance imaging as well as a variety of neurodegenerative diseases.”)
Although there are a host of other companies active in producing MRI systems, tauMEDIS has developed a particular type of technology in a specialized area of magnetic resonance imaging known as iMRI: “Intraoperative magnetic resonance imaging” or “iMRI,” for short. iMRI is a “method to acquire updated images of the brain throughout a neurosurgical procedure. Neurosurgeons rely on iMRI technology to obtain accurate images of the brain that guide them in removing brain tumors and treating other conditions such as epilepsy.”
Where tauMEDIS is unique in this highly specialized field though, is in its having developed a method to mobilize a full-sized MRI machine that, not only does not require the patient to be moved from the operating table into another room to have an MRI performed, it optimizes the installation process, allowing for retrofitting in existing operating rooms. (There is another company that makes moving magnet iMRI machines, known as IMRIS, that also allows the patient to remain on the operating table during surgery without having to be moved, but incorporating those particular systems into hospitals usually involves making major changes to the infrastructure of existing operating rooms.) The tauMEDIS system, Michael explains, minimizes renovations, and drastically reduces installation time in existing operating facilities.
“We developed a method to mobilize the MRI on a floor-moving track-based vehicle,” he says. “Essentially it’s a high-precision tank-like device that brings the MRI system to the patient undergoing neurosurgery,” providing the surgical team with updated images of the brain throughout the procedure.
tauMEDIS was just recently incorporated in Manitoba (six months ago). In March of this year its prototype machine received approval from the Food and Drug Administration in the US.
Now, in addition to his role as the company’s Chief Technology Officer, Michael, along with the other principals in the company, have found themselves in the position of having to seek out investment funds for tauMEDIS to commercialize the iMRI system they have developed. The funding would support development of a Winnipeg facility that would begin producing actual systems for sale.
“We just recently had our first showing at the Congress of Neurological Surgeons,” Michael says, “and now we’re in the fund-raising phase.”
I asked him how much money they’re seeking, and he says, “$200,000 to start.” I said to him that doesn’t seem like a lot to ask for and that I wondered whether having this article appear in this paper might not be just what it would take to elicit a positive response from some would-be investors.
Further, Michael notes that the goal of tauMEDIS “is to set up a local facility, combining manufacturing and R&D of tauMEDIS products, all located right here in Manitoba. We hope to attract and develop talent, growing the Winnipeg medical device sector.” (I should also mention that years ago, when I was writing about the Crocus Investment Fund, I noted that one of the first investee companies for Crocus was that very same IMRIS, to which I previously referred. I asked Michael if he knew whatever became of IMRIS back then since, according to Michael, it has now become very successful. As I recall, the Crocus Fund lost its entire investment in IMRIS. According to Michael, the company is now based in Minnesota. What happened after the Crocus debacle I’m not sure – just another example of a company that had a great idea but, for whatever reason, couldn’t succeed in Manitoba – although it did take off when it relocated elsewhere.)
Not only is tauMEDIS seeking capital to begin producing its iMRI systems, it also has other technological innovations in the works – all in the area of medical imaging. As Michael Lang says, his “goal as Chief Technology Officer is to work with physicians around the world to make advances in medical imaging technology and develop novel solutions” that would dramatically improve patient health outcomes.
If you would like to find out more about tauMEDIS, email info@taumedis.com or go to its website: taumedis.ca.
Features
So, what’s the deal with the honey scene in ‘Marty Supreme?’
By Olivia Haynie December 29, 2025 This story was originally published in the Forward. Click here to get the Forward’s free email newsletters delivered to your inbox.
There are a lot of jarring scenes in Marty Supreme, Josh Safdie’s movie about a young Jew in the 1950s willing to do anything to secure his spot in table tennis history. There’s the one where Marty (Timothée Chalamet) gets spanked with a ping-pong paddle; there’s the one where a gas station explodes. And the one where Marty, naked in a bathtub, falls through the floor of a cheap motel. But the one that everybody online seems to be talking about is a flashback of an Auschwitz story told by Marty’s friend and fellow ping-ponger Béla Kletzki (Géza Röhrig, best known for his role as a Sonderkommando in Son of Saul).
Kletzki tells the unsympathetic ink tycoon Milton Rockwell (Kevin O’Leary) about how the Nazis, impressed by his table tennis skills, spared his life and recruited him to disarm bombs. One day, while grappling with a bomb in the woods, Kletzki stumbled across a honeycomb. He smeared the honey across his body and returned to the camp, where he let his fellow prisoners lick it off his body. The scene is a sensory nightmare, primarily shot in close-ups of wet tongues licking sticky honey off Kletzki’s hairy body. For some, it was also … funny?
Many have reported that the scene has been triggering a lot of laughter in their theaters. My audience in Wilmington, North Carolina, certainly had a good chuckle — with the exception of my mother, who instantly started sobbing. I sat in stunned silence, unsure at first what to make of the sharp turn the film had suddenly taken. One post on X that got nearly 6,000 likes admonished Safdie for his “insane Holocaust joke.” Many users replied that the scene was in no way meant to be funny, with one even calling it “the most sincere scene in the whole movie.”
For me, the scene shows the sheer desperation of those in the concentration camps, as well as the self-sacrifice that was essential to survival. And yet many have interpreted it as merely shock humor.
Laughter could be understood as an inevitable reaction to discomfort and shock at a scene that feels so out of place in what has, up to that point, been a pretty comedic film. The story is sandwiched between Marty’s humorous attempts to embarrass Rockwell and seduce his wife. Viewers may have mistaken the scene as a joke since the film’s opening credits sequence of sperm swimming through fallopian tubes gives the impression you will be watching a comedy interspersed with some tense ping-pong playing.
The reaction could also be part of what some in the movie theater industry are calling the “laugh epidemic.” In The New York Times, Marie Solis explored the inappropriate laughter in movie theaters that seems to be increasingly common. The rise of meme culture and the dissolution of clear genres (Marty Supreme could be categorized as somewhere between drama and comedy), she writes, have primed audiences to laugh at moments that may not have been meant to be funny.
The audience’s inability to process the honey scene as sincere may also be a sign of a society that has become more disconnected from the traumas of the past. It would not be the first time that people, unable to comprehend the horrors of the Holocaust, have instead derided the tales of abuse as pure fiction. But Kletzki’s story is based on the real experiences of Alojzy Ehrlich, a ping-pong player imprisoned at Auschwitz. The scene is not supposed to be humorous trauma porn — Safdie has called it a “beautiful story” about the “camaraderie” found within the camps. It also serves as an important reminder of all that Marty is fighting for.
The events of the film take place only seven years after the Holocaust, and the macabre honey imagery encapsulates the dehumanization the Jews experienced. Marty is motivated not just by a desire to prove himself as an athlete and rise above what his uncle and mother expect of him, but above what the world expects of him as a Jew. His drive to reclaim Jewish pride is further underscored when he brings back a piece of an Egyptian pyramid to his mother, telling her, “We built this.”
Without understanding this background, the honey scene will come off as out of place and ridiculous. And the lengths Marty is willing to go to to make something of himself cannot be fully appreciated. The film’s description on the review-app Letterboxd says Marty Supreme is about one man who “goes to hell and back in pursuit of greatness.” But behind Marty is the story of a whole people who have gone through hell; they too are trying to find their way back.
Olivia Haynie is an editorial fellow at the Forward.
This story was originally published on the Forward.
Features
Paghahambing ng One-on-One Matches at Multiplayer Challenges sa Pusoy in English
Ang Pusoy, na kilala din bilang Chinese Poker, ay patuloy na sumisikat sa buong mundo, kumukuha ng interes ng mga manlalaro mula sa iba’t ibang bansa. Ang mga online platforms ay nagpapadali sa pag-access nito. Ang online version nito ay lubos na nagpasigla ng interes sa mga baguhan at casual players, na nagdulot ng diskusyon kung alin ang mas madali: ang paglalaro ng Pusoy one-on-one o sa multiplayer settings.
Habang nailipat sa digital platforms ang Pusoy, napakahalaga na maunawaan ang mga format nito upang mapahusay ang karanasan sa laro. Malaking epekto ang bilang ng mga kalaban pagdating sa istilo ng laro, antas ng kahirapan, at ang ganap na gameplay dynamics. Ang mga platforms tulad ng GameZone ay nagbibigay ng angkop na espasyo para sa mga manlalaro na masubukan ang parehong one-on-one at multiplayer Pusoy, na akma para sa iba’t ibang klase ng players depende sa kanilang kasanayan at kagustuhan.
Mga Bentahe ng One-on-One Pusoy
Simpleng Gameplay
Sa one-on-one Pusoy in English, dalawa lang ang naglalaban—isang manlalaro at isang kalaban. Dahil dito, mas madali ang bawat laban. Ang pokus ng mga manlalaro ay nakatuon lamang sa kanilang sariling 13 cards at sa mga galaw ng kalaban, kaya’t nababawasan ang pagiging komplikado.
Para sa mga baguhan, ideal ang one-on-one matches upang:
- Sanayin ang tamang pagsasaayos ng cards.
- Matutunan ang tamang ranggo ng bawat kamay.
- Magsanay na maiwasan ang mag-foul sa laro.
Ang simpleng gameplay ay nagbibigay ng matibay na pundasyon para sa mas kumplikadong karanasan sa multiplayer matches.
Mga Estratehiya mula sa Pagmamasid
Sa one-on-one matches, mas madaling maunawaan ang istilo ng kalaban dahil limitado lamang ang galaw na kailangan sundan. Maaari mong obserbahan ang mga sumusunod na patterns:
- Konserbatibong pagkakaayos o agresibong strategy.
- Madalas na pagkakamali o overconfidence.
- Labis na pagtuon sa isang grupo ng cards.
Dahil dito, nagkakaroon ng pagkakataon ang mga manlalaro na isaayos ang kanilang estratehiya upang mas epektibong maka-responde sa galaw ng kalaban, partikular kung maglalaro sa competitive platforms tulad ng GameZone.
Mas Mababang Pressure
Dahil one-on-one lamang ang laban, mababawasan ang mental at emotional stress. Walang ibang kalaban na makaka-distract, na nagbibigay ng pagkakataon para sa mga baguhan na matuto nang walang matinding parusa sa kanilang mga pagkakamali. Nagiging stepping stone ito patungo sa mas dynamic na multiplayer matches.
Ang Hamon ng Multiplayer Pusoy
Mas Komplikado at Mas Malalim na Gameplay
Sa Multiplayer Pusoy, madaragdagan ang bilang ng kalaban, kaya mas nagiging komplikado ang laro. Kailangan kalkulahin ng bawat manlalaro ang galaw ng maraming tao at ang pagkakaayos nila ng cards.
Ang ilang hamon ng multiplayer ay:
- Pagbabalanse ng lakas ng cards sa tatlong grupo.
- Pag-iwas sa labis na peligro habang nagiging kompetitibo.
- Pagtatagumpayan ang lahat ng kalaban nang sabay-sabay.
Ang ganitong klase ng gameplay ay nangangailangan ng maingat na pagpaplano, prediksyon, at strategic na pasensiya.
Mas Malakas na Mental Pressure
Mas mataas ang psychological demand sa multiplayer, dahil mabilis ang galawan at mas mahirap manatiling kalmado sa gitna ng mas maraming kalaban. Kabilang dito ang:
- Bilisan ang pagdedesisyon kahit under pressure.
- Paano mananatiling focused sa gitna ng mga distractions.
- Pagkakaroon ng emosyonal na kontrol matapos ang sunod-sunod na talo.
Mas exciting ito para sa mga manlalarong gusto ng matinding hamon at pagmamalasakit sa estratehiya.
GameZone: Ang Bagong Tahanan ng Modern Pusoy
Ang GameZone online ay isang kahanga-hangang platform para sa mga naglalaro ng Pusoy in English. Nagbibigay ito ng opsyon para sa parehong one-on-one at multiplayer matches, akma para sa kahit anong antas ng kasanayan.
Mga feature ng GameZone:
- Madaling English interface para sa user-friendly na gameplay.
- Real-player matches imbes na kalaban ay bots.
- Mga tool para sa responsible play, tulad ng time reminder at spending limits.
Pagtatagal ng Pamanang Pusoy
Ang Pusoy card game in English ay nagpalawak ng abot nito sa mas maraming players mula sa iba’t ibang bahagi ng mundo habang pinapanatili ang tradisyunal nitong charm. Sa pamamagitan ng mga modernong platform tulad ng GameZone, mananatiling buhay at progresibo ang Pusoy, nakakabighani pa rin sa lahat ng antas ng manlalaro—mula sa casual enjoyment hanggang sa competitive challenges.
Mula sa maingat na pag-aayos ng mga cards hanggang sa pag-master ng estratehiya, ang Pusoy ay isang laro na nananatiling relevant habang ipinapakita ang masalimuot nitong gameplay dynamics na puno ng kultura at inobasyon.
Features
Rob Reiner asked the big questions. His death leaves us searching for answers.
Can men and women just be friends? Can you be in the revenge business too long? Why don’t you just make 10 louder and have that be the top number on your amp?
All are questions Rob Reiner sought to answer. In the wake of his and his wife’s unexpected deaths, which are being investigated as homicides, it’s hard not to reel with questions of our own: How could someone so beloved come to such a senseless end? How can we account for such a staggering loss to the culture when it came so prematurely? How can we juggle that grief and our horror over the violent murder of Jews at an Australian beach, gathered to celebrate the first night of Hanukkah, and still light candles of our own?
The act of asking may be a way forward, just as Rob Reiner first emerged from sitcom stardom by making inquiries.
In This is Spinal Tap, his first feature, he played the role of Marty DiBergi, the in-universe director of the documentary about the misbegotten 1982 U.S. concert tour of the eponymous metal band. He was, in a sense, culminating the work of his father, Carl Reiner, who launched a classic comedy record as the interviewer of Mel Brooks’ 2,000 Year Old Man. DiBergi as played by Reiner was a reverential interlocutor — one might say a fanboy — but he did take time to query Nigel Tufnell as to why his amp went to 11. And, quoting a bad review, he asked “What day did the Lord create Spinal Tap, and couldn’t he have rested on that day too?”
But Reiner had larger questions to mull over. And in this capacity — not just his iconic scene at Katz’s Deli in When Harry Met Sally or the goblin Yiddishkeit of Miracle Max in The Princess Bride — he was a fundamentally Jewish director.
Stand By Me is a poignant meditation on death through the eyes of childhood — it asks what we remember and how those early experiences shape us. The Princess Bride is a storybook consideration of love — it wonders at the price of seeking or avenging it at all costs. A Few Good Men is a trenchant, cynical-for-Aaron Sorkin, inquest of abuse in the military — how can it happen in an atmosphere of discipline.
In his public life, Reiner was an activist. He asked how he could end cigarette smoking. He asked why gay couples couldn’t marry like straight ones. He asked what Russia may have had on President Trump. This fall, with the FCC’s crackdown on Jimmy Kimmel, he asked if he would soon be censored. He led with the Jewish question of how the world might be repaired.
Guttingly, in perhaps his most personal project, 2015’s Being Charlie, co-written by his son Nick he wondered how a parent can help a child struggling with addiction. (Nick was questioned by the LAPD concerning his parents’ deaths and was placed under arrest.)
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None of the questions had pat answers. Taken together, there’s scarcely a part of life that Reiner’s filmography overlooked, including the best way to end it, in 2007’s The Bucket List.
Judging by the longevity of his parents, both of whom lived into their 90s, it’s entirely possible Reiner had much more to ask of the world. That we won’t get to see another film by him, or spot him on the news weighing in on the latest democratic aberration, is hard to swallow.
Yet there is some small comfort in the note Reiner went out on. In October, he unveiled Spinal Tap II: The Beginning of the End, a valedictory moment in a long and celebrated career.
Reiner once again returned to the role of DiBergi. I saw a special prescreening with a live Q&A after the film. It was the day Charlie Kirk was assassinated. I half-expected Reiner to break character and address political violence — his previous film, God & Country, was a documentary on Christian Nationalism.
But Reiner never showed up — only Marty DiBergi, sitting with Nigel Tuffnell (Christopher Guest), David St. Hubbins (Michael McKean) and Derek Smalls (Harry Shearer) at Grauman’s Chinese Theater in Los Angeles. The interview was broadcast to theaters across the country, with viewer-submitted questions like “What, in fact, did the glove from Smell the Glove smell like?” (Minty.) And “Who was the inspiration for ‘Big Bottom?’” (Della Reese.)
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- Carl Reiner On Judaism, Atheism And The ‘Monster’ In The White House
- Mandy Patinkin On His Favorite ‘Princess Bride’ Quote
DiBergi had one question for the audience: “How did you feel about the film?”
The applause was rapturous, but DiBergi still couldn’t get over Nigel Tuffnell’s Marshall amp, which now stretched beyond 11 and into infinity.
“How can that be?” he asked. “How can you go to infinity? How loud is that?”
There’s no limit, Tuffnell assured him. “Why should there be a limit?”
Reiner, an artist of boundless curiosity and humanity, was limitless. His remit was to reason why. He’ll be impossible to replace, but in asking difficult questions, we can honor him.
The post Rob Reiner asked the big questions. His death leaves us searching for answers. appeared first on The Forward.