Features
Remis Lecture Group at Gwen Secter Centre attracts large crowds to hear from two well-known speakers
By BERNIE BELLAN On two successive Thursdays in May (May 16 and 23), the usual fairly small number of attendees at the Remis Lecture Group luncheons more than doubled in size as large numbers of guests came to hear two well-known speakers: Mayor Scott Gillingham (on May 16); and Doctors Manitoba President Dr. Michael Boroditsky (on May 23).
The Remis group is open to anyone to attend, but anyone who is not a regular member of the group is asked to notify in advance that they will be attending by calling 204-291-4362.
I thought it might be interesting to provide readers with snapshots of what both Mayor Gillingham and Dr. Boroditsky had to say, despite my writing for a Jewish newspaper (and website) and trying to think desperately how I could tie in either speaker to a Jewish theme. How about if I mention that the mayor said he really enjoyed the kosher meal provided by the Gwen Secter Centre, which featured kugel as the main dish?
In a separate article I’ll write about Dr. Boroditsky’s talk. (I have posted about his having said that a new association of Manitoba Jewish physicians has been formed. You can read that article at https://jewishpostandnews.ca/faqs/rokmicronews-fp-1/jewish-physicians-in-manitoba-form-association-in-response-to-antisemitism/: )
Scott Gillingham began his remarks by telling the audience that he was born and raised in Brandon, where he honed his skills as a very good hockey player. First elected to Winnipeg City Council in 2014 and reelected in 2018, in 2022 he ran for mayor.
Readers might remember that former mayor Glen Murray had entered that race and was, at first, considered the heavy favourite to win the election.
Gillingham told this amusing story about election night, which was October 26, 2022: Apparently CTV News had called the election in Murray’s favour shortly after the polls had closed at 8:00 pm.
But, as events transpired, CTV was quite wrong, and it wasn’t long before Gillingham took the lead for good. As he noted to the Remis group, “By 8:30 I had lost and won the election all within a half hour.”
Gillingham explained to the audience of 38 that, as this year is the 150th anniversary of Winnipeg’s incorporation as a city, he wanted to give them a brief history of the city.
The first mayor of the city was Francis Cornish, Gillingham noted, elected by a total of 398 people who voted in our city’s very first election. The Gillingham family’s own history of settlement in Manitoba began in 1907, he said, when the first Gillinghams arrived from England, “and headed as far west as they could go until they ran out of money.”
The key event in Winnipeg’s history, he suggested, came when businessman J.H Ashdown convinced the federal government of the day to route the first trans-Canada railway through Winnipeg rather than Selkirk. Ashdown was instrumental in Winnipeg’s quickly building a bridge across the Red River, which turned out to be decisive in the government’s eventual decision. “That kind of vision and action built the city that we love,” Gillingham suggested.
Continuing on the theme of building upon that which has been laid down already by visionaries in the city’s past, the mayor said: “The fortunate thing for me is stepping into this role has afforded me the opportunity to inherit what’s already in place.”
For that, Gillingham thanked the many generations of entire families that have contributed so much to “the health and welfare of this city. Yes, we have challenges,” he admitted… “we have struggles, we have potholes,” but we still have a great city, he insisted.
He pointed to two specific projects in Winnipeg’s history that came about as the result of great vision and determination: the building of the gravity-fed aqueduct from Shoal Lake and of the Winnipeg Floodway. Gillingham also noted former Mayor Stephen Juba’s role in the building of City Hall in 1962 as another example of vision, as was the construction of the Manitoba Legislative Building in an earlier era.
“As we look back over these past 150 years,” Gillingham said, “we realize there’s a lot to inspire us.”
Turning to some of the more immediate problems that continue to fester here (as they do in almost all major urban centres), the mayor admitted “we don’t have enough housing…I’ve challenged our staff to approve 8,000 units of housing in 2024.” (He added that, as of the day he was speaking, 3,500 units had already been approved, so the goal of 8,000 was well within reach.)
He noted, as well, that new census figures for Winnipeg are about to be disclosed “next month” – which means they may already be out by the time this is read, and the anticipated fairly large increase in Winnipeg’s population is only going to add more pressure to build more housing.
As Gillingham put it, “I love my kids, but I don’t want them to live with me forever.”
The mayor also referred to some of the improvements in technology that are underway in the delivery of certain services to the public. He referred specifically to an enhancement to 911 service that will allow anyone calling that number to send a photo to the 911 operator, which should lead to a much better understanding of what type of emergency situation is being talked about. (By the way, Gillingham noted, the very first 999 service – which was the antecedent of the current 911 service, began in Winnipeg, under Mayor Juba, in 1959.)
Gillingham spoke of the need to challenge the Chamber of Commerce to come up “with an actionable set of recommendations which Winnipeg should focus on.”
He noted, as well, that in meeting with business leaders throughout North America, he has learned that they are specifically “interested in Winnipeg – and not Montreal, Toronto, Vancouver, or Calgary” and each time he’s asked them “what it is they’re looking for and how we can provide it in Winnipeg?” Later in his talk he returned to this topic and elaborated on what it is that business leaders are looking for, saying they’re looking for “skilled labour and are we connected to markets?” As well, he noted, many are looking for “green energy and a quality of life for their employees” which, he suggested, Winnipeg has in abundance, with “world class arts, pro sports, universities, a diverse population, and cottage country within an hour and a half.”
At that point the mayor began to field questions from the audience. The first question posed was “Whether, in concentrating on growth for the future, are the needs of the inner city being ignored?”
Gillingham answered that there is currently a major investment in housing in the downtown. “There is $122 million in federal funding” earmarked for downtown housing, he said, of which “$30 million has already been received – which will lead to 600 new units of housing downtown.” He added that there will also be “new spray pads in the north end” this year.
The mayor also noted the creation of a new “concierge service” for anyone wanting to build something, whereby if “you call one number you can correlate all the housing requirements,” rather than having to contact a number of different city departments.
He also mentioned the next “round of funding” from the federal government, which “will focus on transportation infrastructure for rapid transit.”
Someone asked Gillingham to define what the term “affordable housing” actually means?
The mayor answered that it would be “80% of the market rate,” so that if housing is renting for $1,000 then $800 would be affordable. He pointed to new housing that will be going up where the old Public Safety Building once stood. “It will include units for less than $1,000 a month,” he said. “If a builder can include at least six units of affordable housing we’ll give them money to offer those,” he added.
Another question was about the Arlington Bridge and what will happen to it?
The mayor answered that “we’re waiting for a consultant’s report.”
I posed a question about cycling, noting that both the mayor and I are ardent cyclists, but for anyone who wants to take their bike downtown, it is extremely difficult to find a secure are in which to leave it. I suggested that the city ought to take one of the many vacant lots downtown and build a secure (above ground) compound, in which cyclists could leave their bikes. I even proposed to the mayor that it could be called “Gillingham’s Island.” (For anyone under a certain age that reference might be totally lost, but lucky for me the Remis group – and the mayor, are of sufficient age to have got the joke.)
Gillingham did address the issue of bike thefts in the city (and I just had another bike stolen not too long ago), saying that anyone can register their bike for free by going to 529garage.com. It would help police in locating the owner of a stolen bike if it’s recovered.)
The final questions were about Portage and Main. The first questioner wondered why this time around the mayor was in favour of opening up Portage and Main whereas in 2018 he was opposed?
Gillingham responded that “something happened between the plebiscite (whether to open Portage and Main to pedestrian traffic) in 2018 and today that’s shifted people’s attitudes.”
He was also asked “When you open Portage and Main will you be closing the concourse?”
The answer was “No, more information is needed.”
Finally, someone wondered whether the skywalk system could be extended to connect the west side of Portage Avenue to the east side – and thus to the skywalk system which connects east of Main Street.
Gillingham said that “We’re open to the conversation. The only date we have in mind is the reopening of the street at street level.”
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.)
Related
- Actor-Director Rob Reiner dies at 78
- 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.