A few years back, when nepo baby discourse was at its most heated, actor-director Ben Stiller emerged as an elder voice of reason.

“Untalented people don’t really last if they get a break because of who they are or know or are related to,” Stiller tweeted to The Black List founder Franklin Leonard, who was opining on “Let Me Go (The Right Way),” a short film whose creative team included the progeny of Steven Spielberg, Stephen King and Sean Penn. Access is access, Stiller conceded, but the children of celebrities face their own challenges.

If one needed further proof, they might look to an early pan of The Ben Stiller Show knocking him for his pedigree, among the many pieces of ephemera kept by Stiller’s father, Jerry. Or to the cassette tapes in which Jerry confronted his wife and comedy partner, Anne Meara, about her drinking, All of it was stored in a kind of archive at the Stillers’ apartment on Riverside Drive. Ben digs through those bankers boxes and scrapbooks in a new documentary, Stiller & Meara: Nothing is Lost.

The subtitle is a nod to a line from one of Meara’s plays, After-Play and an audio recording where Jerry tells his father, Willie, that a tape recorder would preserve his voice forever. Taken with Jerry’s packratting — he kept everything —  it’s named for a theme of L’dor V’dor. Nothing is lost from generation to generation. Talent may pass down, but so too do the mistakes our parents make.

It was, Ben admits, an inherited impulse that drove him to bring a camera to the family apartment after Jerry’s death in 2020, at the age of 92. Jerry was an inveterate home moviemaker with his Super-8, paving the way for his son’s ambition to direct. Shooting the home as he and his sister, actor Amy Stiller, prepared it for sale, Ben tells his parents’ love story while meditating on his own family life.

Letters to Anne from Jerry show an early marriage divided by the itinerant gigs of theater folk, a reality that was only resolved when Jerry decided they should form a comedy duo. Anne, wanting to be a serious actor, at first resisted, but the routines — which they’d improvise into a tape recorder — helped to launch their careers.

Their repeat appearances on The Ed Sullivan Show made them famous, and they solidified their act by drawing from their backgrounds, debuting the alter egos, the couple Hershey Horowitz and Mary Elizabeth Doyle. They did the Irish-Jewish thing years before Bridget Loves Bernie — and with an actual Jew, unlike the Irish Catholic irl David Birney. In their sketches they swap admiration over their respective culture — reduced to planting trees in Israel and Notre Dame football — though in reality Meara had converted to Judaism. (Sullivan, married to a Jewish gal, is said to have teared up.)

Ben follows in their footsteps at the Ed Sullivan Theatre, when he’s there as a guest on Colbert for directing Severance. Sullivan’s show was high stakes, he reflects, and his mother would handle the stress by drinking.

While Anne had an ease in her performance and flair for comedy, we learn that Jerry drilled his lines — he was both a perfectionist and perhaps a little less than a natural. While Anne got fulfillment from life outside of acting, Jerry needed to perform and to be loved, but was most devoted to Anne. When their careers became solo acts, their marriage grew stronger.

Ben considers his parents’ upbringing as a way to understand his own. Anne’s alcoholism is linked to unresolved trauma from her mother’s suicide; on a piece of writing Ben finds in the apartment, Anne describes how her mother “turned on the gas and inhaled eternity.”

Jerry’s working-class parents loved Jack Benny and George Burns, but didn’t support his ambition to become an actor. Anne thought it may have come from an urge to shield him from rejection. Willie’s thwarted desire to act is attested to in an interview Jerry taped with him, showing the project of this film isn’t exactly new for the family.

When it came to Ben and Amy, Jerry wanted them to find another path, for the same reason. (Jerry, as has been noted elsewhere, couldn’t have been more different as a father than Seinfeld’s Frank Costanza — he was the type to nurse Ben through a bad LSD trip or drive to his camp when he was homesick.)

The siblings recall their latchkey childhood, when their parents were on tour, and speaking to his own children Ben realizes he repeated this absence while making efforts not to. When he began working with his wife, actor Christine Taylor, he feared some of the same frictions his parents suffered would emerge, and when they were separated, he felt like a failure given their resilience.

In the process of making the film, during COVID, the couple reconciled.

Nothing is Lost is a tender tribute that finds its poetry in between generations. A match cut of a home movie of young Ben (Benjy) to one of his sons, Quin, shows symmetry right down to the same missing baby teeth. It’s graceful when tackling the tough question of the advantages Ben may have gained.

Ben said he wanted, in his early career, to distance himself from them. But as Taylor notes, he used one or both of his parents in just about all of his work.

“Because I wasn’t stupid, they were funny,” Stiller reasons.

It runs in the family.

Ben Stiller’s Stiller and Meara: Nothing is Lost is playing in select theaters Oct. 17. It debuts on Apple TV+ Oct. 24.

The post Ben Stiller wants you to meet his parents appeared first on The Forward.

The BBC will be required to air a statement correcting its coverage after the U.K. media watchdog Ofcom sanctioned the channel failing to identify the narrator of a Gaza documentary as the son of a Hamas official.

“Gaza: How to Survive a Warzone,” aired on the BBC in February. It quickly drew fire for being one-sided against Israel, and critics identified one of the narrators, all young people, as the son of Hamas’s former deputy minister of agriculture.

“Trust is at the heart of the relationship between a broadcaster and its audience, particularly for a public service broadcaster such as the BBC. This failing had the potential to erode the significantly high levels of trust that audiences would have placed in a BBC factual programme about the Israel-Gaza war,” Ofcom wrote in a statement.

The media regulator also added that the BBC’s breach of its broadcasting code resulted in its audience being “materially misled.”

As a consequence, the BBC will be required to air a statement of Ofcom’s findings during its broadcast. A date for the statement has not yet been released.

The film, which was produced by independent production company Hoyo Films, follows three young people as they navigate war-torn Gaza. It has emerged as a central exhibit for those who believe the BBC is biased against Israel.

The BBC said Hoyo had not disclosed the relationship of one of the narrators, Abdullah Al-Yazouri, prior to its screening. The documentary was pulled from distribution following the revelation about Al-Yazouri’s family ties.

Several months ago, an  internal review by the network found it had breached an editorial rule on accuracy but concluded there was no evidence that Hamas “inappropriately impacted” the program. According to the internal review, which was conducted by Peter Johnston, the BBC’s director of editorial complaints and reviews, $1,071 was paid to Al-Yazouri’s sister for a “reasonable, production-related” expense.

Johnston added that there was “no reasonable basis to conclude that anyone engaged or paid in connection with the programme was subject to financial sanctions” related to Hamas.

“The Ofcom ruling is in line with the findings of Peter Johnston’s review, that there was a significant failing in the documentary in relation to the BBC’s editorial guidelines on accuracy,” the BBC said in a statement on Friday. “We have apologised for this and we accept Ofcom’s decision in full. We will comply with the sanction as soon as the date and wording are finalised.”

—
The post BBC penalized after failing to identify narrator in Gaza documentary as son of Hamas minister appeared first on Jewish Telegraphic Agency.

The British government is reviewing a decision to bar Maccabi Tel Aviv fans from a major soccer match next month over what local police had said were security concerns.

The Aston Villa Football Club announced the ban on Thursday, saying in a statement that the Security Advisory Group responsible for issuing safety certificates for the matches at the team’s Birmingham stadium, Villa Park, had made the decision.

“Following a meeting this afternoon, the SAG have formally written to the club and UEFA to advise no away fans will be permitted to attend Villa Park for this fixture,” the club said, referring to the Union of European Football Associations. “West Midlands Police have advised the SAG that they have public safety concerns outside the stadium bowl and the ability to deal with any potential protests on the night.”

The Villa Park announcement swiftly drew an uproar from a wide array of voices who said the police were abdicating their responsibility.

“This is the wrong decision,” Prime Minister Keir Starmer said in a statement. “We will not tolerate antisemitism on our streets. The role of the police is to ensure all football fans can enjoy the game, without fear of violence or intimidation.”

The local police said their assessment reflected the sweeping violence that unfolded around a Maccabi Tel Aviv-Ajax match in Amsterdam last year, exactly one year before the Nov. 6 match planned for Villa Park. Dutch, Israeli, European and U.S. officials all denounced the Amsterdam violence, which followed rising tensions that included provocations by Maccabi Tel Aviv fans, as antisemitic.

Sporting events involving Israeli teams have drawn protests and disruptions during the war in Gaza, which entered a ceasefire last week. Pro-Palestinian protesters demonstrated against Israel’s participation in a World Cup qualifying match in Norway this week, and earlier this month a Canadian tennis match was played in an empty stadium over concerns about disruptive protests against Israel.

The Campaign Against Antisemitism, a nonprofit, said it would pursue legal action against the ban on Maccabi Tel Aviv fans.

“We will do whatever it takes to overturn this pernicious ban which has humiliated and angered the whole country,” it said in a statement. “Britain is increasingly waking up to the extremism in our midst but now we must all fight the instinctive appeasement within the authorities and our law enforcement.”

Now, the prime minister’s office is closely involved in conversations aimed at reversing the ban, which was announced the same day that Starmer announced new funding to protect Jewish communities, allocated in the wake of the deadly attack on a Manchester synagogue on Yom Kippur.

“We cannot have a country where we have to tell people to stay away from an event because they can’t be protected or they may be a victim of racism,” a spokesperson told the BBC.

—
The post British PM denounces ban on Maccabi Tel Aviv fans at upcoming Aston Villa soccer match appeared first on Jewish Telegraphic Agency.