43 Laughably Fake Movie And TV Moments
This garbage can from Independence Day, which literally says "art department" on it:
Suggested by u/Namtab666
This extremely obvious fake baby from American Sniper:
And the baby that appears on the ceiling in Mark's dream in Trainpotting (yes, it's supposed to be creepy, but STILL):
Suggested by u/Significant_Fuel5944
Also, the fake baby in this Malcolm in the Middle scene:
Suggested by u/plainandawesome
Anytime characters in post apocalyptic movies and shows, especially women, have perfect hair...like Dina in The Last Of Us:
And Karen from The Grudge 2:
When an FBI agent uses Excel to hack a nuclear weapon in Unthinkable — and you can also see a movie script pulled up:
Suggested by u/HalfACupkake
When you can see that a character's not actually on the phone, like in this scene from The Boys...:
Even worse, when the character's on a different app, like Abby in this NCIS scene.
Suggested by u/Foxterriers
Similarly, when characters text using a non-messaging app, like in School of Rock, when an audience member "texts" someone using a blank document:
Suggested by [deleted]
Wildly fake video game-playing moments, like this one from Rumble in the Bronx...:
...And this one from Malcolm in the Middle...:
...And the "controller acting" from Anora, where this character just mashes buttons indiscriminately:
This costume from Teenage Mutant Ninja Turtles scene, where you can clearly see the person inside:
Suggested by u/SlipTheSlime
Whenever actors drink from clearly empty coffee cups, like during the stakeout scenes of Law & Order...:
...And on Gilmore Girls, where the characers keep gesturing while holding cups that are clearly empty:
Qui-Gon's communicator from The Phantom Menace, which is obviously a Gillette Razor:
And Anakin's backpack from the same film, which looked like the backpack every other kid had at the time:
Speaking of The Phantom Menace — when you could tell this guy in the background was DEFINITELY not Samuel L. Jackson:
Suggested by u/colinaclark
The obvious mannequin used in this stunt from Wonder Woman 1984:
Similarly, the wildly fake dummy from the car explosion in Casino:
Here it is in a slowed-down GIF, so you can see how bad it is.
The badly photoshopped family photo in Twin Peaks: The Return:
This obviously fake stalactite from The Lord of the Rings:
Suggested by u/IljaMaran
Also from The Lord of the Rings, when this extra is clearly using imaginary arrows:
Suggested by u/AnalysisMoney
This stunt from The Fugitive, where it's clearly a dummy and not Harrison Ford:
Check it out in GIF format here:
The toilet seat from Liar Liar, which you can tell is made out of foam:
Suggested by u/heidismiles
The game of hackey sack going on with no hackey sack in this scene from Twilight:
Suggested by u/Charlie4774
Everything about Bond making espresso in this scene from Live and Let Die:
The way Steven Seagal holds a gun in Sniper Special Ops:
Anytime a character fits through the air ducts, like this scene from Die Hard:
The eggs from Batman V Superman:
The uncanny valley CGI Renesmee from Breaking Dawn:
The fake prop toilet from Boondock Saints:
When Wash wasn't even holding onto the wheel in Firefly:
Similarly, when Brian pulls at a brake that isn't there in 2 Fast 2 Furious:
Suggested by [deleted]
And also Antonio Banderas just miming moving imaginary controls in this scene from Spy Kids 2: The Island of Lost Dreams:
Suggested by u/Chair_Last
This moment in D2: The Mighty Ducks when you can tell the background extras are actually just cardboard cutouts:
Suggested by u/LisleSwanson
Speaking of cardboard cutouts — these fake books behind Indy in Indiana Jones and the Last Crusade:
Suggested by u/Oldspice_DentalFloss
This scene from Men in Black where Zed and K are only pretending to type in the background:
Suggested by u/MyNameGifOreilly
Zoro's bending scabbard from One Piece:
Suggested by u/MikeFleezy
This "metal" rod from the show Dark, which moves:
Suggested by u/AjemMirumilovny
This man's photo in Smallville, which is very obviously glued/taped on rather than printed as a part of the newspaper:
Suggested by u/ArtisanGerard
And finally...the coffee cup in Game of Thrones:
What wildly fake or unrealistic moment or item took you out of a film or TV show? Let us know in the comments.
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Seinfeld Behind-The-Scenes-Facts
Seinfeld is one of the most popular TV sitcoms of all time, even today. For "a show about nothing," there sure is a lot of interesting behind-the-scenes information! Here are 45 facts about Seinfeld: Festivus wasn't invented for the show. It was actually the brainchild of Daniel O'Keefe, the father of Seinfeld writer Dan O'Keefe. Dan told Uproxx, "It is a fake holiday my dad made up in the '60s to celebrate the anniversary of his first date with my mother, and it was something that we celebrated as a family in a very peculiar way through the '70s, and then I never spoke of it again. I had actually forgotten about it because I had blotted it out of my mind." He continued, "My brother Mark mentioned it to Jeff Schaffer. Jeff told Alec and Dave [Mandel] and, as I recall, they had me meet at Swingers, this diner in Hollywood, and then one of them sat on the other side of me so I couldn't leave. They asked about Festivus, and I said I didn't really want to talk about it. They said, 'Well, Mark told us about it,' and I said, 'That fucker.' They said, 'We think it might be funny in the show,' and I said, 'I think it's a mistake and sort of a family shame.' No one had ever expressed any interest in it before, but I swear I thought it was going to be cut out in the edits." The O'Keefe family's Festivus celebrations weren't exactly like the ones on the show. Dan said, "At the time I was just a terrified staff writer hoping that this episode wouldn't let everyone in America know that my family suffers from mental illness. Each Festivus had a theme, which were always depressing. One was, 'Is there light at the end of the tunnel?' 'Are we too easily made glad?' was one, I believe. My grandmother died the next year, and it was 'A Festivus for the Rest of Us,' meaning the living and not the departed. It's pretty goddamn weird." At first, his dad thought his son was making fun of him, but he "completely embraced it, yes, in a matter of months." The "Soup Nazi" was based on Al Yeganeh, the owner of Soup Kitchen International. In 1989, he told the New Yorker, "I tell you, I hate to work with the public. They treat me like a slave. My philosophy is: The customer is always wrong, and I'm always right. I raised my prices to try to get rid of some of these people, but it didn't work." He reportedly hated the line "no soup for you," hated being called the "Soup Nazi," and didn't think his soup needed "that clown" [Jerry Seinfeld]. It wasn't originally a "show about nothing." In a Reddit AMA, Jerry said, "The pitch for the show, the real pitch, when Larry [David] and I went to NBC in 1988, was we want to show how a comedian gets his material. The show about nothing was just a joke in an episode many years later, and Larry and I to this day are surprised that it caught on as a way that people describe the show, because to us it's the opposite of that." Jason Alexander almost left the show over not appearing in "The Pen." He told Access Hollywood, "There was an episode — remember, Julia was not in the pilot, so there was no Elaine. And suddenly, Jerry had two best friends, one male, one female. And I went, 'Okay, well, how does this work? What's going on?' And very early on, Larry wrote an episode where Elaine and Jerry go to Florida, and Kramer and George are not in that episode. And when Seinfeld started, I had a very successful career in the theater in New York, which is what I thought I was gonna be doing all my life." He continued, "So when I was written out of an episode, I came back the next week, and I said to Larry, 'Look, I know. I get it. But if you do that again, do it permanently. If you don't need me to be here every week' — 'cause I didn't know Seinfeld was gonna be Seinfeld – I said, 'If you don't need me here every week, I'd just as soon go back home and do what I was doing.' ...And he freaked out [about writing for four people], and then he did it. And thank God he didn't say, 'Take a hike,' 'cause I would've had no life." There's a "lost" episode that was never filmed. "The Bet" was written by Larry Charles, who was inspired by fellow writer Elaine Pope. He told Screen Crush, "I can't remember if she was contemplating buying a gun or whether she had already bought a gun, but she felt very justified in buying the gun and would defend that position. And it was also at a time when that was a subject that was finding its way into the media: women buying guns. And I thought that was kind of fascinating. And I think it was as simple as me wondering, 'What if Elaine bought a gun?'" One line in particular didn't sit right with Julia Louis-Dreyfus. Joking about shooting herself in the head, Elaine would mention "the Kennedy" in reference to JFK's assassination. The rest of the cast joined her in not wanting to film the episode. Director Tom Cherones told Screen Crush, "As I recall, there was some reference to make a joke called 'a Kennedy.' And that offended me. And I guess it offended the cast as well... I was told to go back to the stage and work on the episode, which is what normally happens. I went back to the stage, and the actors looked at me and said, 'We don't want to do this episode.' I said, 'I agree with you. Guns are not funny, no matter what you say.' I walked back before the network guys left, and I said, 'We don't want to do this episode. That cast and I do not want to do this.'" Writer Peter Mehlman told InsideHook, "We only ever did things out of what was best for the show and the story. I remember we got a call once from Paul McCartney's manager saying he loved the show and would love to be on, but I had to say to his manager, 'Look, Paul's a god to me, but we don't do stunt casting for the sake of stunt casting, it has to fit into the story.' Julia Louis-Dreyfus almost killed me for that." Elaine wasn't originally part of the main cast. However, after the pilot aired, NBC ordered four additional episodes on the caveat that they add a female lead. So, Larry decided to base her on an ex-girlfriend he'd stayed friends with. Monica Yates Shapiro, Larry's ex, told "[Larry] told me they wanted a woman in the show, and he thought of me and our friendship. He had written an episode about the time he met my father." Larry fought against NBC's push to have Jerry and Elaine end up together. Julia told the Sunday Times, "Oh, the network wanted it! They wanted a will-they, won't-they, all that crap. But Larry was just immovable on that point. The show was built on doing things that were outside the norm, so doing something stereotypical would have been atypical of the show." Writer Larry Charles told CBS Mornings, "Julia came into the office one day crying because we were not writing for her; we weren't really giving her great stuff. And it's like, 'Well, how do you fix that?' And Larry had the idea: 'Let's take this George story and just give it to Elaine and see what happens.' And that exploded Elaine, because we'd never written women before, honestly. And so now, we had a way to write a woman that was kind of like the guys. She was as dark, as untrustworthy, as vain as the guys were, and that made her fun – fun to write for and expanded her character." Before Julia auditioned to play Elaine, Megan Mullally, Rosie O'Donnell, and Patricia Heaton read for the role. Kramer was inspired by Larry's real-life neighbor, Kenny Kramer. In 1996, Kenny launched Kramer's Reality Tour, which he told the New York Times was "a shameless attempt to capitalize on [his] illustrious name and branded identity." He and Larry really did leave their doors unlocked and visit each other unnanounced. Larry said, "Kenny was always coming up with these oddball schemes that sounded like they were made up for a television show. He'd talk you into doing something with him, and it would invariably turn out bad for you. He'd do something like disappear and leave you waiting in the car for an hour. This new idea, the Reality Tour, is something that the television Kramer would do. I hope it works out for Kenny better than most of Kramer's ideas on the show." At first, Kenny Kramer — who's a former stand-up comedian — tried to get the role of Kramer on the show. He told the New York Times, "If I'd played Kramer, it never would have flown the way it has with Michael [Richards]. He's the one who came up with the weird clothes and the physical antics that have nothing to do with me. He has to figure a new way to walk in the door every week. It takes amazing preparation, minute detail and a lot of work." On The Howard Stern Show, Jason revealed that Danny DeVito was offered the role of George Costanza. Theorizing why he turned it down, Jason said, "His career, when we started Seinfeld, would've been at its apex. So, he probably didn't wanna do a sidekick role." Jason also said that Chris Rock turned down the role of George. He said, "Why Chris wouldn't do it, I don't know. Maybe it didn't get to an offer stage. I don't know." Jason based George on Woody Allen until he finally realized the character was actually based on Larry David. On All Things Comedy, Jason said, "I go into the series with Woody Allen in my head. There was an episode, and I can't remember what it was, but when we did the table read, I thought the George storyline was a little preposterous. I just thought it was this weird thing, never gonna happen, and they've got me reacting to it in this strange way. So after the table read, I went up to Larry, and I said, 'Larry, you gotta help me with this, because we both know this would never happen in life, and if it did, nobody would react like this. So what are you thinking?' And Larry said, 'I don't know what you're talking about. This happened to me. It's exactly what I did.' And in my head, I went, ' is Larry. Larry is George.'" "I started really looking at Larry and trying to incorporate his tics and his rhythms and some of his personality quirks into George. And I think he knew. We never talked about it, but I think he knew that I finally knew that he knew that I knew. And it made the whole journey much easier, because anytime I didn't understand something on the page, I'd go, 'Oh, but Larry,'" he said. Jason told Foundation Interviews, "What was interesting about our process was — and this is not to diminish the contributions of any of our directors; they were considerable — but our directors didn't stage the show. They didn't come up with business, which was really interesting, because the dynamic of the four of us – Julia and I were classically trained, but Julia's career had been more in sketch. Michael was a stand-up. He had some formal training, but he was a stand-up and sketch and improv. Jerry had a little bit of training, but he was a stand-up. I had no improv, no sketch, but theater. Theater, theater, theater, theater, theater. So we have a lot of different disciplines colliding, and we would all approach material in a slightly different way with slightly different priorities." He continued, "And the four of us would get up, and we would go — because there was no, for the most part, there was no behavior indicated on the page, just dialogue. And we would go, 'Okay, well, what are we doing? What's going on? We can't just stand and talk. What are we doing?' And it was very challenging because, much like Jerry's real life, the sets were minimal. His apartment set, you would never, if you knew you were doing a series for nine years, you would never build that set. First of all, it was tiny, and there was nothing there. There was a couch and a table and a chair and a countertop and a desk way over there in kind of an inaccessible cover of the set and then a bathroom door way up front and a front door. No tchotchkes." He said, "There was nothing there. Nothing to make you go, 'I'm gonna go over there and do this. I'm gonna go over here and play with this. I'm gonna move here. I'm gonna sit here, and now I'm gonna sit here. I'm gonna stand.' So we would actually have to concoct reasons to be there and things to do. And the four of us would get up there, and we'd start reading lines to each other and go, 'Well, we can't just stand here. What are we gonna do?' So I'd say, 'Alright, I just came in off the street. I'm gonna get something out of your refrigerator.' And Jerry [would say], 'You're just gonna go in my refrigerator?' I'd go, 'Yeah, that's what people do. They just, if you're friends, they go in the refrigerator.' 'Okay.' 'And then you go turn on the TV set for no reason, and you...'" "And the four of us started kind of moving each other around and finding ways to use the space and use each other. And I think people talk about the four of us as a unique ensemble, and I agree, I think we were a very unique and chemically perfect ensemble. And I think it grew out of this, 'Alright, you're stuck. Let me help you. If you go over there, I can do this, and if I go over here, you can do that.' That quickly became, 'You know what? This wouldn't be as funny on me as it would be on Julia. Let Elaine do it.' Or her going, 'Well actually, it's a Kramer move. Why doesn't he just [do it]?' SO instead of just worrying so much about, 'What am I gonna do?", our emphasis was on, 'What are we gonna do?' because the four of us can't just stand here and say this stuff. And in trying to figure out as a unit how we were going to make this thing live and breathe like people instead of a radio play, " he concluded. Seinfeld added several now-common words and phrases to our lexicon, such as "yada yada yada," "regifting," "double dipper," and "Not that there's anything wrong with that." According to the New York Times, Jerry's address on the show — 129 West 81st Street — is actually his real former address in New York City. While writing "The Parking Garage," Larry didn't think about shooting the episode. In a behind-the-scenes featurette, he said, "I really didn't think about the execution... I never think about execution, I just think about the show and let somebody else worry about the execution." This led to massive challenges for the production team, who tried and tried to find a real parking garage where they could film, but it just wasn't financially or practically feasible. So, they ultimately decided to strike the permanent sets in their entirety and build a parking garage on the soundstage. To make it look more realistic, they put mirrors on the walls. Production designer Tom Azzari said, "One element that made that entire set work was the ceiling grid. So, I built a ceiling grid, which was only 7'6" high, over the entire stage, and that was 140 feet. Then what we did is build wild columns that would fit underneath the ceiling grid so we could rearrange it to make it different sections. Michael had the props department put a real air conditioner in the box Kramer carried during "The Parking Garage" because he "wanted the real weight" of it. Even during rehearsals, he held it to tire himself out. In the featurette, he said, "When I threw the box into the trunk of the car, banged my face, which was good for the comedy, but I had a bit of a bump... I never broke character. And the ending of "The Parking Garage," where the car doesn't start, wasn't planned at all! Jason said, "Tom Cherones, who was directing, has chewed us out already because we've had the giggles, and nobody's into any of this. [And he goes], 'We don't stop for anything! Goddammit, this is the last take. I don't care what the hell we get.'" After a long, late-night shoot, they were supposed to get into the car and pull out of the garage, but when Michael turned the key in the ignition, the car — which Larry called a "pile of junk" — wouldn't start. Michael said, "When that car didn't start, I knew instantly we had a blow... It was perfect, and we all felt like the show was blessed." Jennifer Coolidge lied to get her role as Jerry's girlfriend on "The Masseuse." She told GQ, "It was a weird day. I booked Seinfeld the same day that I booked this very short-lived series called She TV, which was an all-women sketch show on ABC. I didn't really have any jobs before that. I only had lies on my resume. I'd gone to a school called American Academy of Dramatic Arts up in Pasadena, and I'd just named all these shows and all these different theaters at the school as if they played there. You have to do that if you have a blank resume until you start getting jobs. Then you can slowly erase the lies. I'd love to get my hands on that resume now." However, the role was a big boon for her career. She said, "After my episode aired, all these people, all these casting directors that would never let me through the doorwell, it kind of changed a lot for me. Seinfeld and American Pie really opened the doors. Years later, I was up for a pilot, and it was between me and another girl, and I think they were leaning toward the other girl. But then the producer told me a rerun of my Seinfeld episode had aired that night, and everyone had seen it, and it had gotten me the job." The main cast wasn't always great to work with. Sarah Silverman had a terrible time guest-starring on "The Money." On a 2021 episode of her podcast, she said, "I was in an episode of Seinfeld. I was Kramer's girlfriend, and I will tell you this: Everyone was really nice, but I had a bad experience with Michael Richards. The first scene I shot, I'm in bed with Kramer, and he's scared because he hears noises. He says something like, 'What was that noise?' Then my line is, 'It's probably the wind.'" However, she flubbed her line and said, "It's probably the rain." Sarah continued, "This guy, Michael Richards, breaks character and just starts ripping me a new asshole... He points to the window and he goes, 'Do you see rain in that window? Do you see rain in that window?' and I go, 'No,' and he says, 'Then why did you say rain? It's not rain. There's no rain in that window! The line is wind!" She felt a "lump in [her] throat" and was upset he got away with treating her that way. The next day, while shooting a diner scene, he acted polite and tried to talk to her. She recalled, "And finally, I just cut him off, and I say, 'I don't give a fuck!'... And he's kind of stunned, and it's like he snapped out of it a little. He understood what I was saying was, 'You don't talk like that and act like nothing happened. I'm not going to be one of those people that joins in and acts like nothing happened. That was shitty behavior." Afterwards, he was more gracious. Guest star Armin Shimerman "hated" the Seinfeld cast. At the 2017 Florida Supercon, he said, "Hated them. They were non-communicative, ugly, I was the guest star. The episode's called 'The Caddy.' I played a caddy. I played the caddy. I was on that show for six days, five days. Every day, nobody said a word to me except cues. Nobody came up and started a conversation. I was already on Deep Space Nine. I was a series regular on a... TV show. That's not acceptable... If you have a guest star, if you have a day player, if you have an extra, you do not avoid them. You speak to them. We're all human beings together... And those four people on Seinfeld never said boo to me." He also alleged that, once, when the gaffers had to redo the lighting, he was sitting between Jerry and Julia while they waited for half an hour. They talked to each other the entire time, never once acknowledging him. He said, "It was as though I wasn't there. So, I'm not very fond of them." On The Skinny Confidential, Kathy Griffin said, "I had never met [Jerry] until I was on the show, and he was such a dick that I then went and told a story about him in my special. He actually, to his credit, thought it was funny. He didn't clutch his pearls and go, 'How dare you? I'm a star!' So they wrote the second episode where my character becomes a stand-up comic whose whole act is making fun of Jerry Seinfeld. And that was amazing." Heidi Swedberg's character Susan was killed off because the rest of the cast thought she was "impossible" to play off of. On the Howard Stern Show, Jason Alexander said, "Her instincts for doing a scene, where the comedy was, and mine were always misfiring... Julia actually said, 'Don't you want to just kill her?' And Larry went, 'Ka-bang!'" However, Jason later apologized for how he told that story, tweeting, "OK, folks, I feel officially awful. The impetus for telling this story was that Howard said, 'Julia Louis-Dreyfus told me you all wanted to kill her.' So I told the story to try and clarify that no one wanted to kill Heidi... [She] was generous and gracious, and I am so mad at myself for retelling this story in any way that would diminish her. If I had had more maturity or more security in my own work, I surely would have taken her query and possibly tried to adjust the scenes with her. She surely offered. But, I didn't have that maturity or security." Lawrence Tierney, who played Elaine's father on one episode, was never brought back because the rest of the cast found him intimidating and scary. In a Season 2 DVD extra, Julia said, "It's too bad he was so cuckoo because I'm sure he would've been back otherwise." Jason said, "There was every reason in the world to have that be an ongoing character because there was just so much tension between him and every other character. It was brilliant." However, the cast went on to describe an incident where Lawrence allegedly stole one of Jerry's knives from the set and hid it in his jacket. After Jerry called him out on it, Lawrence tried to make a joke then pulled the knife out, made the Psycho sound, and advanced on Jerry a bit. Jason added, "Lawrence Tierney, I think, scared the living crap out of all of us." On her podcast Wiser Than Me, Julia revealed one of the strangest places a Seinfeld fan has ever recognized her — the maternity ward! She said, "I was giving birth, and, when you're in labor, they put that monitor around your tummy. And I was in the bathroom, and I was naked, and I had the thing around my tummy, and I was massive, by the way. I gained like 50 pounds when I was pregnant. And I was standing there, and my water broke, and all of a sudden a nurse came into the room, and I went, 'My water broke!' Okay, reminding you [I'm] naked. And she goes, 'Elaine!' ...It was so awful. Isn't that crazy?" To Jerry, the funniest moment they ever filmed was when George saved a whale by pulling Kramer's lost golfball out of its blowhole "The Marine Biologist." At the 2017 New Yorker Festival, Jerry said, "The hardest thing in comedy is to have the biggest laugh at the end, and it's the most satisfying thing... We got very lucky. Larry and I came up with it the night before we were shooting. We wrote it late at night, and Jason memorized the whole speech in one day." "The Revenge" was partially based on Larry's experience quitting his job as a writer for Saturday Night Live — and the immediate regret that followed. On The David Letterman Show, Larry said, "I decided, that's it. They're fooling with the wrong guy. I walked up to the producer, it was like five minutes before the show was about to begin, I walked up and I said, 'That's it. I'm done! I've had it! Take your show! Shove it." However, his real-life neighbor, Kevin Kramer, advised him, "Why don't you just go back on Monday and pretend it never happened?" So, that's exactly what Larry did. "The Junior Mint" was not an instance of paid product placement. Andy Robin, who wrote the episode, told the Hollywood Reporter, "I knew I wanted Kramer to think of watching the operation like going to see a movie. At first, I thought maybe a piece of popcorn falls into the patient. I ran that by my brother, and he said, 'No, Junior Mints are just funnier.'" Julia came up with Elaine's iconic terrible dancing from "The Little Kicks" herself. She told Vanity Fair, "The night before the table read, I had the script, and frankly, I just stood in front of a mirror and tried to do movements that looked incredibly bad. I had a few of them, and I remember my mom was staying with us at the time, and I came downstairs, and I sort of auditioned these different movements for my mom and my husband — and they all voted on the one that I did." In an essay for Parade, writer Peter Mehlman explained that the sheer amount of Superman references wasn't planned. He said, "Much like the infant who fell from the sky into small-town America, Superman simply dropped into the orbit of Seinfeld. Contrary to rumor, it was never planned to make the Man of Steel a recurring theme, and the writing staff, on which I worked for six seasons, never got an edict dictating regular mentions of him. He just magically appeared early in the series and evolved into a go-to guy for humor — another superpower for a being faster than a speeding bullet." "That happy accident made it doubly amazing that, in the hopelessly earthbound, self-absorbed, conniving world of Seinfeld, Superman was not merely a comic-book hero — he was a role model. Great Caesar's Ghost … so much comedy gold arose from that berserk dynamic. Just consider: Superman was devoted to truth, justice, and the American way:" the Seinfeld characters were devoted to lying, cheating, and getting their own way," he said. "The Bizarro Jerry" was born from writer David Mandel and Jerry's shared love of Superman. David told Cracked, "When I pitched the concept of the Bizarro Jerry, Jerry was all over it. He knew what it was and loved it and he saw why that would be funny. I always give him credit because he was the one to say 'take it further.' It's because of Jerry that there's that ending scene of the show where they actually talk in Bizarro-speak. That was Jerry saying, 'Go for it.' That happened a lot in those final two seasons, Jerry encouraged the writers to go further." In the same episode, the "Man Hands" storyline was "loosely" inspired by David's wife. He told Cracked, "She has entirely normal-sized hands, but she grew up on a farm, and she always said her hands were 'farmy,' so that story grew out of that." Julia was able to bring her kids to work. Guest star Jami Gertz told GQ, "[She] had just had a baby, and she had a little nursery on set. So I brought my son, and our kids were able to play together on set." Originally, the show was reportedly titled The Seinfeld Chronicles. However, it had to change its name because of The Marshall Chronicles, another sitcom that was airing at the time. Production designer Thomas Azzari told the Santa Fe New Mexican, "My philosophy is that you should never be aware of the sets. You want to make sure they're appropriate, but you don't want to take anything away from what's going on. That's why Jerry's apartment is gray. … The color is the actors." By Season 9, the show was reportedly "the most expensive sitcom to produce in TV history." Each episode cost $3-3.5 million to make, and Jerry was paid $1 million per episode! The show made an estimated $1.1 billion in revenue in just the second round of syndication. After filming ended for the final season, Jerry took home a pretty big piece of memorabilia — his apartment's front wall! The rest of the set went into storage at Warner Bros. The Season 9 episode "The Puerto Rican Day" was pulled after criticism from the National Puerto Rican Coalition, who called out the show for — among other depictions of harmful stereotypes — joking that rioting and vandalizing were part of "everyday" in Puerto Rico. The scene where Kramer accidentally catches a Puerto Rican flag on fire was particularly called into question. Manuel Mirabal, president of the National Puerto Rican Coalition, told the New York Times, "It is unacceptable that the Puerto Rican flag be used by 'Seinfeld' as a stage prop under any circumstances." In a statement, NBC said, "We do not feel that the show lends itself to damaging ethnic stereotypes, because the audience for Seinfeld knows the humor is derived from watching the core group of characters get themselves into difficult situations." However, the episode was put back on air in 2002. In hindsight, Jerry would "absolutely" like to redo a few episodes differently. In 2021, he told People, "There's a number of them that I would love to have a crack at, but I don't really believe, philosophically, in changing or even thinking about the past. My philosophy of life is that just happened the way it happened, and we're going to go from here. And that's the best way to ... live. I think regret is a philosophical position that I disagree with. It kind of assumes you could have changed the past, so I wouldn't even think of that. But if you forced me or you gave me a time machine, yeah, there's a few [where] I would fix some things." One episode Jerry might like to change — the controversial finale. At the 2017 New Yorker Festival, he said, "I sometimes think we really shouldn't have even done it. There was a lot of pressure on us at that time to do one big last show, but big is always bad in comedy." The poor audience reactions to the finale changed the way Larry approached TV. He told Grantland, "Well, you know, I got so much grief from the Seinfeld finale, which a lot of people intensely disliked, that I no longer feel a need to wrap things up... I wouldn't say I'm mad about it, but it taught me a lesson that if I ever did another show, I wasn't going to wrap it up." However, he stood by the episode, saying, "No, I was not interested in an emotional ride, and neither was Jerry. No wonder why they would dislike it, yeah. But let me toot my own horn for a second. I thought it was clever to bring back all those characters in a courtroom and testify against them for what they did, and then show those clips, and also for why they even got arrested in the first place. And then to wind up — forget the self-aggrandizement here... I thought it was clever." And finally, ending the show was a mutual decision among the four leads. Jerry told People, "I do remember when I was in the ninth season, and I was thinking, maybe it's time to wrap this up. I remember inviting Michael and Julia and Jason to my dressing room, and we all just sat there and we stared at each other. And I went, 'You know, I was thinking maybe this is our moment to make a good exit. We've had a lot of good fortune here. Maybe we shouldn't push our luck too far.' And we all agreed that this was the right moment." Do you love all things TV and movies? 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Buzz Feed
12 hours ago
- Buzz Feed
Jennifer Lopez Has A Wardrobe Malfunction At Concert
On Friday, Jennifer Lopez's Up All Night Tour stopped in Warsaw, Poland, where she performed in front of a reported crowd of over 70,000 people. If you haven't seen the footage, it looked like a great night — except for one unfortunate moment when part of the outfit she was wearing became undone. Jennifer — who happened to be celebrating her 56th birthday that night — wore a sparkly gold bralette and a fringed miniskirt, accessorizing with matching full-sleeve gloves and sparkly gold heels. She was backstage, changing into the outfit, when a member of her team invited the band and the audience to join them in singing "Happy Birthday" to her. Seemingly unprepared, but not wanting to miss the song, Jennifer rushed back onstage as a team member followed close behind, seemingly trying to fasten her skirt. "Thank you!" Jennifer told the crowd. "Thank you, Warsaw!" But as she stepped forward, the skirt slipped down, exposing her gold undergarments. At first, she screamed, but then she decided to embrace it. "I'm out here in my underwear," Jennifer said, raising her hands and twirling for the crowd. Laughing, she added, "That's gonna be everywhere!" A team member attempted to help her fix the skirt, but at that point, there was no point, and Jennifer threw it into the audience. "I'm glad they reinforced that costume," she joked, "and I'm glad I had underwear on!" Watch the moment here: Viewers thought it was hilarious — and they also appreciated Jennifer's sense of humor about the situation. Taking to Reddit, one person wrote, "Now that's how a professional recovers 😂." Another said, "Lmao she knows she looks good either way. Thats power." "Well that was smooth lol," commented another. "She looks great!" While someone else said, "I love that recovery lmao" In response to some speculation that it was "staged," one viewer suggested, "It was obviously two outfits in one, it just detached too early than expected. But she was also meant to be in the 'after' one at some point." "Yea, was gonna say it might've been intentional but then saw the giant mic pack behind her; ain't no way wardrobe would want that showing on stage. Good on them for handling it so smoothly," one more added. Either way, as Reddit user Character_Seaweed_99 said, "this is why you should always wear nice underwear."
Geek Vibes Nation
13 hours ago
- Geek Vibes Nation
'Frailty' 4K UHD Blu-Ray Review - Bill Paxton Crafts One Of The Finest Psychological Thrillers Around
Frailty, Bill Paxton's striking directorial debut — now in chilling 4K for the first time — centers on the God's Hand Killer, who terrorized a small Texas community with his axe-wielding butchery. Years after the murders, Fenton Meiks (Matthew McConaughey) walks into an FBI office with a shocking revelation: he not only knows who the killer is, but where the bodies are buried. Fenton recounts how his father (Paxton) received an angelic vision commanding the destruction of demons in human form, and enlisted Fenton and his brother, Adam, to aid in the divine purge. What the boys witnessed tested the limits of their minds and souls, fusing family, retribution, and redemption in horrifying, unsettling ways. For thoughts on Frailty, please check out my thoughts on No Streaming Required: Video Quality Frailty debuts on 4K UHD Blu-Ray with a 2160p/Dolby Vision presentation in 1.85:1 which allows the film to look absolutely spectacular. The previous Blu-Ray released in 2009 looks awful in comparison with its ancient, processed master. At long last, this gem from Bill Paxton is being treated with the proper respect, and the results are astounding. The new 4K presentation unlocks an invaluable amount of detail in the smallest facets of the rustic production design, clothing, and makeup effects. The increase in detail is a blessing in the exploration of textures, including the beads of perspiration on foreheads. Skin tones appear to be consistent throughout and show a notable amount of facial detail including stubble and blood splatter. Color refinement is another area of significant improvement in comparison to the Blu-Ray thanks to the implementation of Dolby Vision. Colors look more natural and complex, especially with such lush greenery around the farm. The most worthwhile upgrade comes in the handling of the contrast. With so much of this narrative occurring at night or in shadows, it would be easy to succumb crush and banding, which it often does in the standard Blu-Ray presentation. The 4K UHD Blu-Ray shows off with particularly deep black levels with digital noise nearly completely absent from the screen. The presentation also holds up with a firm handling of the highlights that show no evidence of blooming. This is an unbelievable 4K UHD upgrade that is not to be missed. Audio Quality This disc gets an upgrade with a phenomenal Dolby Atmos presentation that entrenches you in this spiritual nightmare. Sounds are faithfully deployed with the sharpest directionality from the more thrilling moments to the interpersonal exchanges. The effective score from Brian Tyler flows through you to make you feel more unsettled than ever. The sound design is not required to deliver an action-packed assault, but it is appropriately lively in order to make everything feel authentic. The low end gets activated more so when there are sound effects such as thunder or when visions are triggered. The mix here is respectfully expanded with noble engagement of all the channels, so those with a proper system should be pleased. Dialogue is presented clearly without ever being overwhelmed by any of the competing sonic elements. This track is often immersive, such as the sounds of rain coming down from the overhead channels. Lionsgate has made this audio experience really sing. Optional English, English SDH, and Spanish subtitles are provided. Special Features This release comes in an incredible new Collector's Set exclusively at Lionsgate Limited that is quite fetching in person. The set features a hard slip box case and a printed reproduction of director Bill Paxton's complete original shooting script, with handwritten notes throughout. Video of the release can be found at the top of this review. Father Figure: A new 34-minute featurette that weaves in both new and archival interviews with Bill Paxton, Matthew McConaughey, writer Brent Hanley, producer David Kirschner, producer David Blocker, Bill Paxton's son James Paxton, and more. In this piece, you get great insights into the production of the film, the directorial vision of Bill Paxton, the relationship between the performers, the music of the film, and more. Establishing Shot: A new seven-minute featurette that delves into the care put into the 4K restoration of the film. More Stories from the Frailty Set: Another new 19-minute featurette in which many of the subjects providing new interviews from the first piece relay more stories that could not fit neatly into that piece. There are great anecdotes about inviting James Cameron to watch the movie, Bill Paxton imparting acting wisdom to the young performers, and more. There is even a nice reunion between Matt O'Leary and Jeremy Sumpter. Teaser Trailer (1:04) Theatrical Trailer (2:07) Legacy Special Features: This new disc carries over the features from the 2009 Lionsgate Blu-Ray release. Audio Commentary #1: Director Bill Paxton Audio Commentary #2: Editor Arnold Glassman, Producer David Kirschner, and Composer Brian Tyler Audio Commentary #3: Writer Brent Hanley Anatomy of a Scene – Featurette Courtesy of Sundance Channel (25:58) The Making of Frailty (19:29) Deleted Scenes with Optional Director Commentary (8:28) Storyboard Gallery (3:02) Photo Gallery (1:35) TV Spots (0:48) Final Thoughts Frailty is a terrific directorial effort from the late, great Bill Paxton, who is likewise delivering some of his best work in front of the camera, as well. This psychological tale keeps you on your toes as you try to decipher whether the horror you are witnessing is man-made or from a higher power. The tension is sustained very well throughout, and every performance lends a significant amount of authenticity to the proceedings. Even with its acclaim, it is an underrated piece of cinema. Lionsgate Home Entertainment has released a 4K UHD Blu-Ray that sports a top-tier A/V presentation and a valuable section of special features in lovely packaging. This is as respectful of a tribute to Bill Paxton as you could wish for. Highly Recommended Frailty is currently available to purchase exclusively at Lionsgate Limited on 4K UHD Blu-ray. Note: Images presented in this review are not reflective of the image quality of the 4K UHD Blu-Ray. Disclaimer: Lionsgate Home Entertainment has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
