What Legal Authority Does Judge Judy Have?

Frazer Harrison/Getty Images
Frazer Harrison/Getty Images

While Judith Sheindlin was a real, live judge—New York City Mayor Ed Koch appointed her to family court in 1982 and then made her Manhattan's supervising family court judge in 1986—she's not acting as one on her show. Neither are any of the other daytime TV judges (whether they passed the bar and served as actual judges or not).

TV court shows don't take place in real courtrooms and they don't feature real trials, though they are usually real cases—the producers often contact parties who have pending litigation in small claims court and offer them the opportunity to appear on TV instead. What you're seeing on these TV court shows is really just arbitration playing dress-up in small claims court's clothes.

Arbitration is a legal method for resolving disputes outside the court. The disputing parties present their cases to a neutral, third-party arbitrator or arbitrators who hear the case, examine the evidence, and make a (usually binding) decision. Like a court-based case, arbitration is adversarial, but generally less formal in its rules and procedures.

The power that Judge Judy and the rest of the TV arbitrators have over the disputing parties is granted by a contract, specific to their case, that they sign before appearing on the show. These contracts make the arbitrators' decision final and binding, prevent the disputing parties from negotiating the terms of the arbitration, and allow the "judges" wide discretion on procedural and evidentiary rules during the arbitration.

TV judges make their decision on the case and either decide for the plaintiff, in which case the show's producers award them a judgment fee, or with the defendant, in which case the producers award both parties with an appearance fee. This system seems to skew things in favor of the defendants and gives them an incentive to take their case from court to TV. If they have a weak case, appearing on the show absolves them of any financial liability; if they have a strong case, they stand to earn an appearance fee along with their victory.

If one party or the other doesn't like the arbitrator's decision, it can really only be successfully appealed if it addresses a matter outside the scope of the contract. In 2000, Judge Judy had one of her decisions overturned for that reason by the Family Court of Kings County. In the case B.M. v. D.L., the parties appeared in front of Sheindlin to solve a personal property dispute. Sheindlin ruled on that dispute, but also made a decision on the parties' child custody and visitation rights. One of the parties appealed in court, and the family court overturned the custody and visitation part of the decision because they weren't covered by the agreement to arbitrate.

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This post originally appeared in 2012.

What Is the Wilhelm Scream?

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iStock

What do Star Wars, The Lord of the Rings, Pirates of the Caribbean, Harold and Kumar Go to White Castle, Toy Story, Reservoir Dogs, Titanic, Anchorman, 22 Jump Street, and more than 200 other films and TV shows have in common? Not much besides the one and only Wilhelm Scream.

The Wilhelm Scream is the holy grail of movie geek sound effects—a throwaway sound bite with inauspicious beginnings that was turned into the best movie in-joke ever when it was revived in the 1970s.

Just what is it? Chances are you’ve heard it before but never really noticed it. The Wilhelm Scream is a stock sound effect that has been used in both the biggest blockbusters and the lowest low-budget movies and television shows for over 60 years, and is usually heard when someone onscreen is shot or falls from a great height.

First used in the 1951 Gary Cooper western Distant Drums, the distinctive yelp began in a scene in which a group of soldiers wade through a swamp, and one of them lets out a piercing scream as an alligator drags him underwater.

As is the case with many movie sound effects, the scream was recorded later in a sound booth with the simple direction to make it sound like “a man getting bit by an alligator, and he screams.” Six screams were performed in one take, and the fifth scream on the recording became the iconic Wilhelm (the others were used for additional screams in other parts of the movie).

Following its debut in 1951, the effect became a regular part of the Warner Bros. sound library and was continually used by the studio’s filmmakers in their movies. Eventually, in the early 1970s, a group of budding sound designers at USC’s film school—including future Academy Award-winning sound designer Ben Burtt—recognized that the unique scream kept popping up in numerous films they were watching. They nicknamed it the “Wilhelm Scream” after a character in the first movie they all recognized it from, a 1963 western called The Charge at Feather River, in which a character named Private Wilhelm lets out the pained scream after being shot in the leg by an arrow.

As a joke, the students began slipping the effect into the student films they were working on at the time. After he graduated, Burtt was tapped by fellow USC alum George Lucas to do the sound design on a little film he was making called Star Wars. As a nod to his friends, Burtt put the original sound effect from the Warner Bros. library into the movie, most noticeably when a Stormtrooper is shot by Luke Skywalker and falls into a chasm on the Death Star. Burtt would go on to use the Wilhelm Scream in various scenes in every Star Wars and Indiana Jones movie, causing fans and filmmakers to take notice.

Directors like Peter Jackson and Quentin Tarantino, as well as countless other sound designers, sought out the sound and put it in their movies as a humorous nod to Burtt. They wanted to be in on the joke too, and the Wilhelm Scream began showing up everywhere, making it an unofficial badge of honor. It's become bigger than just a sound effect, and the name “Wilhelm Scream” has been used for everything from a band name, to a beer, to a song title, and more.

But whose voice does the scream itself belong to? Burtt himself did copious amounts of research, as the identity of the screamer was unknown for decades. He eventually found a Warner Bros. call sheet from Distant Drums that listed actors who were scheduled to record additional dialogue after the film was completed. One of the names, and the most likely candidate as the Wilhelm screamer, was an actor and musician named Sheb Wooley, who appeared in classics like High Noon, Giant, and the TV show Rawhide. You may also know him as the musician who sang the popular 1958 novelty song “Purple People Eater.”

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Can You Really Suck the Poison Out of a Snakebite?

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iStock

Should you find yourself in a snake-infested area and unlucky enough to get bitten, what’s the best course of action? You might have been taught the old cowboy trick of applying a tourniquet and using a blade to cut the bite wound in order to suck out the poison. It certainly looks dramatic, but does it really work? According to the World Health Organization, approximately 5.4 million people are bitten by snakes each year worldwide, about 81,000 to 138,000 of which are fatal. That’s a lot of deaths that could have been prevented if the remedy were really that simple.

Unfortunately the "cut and suck" method was discredited a few decades ago, when research proved it to be counterproductive. Venom spreads through the victim’s system so quickly, there’s no hope of sucking out a sufficient volume to make any difference. Cutting and sucking the wound only serves to increase the risk of infection and can cause further tissue damage. A tourniquet is also dangerous, as it cuts off the blood flow and leaves the venom concentrated in one area of the body. In worst-case scenarios, it could cost someone a limb.

Nowadays, it's recommended not to touch the wound and seek immediate medical assistance, while trying to remain calm (easier said than done). The Mayo Clinic suggests that the victim remove any tight clothing in the event they start to swell, and to avoid any caffeine or alcohol, which can increase your heart rate, and don't take any drugs or pain relievers. It's also smart to remember what the snake looks like so you can describe it once you receive the proper medical attention.

Venomous species tend to have cat-like elliptical pupils, while non-venomous snakes have round pupils. Another clue is the shape of the bite wound. Venomous snakes generally leave two deep puncture wounds, whereas non-venomous varieties tend to leave a horseshoe-shaped ring of shallow puncture marks. To be on the safe side, do a little research before you go out into the wilderness to see if there are any snake species you should be particularly cautious of in the area.

It’s also worth noting that up to 25 percent of bites from venomous snakes are actually "dry" bites, meaning they contain no venom at all. This is because snakes can control how much venom they release with each bite, so if you look too big to eat, they may well decide not to waste their precious load on you and save it for their next meal instead.

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