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    Real Housewives Recap

    Friendships start to fray on Real Housewives of Dallas

    Elaine Liner
    May 3, 2016 | 12:15 am
    Cary Deuber and LeeAnne Locken of Real Housewives of Dallas
    Cary Deuber and LeeAnne Locken on the Real Housewives of Dallas.
    Photo courtesy of Bravo

    They tried to shuffle the woman cards on Real Housewives of Dallas this week. Nobody is happy with the hand she’s been dealt.

    The ladies at the center of the Bravo series travel in tight pairs, but alliances seem to be fraying. LeeAnne Locken, the socially connected charity maven, has been close buds with Tiffany Hendra, former actress and LA transplant now back in Dallas with Aussie musician hubby Aaron. (His Twitter handle is @MrKeithSuburban, which is too perfect.) Brandi Redmond, the ex-cheerleader, is joined at the hip to wispy blonde Stephanie Hollman.

    Two more, SkinSpaMED plastic surgery nurse (and doc’s wife) Cary Deuber, and lawyer’s wife Marie Reyes, float among the other four like free-roaming antibodies. Or in the case of Cary, anti-fat bodies. She’s a relentless chub-shamer.

    Cary took Tiffany to We Yogis for some hot asanas in this week’s episode, and while she was showing off headstands, Tiffany just perspired and looked on in awe. Then they got green smoothies and verbally cold-pressed LeeAnne.

    This is the teaser of what’s to come, the sparring match before the end-of-episode public cage fight. Do reality TV housewives day drink and get physical on each other? As reliably as they wear jewel tones and too much mascara.

    All that goes down in the latest RHOD, plus sloppy tears; a road trip to Coweta, Oklahoma; and a too-quick peek at Fashionistas founder Heidi Dillon’s art collection, which includes an Alex Katz that she tweeted is “my prize possession.”

    It’s LeeAnne, wearing her black hair in a Tuptim topknot, who visits Heidi’s towering manse to talk charity stuff. (LeeAnne uses “charity” as every part of speech, saying it 17 times in this week’s show.) LeeAnne convinces Heidi to be part of her Paws Cause event helping the SPCA of Texas. “Pets are just something I’m always gonna have a heart for. Woof, woof,” says LeeAnne, smiling like a Cheshire cat.

    LeeAnne, if you’re just catching up, is this show’s tent pole housewife and stirrer upper of trouble. She’s a self-described “carny kid” who isn’t mega-wealthy and has no children, and she lives for charity events, of which she attends many.

    Cast as LeeAnne’s nemesis is 12-years-younger spitfire Brandi. This week we got to see redheaded Brandi, redheaded husband Brian, and redheaded daughters Brooklyn and Brinkley having breakfast. (Maybe they eat together only at meals beginning with “b.”)

    Brandi is portrayed as a sad nymph longing for familial connection because Brian is away on biz so often. Brandi and her kids pile into Stephanie’s big honkin’ SUV with her kids (who are crying, making Steph wish aloud for a car equipped with “muzzles and tranquilizers”) for a jaunt to Coweta to visit Steph’s parents.

    Dad Frank and Mom Susan are nice people. Coweta, Frank explains to Brandi, is a small town where people exercise-walk through the cemetery because it’s safe there. How dangerous is Coweta that walking among the dead is safer than among the living, we wonder.

    Frank and Susan put their salad dressing bottles on the dinner table just like the rest of us. They eat deviled eggs that Brandi says “smell like Stephanie’s farts.” Being around them inspires Brandi to try to patch things up with her long-estranged grandparents.

    Back home in her mansion, Brandi calls her granddad to invite him to visit Dallas. Nothing reads “sincere” like healing a long family feud via speakerphone in front of reality TV crews.

    Cut to the near-throwdown at the fancy cocktail party at the now-closed Stephan Pyles restaurant. Brandi, Stephanie, Cary, and Marie hug the wall in their jewel-toned dresses and glare at LeeAnne, who is holding court with Tiffany about one arm’s length plus a gelled nail away. “I don’t have a malicious bone in my body,” declares generously gristled LeeAnne.

    Tiffany crosses the Rubicon to reach out to Brandi for some diva détente. “Tiffany is on me like a 50 percent off sale at JC Penney,” Brandi says. Someone spills that LeeAnne once pooped her pants after too much Jesus juice.

    Brandi repeats the story immediately, using “shat,” which is adorable. We have not yet had a poop-free episode of RHOD. Ex-Lax should be a sponsor.

    LeeAnne starts barking at the other ladies. Woof, woof! Given what we’ve just heard, maybe she needs to go out for a walk. Don’t forget the plastic bag.

    Brandi says something mean. LeeAnne says something mean back. Voices are raised. Steph tunes up to cry. Marie’s long neck stiffens in horror. Nobody’s talking about why this housewife hates this other housewife. There are so many elephants in this room, PETA should be protesting.

    The previews for next week show LeeAnne and Tiffany having it out right outside the restaurant. There is shoving, poking, and screaming. LeeAnne throws a punch at a camera. We know how she feels.

    ---

    Real Housewives of Dallas airs at 9 pm Mondays for the next six weeks on Bravo.

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    Movie Review

    Legendary filmmaker makes tepid return with meandering film Ella McCay

    Alex Bentley
    Dec 12, 2025 | 11:38 am
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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