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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

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

    ---

    A Private Life is now playing in select theaters.

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