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Real Housewives Recap

Awkwardly real reality creeps into Real Housewives of Dallas

Elaine Liner
May 16, 2016 | 11:33 pm
Brandi Redmond and family
Brandi is outwardly bubbly but inwardly sad about her hubs always being away.
Photo courtesy of Bravo

In real life you probably wouldn’t stand alone in a room, stare at your phone, and sigh like a tragic heroine. You most likely wouldn’t plan a sit-down with your best friend in a restaurant to berate her for supposed slights. Or loudly confront another sorta-friend with printed out texts that impugn your character.

In real life, you’d just cross people you’re mad at off the Christmas list, unfriend them on Facebook, and be done with it.

Real Housewives of Dallas — like other “housewives” in the ever-expanding Bravo series franchise — routinely do the unreal versions of de-friending, however. And they do it in heavy makeup. With a camera crew focused on every word and sigh.

Episode six of the 10-episode run of RHOD was chockablock with such amusing nonsense and a moment or two of awkwardly real reality. It’s not news that these shows are hell on marriages. Each incarnation of the popular series has seen couples call it quits. Among the Dallas housewives, it’s Brandi Redmond whose home life is in turmoil at this juncture.

This week Brandi took a break from chugging “Jesus juice” (wine) with giggly best bud Stephanie Hollman to try to reconnect with husband Bryan. He’s out of town on business a lot, leaving Brandi at home in their echo-y mansion with their two little nanny-free daughters.

Brandi, you’re a fine girl. What a good wife you would be if only you could make Bryan understand how lonely you are in your gilded cage. (They’ve been together since high school, so that’s about 20 years a deux.)

Quick with crude jokes and a bit too open with pal Steph about Bryan’s nasty personal habits (chewing his toenails and picking his nose), Brandi is outwardly bubbly but secretly sad. This week she put on a bright orange mini-dress for “date night” with Bryan at Texas de Brazil.

In a tight close-up shot, she nervously orders a martini and tries to tell him she feels neglected and wants more together-time. He sits stone-faced. “I feel like I give you all the attention,” he says.

“I don’t understand you,” Brandi says, so quietly there are subtitles on the screen.

“Okay, dude,” Bryan huffs, “I’ve had enough. I’m done.” Exit Bryan as “sad electronic music plays.” (That’s what the subtitles say.)

This is genuinely awful. We feel you, Brandi. Stay strong. (According to Bravo’s show blogs, the couple is still together.)

Meanwhile, back at other people’s mansions, charity stalwart LeeAnne Locken holds hands and prays aloud with her bestie Tiffany Hendra (rocking a side ponytail that would make Andy Cohen squeal) in the driveway of minor housewife Marie Reyes. They ask for divine guidance for the shouting match about to ensue. Something about nasty text messages Marie has sent to Tiffany about LeeAnne.

None of that is as interesting as Marie’s head ornament in this scene. It seems to be made of entwined twigs. Perhaps she bought it at a sample sale in Middle Earth.

Later in the hour Cary Deuber and plastic surgeon husband Mark shop for glittery dresses at Stanley Korshak, then he works the camera for a photo shoot wherein she doffs her top, revealing some top-grade bazooms, and flips into a handstand while wearing leather pants.

Cary says Mark’s hobbies are “cooking, photography, and sex.” In every shot, he’s on her tighter than Spanx on cellulite.

A teensy crack of discontent is revealed in the seemingly hunky-dory marriage of mega-mansion dwellers Stephanie and Travis Hollman. He wants to control her every move, including her decorating efforts. She says (not to him) that “I want him to trust me.”

Travis objects to the window treatments she’s picked out for their sons’ bedrooms. He says he doesn’t like curtains. So she throws him some shade: “He has the worst taste in the world.”

Exhibit B in her case is then introduced to the jury: huge statues of Samurai warriors guarding the front yard of their suburban palace. Travis bought them and planted them there. “I named them Gayle and Oprah,” Stephanie says.

Brandi and Stephanie are then seen dressing the scowling warriors up with shiny scarves, beads, and other frou-frou. It’s the happiest Brandi has looked in weeks.

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Real Housewives of Dallas airs at 9 pm Mondays on Bravo. You can also watch episodes online.

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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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