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Real Housewives Recap

Real Housewives of Dallas has its cake but barely dishes out crumbs

Elaine Liner
May 30, 2016 | 11:38 pm
Stephanie Hollman of the Real Housewives of Dallas
Stephanie Hollman of the Real Housewives of Dallas.
Photo courtesy of Bravo

With only two episodes left, we are in the final laps of Real Housewives of Dallas. By now it’s clear that this will not be one of the gems in Bravo producer-creator Andy Cohen’s dazzling collection of women-with-money reality shows.

This week’s episode was its most lackluster yet, and one thing a Housewives hour must never be is lacking luster. These shows should come off as Jackie Collins novels come to life, with impossibly pretty women, cavernous mansions, lavish vacations, and, if they do it right, steamy hints of illicit sex in exotic locales. It’s what first spiked ratings for Real Housewives of Orange County, the original in the multi-spin-off cable TV franchise. (It returns afresh June 20.)

No such luck with RHOD. They’re rich, all right, but not mega and certainly not sophisticated. The Dallas cast members have potty mouths and lousy taste in clothes. Their husbands are dull-eyed and seem to regard their spouses as possessions, particularly Travis Hollman, whose birthday is a centerpiece of this week’s show.

He treats wife Stephanie like a child, leaving her lists of tasks that must be checked off each day (something he says his mother always did). When Stephanie begs him to let her make a decision on her own, he acts like she’s asked him for a kidney.

Travis’ party, held downtown at The Mitchell bar, has a Great Gatsby theme. Travis’ birthday parties always have a theme, Stephanie says, because “it’s such a huge dill.” That’s how she says “deal.” Rilly. (He wasn’t happy with his previous year’s gift from his wife: a certificate for laser back-hair removal.)

Stephanie decides on the Gatsby motif with no indication of having ever read the great American novel by F. Scott Fitzgerald. Maybe she saw the latest movie version starring Leo DiCaprio, who’s about as Gatsby-esque as Travis Hollman, meaning not even remotely.

To find period costumes, Steph and best friend Brandi Redmond (the designated speed-weeper and troublemaker of RHOD) head to Whatchamacallit, a prom dress resale boutique. They buy long, low-cut, sequined-and-feathered things. Their vision of the Great Gatsby is less 1920s chic flapper and more pageant evening-gown competition from the early 2000s.

Minor drama ensues when Stephanie frets about inviting both Brandi and her on-show nemesis, LeeAnne “carny kid turned charity angel” Locken, to the party. She does, of course, and we are treated to the arrival at the event of LeeAnne and her pal Tiffany Hendra, who’ve ignored the Gatsby theme and dressed as bewigged hookers from old reruns of Adam-12.

Stephanie, always seeking Travis’ approval, asks again and again if he likes the party. In his novel, F. Scott Fitzgerald described Gatsby’s love interest Daisy Buchanan as having a “voice full of money.” Stephanie’s voice is full of helium.

In the after-party just for the two of them, Steph jumps out of a fake cake and squeak-sings “Happy Birthday” for Travis, who then asks her to do a lap dance. She refuses “because my name isn’t Cinnamon.” It’s the only sign of wit Stephanie’s exhibited in eight weeks of shows.

Other things that happened this week are almost too low-key to recap. LeeAnne and her man Rich, who’s had about 11 seconds of airtime, have a quick lunch at True Food Kitchen for no real reason plot-wise. She then is seen giving a motivational speech to a women’s group, which plays like an audition for the speaking circuit.

Cary and Mark Deuber throw a little birthday do for their 3-year-old daughter. Mark complains that the cake isn’t chocolate. It isn’t your party, Dr. Deuber.

As this series winds to a close, with no indication from Bravo of a second season, it’s sinking in how differently RHOD portrays Dallas women — all over-blushed cheeks, lacquered hair, and consignment couture — from Dallas itself. There are aerial shots of the distinctive skyline, swoops over a glistening Trinity, that this week seemed to be teeming with houseboats (?), and glimpses of unclogged freeways where cars appear to be moving at designated speed limits.

Unlike the scenes on this show, that’s some beautiful fantasy right there.

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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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