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Real Housewives Recap

Real Housewives of Dallas must be a throwaway for Bravo

Elaine Liner
Jun 6, 2016 | 11:40 pm
Brandi Redmond Real Housewives of Dallas
Brandi does two things at warp speed in every episode: get drunk and start weeping.
Photo courtesy of Bravo

On other, more glamorous Real Housewives shows, the ladies often jet off to Bali or Banff or the Bahamas for a super-glam on-camera vacation. For Real Housewives of Dallas, the Bravo network has seen fit only to schlep the gals down to Lake Travis for two nights. On a bus.

Away the women roll to a sprawling lake house built by cast member Brandi Redmond’s husband Bryan and pal Stephanie Hollman’s husband Travis. It’s a big, bland pile of bricks with a pool and a lake view, which the cameras don’t ever bother to feature.

The centerpiece of episode nine of this 10-part series (the finale is next week, followed by a “reunion” special) is a catered birthday dinner for three of the wives. Rambunctious party scenes are a staple of Housewives shows. Remember Teresa Giudice flipping the table and yelling “prostitution whore!” at the multifamily meal on RHONJ? Or Camille Grammer’s psychic pal spilling nasty predictions over that boozy dinner with the RH’s of Beverly Hills?

Those episodes were full of fireworks. RHOD’s lakeside slumber party merely lights some damp squibs. The title of this week’s hour is “Killing Time in Austin.” It feels as if this version of the series is doing just that, ticking off minutes until it can clear the time slot to make way for the return of the ratings-pulling crazypants shenanigans of the New Jersey franchise.

Down at Lake Travis, it’s charity-mad LeeAnne Locken in the center ring, as usual. LeeAnne is a gorgeous woman with a heart for good causes and the temperament of a trapped wolverine. This week she’s more than a little miffed that her fellow housewives keep circulating a story about that time she took too many laxatives, had a dram too much alcohol, and didn’t make it to the ladies’ room in time.

Scatology is the dominant theme of RHOD. You have to wonder what the women did during the filming to tick off the crew and editors of this show so badly that every hour ended up loaded with references to pee and poop. This week they include the moment Brandi urinates into a red plastic cup on the bus trip from Dallas to Austin. Cut right to a commercial for a “bladder support” device.

Back at the dinner party, Brandi, bless her sodden heart, gets snockered, does a backward somersault over the tabletop, and then tumbles off her chair onto the floor. Brandi does two things at warp speed in every episode: get drunk and start weeping.

“Brandi and Jesus juice [her nickname for wine] make a lot of decisions together,” observes Brandi’s best friend Stephanie, a pretty blonde who laugh-cackles like an evil sister in Macbeth.

The plan for the weekend in Austin appears to be to hang out at the pile of bricks for a night, pick at chef-prepared scallops, drink too many fireballs and glasses of Pinot Noir, and then wake up early to enjoy a spa day at Austin’s Four Seasons. And here’s where it’s really clear that Bravo has treated RHOD like a throwaway: After the camera crew has left for the night, a major brouhaha breaks out between LeeAnne and the nearly silent Marie Reyes (the one who wore the twiglet hat a few weeks back).

No footage of this contretemps makes it to the small screen; just audio clips of LeeAnne shouting at Marie, captured on Cary’s phone. There’s also a secondhand retelling of the argument by Stephanie in her to-the-camera post-production confessional.

What might have been the high point of the series (or low, depending on how you measure awful behavior among adult women who fancy themselves cultured and privileged), happens off-camera. Viewers only get the tell, but not the show.

So all that’s left on episode nine is the aftermath of blow-up. LeeAnne again explains her hair-trigger temper with references to her crappy childhood. Marie looks terrified as she tries to explain that she’s not the one who revealed the story of LeeAnne’s loose bowels. Tiffany Hendra, LeeAnne’s constant enabler, begs the others to walk in LeeAnne’s espadrilles and try to understand her.

Apologies. Hugs. Cary Deuber (the plastic surgeon’s wife) rolls her eyes under perma-arched brows.

Another tense dinner unfolds at the Austin location of Bob’s Steak & Chop House. LeeAnne drills her death-stare into Cary and Tiffany. Brandi babbles some nonsense about her fear of sharks and then disappears into the restroom. “Worst girls’ trip ever,” snaps Cary.

Previews of episode 10 feature the Byron Nelson golf tournament, two of the housewives falling into a swimming pool, and a revolting close-up of rabbit feces on the carpet at the Redmond home.

On this show, even the pets are party poopers.

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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

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Alex Bentley
Sep 18, 2026 | 11:50 am
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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