Eagles have added one more date at American Airlines Center in Dallas to their Hotel California 2021 tour.
Photo by George Holz
The legendary rock band Eagles can't seem to get enough of Dallas, as they've added a second date to their delayed-and-rescheduled Hotel California2021 tour. They'll now be playing at the American Airlines Center on September 20 and 21, 2021.
In case you'd lost track: the band played two dates from this tour in Dallas on February 29 and March 1, 2020, and were scheduled to do a third on March 17, 2020 before getting postponed due to the pandemic. That date was rescheduled for September 21, and it will now be joined by this fourth concert the night before.
The band, made up of Don Henley, Joe Walsh, Timothy B. Schmit, Deacon Frey, and Vince Gill, is visiting 11 cities total on the tour, but Dallas is the only Texas stop for them on this leg.
Just as before, each night’s concert will feature them playing their iconic album Hotel California in its entirety, accompanied by an orchestra and choir. After an intermission, they'll return with an entire additional set of the band’s other greatest hits.
Hotel California, which came out in 1976, is the third best-selling U.S. album in history, certified 26-times Platinum by the RIAA. Several of the songs from the album have never been performed since the original “Hotel California” tour.
Tickets for the new date will go on sale to the general public on Friday, July 16, at 10 am via Ticketmaster.com. American Express Card Members can purchase tickets before the general public beginning Monday, July 12, at 10 am through Thursday, July 15, at 10 pm.
Amanda Seyfried and Sydney Sweeney in The Housemaid.
Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.
Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).
After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.
Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.
The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.
Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.
Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.
The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.
