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.
Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.
That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.
Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.
Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.
The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.
The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.
Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.
Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.
