Ms. Pac Man will be on the lineup at Free Play Arcade in Richardson.
Free Play
A game arcade with a retro theme and a unique payment approach will open in Richardson in the fall. Called Free Play, it'll offer more than 70 arcade games, most from the 1980s, including titles such as Ms. Pac Man, Defender and Tempest.
As the name suggests, every video will be set to "free play" mode, with patrons paying a single entry price for unlimited play on every game in the arcade.
In addition to the games, the arcade will include a dining area with food and beverages, including a wide selection of local and regional craft beers.
“This will be a huge draw for young professionals and video game fans from all over the area,” says co-founder and president Corey Hyden. “Nothing like this exists in DFW and, for most of the games that will be on our floor, you would have to drive hundreds of miles to find them at another arcade. It will be nostalgia overload."
The arcade is going into a former electronics store at 1730 Belt Line Rd. between Chase Place, a bar, and a Sherwin Williams store.
According to the Richardson blog, some residents complained that it would be selling alcohol, but Hyden said it will be beer and wine for his target audience of people aged 25 to 50.
Hyden and his partner Richard Boland Tregilgas II both graduated from Richardson high schools. Hyden is a litigation attorney based in Richardson; Tregilgas is CEO of imakestuff, inc., a company that develops and builds creations for use on stage and screen.
"It was extremely important to us that we open this retro arcade in Richardson," Hyden says. "The recent boom in young professionals calling Richardson home, along with our strong roots here, made Richardson the obvious choice."
Michaela Coel and Ian McKellen in The Christophers.
Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.
Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.
Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.
Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.
Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.
While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.
Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.
Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.
