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    Alton Brown's Dallas Antics

    Food Network star Alton Brown eats Dallas BBQ and does what he can't do on TV

    Eric Sandler
    Oct 27, 2014 | 7:49 am

    Why did an almost sold-out crowd of Dallasites fill the Majestic Theatre twice on Sunday to see Food Network star Alton Brown? What could they possibly see in two hours that 200-plus episodes of Good Eats, The Next Food Network Star, Iron Chef America and Cutthroat Kitchen couldn't help them glean about the performer known for his obsessive attention to detail and nerdy devotion to food history?

    "These two hours are not about your pleasure," Brown said early in his performance. "They're about my pleasure and letting me do what no one will let me do on television."

    What were those things? First, Brown sang. The set opened with a rap called "TV Chef" about the compromises of celebrity chefdom and closed with "Cooking Lesson Lullaby Part 1" about the not-so-simple cooking tips a person should remember on "12 hands."

    The show allowed Brown to "rant, rave, preach and pontificate" about topics that might upset Food Network sponsors.

    He introduced the cooking demonstration in the second act with a Violent Femmes-inspired acoustic rocker called "Easy Bake" about the trials of a boy who just wanted to use a light bulb to make cookies, and he spun a countrified ditty called "Airport Shrimp Cocktail" about the dangers of eating improperly stored shrimp cocktail in an airport before a 5.5-hour flight.

    The show also allowed Brown to "rant, rave, preach and pontificate" about topics that might upset Food Network sponsors. Of course, as Brown explained about the tour, "I don't have any sponsors. I just have you." That allowed him to take gentle pokes at Sandra Lee ("there's nothing you can't do with crepe paper and a fifth of vodka") and Williams-Sonoma ("the single most stuck up place I've ever been").

    He shared seven pieces of wisdom billed as "things I'm pretty sure I'm sure about" that consisted of witty, oftentimes laugh-out-loud funny, observations about the world of cooking. For "chickens don't have fingers," he told the story of combating his daughter's request to serve chicken fingers to her friends by serving them fried chicken feet. For "look for the little things," he related a story of learning to make his grandmother's biscuits by observing that she couldn't bend her fingers as she mixed the dough due to arthritis.

    Other things Brown is sure about: "Trout don't belong in ice cream," "shower your 'shrooms," "don't leave out the NaCl," "raisins: always optional ('no recipe that ever called for raisins isn't better with M&M's')" and "never eat a shrimp cocktail in an airport" (see song reference above).

    Two cooking demonstrations marked particular high points. In the first, Brown made carbonated chocolate ice cream by shooting high-pressure chocolate cream at carbon dioxide from a giant fire extinguisher — a Good Eats-style prop he called the Jet Cream. In the second, he righted his boyhood slights by making pizza with the Mega Bake, a custom-built giant oven powered by fifty-four 1,000-watt lights capable of producing 1,026,000 lumens.

    With help from an audience member, Brown used the Mega Bake — "an oven you can see from space," he said — to make two pies topped with Pecan Lodge brisket he had saved from a lunchtime visit.

    Throughout, Brown kept the mood light and the quips flying. He called out a late arrival for being tardy and expressed shock when his pizza assistant, Andrea the psychotherapist, anticipated his recommended enzyme for repairing a hole in her crust by spitting on the unbaked pie.

    Highlights of the Q&A portion included his observation that the Dallas food scene is "coming along nicely" as more than a town known for Texas food like barbecue, and the promise of a Good Eats web series (premiere date TBA).

    Those expecting a two-hour-long, highly scientific Good Eats episode may have left disappointed, but Brown's light-hearted tone and surprisingly funny stage demeanor kept things from dragging. Some even gave him a standing ovation at the end. He'd earned it.

    The Food Network star came to Dallas as part of his Alton Brown Live! The Edible Inevitable Tour.

    Alton Brown
    Photo courtesy of Alton Brown
    The Food Network star came to Dallas as part of his Alton Brown Live! The Edible Inevitable Tour.
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    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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