Mandy Moore will go on tour for the first time in over a decade.
Photo courtesy of Mandy Moore
Mandy Moore, who transitioned from pop star to actor in the early 2000s, is getting back to her first love, going on tour for the first time in over a decade. She'll bring her tour to Majestic Theatre in Dallas on Thursday, April 23, 2020.
Moore made the announcement on her Facebook page November 19, indicating that the tour will be "an intimate, elevated evening of new and old tunes, performed with a superb group of musicians," a show that will "have threads of what the writing and recording process was like with this band, almost like you’ve been invited in our living room for an inside glimpse." Moore released a new single, "When I Wasn’t Watching," this past September.
The tour will travel to 29 cities across the United States, starting in Pittsburgh on March 20. In addition to Dallas, Moore will also go to Houston on April 24 and Austin on April 25. All three Texas dates will feature opening act Madison Cunningham.
Moore made her debut as a singer in 1999, releasing six albums over the next 10 years, her most recent being 2009's Amanda Leigh. While she had decent success in that realm, she has become much more well known as an actor, most notably for her role as Rebecca Pearson on the NBC show This is Us, for which she was nominated for an Emmy Award in 2019.
Various pre-sales for the tour start on Wednesday, November 20, with tickets for the general public going on sale on Friday, November 22.
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.
