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    Deep Ellum News

    Dallas' Deep Ellum gets an unexpected new amenity: valet parking

    Teresa Gubbins
    May 12, 2023 | 2:55 pm
    Deep Ellum

    Valet is coming to the neighborhood.

    Courtesy photo

    Dallas' once-grungy Deep Ellum entertainment district will now offer what is surely an unanticipated new amenity: valet parking.

    The valet service will be open on Thursdays-Sundays beginning May 11, and is not connected with any one business, ergo, it's open to anyone visiting Deep Ellum who doesn't want to park their own car.

    The service is one in a series of new measures introduced by the Deep Ellum Foundation (DEF) to ease access and walkability for visitors to the area's 100-plus restaurants, bars, breweries, nightclubs, shops, apartments, offices, and hotels.

    The valet stand will be located at 2625 Commerce St., between Twisted Root and DOT's Hop House, and is the result of a partnership between DEF, the 501c3 that advocates for the neighborhood, and the owner of the parking lot, says DEF executive director Stephanie Hudiburg.

    "This has been a priority we've been trying to do for a few years," Hudiburg says. "Originally, we were trying to find a way to do it on the public right of way, by using metered parking on the streets. But the parking lot owner is working with us to offer a program that serves the entire district, right in heart of district."

    The lot is the large plot that stretches across a block from Commerce Street to Main, making it accessible to pedestrians from both streets.

    "This particular lot is owned by a property owner who also owns retail, bars, and restaurants, and wanted to offer a holistic customer experience that benefits other businesses as well," she says. (FYI, it's Asana Partners.)

    The valet stand will be in operation Thursdays-Fridays from 6 pm-1 am, and Saturdays-Sundays from 1 pm-1 am. At launch, it will cost $25, although there are hints that the price may increase down the road.

    The valet is one part of a larger program to make it easier for people who want to visit Deep Ellum, Hudiburg says.

    Other parts of the program include:

    • closing down the main streets on weekend nights to pedestrian traffic only, from 10 pm-3 am
    • new bicycle corrals on Main Street, and a new bicycle pump installed at 2626 Main St. in front of the Patagonia store
    • freshly painted crosswalks, at the intersections of Main & Crowdus, Elm & Crowdus, and Elm & Good Latimer Expressway

    There are also 1,000 new parking spaces, and a new/additional dropoff spot in the neighborhood's Rideshare Flow Zones, a program it introduced in 2019 modeled after DFW Airport in which zones have been designated as drop-off/pickup rideshare zones for visitors coming via services such as Uber and Lyft.

    The zones are 1 to 2 blocks away from core activity in Deep Ellum, with the goal of improving traffic flow and emergency vehicle access in the area, and are in play during the busiest nights and weekends.

    The new zone is at 2551 Elm St., in front of Elm & Good at the Pittman Hotel and will launch on May 12.

    It joins the five existing rideshare drop off/pick up zones:

    • Good Latimer Expressway northbound between Main & Commerce
    • Commerce Street eastbound between Crowdus & Malcolm X Boulevard
    • Pryor Street southbound between Main & Commerce AND extended zone on Commerce between Pryor & Henry
    • Malcolm X Boulevard northbound between Indiana & Junius
    • Swiss Avenue westbound between N. Hawkins & Good Latimer Expressway

    The Deep Ellum Foundation has created an entire page dedicated to getting around the neighborhood with charts and maps and such, rendered in a pleasing purple-teal-chartreuse color scheme.

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    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    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.

    ---

    The Christophers is now playing in theaters.

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