One of Dallas' most unique and enjoyable programs is ordering another round. Thursdays on Tap at the Perot Museum of Nature & Science starts up again on April 6 and runs through the end of October (cue rejoicing from the 21-and-up crowd who loves booze and dinosaurs).
This is your chance to tour the entire museum without the daytime crowds or children getting underfoot. You can also purchase drinks from the outdoor bars for only $3-$10 (last call is at 9:45 pm, FYI).
Then purchase tasty treats and delicious bites from the many rotating food trucks and vendors parked outside from 6-10 pm.
The drool-worthy vendors you can expect to see on Thursday nights in April include:
Mi Cocina (April 6 and 20)
Cuates Kitchen (April 6)
Easy Slider (April 6)
Community Beer Co. (April 6, 13, and 20)
Sushi Dojo (April 13)
Cousins Maine Lobster (April 13)
Magdalena's (April 13)
Egg Stand (April 20)
Ruthie's Rolling Cafe (April 20)
Don't forget to play one of the outside games while enjoying live music by local artists. Tauvy Thompson will perform at the first event on April 6, Alex Cantrell on April 13, and Alejandro De La Puente is scheduled for April 20.
Until Labor Day, the museum’s latest traveling exhibition “The Science Behind Pixar,” presented locally by NexPoint, is included in the price of admission.
Though taking public transportation, carpooling, or using a rideshare service is recommended due to the nature of the event, all guests can park for $10 per car (credit card only) in the main parking lot under Woodall Rodgers Freeway on Broom Street, right across from the museum.
Thursdays on Tap is $25 for non-members, and only $5 for members. The program begins April 6 and runs weekly until October 26. More information can be found on the Perot Museum's website.
Photo courtesy of Perot Museum
Thursdays on Tap returns April 6 and runs through October.
As recently as the late 2010s, if a movie was made about an LGBTQ+ character, it was more than likely about their coming out experience. Romance, if it existed, was typically chaste, and actual sex was almost completely out of the question. Things have changed dramatically in the 2020s, to the point that a major movie star has no issue starring in a film called Queer.
Based on the 1985 novella by William S. Burroughs, the film features William Lee (Daniel Craig), whom everyone calls just Lee, a writer living in 1950s-era Mexico City who spends most of his time haunting local bars with friends like fellow writer Joe Guidry (Jason Schwartzman) and hitting on younger men. His early interactions in the film seem to indicate that Lee has a bad reputation within the local gay community, as multiple people avoid him or give him odd looks.
Lee senses an opportunity when he encounters a newcomer, Eugene Allerton (Drew Starkey). Despite some awkward interactions, the two of them start spending time together, although Lee has much more invested in the relationship than Eugene does. Their hit-and-miss bond continues until Lee, who’s starting to get into drugs in addition to the booze, convinces Eugene to accompany him on a trip to South America.
Directed by Luca Guadagnino and written by Justin Kuritzkes (making their second straight film together after Challengers), early on the film seems to be mostly about the divide between an older person who’s grown comfortable in his ways and a younger person who’s living a relatively carefree life. The introduction of drugs into the plot changes things, though, with Lee searching out more ways to open his eyes to what the world has to offer.
Guadagnino and his team use some interesting visual storytelling techniques to introduce ideas that may not be present in the actual script. The most successful, demonstrated in multiple scenes, is the superimposition of movements by Lee over what’s actually taking place in the scene. The subtle overlay gives the audience insight into Lee’s true feelings, showing what he can’t or won’t say out loud.
Music also plays a big part in how the plot is perceived, with the use of anachronistic songs from Nirvana and Prince serving to heighten certain moments. The score by Trent Reznor and Atticus Ross is not as in-your-face as the one they did for Challengers, but it complements the film well, especially when the plot starts to get trippy in its final half hour.
Craig, who appears sweaty and disheveled for much of the film, is about as far from the suaveness of James Bond as you can get in this role. He takes multiple risks with his performance and almost all of them pay off. Starkey’s character is subdued by comparison, but still comes off well. Schwartzman and Lesley Manville are given showy roles, with both using altered appearances that make them nearly unrecognizable to deliver memorable performances.
Queer is not as accessible as Challengers was storytelling-wise, but the fact that it tells a story about gay men living their lives as they see fit with no interference or questions shows how far the film world has come in a short period of time. It also continues Guadagnino’s streak of making audacious films in a way that few other filmmakers are willing or able to approach.
