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    Fleetwood Mac Returns

    Thinking about tomorrow: Fleetwood Mac revives great memories — and creates new ones

    Clifford Pugh
    Jun 6, 2013 | 2:23 am

    The lines to get into the Toyota Center Wednesday night for the Fleetwood Mac concert were unusually long and slow as security guards searched handbags for cameras and directed ticket holders inside to check the confiscated items at the counter. At a time when everyone has cell phones that can shoot photos, it seemed like a particularly clumsy directive.

    "They're old people," a security guard explained, referring to the iconic band of the late 1970s as she directed my friend inside. "They don't want (pictures of themselves) out."

    Indeed the band's longtime members, John McVie, Stevie Nicks, Lindsey Buckingham and Mick Fleetwood, are all north of 60 and looked a little long in the tooth as they burst onstage even before a lot of the audience had made it to their seats. But age didn't seem to matter as the band performed like new kids on the block in a nearly three-hour show that covered most of their greatest hits along with some poignant tunes that recalled as much of our wistful past as theirs.

    With unparalleled guitar riffs and a voice that has grown stronger with age, Buckingham is certainly the heart of the band. But even with a diminished voice, Nicks remains the band's soul.

    The band opened with several of their most popular hits, "Second Hand News," a perfect sing-along song, followed by somewhat sluggish versions of "The Chain" and "Dreams."After Buckingham introduced a song, "Sad Angel," from the band's new EP, the band returned to another classic, "Rhiannon," which showcases Nicks' voice but in a lower key, which, sadly to this ear, lacked the warmth and glow of her earlier work.

    Buckingham then took center stage with a couple of songs from the band's experimental 1979 album, Tusk, the punk-tinged "Not That Funny" and the album's title tune, which delighted hardcore Fleetwood Mac fans among the sellout crowd.

    With unparalleled guitar riffs and a voice that has grown stronger with age, Buckingham is certainly the heart of the band. But even with a diminished voice, Nicks remains the band's soul. And as the evening progressed, she dominated the stage, swathed in black, with blonde hair framing her face, a tambourine often on her arm and a whiskey-dipped voice that drew richer with each song.

    She performed the little-known "Sisters of the Moon," also from the Tusk album, noting this song has not been done on a tour since 1981. She took control with a couple of other big hits, "Sara" and the hauntingly beautiful "Landslide," a duet with Buckingham, as the crowd sang along to the words,"I'm getting older, too."

    Nicks dedicated the song to a Houston friend who had apparently fought off a debilitating illness since she was "teeny tiny." "You little Welsh witch, this is for you," Nicks said.

    At this point, the concert was barely half over, but the band seemed to draw energy from the audience through a series of hits, including "Without You," in which Nicks' endearing yet rambling introduction was longer than the song, "Gold Dust Woman," "Gypsy" and "Stand Back." Every time she twirled, the audience roared.

    By the time the band got to "Go Your Own Way," an electric duet between Nicks and Buckingham with undertones of their one-time romantic relationship — the chemistry surely remains — everyone in the audience was up and dancing like they didn't have to go to work today.

    House lights were often raised so the band could make eye contact with the adoring crowd and even after two encores, including the infectious "Don't Stop (Thinking About Tomorrow)," Nicks, Buckingham and drummer Fleetwood didn't want to leave the stage. They lingered, each giving heartfelt thanks to the audience, as Fleetwood, who looks a bit like Santa Claus with a white beard and twinkle in his eye, encouraged everyone to "take care of yourself" and "be kind to one another."

    Is the band as good as the first time I saw them in 1977 in Birmingham, Ala., soon after their monster album, Rumours, hit the top of the charts? I'd have to say no, because we were all younger then, and besides, to fans like me, Fleetwood Mac without Christine McVie really isn't Fleetwood Mac.

    But the current band still left me with goosebumps as their songs unleashed a flood of fond memories — and they're still having a hell of a fun time doing it.

    Lindsey Buckingham riffs on the guitar.

    Lindsey Buckingham at Fleetwood Mac concert June 2013
    Photo by Clifford Pugh
    Lindsey Buckingham riffs on the guitar.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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