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    Houstonia's Losses Mount

    Houstonia Magazine's editor-in-chief is gone after just 3 issues: Shakeups continue at new magazine

    Tyler Rudick
    Jun 21, 2013 | 4:27 pm

    The new Houstonia Magazine sent its publisher packing after just one issue. Its much-promoted editor-in-chief hire lasted . . . three issues.

    John Wilburn has joined publisher Lou DeLone in making a quick departure from Houstonia.

    As the first editor of the Houston Press, Wilburn carries a heady reputation in the Bayou City media market. As a newcomer to the regional market, Houstonia knew he was just the man to hire as its first editor-in-chief.

    But not long after Houstonia's April launch, Wilburn is gone, marking the magazine's second major leadership departure in a few months.

    "He was offered a new position as editor-at-large of the magazine, which he ultimately declined to accept."

    Editorial director Scott Vogel — the Houston native who founded the publication with sister Nicole Vogel — tells CultureMap via email that Wilburn left the post in May.

    "John was hired to be the editor-in-chief of the magazine, and was the number two editor here, reporting to me," Vogel writes. "In April, he was offered a new position as editor-at-large of the magazine, which he ultimately declined to accept."

    Multiple sources tell CultureMap that Scott Vogel has taken on an increasingly vocal role in editorial and determining the magazine's content and that Wilburn was hired with the understanding that he'd be able to chart the magazine's editorial course. Hence his editor-in-chief title.

    Wilburn acknowledged he received CultureMap's request for an interview, but did not return phone calls or comment further. He finished up his tenure with a final editor's note in the magazine's June issue (though the note does not acknowledge his impending departure).

    Wilburn served a stint as managing editor for the Houston Chronicle, which he joined after helping kick off the Houston branch of Microsoft's Sidewalk.com (now CitySearch) as well as serving as operations manager for KHOU's news website. He was working as an opinion editor at the Chronicle when he left for Houstonia Magazine.

    With Wilburn at its helm, Houstonia quickly found itself with a lineup of local talent that included Houston Press alum like Robb Walsh, John Nova Lomax and Cathy Matusow.

    “The chance to capture, between magazine covers, a city as muscular, diverse and energetic as Houston, offers an irresistible lure for those of us who love colorful storytelling,” Wilburn said in a January press release announcing Houstonia's arrival.

    But, the thrill apparently didn't last long.

    This isn't the first — or second time for that matter — the barely launched magazine's made headlines for drama not in its pages. Houstonia found itself changing its name after the Houstonian Hotel objected to its original planned title: Houstonian Magazine.

    Just months after releasing its inaugural issue, Houstonia magazine has lost both its publisher and editor-in-chief.

    Houstonia magazine, logo, white background
    SagaCity Media
    Just months after releasing its inaugural issue, Houstonia magazine has lost both its publisher and editor-in-chief.
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    Movie Review

    Denzel Washington shines in new Spike Lee film Highest 2 Lowest

    Alex Bentley
    Aug 15, 2025 | 3:00 pm
    Denzel Washington in Highest 2 Lowest
    Photo courtesy of A24 and Apple TV+
    Denzel Washington in Highest 2 Lowest.

    For most of his career, moviegoers could count on a new Spike Lee film every 1-2 years. But somehow it’s been five years since his last joint, Da 5 Bloods in 2020, which arrived when his take on racial politics and injustices collided with real world events. Now he’s back for a fifth go-around with Denzel Washington, Highest 2 Lowest, a reimagining of the 1963 Akira Kurosawa film, High and Low.

    Washington stars as music executive David King, who’s looking to save the record label he started from a corporate takeover. His leveraging of his assets to buy out a partner gets upended when Kyle (Elijah Wright), the son of his friend and chauffeur, Paul Christopher (Jeffrey Wright), is mistakenly kidnapped by someone who thought he was King’s son, Trey (Aubrey Joseph).

    King is forced to wrestle with his conscience over whether to use ransom money for Kyle, money that was supposed to rescue Trey before the mistake is discovered. The pressure from the police, Paul, and his family is one thing, but the fact that he would also potentially be giving away the money that would save his company makes the decision all that much more difficult.

    Lee, working from a script by first-time screenwriter Alan Fox, once again showcases New York City for all it’s worth. King and his family live in a lavish high-rise apartment with a balcony that faces Manhattan, allowing for views of the Brooklyn Bridge, the Financial District, and more. The story takes the action all over the city, with Lee making sure to include scenes set in the Bronx to feature boisterous Yankees fans.

    Unfortunately, the sightseeing winds up being the best part of the movie. Lee and Fox deliver some clunky storytelling, with the flow from scene to scene rarely feeling natural. The drama of certain situations never reaches its potential because Lee seems to be focused on things like showing small moments from different angles instead of getting to the heart of the matter.

    It’s also never clear what kind of story Lee is trying to tell. The most obvious topic would seem to be the current state of the music business and the place of Black artists within it, but the kidnapping plot mostly pushes that to the side. The push-and-pull of the ransom drama, as well as the perpetrator of the kidnapping, tries to be a commentary on the corrosive influence of wealth, but it fails to hit home.

    And then we get to the acting. Washington and Wright are each Oscar nominees who usually garner respect just with their presence, but both give subpar performances that are indicative of the poor acting from many other cast members. Stilted line deliveries abound throughout the film, almost as if Lee was limited to just one take with every scene and just decided to leave them as is. The more bad lines pile up, the more baffling it becomes that they were allowed to show up in the final product.

    Lee is responsible for some truly great films over the past 30-40 years, but Highest 2 Lowest will not be joining that list. It has flashes of the director’s trademark stylish moves, but the storytelling and acting blunt any deeper meaning that Lee might have been trying to impart.

    ---

    Highest 2 Lowest opens in theaters on August 15.

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