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    Fitz Makeover

    Big changes for iconic Houston concert venue — beer garden, more parking and better bathrooms!

    Elizabeth Rhodes
    Aug 12, 2015 | 10:15 am

    Following last week's announcement that promotion company Pegstar will no longer host shows at Fitzgerald's — believed to be the city's oldest music venue — many Houstonians feared the worst: The venue was shutting down.

    While Pegstar's final show at the beloved venue will in fact take place on August 29, current Fitzgerald's sound engineer Lauren Oakes — who has worked there since 2004 — will take over and supervise major renovations of the building.

    So what exactly is changing?

    According to Fitzgerald's spokesperson Dutch Small, the building, which was constructed in 1918 and owned by Sara Fitzgerald since the early '70s, will be completely gutted and renovated as soon as the current tenant vacates.

    "Fitzgerald's is not going to become an unrecognizably different place," Small adds. "It will still be Fitzgerald's, it just will no longer be grimy and gritty."

    "We're taking out all the 100-year-old wiring and rewiring the whole building," Small says. "We're completely renovating all of the bathrooms and taking all of the rotten wood off of the exterior and replacing it. The second story balcony will be rebuilt and will wrap around the building.

    "We're going to have a beer garden. We're tearing down several of the houses that are adjacent and turning it into a parking, as well as completely resurfacing the entire parking lot. Most importantly to music fans, we're going to have a significant upgrade of the PA system so the sound and the acoustics — the sonic experience — will be vastly superior."

    Other improvements include a better air-conditioning system, an industrial elevator to assist bands with load-in — bands currently have to carry their equipment up a flight of exterior stairs — and a better backstage area to accommodate the artists.

    "Fitzgerald's is not going to become an unrecognizably different place," Small adds. "It will still be Fitzgerald's, it just will no longer be grimy and gritty."

    Concert celebration

    According to Small, a huge celebratory concert — the artists have yet to be announced — will take place when the venue reopens, currently set for October 3.

    "We've got target dates, but there are realities that no one can control surrounding them," he says. "The reality is that we're not in control of the city, we're not in control of the permitting process, we're not in control of what we find within those rotten walls, we're not in control of a whole lot of things that are going to be part and parcel of this restoration process and it could be that we miss our deadline, but I believe that because everyone loves the venue so much, they would rather see a delay in opening than see it done badly or incompletely."

    "It's Houston's live music church," Oakes says. "We're just making it what it always should have been."

    With Austin-based concert promotion group Transmission — known for Fun Fun Fun Fest and more than 700 events around Austin in 2014 alone — will take over booking shows for Fitzgerald's following the venue's reopening. As for the types of shows that the venue will host, you can expect changes, but nothing earth-shattering, according to Small.

    "We know that Fitzgerald's is a sacred place in the city of Houston," Small says. "We have all grown up there, and not just us, but our audience. It's not going to suddenly become a metal club, it's not going to suddenly become a hip-hop club, it's not going to suddenly become an EDM club. It's going to be Fitzgerald's.

    "We will, as a result of our improved facilities, be able to accommodate bigger acts. That's the most noticeable change in the programming is that the names will be somewhat bigger, but also, because we are all personally involved and have great relationships with local artists, the venue will still remain fully engaged in developing local talent."

    As someone who has frequented the venue since the age of 15, I'm personally excited for all of the changes. Who hasn't had a terrible experience in Fitzgerald's bathrooms or worried that their tire might blow out in their miniscule parking lot?

    Yes, things will be different, but Oakes — who said she's been paying attention to what needs to be fixed at the venue for more than a decade — assures that these changes are all for the best.

    "It's Houston's live music church," Oakes says. "We're just making it what it always should have been."

    The scene at Fitzgerald's

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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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