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    Book is surprisingly blunt and funny

    They don't make politicians like Bill Hobby anymore — and that's too darn bad

    Elizabeth Bennett
    Nov 7, 2010 | 10:13 am
    News_Texas_State_Capitol_building
    Texas State Capitol
    Courtesy photo

    In her introduction to How Things Really Work: Lessons from a Life in Politics, by Bill Hobby, Saralee Tiede calls Hobby an “improbable politician” who isn’t a good public speaker, doesn’t like small talk, and despite a career in newspapers, “gave a terrible interview.”

    Tiede ought to know. She covered the former lieutenant governor of Texas when she was bureau chief of the Fort Worth Star-Telegram and left her reporting job to become his aide. Now she has co-authored this new book, which is full of basic facts every Texan should know, and surprisingly blunt and funny.

    One of the amusing stories in the 214-page book, published by the Dolph Briscoe Center for American History in Austin, is about how “the ladies of the Chicken Ranch” helped him get elected in his first campaign in 1972. Hobby was a friend of popular Fayette County sheriff Jim Flournoy of Best Little Whorehouse in Texas fame, he writes, and Flournoy “had the ladies . . . address postcards endorsing me.”

    Hobby,who served a record 18 years in office, from 1973-1991, also tells funny stories about LBJ, Marvin Zindler (who was a Houston reporter before he became a flamboyant television personality), and various politicians in Austin. But his book is also a serious look at issues he focused on as lieutenant governor, including education, prisons and how to pay for state government.

    And he had good political models: His father, William P. Hobby Sr., had been both lieutenant governor and governor of the state before the author was born (in 1932); his mother, Oveta Culp Hobby, was parliamentarian of the Texas House from 1925 through 1931 and was President Eisenhower’s choice as the first secretary of Health, Education and Welfare from 1953-55. She was also publisher of the defunct Houston Post during most of my reporting days at the paper, and a formidable presence in the newsroom. (One of the wonderful photos in the book includes one of Ms. Hobby with her family in 1941 looking demure and domestic, neither of which quality we who worked for her had ever observed.)

    Bill had covered the police beat during his senior year at Rice — the Hobbys owned the paper for many years — and eventually became president before the family sold it in 1983. But during his years in Austin, Post reporters in Houston, at least in the feature department where I worked, had little contact with him and seldom saw him. Unlike so many colorful Texas politicians, he thought he could accomplish more by quietly working behind the scenes.

    One of the most interesting chapters in his book is about the Texas Capitol building, the largest state capitol in the country and taller than the U.S. Capitol. During Hobby’s time in office, the building had apartments for the Speaker of the House and the lieutenant governor, though Hobby and his wife Diana didn’t live there. But they often allowed guests to stay, and one night a fire broke out in the apartment, killing one guest and almost destroying the building. Hobby would later oversee the capitol makeover, long overdue in what was an old building showing its age.

    My eyes glazed over in some of the other chapters, including one on “How the Texas Senate Works,” but the book contains a wealth of information for political junkies.

    With so much of Texas now solidly Republican, for instance, it’s hard to remember that it was pretty much a one-party state when Hobby was in office, as he reminds us: “Liberal Democrats and conservative Democrats duked it out, but they were all members of the same party.”

    He also reminds us why we’ll never have an income tax in Texas: The state constitution requires that any such legislative measure be approved by the voters.

    And Hobby doesn’t mince words about a few of his fellow politicians, including Tom DeLay, who “was not only one of the most abusive majority leaders of the U.S. House in history, he was also one of the most corrupt.”

    The late Ann Richards, on the other hand, he called “one of my greatest friends – and worst critics.” They first met when Richards was a member of Rep. Sarah Weddington’s staff, and she would eventually pay him the ultimate compliment.

    “Of all the people I’ve known that have brought about change in Texas,” she said when she was governor, “Bill Hobby has been the most effective.”

    Texas State Capitol

    News_Texas_State_Capitol_building
    Courtesy photo
    Texas State Capitol
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    Movie Review

    Camp Miasma puts a comedic twist on the classic slasher movie

    Alex Bentley
    Aug 14, 2026 | 3:00 pm
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
    Photo courtesy of MUBI
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

    The horror genre really ramped up in the 1970s and ‘80s, bringing the slasher subgenre that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

    Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

    Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.

    Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

    But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

    The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

    Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

    While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

    ---

    Teenage Sex and Death at Camp Miasma is now playing in select theaters

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