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    Prime Time in Austin

    The Mentalist makes a move to Texas, chooses city "with some funk to it"

    John Egan
    Jan 5, 2014 | 8:30 am

    A cunning killer has moved to Austin. No need to panic, though. He’s a fictional murderer from a prime-time TV show.

    On the CBS crime drama The Mentalist, the main character — Patrick Jane (Simon Baker), who possesses psychic-like mental abilities — recently took up residence in Austin to work for the FBI. Jane previously lived in Sacramento, but the show’s producers wanted to give Jane a fresh start after he tracked down and murdered “Red John,” who killed his wife and daughter.

    Two of Jane’s crime-fighting colleagues from Sacramento, Teresa Lisbon (Robin Tunney) and Kimball Cho (Tim Kang), also are stationed at the FBI office in Austin.

    Now, Austin will play at least a small part in every episode of The Mentalist. However, it remains to be seen whether any stars of The Mentalist will pop up in Austin.

    Jane agreed to accept the Austin gig with the FBI in exchange for not being charged in the “Red John” case. In the wake of the “Red John” slaying, the show fast-forwarded about two years, with Jane landing in Austin after hiding away on a Spanish-speaking island.

    Tom Szentgyorgy, an executive producer for The Mentalist, said he and other producers mulled several cities for Jane’s new locale before settling on Austin.

    “We were looking for a city outside California where Patrick Jane could start over. We wanted it to be a city with a distinctive character, a city with some funk to it,” Szentgyorgy said. “At the same time, we wanted it to be a city whose architecture and look weren’t too familiar to television audiences — because, frankly, we continue to shoot our exterior scenes here in Southern California.”

    In addition, he said, Jane’s new home base needed to be a city where it made sense for the FBI to maintain a significant presence. (Note: The fictional FBI office in Austin looks much fancier and bigger than the real one.)

    Now, Austin will play at least a small part in every episode of The Mentalist. However, it remains to be seen whether any stars of The Mentalist will pop up in Austin.

    “Our camera crew will be filming background and establishing shots in Austin, but at the moment there are no plans to film actual scenes there,” Szentgyorgy said. “If a story is good enough and demands it, we’ll make the trip.”

    Szentgyorgy said Michael Novotny, the show’s production designer, and Julie Walker, the show’s art director, spent several days in Austin taking photos and getting a feel for the city’s “visual style.”

    “That trip informed their design of the FBI office,” he said, “and will guide our choice of new locations to film here in Southern California that are supposed to stand in for Austin.”

    The Mentalist, now in its sixth season, airs at 9 p.m. Sundays on CBS (Channel 11).

    The Mentalist, now in its sixth season, airs at 9 p.m. Sundays on CBS.
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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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