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    weekend event planner

    Here are the top 8 things to do in Houston this weekend

    Craig Lindsey
    Jan 23, 2020 | 7:15 am
    Brandi Redmond Stephanie Hollman
    Brandi Redmond and Stephanie Hollman of Real Housewives of Dallas hit Houston.
    Bravo.com

    The 37th Houston Auto Show has already started over at NRG Center, and will continue until Sunday. So, gearheads and auto junkies can spend the whole weekend going all up and down the place, looking at the exciting vehicles, getting behind the wheel, pretending to be in a Fast & Furious movie and maybe take a photo or two with some cars. Plus, you never know: You could be inspired to go out and purchase that electric car or sporty dream-mobile.

    And, as always, there is this:

    Thursday, January 23

    Oh, I have to wash my hair at Midtown Arts and Theatre Center Houston (MATCH)
    This seems interesting and peculiar. Frame Dance Productions explores real stories, feelings and battles of social anxiety in their latest creation, a two-night, evening-length performance for 10 women. This new work, a collaboration with singer/songwriter Alli Villines, cellist Patrick Moore and designer Ashley Horn, features new music by Frame Dance composers, including an electronic piece by Jake Sandridge, a piano piece by Paul Kerekes and a piece for cello and playback by Hannah Selin. 8 pm.

    Weekly Dose of B.S. Live Tour at Wortham Theater Center
    Stars of Real Housewives of Dallas, Brandi Redmond and Stephanie Hollman, will be in town doing a live recording of their podcast, Weekly Dose of B.S. (Their first-name initials are B and S — get it?) They will be joined by Trey Stewart, DJ Nixx, and other special guests as they intimately take their fans behind the scenes of the show and their crazy lives. 8 pm.

    Friday, January 24

    "Radical Revisionists: Contemporary African Artists Confronting Past and Present" opening reception at Moody Center for the Arts
    This weekend, the Moody will present an exhibition that addresses the violent erasure of marginalized histories and the ways in which artists reinterpret familiar themes through contemporary, Afrocentric lenses. Featured artists include Sammy Baloji, Serge Attukwei Clottey, Njideka Akunyili Crosby, Omar Victor Diop, Adama Delphine Fawundu, Zanele Muholi, Robin Rhode, Yinka Shonibare CBE, Mary Sibande, and Pascale Marthine Tayou. Runs through May 16. 6 pm.

    Jim Jefferies at Wortham Theater Center
    Australian-born, American-based comic Jim Jefferies has just got through three seasons of his Comedy Cental show The Jim Jefferies Show, a weekly, news-satire program which practically also served as an audition reel for Jefferies just in case Trevor Noah decided to leave The Daily Show and the network needed another foreign comedian to step in. But Jefferies is back on tour, doing what he does best: hilariously offending audiences with his proudly off-color, incessantly button-pushing brand of stand-up comedy. 7:30 pm.

    Saturday, January 25

    Houston Audubon Owl Prowl at Houston Audubon Raptor and Education Center
    Do you give a hoot about owls? Did you ever go in the woods as a kid, hoping to find an owl and feed it some Tootsie Roll pops? Well, take in this fun event going on at Houston Audubon. The education staff will present a fun and educational presentation about local owls. Guests can meet three live rehabilitated owls in the Bayou Barn and take a hike through the woods in search of wild owls. And remember, as a wise, ol' owl used to say: give a hoot, don't pollute! 6 pm.

    The Farewell at 14 Pews
    Are we the only ones that are upset that Lulu Wang's wonderful family dramedy didn't get nominated for anything for this year's Oscars? It got nothing: no Best Picture, no Best Adapted Screenplay, not even a Best Actress nomination for Awkwafina, who won the Golden Globe for Best Actress (Musical or Comedy) for her lead performance. Well, whatever. It's still one of the best movies that came out last year, and 14 Pews will give you two chances to watch it on the big screen this weekend. 7 pm (5 pm Sunday).

    Sunday, January 26

    Alley All New Festival at Alley Theatre
    The Alley Theatre's Alley All New Festival 2020 will be closing things out on Sunday with several must-sees. It all starts with an early-draft preview of a new play by Houston playwright Arthur M. Jolly (you gotta call for standby tickets), followed by a morning reading of Pictures from Home, the new play by Sharr White. The final workshop performance of Theresa Rebeck's Enlightened goes down at 2:30, and Katie Bender's Survivors, An Alamo Play does its last workshop performance at 7:30. 10 am.

    Film Club: Mulholland Drive at Alamo Drafthouse LaCenterra
    David Lynch celebrated his 74th birthday on Monday the only way he knew how: by dropping a short film he made years ago, where Lynch interrogates a talking monkey suspected of murder, on Netflix. Alamo Drafthouse LaCenterra will be paying tribute to the man and his weird, cinematic legacy by screening his acclaimed, 2001 mystery, with Naomi Watts in her breakthrough role as an actress who gets in a whole lot of drama when she falls for a mysterious dame (Laura Elena Harring). 3 pm.

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    Movie Review

    Elizabeth Holmes' doc You Can See Everything is an audacious genre-bender

    Alex Bentley
    Oct 15, 2026 | 2:30 pm
    Nathan Fielder and Elizabeth Holmes in You Can See Everything
    Photo courtesy of A24
    Nathan Fielder and Elizabeth Holmes in You Can See Everything.

    Elizabeth Holmes faced one of the most public downfalls in recent history after she was accused of defrauding investors in her health technology company, Theranos. Her subsequent indictment and conviction drew the interest of many, including, it seems, comedian/actor/filmmaker Nathan Fielder. Fielder somehow convinced Holmes and her husband, Billy Evans, to make a documentary about her final days of freedom, called You Can See Everything.

    It’s not immediately clear why Fielder — who only has one previous feature-length documentary to his credit — is interested in profiling Holmes, but the approach that he and co-director Lance Oppenheim (Primetime) take is one that puts Fielder in the spotlight as much as her or Evans. Fielder looms over the couple — sometimes literally, sometimes from afar — as they care for their children, make meals, try to re-establish business relationships, and prepare for Holmes’ prison sentence, which is due to start about a month after the film begins in 2023.

    Fielder quizzes Holmes and Evans about predictable subjects — such as how Theranos worked, her relationship with COO Sunny Balwani, and her conviction — and ones that are slightly off-kilter, including the miniseries The Dropout, which dramatized Holmes’ rise and fall. He is met with seeming openness by both of them — the title of the movie is uttered by Holmes at one point — but there are times where their idea of transparency doesn’t jibe with Fielder’s expectations.

    Through it all, the quirky reputation that Fielder has from TV shows like Nathan for You, The Curse, and The Rehearsal colors his participation, as well. He appears sincere, if surprisingly intense, in his questioning, but there are more than a few moments where it’s fair to wonder if the whole thing is an act of performance art. That suspicion grows in the second half of the nearly three-hour film as Fielder and Oppenheim go down roads that stretch the definition of what a documentary is or can be.

    The film is utterly fascinating as the filmmakers go on what seems to be a full-on exploration of the meaning of truth. Holmes and Evans, either intentionally or unintentionally, carry on conversations with Fielder with wide-open, unblinking eyes, something that conveys honesty and creepiness in equal measures. Fielder meets them with squinting expressions, looking like he’s trying to determine how candid they’re actually being.

    One of the biggest things the film reveals (or does it?) is that — if she’s not a sociopath — Holmes might be someone who’s either oblivious or naive. As cryptic or strange as she can be in words and actions, Evans is even more so, and as the film progresses it’s him whose motives and ideas are called into question. Control over the narrative of the film wobbles back-and-forth between Fielder, Holmes, and Evans, and even at the end it’s unclear whose perspective has truly won out.

    There is no way to accurately get across what it’s like to watch You Can See Everything for the first time. The motives of everyone involved are up in the air, resulting in a roller coaster ride that’s full of astonishment, laughs, and a number of surprises. It’s an audacious film that can’t be categorized, one that will challenge the thinking of voters when it comes time for awards season.

    ---

    You Can See Everything opens in theaters on October 16.

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