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    Big city girl meets country

    Don't expect PC in a small town rodeo & other lessons from Matagorda

    Rachel Hanley
    Mar 19, 2010 | 10:37 am
    • Cowboys getting ready for to release the bull
      Photo by Rachel Hanley
    • Cowboy riding the bronco
      Photo by Rachel Hanley
    • Cowboy in training
      Photo by Rachel Hanley
    • One of the many Fair games
      Photo by Rachel Hanley
    • Swing Carousel
      Photo by Rachel Hanley
    • Matagorda County Fair
      Photo by Rachel Hanley
    • Horses running pre-rodeo
      Photo by Rachel Hanley
    • A great view of the arena
      Photo by Rachel Hanley
    • The rodeo clown/political commentator
      Photo by Rachel Hanley
    • We all stood for the national anthem and prayer.
    • Mutton Bustin' was a highlight of the show.
    • Cowboy roping a calf – and I could see it from the stands!

    Dressed in cowboy boots, a straw hat, plaid pearl-snap shirt and jeans — I looked the part but felt completely out of place at the Matagorda County Fair Livestock Show and Rodeo.

    At first everything seemed normal — a ferris wheel, swing carousel, carnival games, livestock — everything a fair and rodeo should be. Compared to the Houston Livestock Show & Rodeo, it was of course smaller with fewer rides, only about 20 cows, three pigs and a single goat — but I expected as much.

    While Bay City — the Matagorda rodeo's base — is only about 80 miles from downtown Houston, a lot changes in those clicks of the car odometer.

    Matagorda's entire county has a population of less than 40,000. You're definitely not on Kirby anymore.

    Which can be good for your wallet. I am happy to say I could buy a meal for $5. The Houston rodeo is out to get every penny in your pocket, but in Matagorda, church groups provide healthy competition for the vendors..

    Finally, the rodeo began. My friends and I found our place on the bleachers and I realized what a fabulous view I was going to have. I watch the screens at the Houston rodeo but here, everything was going to be lifesize (versus ant-size).

    It was around this time that my friends leaned over and laughingly told me I ought to take notes of the commentators' remarks. I didn't understand at first. Then they told me, "Last year he said, 'We welcome all religions here — Methodist, Presbyterian, Baptist ... and even Catholic.' "

    I was shocked. I knew I was in small town Texas, but I confess I didn't fully understand the culture that came with it.

    Bucking broncs & Obama's health plan

    The lights turned low signaling the start of the rodeo. I was excited. The announcer opened the evening with a prayer which surprised me, but I had no problem with it. Then out came "whether you worship in a temple, a synagogue or a church we are privileged to live in a country where we can pray to the one true God."

    I wasn't sure what he meant by that, but then he ended with, "In Jesus' name." Once again, I was shocked. I haven't heard someone at a public event end a prayer with Jesus' name, I think ever. This would never happen in Houston.

    The show quickly started and there were more events than the Houston rodeo. It was a good three hours of bucking and goring and while the cowboys were not on par with the ones at the Houston rodeo, they still provided a great show.

    Another key element in the show was the rodeo clown. Heading in, I had no idea a rodeo clown would do more than make faces and taunt/distract bulls, but at this rodeo he was a key outlet to the political feelings of the commentator and the crowd.

    Of course, Obama's medical plan was a hot ticket. It began with asking the crowd if they'd like to see half of Congress on the bulls. The master of ceremonies then tried to dance around it by saying he didn't actually specify which half. If there were any question left in any of our minds, it was quickly cleared up as the clown stepped in crap and compared it to Obama's medical plan.

    Obama was also compared to a stretched-out bra — as both are losing support.

    I honestly didn't expect comments like that at a public event, but then I've never lived in a small town. I completely expect it with Bill O'Reilly, Glenn Beck, Jon Stewart (the other way) or a comedian, but not in a public event.

    The comments continued and the subject of women came up. A lady in the front row had her heels up and the clown remarked that it looked like she had a remote in her hand and was ready to watch TV. He then continued, "But I know you don't have a remote 'cause you're a woman."

    I know it was suppose to be funny, but I wasn't laughing

    It hit a little too close to home and reminded me of so many negative experiences with people who subscribe to this philosophy. They may comment jokingly, but on closer inspection I've found it's not all humorous.

    There were other comments speckled throughout the evening (A man dressed like an "Indian" for instance. Is it that hard to say Native Americans?) But there were also some genuinely funny moments. The clown tried dancing like Michael Jackson and the kids in the mutton bustin' were fabulous. It wasn't a completely bad show, but by the end, I felt like I was under a spotlight — and I dressed the part!

    I rode home with a Korean friend of mine and in a very white arena, it was uncomfortable for her as well. Another friend of mine jokingly said he was "looking for a lynching posse." It wasn't that bad, and there were other races and nationalities in the town — just not in the arena.

    As far as next year goes, I imagine I'll return. I just have a better idea of what to expect and PC is not it.

    unspecified
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    Movie Review

    Spielberg-inspired movie The End of Oak Street is a dino-snore

    Alex Bentley
    Aug 13, 2026 | 2:00 pm
    Ewan McGregor and Anne Hathaway in The End of Oak Street
    Photo by Daniel McFadden
    Ewan McGregor and Anne Hathaway in The End of Oak Street.

    Steven Spielberg is the iconic director of the last 50 years, so it’s no surprise that many other filmmakers have borrowed from his classic films. But most of the time those come in the form of references or homages, not straight up theft, which is what it feels like watching The End of Oak Street play out in front of your eyes.

    Set in the early 1980s in an idyllic suburban neighborhood of an unnamed city, Denise (Anne Hathaway) and Greg (Ewan McGregor) are parents to two teenagers, Audrey (Maisy Stella) and Brian (Christian Convery). They’re also possibly heading toward divorce, as Audrey is secretly writing a novel with a thinly-veiled plot about their life, and Brian is cagey about having to earn extra money with a pizza delivery job.

    That all gets put on the backburner when a mysterious event takes their entire neighborhood back to the time of dinosaurs. Armed with little more than a shotgun and sledgehammer, Audrey and Brian do their best to keep the family safe in their house. But the longer the ordeal goes on, circumstances force them out onto the streets and into the increasing danger that’s all around them.

    Written and directed by David Robert Mitchell, the film tries immensely hard to be like the Spielberg movies its filmmaker clearly adores, but fails at almost every turn. It never earns the broken family in ‘80s suburbia vibes that were prevalent in E.T., going all in right away in the opening scene with a neighborhood block party that feels forced. Other elements like a bully who has it out for Brian, the family dog that disappears, and an angry neighbor come across as the tropes they are and not as organic parts of the plot.

    When it finally gets to its dinosaur sequences, they pale in comparison to those found in Jurassic Park. The strange manner in which the dinosaurs appear is a big part of that, but the action involving them forgoes ominous moments that could build tension for those that play up gore in an unexpected way for a PG-13 movie. Many of the attacks have so little emotional meaning that they come off as comical, which is entertaining but in a hollow way.

    As if those weren’t enough, Mitchell — perhaps at the behest of producer J.J. Abrams (who made his own Spielbergian film, Super 8) — tries to honor Spielberg in other ways. Just like in Jaws, he employs the use of a split diopter lens, which keeps characters in both the foreground and background in focus. But instead of using it judiciously, it’s brought out in three separate scenes, including a laughable one with the four family members where it turns into overkill.

    Hathaway, coming off of a role in The Odyssey that could earn her an Oscar nomination, is the best part of this film. But even her evident skills are dragged down by the ridiculousness of the story, which requires hysterics that even she can’t sell. McGregor can normally be counted on for a good performance, but he gives several line readings with strange cadences that make his already-underwritten character come off worse. Stella and Convery are okay, but their roles are unmemorable overall.

    Mitchell and his team can never settle on exactly what type of film they were trying to make, and so even though The End of Oak Street has a few moments that work, they’re surrounded by many others that don’t. In trying to emulate Spielberg — there’s even a blatant Back to the Future (produced by Spielberg) rip-off towards the end — all Mitchell has done is show how difficult it is to be the master.

    ---

    The End of Oak Street opens in theaters on August 14.

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