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    Five Questions

    John Cameron Mitchell & friends bring epic Mattachine dance party to Houston

    Whitney Radley
    Mar 13, 2012 | 3:41 pm
    • John Cameron Mitchell as Matchhead
      Courtesy Photo
    • Mattachine comes to Houston for one night only.
      Photo by Danny Fields
    • Beaumont-bred Amber Martin as bar singer Brenda Snell
      Courtesy Photo

    John Cameron Mitchell is a writer, actor and director, best known for his Off Broadway musical-turned-film ​Hedwig and the Angry Inch​ and the sexually explicit Shortbus. He recently added "DJ" to his extensive curriculum vitae, joining up with PJ DeBoy, Paul Dawson and performance artist Amber Martin for a dance party: Mattachine. He's bringing the whole gang and the party to Houston Thursday night, at The Flat.

    CultureMap caught up with Mitchell while he was on the road in New Orleans.

    CultureMap: So what exactly is this "Mattachine?" How did this get started?

    John Cameron Mitchell: We're doing a tour of our party, Mattachine, which is a lot of dancing and a little performance. PJ DeBoy, Paul Dawson, Amber Martin and I have been hosting these monthly in New York for four years. It's predominantly gay and queer, but it also draws a mixed alternative crowd, people who want to dance. For this tour, we're playing in New Orleans, Houston and Austin. We're looking at a return trip to the West Coast this summer, and we're looking internationally as well.

    It's predominantly gay and queer, but it also draws a mixed alternative crowd, people who want to dance.

    It actually started because we kind of got bored with the nightlife scene. It was kind of a sameness, a chain store feeling about bars. A lot of it was technology, everyone always checking their phones and thinking about where else they need to be, an attention-span issue. . . So we kind of decided that it was a fast world, and it was time for a slow dance.

    We first took over Julius, which is actually the oldest gay bar in New York City, where the Mattachine Society — our namesake — had a famous action in the '60s. . . Last April was our first out-of-town thing, at a sort of queer Burning Man at a commune called Short Mountain in Tennessee. It was so much fun that we decided to set up a West Coast tour right away.

    CM: What sort of music do you all play?

    JCM: We play punk, classic rock, disco, soul, with a cut off of about 1995 — with the exception of LCD Soundsystem. I specialize in slow dances in between songs. You know, it's a very friendly vibe. It makes you remember what it was like at high school dances. We also talk a lot, and do some comedy and singing.

    We often DJ simultaneously, the four of us. We tag-team it, so we never know what's going to happen. It keeps it from becoming too formulaic — sometimes DJs get caught up in beat matching, but not us. We sometimes have skipped records, because we use a lot of vinyl, but we celebrate in our non-professionalism.

    CM: What can we expect for your Houston show?

    JCM: For this show in Houston, we're going to rent a tent and have it set up outside of The Flat. I'm planning to sing a few songs from Hedwig and the Angry Inch with a local guitarist [Erin Fisher Wright], and Amber Martin does this naked Reba McEntire impression that has to be seen to be believed. [Martin is a Beaumont native, and her mom may join her for a duet performance on Thursday.]

    This is our first time doing it in Houston. The party went on until about 6 o'clock in the morning in New Orleans, so . . .

    I actually see this as an antidote for Hollywood, a back-to-the-streets sort of thing. I feel more comfortable with this, to be honest.

    CM: This project seems like a very different tempo and scene than your filmmaking — you go from working with Nicole Kidman to hosting a $10 dance party at a bar in Houston. How do you reconcile the two different lives?

    JCM: I actually see this as an antidote for Hollywood, a back-to-the-streets sort of thing. I feel more comfortable with this, to be honest — Rabbit Hole was a great film to work on, but it was out of my marrow, especially since it was a different writer's work that I just directed. It felt good, but it's good to be back to my people.

    CM: What's next for you, film-wise?

    JCM: I am producing an animated feature by a graphic novelist, Dash Shaw. It's kind of a sci-fi meets The Simpsons. I'm also directing an adaptation for Neil Gaiman — who wrote the Sandman series and Coraline — I'm adapting a short story that's about punk rockers and aliens in London.

    I'm also working on some commercials for Dior that are more like short films than commercials, starring Marion Cotillard. I've done two of those so far. And I'm also thinking about a theater piece.

    ​Dance along to the tunes of yesteryear on Thursday at The Flat in Houston. Admission is $10. More information here. Mattachine will wrap up the tour in Austin with a show at Barbarella and another at GAYBIGAYGAY.

    unspecified
    news/entertainment

    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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