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    White Oak Music Hall Rocks the Night

    White Oak Music Hall's opening night a rocking start for primo new concert venue

    Eric Sandler
    Apr 12, 2016 | 10:00 am

    For anyone even remotely interested in art or music, Saturday offered an overwhelming array of choices. With the annual Art Car Parade and a Justin Bieber concert happening downtown, some might have missed the debut of the White Oak Music Hall, Houston’s newest concert venue.

    Located in the near northside neighborhood just north of downtown and east of the Heights, White Oak Music Hall sits on a five acre tract that contains three performance venues and the recently opened Raven Tower ice house.

    On Saturday, the venue debuted its 3,000-person outdoor lawn concert area with a sold-out show by French electronic act M83. The band’s high-energy set that drew heavily from breakthrough album Hurry Up, We’re Dreaming as well as the recently released Junk had the crowd dancing from pretty much start to finish.

    Beyond the music, the concert gave attendees the opportunity to assess White Oak’s future as a performance venue, and that experience went well, too.

    By the time gates opened at 7:00 pm, a long line snaked from the entrance gate to a pedestrian bridge over White Oak Bayou with people eager to snag either a prime spot to stand in front of the stage or a choice spot on the lawn-covered hill. Once attendees moved through they line, they found approximately 15 stands for purchasing beverages (wine, beer, cocktails, water, and soft drinks) as well as two food trucks (Waffle Bus and The Burger Joint).

    Prices are reasonable, at least by concert standards. Beers only cost $6 to $8, cocktails are $8, and wine is $7, which is far below what a venue like House of Blues charges. Lines moved relatively swiftly, as long as people kept ordering beer. They could bog down if, say, a couple of people in a row ordered four cocktails each to take to friends. The resulting lines for the porta potties moved a little more slowly, natch.

    More than the amenities, the venue served as an excellent way to attend a concert. Sight lines offered a clear view of the stage, and the sound arrived clearly without being overwhelmingly loud. Listeners who paid attention (as opposed to those who talked through the show) could distinguish vocals and individual instruments. With a slight breeze and pleasant spring weather, the concert offered the fun atmosphere of a summer festival without the risk of heat stroke.

    Despite the neighborhood’s concerns, parking didn’t seem to be much of a challenge for most people. The venue offers both close-in paid lots and a slightly farther away free lot that patrons could access via a foot path. Entrepreneurially-minded property owners charged $10 to $20 for cars in nearby surface lots.

    Getting out was a more time-consuming process, of course. The number of cars trying to leave the venue mixed with an influx of Uber drivers to create a bit of a quagmire. Perhaps stationing officers all the way to I-45 to keep traffic moving would help improve flow. Taking METRORail and walking over from the Quitman station is another possibility, as is waiting for traffic to die down at the Raven Tower.

    Overall, the White Oak Music Hall made a very successful debut, and it’s reputation will surely grow once the two interior performance spaces are completed. The neighborhood’s concerns about parking and noise will have to be managed, but the venue certainly feels like a place Houstonians will be partying for years to come.

    M83 performed at the newly opened White Oak Music Hall Saturday night.

    M83 White Oak Music Hall
    Photo by Jason Daring
    M83 performed at the newly opened White Oak Music Hall Saturday night.
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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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