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    Five Questions

    Houston parking lot theater: Big Bang Theory's Jim Parsons looks back at hishumble, local start

    Sarah Rufca
    Apr 21, 2010 | 8:07 pm
    • Parsons in IBP's "King Ubu is King" back in the parking lot and warehouseperformance days.
    • Jim Parsons in a modern-day publicity shot.
    • Parsons, right, in Infernal Bridegroom Production's of "Woyzeck".

    Before Jim Parsons was the eccentric genius Sheldon Cooper on The Big Bang Theory, he was a founding member of Houston's Infernal Bridegroom Productions (IBP), performing in 18 plays with the group. Parsons also graduated from Klein Oak High School and the University of Houston.

    With the talented IBP crew having reorganized as Catastrophic Theatre, Parsons is taking a trip back to town as the honoree Saturday night for Catastrophic Theatre's gala, "Big! Bang! Catastrophe!" at Houston Studios.

    In advance of his glorious one-night return to the Houston theater scene, CultureMap spoke with Parsons about his Houston experiences and his beloved breakout character.

    CultureMap: Tell me about your time at Infernal Bridegroom Productions. What did you learn from the experience?

    Jim Parsons: The experience was very life-encompassing ... it really took over, and I threw myself into for a period of time. I went to undergrad at the University of Houston and graduate school at the University of San Diego, and the further I get away from those days the more I feel that my Infernal Bridegroom experience was on par with my traditional education in getting me where I am.

    It gave me a chance to do a type of play that I wasn't exposed to at university, like Beckett and Brecht. Both of my university experiences were pretty straight and narrow, with plays in spaces that were very typical, as opposed to Infernal Bridegroom performing all over the map. More often then not we were in a warehouse or parking lot, whatever we could create a show in.

    There were a lot of important lessons that I learned, including the ability to perform under any circumstances. You can only learn it by getting the chance to do it, to perform in whatever room, in front of whatever audience that you have. It builds confidence that's born of literal fact that you have done that. It's harder to throw me as an actor than it would be had I not had that experience.

    CM: You were nominated for an Emmy for Best Actor in a Comedy Series last year. In an ensemble cast, what makes Sheldon stand out as being so funny?

    JP: If Sheldon stands out its because, I think, Sheldon is a combination, an extreme example of some very humanistic traits. His obsession with his spot, that's a very normal thing, but what makes it not normal is his obsession. He's not trying to be rude, he's just stating a fact, but most people would find it to be rude to tell someone to move in their own house. That's what makes him so appealing as a character, he has these normal tendencies but they're so magnified, so extreme, and there's no one else like him on TV.

    And these are geniuses, they aren't just nerds, they aren’t just smart, they have some of the brilliant, beuatiful minds that shape our world. And because he has such an exceptional mind, we allow him to go there. And theres a great freedom in that and a great joy in that. You have a very large color palette, which is kind of ironic.

    CM: As someone with multiple degrees, do you ever use your personal experience when playing Sheldon on Big Bang Theory?

    JP: You know, I'd be lying if I said I did. Maybe subconsciously … I really enjoyed the educational environment, my mother and sister are both schoolteachers — they teach first grade — so I think being in an educational environment is in my DNA. But the only thing that's ever consciously brought in is what (the writers) write. I know I bring something in, but very little is beyond what they put in the pages. They do a good enough job with saying who he is and having him say who he is.

    CM: How often do you make it back to Houston? Is there anything in town you always try to visit while you're here?

    JP: About twice a year, Christmas and summertime, and its usually very family-centric, with maybe a couple friends that I try and see. We always, end up at two places: Lupe Tortilla and Pappadeaux. When I lived here I don't think we had Lupe Tortilla, or it was new, but my family has started going there and I really like it. Mexican is my favorite kind of food, and I've eaten it wherever I've lived.

    It's very different in New York and in California, but I like it all. But Tex-Mex is my favorite. I could take a trip and eat Tex-Mex every day.

    CM: Is it weird to be coming back as a special guest and honoree for the same people you started out with?

    JP: It's a little odd, but at the same time, if I can help bring attention to not just a theater group, but a group of people who have been important to my life and my growth as an actor, if I can bring attention financially, it is so my pleasure to try.

    This has been for so long now such worthy work, both back when we were together and what they still do. It's a crucial part of a cultural theme in Houston. It fills a void, I got to work and people got to see things they wouldn't otherwise have the opportunity to see.

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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