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    Trendysomething in somo

    Literary lead-on: David Sedaris wants what he can't have

    Steven Devadanam
    Apr 29, 2010 | 2:34 pm
    • Is David Sedaris blowing smoke or trying to pick up young writers?
    • Some people are seduced by NPR studs; not me though.
    • Was David taking a cue from Monica Lewinsky in his chosen atelier?

    They say that my generation is one without heroes. I don't know who other people my age look up to: maybe Barack Obama, or Shakira, but probably just Ashton Kutcher and Snookie.

    Personally, I always found inspiration in writer David Sedaris. In high school, I'd cut class to read his books on the upper level at Agora, sipping cheap Greek wine, coughing through packs of Lucky Strikes and taking careful mental notes.

    I never wanted to emulate him. He hadn't graduated from college, had a history of drug addiction and crossed a line of self-satisfaction that I once tried so hard not to breach.

    But in the spring of 2006, I jumped on the opportunity to see him in person at the Wortham Center. After his reading, I spent almost an hour rambling around the underground Theater District parking lot before reemerging to the Wortham lobby to find a still-standing book signing line. I'm not one to be easily star-struck, so I casually picked up one of the for-sale copies of Me Talk Pretty One Day and began reading a favorite chapter.

    Before I knew it, the desk of books for sale had been packed up, the registers disappeared, and I had effectively shoplifted Sedaris' hit volume.

    Already at a total loss as to where my car might be, I decided to wait out the confusion and attach myself to the end of the book signing line. Perhaps because I was very last in line, David seemed to pay special attention to me, asking if I'd attended the lecture alone, and then encouraged me to touch the lining of his sport coat.

    "I got it today on sale at the Gap," he boasted, "but you'd never guess it."

    When he asked what my plans were for that night (it was already well past 11 p.m.), his agent, the only other person in the lobby besides the two of us, interrupted with, "David, that's enough."

    I never had an actual crush on Sedaris — he's much too old — but I was flattered.

    Condom Man

    Yesterday (and four years later), I made a night-of impulse buy of tickets to see Sedaris' engagement at Jones Hall. Remembering my parking lot panic, I hitched the light rail downtown, only to find myself escorted off the train within 10 minutes by a police raid checking tickets. I had, in fact, bought a ticket, but only a credit card receipt printed from the machine.

    After the embarrassing dismissal from the rail car, I explained my innocence and got off the hook, yet was made tardy by the need to wait for the next train.

    Arriving at Main Street Square, I bolted for the Theater District, which led to another close-call with a moving violation citation for jaywalking. Ultimately, it was an enjoyable performance, but I spent a fair amount of the time in my nosebleed seat wondering what I would say when it was my turn at the book signing. After describing the way he'd hit on me when I was just 20-years-old, friends and colleagues had convinced me that I needed to reignite his flirtations.

    I knew I was in trouble earlier that evening when I found myself sitting naked in front my closet thinking, "What underwear would David want me to wear?"

    I'm being facetious (although he holds covetable connections in publishing). Yet somehow, I had high expectations of linking the 2006 missed connection.

    The post-reading book signing line was monumental. I had a nice position in the center, but when I tried to take a picture of the scene with my phone, I got a slap on the limp wrist from a security guard and was escorted to the back of the line as punishment.

    "At least I'll have my one-on-one," I surmised to myself.

    After a two and a half hour wait (and a marathon reading of The Daily Beast that drained my phone battery), I finally was face to face with the lit celebrity. (Of course, this was after I'd caught him giving me "the eyes" countless times.)

    I can't recount our conversation word-for-word, but I'm sure I communicated some amount of charm since he said, "London needs more guys like you," with an uncanny twinkle. (He recently relocated from France to the UK capitol.) He then reached into his National Public Radio tote, retrieved a roll of Trojan condoms, and handed one to me.

    I couldn't tell if this was an invitation or just a subtle way of saying, "You're so handsome, you have no other option than to be incredibly promiscuous!"

    I began to walk away, feeling mildly violated, but mainly just confused. As I turned, he whispered in my direction, "Psst! Do you like my blazer?"

    Had David remembered me and our touch-the-jacket "moment" from so many years ago? I had no way of knowing whether he was referencing our casual encounter or if he simply had a very small repertoire of lines for young fans. He then raised his hand to his forehead and saluted me.

    No, "See you later," "Call me," or "I'm in Room 300 at the Lancaster." Just a salute. And really, I didn't want any more. He had proven himself as fairly unstable, and if there's going to be an unstable person in any relationship of mine — it's going to be me.

    Back at the rail station, it took about 20 minutes to register that Metro was closed for the night. With my dead phone, I walked to Hearsay to have somebody call me a cab.

    "Aren't you the guy ... who was the life of the party at your holiday office dinner?" the bartender asked as he closed shop.

    I may not be an internationally renown self-referential writer, but it's nice to know that in select Houston circles, I have a reputation for fun times. I held my head high as I ducked into the minivan taxi waiting outside the bar. As Elgin faded into Westheimer, we passed the once-beloved Agora, and I thought of a naïve teenaged Steven, enraptured by a strange writer's words.

    Almost instinctively, I raised my hand to my forehead, and with a crooked grin, saluted my former self.

    unspecified
    news/entertainment

    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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