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    Aftershocks

    Catwalks & catfights & crossdressers collide on Real Housewives of New Jersey

    Theodore Bale
    Joseph Campana
    May 24, 2011 | 9:21 am
    • Catwoman Melissa helps her hubby get dressed. Who's the hottest Jersey girl now?
    • Ready or not, a Posche fashion show always means drama.
    • Super Teresa!
    • Jacqueline was all smiles on the runway.

    What does a housewife do when she’s not ruining a christening? Shop, plot, trick, treat, and stomp a runway. And start more fights.

    At first the ladies took it down a notch this week on The Real Housewives of New Jersey. For much of the episode, they were licking their wounds and plotting new strategies. But there’s nothing like a fashion show to bring out the Jersey.

    The episode begins like the calm after a storm: Kathy is nervously stirring a risotto as Melissa and Joe Gorga arrive for dinner at her house. She’s got good intentions, and only wants to be a shoulder the pair can lean on after the disaster at their son’s christening reception. And Melissa and Joe look as if they could use a crutch or two.

    Joe doesn’t remove his black knit cap when they sit down to eat, and neither does Melissa. They look more like hoodlums, as if they’ve recently joined the reunited Symbionese Liberation Army and have Patty Hearst locked in a closet somewhere. Kathy and her husband Rich encourage the deflated pair to make up with Teresa and Joe Giudice.

    When the show moved to a segment featuring Caroline Manzo visiting her daughter Lauren’s "beauty bar" (i.e. makeup booth), Face, in a local salon, we typed: “Yawn.” We’re sticking with it.

    It’s Halloween, however, and what could be more fun than going trick-or-treating with the kids? Even the baby is dressed like a huge bat, his arms and feet completely bound in the get-up. He lies motionless on the floor, ready to go whenever the family decides to notice him or roll him down the driveway. Melissa is wearing a pair of red devil horns as she and Joe rush their children door-to-door. They’re anxious to get home and start their own “adult” party.

    For weeks we’ve seen a preview of Melissa prancing around her bedroom dressed as Catwoman, and we’d assumed it was some sort of “marriage invigorating” outfit following her several pregnancies. If we’d only known it was this year’s Halloween costume! She looks sensational, we have to admit. And she makes an odd pair with Joe, who’s decided to wear one of her stretch-lycra minis, a pair of leggings, black pumps and a cheap black wig in a busted Snooki impression.

    “You’re really a Jersey chick now,” Melissa exclaims, adding that he looks a bit like his sister, Teresa. Later at the club, he “rocks” the hasty drag and enjoys gyrating on a platform for everyone to see, convinced that he’s the prettiest girl in the place.

    While we don’t think a gender reassignment is in Joe Gorga’s future, we do think he could give Snooki a run for her money on a middle-aged Jersey Shore. Oh wait, Bravo did that already!

    So far, Bravo has done a stellar job editing the New Jersey housewives, with sudden shifts between the characters and scenes. As Joe stuffs red balloons in his bosom, the cameras move suddenly to Teresa, who is going out as “Super T,” some kind of mother-figure action hero she’s dreamed up to deal with her obviously unmanageable life. Kim G is dressed as a cat, three crooked whiskers smeared across her wrinkled cheeks with an eyeliner pencil. Kim D appears as a blond “sort-of hooker.” Kathy’s costume is ambiguous, but it’s likely that she was listening to an old recording of Cher’s “Half-Breed” when she whipped it up.

    So we were almost relieved to see Kathy later accompany Melissa to Posche Boutique (yes, that’s Porsche with the “R” missing), the local boutique and historic site of housewife drama. Maybe she can find a pretty frock with a headdress. Kim Granitell wanders in as Kathy and Melissa chat through some retail grazing. Kim G no longer has Danielle Staub to sharpen her claws on, (she's moved on to bigger and brighter stripper poles at Scores) so now it’s Teresa’s turn. Kim thinks Teresa’s looking old with her “fat and square ass.”

    It’s feels like a lifetime (or a commercial or two) between this little trip and the big, big night! Posche is having its annual fashion show at the Manzo’s reception hall, The Brownstone. Posche owner Kim D has asked both Melissa and Teresa to model some of her wares, which is sure to add a certain tense excitement to the event. Kim D must like playing with fire. Remember last year at the Posche Fashion show, when Jacqueline’s sullen daughter Ashley ripped hair extensions from Danielle “Garbage” Staub’s tender head? Those were the days.

    Teresa knows that something is up when “old bag” Kim G arrives and heads right for the table where Melissa and her sisters seem to be thinking, “double, double, boil, and trouble!” The women nibble at their salads, but with the impending runway walk expected from each of them, there’s no relaxing to be had.

    On the runway, Jacqueline flops in the first few seconds, waving at everyone and reminding us of Sir Mix-a-Lot’s classic, “Baby Got Back.” And when Melissa takes the stage, she shines, bouncing and misbehaving right down the runway. Why, she’s enjoying it so much that she returns for an impromptu encore! And it can only be a big letdown when Teresa half-heartedly tries to work the crowd with a gloomy expression on her face. Even Caroline says it looks “forced.”

    There’s no way this little event wouldn’t lead to a sizable aftershock given last week’s quake. Jacqueline, clearly bored with herself, can’t wait for the fight to break out as Kathy pulls Teresa aside for a little heart-to-heart. After tense words, some finger-waving, and an accusation of parental neglect, Teresa’s ready to brawl.

    Just as Teresa seems ready to flip yet another table, the sanctimonious and ineffectual Caroline thunders, “Not in my house. Kill each other in your own homes, I don’t care.” Funny, Caroline, with all the attention on Teresa, Melissa, and Kathy, it doesn’t seem like your house anymore.

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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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