A revolutionary, British dart-focused restaurant/bar/event venue is flying into a buzzy Houston mixed-use development. The bustling Allen Parkway corridor project Regent Square will welcome Flight Club, the immersive pub making waves in the U.K. and here in the U.S.
This is the first Texas Flight Club outpost, set to open late 2021. (The venue boasts a popular presence in Chicago.)
Visitors should expect a decidedly retro Brit vibe, with plush booths, semi-private gaming areas, vibrant vintage signage and decor, and a ubiquitous red phone booth in an 8,500-square-foot space.
Press materials promise a “unique social gaming experience through specially designed technology and spacious set-up,” as well as an eclectic bar program led by award-winning Peter Vestinos, plus a menu curated by acclaimed Chicago Chef Rich Gresh.
Oh, and the darts and games. Pub games and darts are central here; the space can accommodate groups of six to 400. More than 160 million darts have been thrown by some 2 million people globally since the venue launched in October 2015, per the company.
“Houston is an incredibly diverse city with vibrant food and drink scene–we are so thrilled that our first Texas location will be in this market,” said Alan Cichon, U.S. president of ownership company, State of Play. “Houston has shown the world time and time again how resilient it is, and we cannot wait to be a part of the fabric that makes up the Houston culture.”
Adding a little note that he gets it, Cichon noted, “everything is bigger in Texas, including our concept.”
Flight Club promises a vibrant, festive atmosphere.
Photo courtesy of Flight Club
Flight Club promises a vibrant, festive atmosphere.
Michael Jackson remains among the most complicated figures in pop culture history. On one hand, he’s responsible for some of the most enduring music of all time, thrilling generations with his voice and dance moves. But his later years were marred by accusations of child sexual abuse and erratic behavior, including his premature death at the age of 50.
So the new biopic Michael is a tough one to judge from a critical standpoint, not least because director Antoine Fuqua and writer John Logan have elided — perhaps temporarily — the thornier parts of Michael’s history. Instead, this film focuses on the 20-year period in which Michael (played as an adult by Michael’s nephew Jaafar Jackson) goes from the prepubescent lead singer of the Jackson 5 to one of the biggest music superstars of all time.
That choice puts an overly sympathetic tint to Michael’s story, as he spends most of that time under the thumb of his domineering father, Joseph (Colman Domingo). Joseph has a vision for Michael and his brothers, and he pushes them hard in a quest to become rich and famous. Even when they achieve that goal, though, Joseph refuses to let up, holding onto Michael even when it’s clear he should go out on his own.
As a reminder of the enormous impact Michael Jackson had on the music industry and world at large, the film is successful. Fuqua and Logan include plenty of music, naturally, but they seem to be most interested in depicting Michael as a human being. They lay it on thick, whether it’s showing him spending time among his family members away from the stage, hanging out with bodyguard Bill Bray (KeiLyn Durrel Jones), or visiting sick kids in hospitals. The message that Michael is a harmless, good person couldn’t be clearer.
The film hints at but doesn’t really explore Michael’s oddities. His obsession with kids literature and movies, especially Peter Pan, are seen as inoffensive quirks, as is his menagerie of animals, including a creepy CGI version of Bubbles the chimp. His arrested development seems to be partially blamed on his parents treating him like a child well into his adulthood, and the resulting fallout is not (yet) addressed.
Many viewers will be most interested in the music sequences, and — save for some repetitive shots of fans fainting at the mere presence of Michael — they are handled well. Whether it’s at home, in the studio, on the set of the “Thriller” video, or at live performances, the film manages to fully get across just what a phenomenon Michael was at his peak. The staging and editing of each scene is dynamic, complementing Michael’s other-worldly abilities well.
If there is one reason to see the film, it is the performance of Jaafar Jackson. Whether he’s capable of doing any other kind of role is undetermined, but his portrayal of his uncle is compelling, as he demonstrates singing, dancing, and acting skills in equal measure. He’s aided by an equally great performance by Domingo, who — with the help of facial prosthetics — overcomes the trope of the bad father. Nia Long and Larenz Tate are also good in smaller roles, but Miles Teller is an odd presence as Michael’s manager.
There are reports that legal complications prevented the filmmakers from using previously-shot scenes delving into accusations against Michael, and there are rumors that a second film will be made about the last 20 years of his life. But that speculation can’t absolve Michael of showing all the positive aspects of Michael Jackson’s life and not even touching any of the negative ones.
