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    You're surprised ...

    Aftershocks: The police get involved with The Real Housewives of New Jersey, somuch for harmless fun

    Joseph Campana
    Theodore Bale
    Jun 29, 2010 | 12:19 am
    • You knew it had to happen soon or later, the police are coming for The RealHousewives of New Jersey.
    • Danielle Staub is dealing with "a situation."
    • How long before the actual, The Situation, makes a cross-network guestappearance in Franklin Lakes?

    It was the event we’ve been waiting for all season: Clash of the Titans Real Housewives of New Jersey-style. Last season it gave rise to the legendary table-flipping scene, and this week Bravo has been playing a teaser endlessly, suggesting another showdown between the fiery Teresa Giudice and her arch-enemy Danielle “Garbarge” Staub.

    We’ve been on the edge of our microfiber sofa ever since we saw Danielle telling Teresa not to call her “honey.” And watching with feverish anticipation as, without missing a beat, Teresa fires back a beautiful alliterative bullet: “Is Bitch better?”

    As usual, Bravo makes us wait to the bitter end of the episode. First we revisit Jacqueline’s penchant for making any occasion an excuse to cry “bottom’s up,” no matter what time of day, even during her lazy workout with Teresa to lose that baby weight. Her drinking is de rigueur by now.

    Then there’s Caroline’s extended family (we meet the entirely forgettable sisters Cookie and Frannie at lunch), her empty-nest monologues, her dark night of the soul, fake crying fits, and her uncomfortable date-night with Albert. It’s no wonder he tells her that he’ll never retire.

    Whatever her true motives, and whether or not she’s aware of them, it’s Posche boutique owner Kim D. who’s masterminded a brilliant blow-up for all to enjoy.

    Step one: Kim D. goes out to pay her water bill, leaving a temporary receptionist we’ve never seen before to be utterly nonplussed as Danielle makes a grand entrance at Posche, clad entirely in black. Danielle’s all about confrontation this season, and Kim D. has invited the dreaded Teresa and Jacqueline to her upcoming community fashion show. Danielle even blows off daughter Jillian’s call, saying “Mommy’s got a little situation.”

    This secretarial slight is the last of many last straws. Danielle swears off shopping at Posche “to preserve her friendship” with Kim D. Just episodes ago, Kim D complained that Danielle owed her lots of money. The times they are a-changin’ in Franklin Lakes.

    Step two: Kim D stirs the pot by inviting Ashley to walk in the show. Could this be a deliberate travesty of the New York Fashion Week triumph of Danielle’s daughter, the fabulous Christine?

    Even Ashley is suspicious, asking why it’s not Christine who’s in the show. Later, when Ashley storms the runway, Danielle gets it: Christine must be “too professional” and Kim D. probably wants each model to look as inexperienced as the next.

    Step three: Kim D. tries to smooth things over the phone to insure Danielle’s attendance. When she calls, Danielle hopes and prays for a “rebuilding of trust” as one of her dogs contemplates humping a fuzzy purple dildo-shaped toy. Plan complete.

    While Danielle struts and frets her hour about her foyer waiting for friend Kim G. to accompany her to the show, her choice of footwear seems overwrought: thigh-high black leather spike-heeled boots, which make us think that she looks more like she’s going to a Helmut Lang-inspired trampling-fetish party rather than a modest clothes parade at the sedate North Jersey Country Club.

    That night, the excitement mounts as spray-tanned girls swagger down the runway. There are some lovely acid-washed jeans on one girl, and Teresa says she’d like a pair. Just a table away, Danielle affects a cell phone call, a trick she says she learned from Paris Hilton.

    Finally, Ashley takes the runway and Jacqueline hoots her on. Danielle calls her a whore and says that none of them know how to walk. Danielle tries to stare her down, but later Ashley pulls out the stalker gaze with greater ferocity, and the look of disgust and amusement on her face is a wonder. Jacqueline tries to rein her insolent daughter in, but Ashley just stares and stares.

    Danielle stands to leave, and the soundtrack builds a sense of foreboding as Teresa waits in the hallway to “run into” her favorite piece of garbage. She breaks the ice and says in a sing-songy voice, “Danielle, hi!" And within a few minutes, she’s calling her an old hag.

    After all this exhausting buildup, what did we get? Only a briefly vague confrontation and then a next-week on-the-Housewives montage of some screaming, potential fisticuffs, and even a visit from the police. Someone might be pressing charges about something, but we’ll have to wait yet another week.

    Instead, we were stuck with a “Watch What Happens” re-enactment of the Manzo family’s ridiculous “ham game.” As Andy Cohen and young Albie Manzo shout over the sound of cured pork slapping against bare faces, Cohen (Houston’s recent Pride Parade Celebrity Grand Marshal) pretends to be shocked as the strapping Albie flings slice after slice.

    Is it that Mr. Cohen doth protest too much? The girlish excitement in his voice tells us that he loves every minute.

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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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