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    Starring Texas

    Remains of the day: The woman behind TV's Bones redefines the art of scary,multi-tasking

    Cynthia Neely
    Sep 5, 2012 | 11:27 am
    • Author Kathy Reichs at a recent book signing
      Photo by Raysonho@Open Grid Scheduler/Wikipedia
    • Fox.com

    Some little girls dream of becoming a ballerina or a fashion designer or a princess. But not all little girls are so starry eyed, thank goodness. Some want to be a scientist or TV producer or famous author. One little girl from Chicago has become all three.

    I don’t know if Kathy Reichs actually ever said to her parents, “When I grow up, I want to identify skeletal human remains,” but her sister, Deborah Miner of Houston, told me she remembers bones lying around on their kitchen table at about fourth grade. (She also said they surreptitiously raised bunnies in a closet, but I was afraid to ask for details.)

    If you’ve watched the hit Fox TV series Bones then you have a good idea of the life and work of Reichs, the real forensic anthropologist behind the show’s fictional Temperance Brennan. It was Reichs’ best-selling Temperance novels (16 and counting) that inspired the television show, which will begin its eighth season Sept. 17.

    I don’t know if Kathy Reichs actually ever said to her parents, “When I grow up, I want to identify skeletal human remains,” but her sister told me she remembers bones lying around on their kitchen table.

    Reichs is a producer and writer on the show and really enjoys the collaborative spirit in the writer’s room. Writing a novel, she told me, is such a solitary experience — just her and the computer.

    When she’s in Los Angeles, however, working on Bones, she’s one of several writers brainstorming new episodes and working at the white board where the plot is developed. (She says she also spends a lot of time on the set and that actress Emily Deschanel, who plays Temperance Brennan, “Is so wonderful, just the most sweet, nice person. So nice.” I think she really likes her.)

    Reichs will be in Houston this week to promote her latest book, Bones Are Forever,” at Murder By The Book Thursday and speak Friday at the Houston Museum of Natural Science, home to bones galore in the new Hall of Paleontology. Reichs is donating her speaking time to help raise awareness of the filmmaking and audio recording department at Houston Community College Northwest.

    Graduates of this program are working in television and film today and, who knows, maybe on a Bones episode of the future? (Full disclosure: I am privileged to serve as chair of their advisory board and to have orchestrated this event in behalf of HCC as a volunteer.)

    Reichs simply amazes me. How can one person excel at so many different things, almost simultaneously? Early on, she was an anthropologist working with prehistoric bones at the Smithsonian (that alone would be enough for most people); then she became a forensic anthropologist, assessing human bodies in various stages of decomposition (sometimes dismembered, mummified, or burned) for age, sex, and to determine the cause of death for legal authorities.

    She’s helped identify mysterious remains for a number of institutions including the FBI, Quebec’s Central Crime Lab, and at Ground Zero in New York as part of the Mortuary Operational Response Team assigned to assist after 9/11. She helped exhume a mass grave in Guatemala, and traveled to Rwanda to testify at the UN Tribunal on Genocide. She taught anthropology at the University of North Carolina at Charlotte.

    It took two years to create her alter ego, Temperance Brennan, for her first crime novel, Déjà Dead. Her goal was, “To bring forensic anthropology to a broader audience.”

    Boy, has she ever.

    When that book launched in 1997, it became a New York Times bestseller and won the Canada Crime Writers’ Arthur Ellis Award for Best First Novel. These days, she writes two books a year and has started yet another series, Virals, aimed at young adults in collaboration with her son Brendan Reichs.

    In a Smithsonian Magazine interview, Reichs explained how she went from working with dead bodies to writing best sellers.

    “In the mid-1990s, when I had a serial murder case. It was before this massive interest in forensics. The time seemed right to combine murder mystery and forensics with a strong female character. I took the approach to write about what I know. I base my books only loosely on real cases.

    "The one that triggered Bones to Ashes (2007) was a child skeleton found on the Quebec-New Brunswick border — a child about 5 or 6 years old who has never been identified.”

    The impact of forensic novels and TV shows has “made the public a bit more aware of science,” she said. “Especially kids. Especially little girls, which is a good thing. But they've raised the public's expectations higher than is realistic, with juries expecting every single case to get DNA every time. That's not realistic. It's not even smart. You don't do every single test in every single case.”

    What’s next for the real Reichs? My bet is on a movie, based on a screenplay that she will write herself, if she hasn’t already. I’m only guessing, but I’m also hoping. A review in the New York Daily News praised her work as “Scary enough to keep the lights on and the dog inside."

    And that’s the way I like my books and movies.

    unspecified
    news/entertainment

    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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