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    Celebration Friday

    Fresh Hell for Star Trek's Data: Brent Spiner owes heavenly career to UH"Legacy" of Cecil Pickett

    Tarra Gaines
    Sep 6, 2012 | 1:16 pm
    • Brent Spiner
      Courtesy Photo
    • Spiner as Lt. Commander Data
      StarTrekDesktopWallpaper.com

    There are certainly many ways alumni can support a beloved school, but for successful television, film, and Broadway stars who started out as decidedly unknown theater students at the University of Houston, sometimes the best way to give back is with a song and story.

    In an attempt to do just that, some of the University of Houston’s most celebrated graduates come back Friday for “Legacy: A Celebration of the UH School of Theatre & Dance,” an evening benefiting the scholarship endowment fund named after one of the program’s most beloved professors, Cecil J. Pickett.

    "I’ve done several Broadway shows and off Broadway, movies and television and all that, and I can’t remember an opening night ever being more exciting as they were at Bellaire High School and later at the University of Houston."

    Headlining the evening along with actors and musicians Brett Cullen, Billy Stritch, Robert Wuhl, Sharon Montgomery and Sally Mayes will be film and television actor Brent Spiner. The Houston born and raised actor, probably best known as Star Trek’s Commander Data, chatted with CultureMap by phone shortly before his trip back home.

    Spiner was given some of his first theater lessons while attending Bellaire High School where Cecil Pickett taught before he moved to the University of Houston. When I asked Spiner if that was when he first heard the theatrical siren’s song that "there’s no business like show business," he said no.

    “I think I pretty much knew I wanted to be an actor from the time when I was 3 and fell down the stairs of our house, got a laugh, and thought: 'This is good. I think I’ll keep doing this,' ” he said.

    The Bellaire High connection to UH through Cecil Pickett does not end with Spiner. Both the high school and university count Dennis and Randy Quaid and Cindy Pickett (Cecil's daughter) as alums. When I asked Spiner if he had any theories as how the UH program could produce so many gifted actors, he said in his case he thought it started back at Bellaire with Pickett’s teaching.

    “I think it had a lot to do with Cecil and his encouragement and the fact that we learned a lot from him before we ever got there, and we were just using more and more of it. We had help, too, from Sidney Berger who was running the department at the time,” Spiner described.

    Recounting what an extraordinary time it was, he explained, “I’ve done a lot of theater since I left the school many years ago. I’ve done several Broadway shows and off Broadway, movies and television and all that, and I can’t remember an opening night ever being more exciting as they were at Bellaire High School and later at the University of Houston. It was because we knew we had something good. . .I thought, at the time, it must be like this always but it really isn’t.

    "It was just that Cecil was an incredibly talented director and teacher. When we put on a show, we were pretty certain we were doing something that was going to be entertaining.”

    The Theater Bug

    Though Spiner is most identified with his work in science fiction television and film projects, especially Star Trek, he began in and regularly goes back to the theater. He says he loves all of show business and that “acting is just acting. You do it the same way. It’s just you just talk a little louder in the theater.”

    Though there’s hardly been a time when he was completely off, Spiner is back on television as a reoccurring guest baddie on Syfy’s Warehouse 13. He can also be seen in his own web series Fresh Hell where he plays “Brent Spiner,” a once successful actor whose involvement in a mysterious “incident” leaves him broke and an industry pariah. The episodes are rather short, about 10 minutes, but pack some sharp jabs of satire at Hollywood, celebrity, and the need for an actor to act no matter what.

    “People will email what they think of it from all over the world. You don’t have to wait for reviews or for the package to be sold to another country. It’s there immediately."

    “Basically I had this idea and was working with a director on a project, and I told him the idea. He thought it would be fun to do. He knew a writer he thought would be a great addition to the team and so the three of us kind of sculpted this thing and just did it.

    "That’s the beauty of the web. You can do things on your own and still reach a reasonable audience,” Spiner said, describing the web series’ origins.

    Spiner seems to relish jumping back and forth between varying sized screens of film, television and now web. He especially appreciates the “immediate feedback” the Internet gives to his projects.

    “People will email what they think of it from all over the world. You don’t have to wait for reviews or for the package to be sold to another country. It’s there immediately. I get feedback from Russia, France, China, Germany, everywhere,” he said.

    Spiner is a part of a mini-wave of actors playing ironic versions of themselves, and he makes it look easy, but I wondered if creating a subversive version of "Brent Spiner" was actually a bit of a challenge.

    “It really is,” he explained, “because it’s not really you. It’s an imaginary version of you. In the case of my show, blessedly imaginary. My character, meaning me, has plummeted into the depths of hell, career wise and in regards to the rest of the world, too.

    But underneath the satire, Spiner believes,“there’s a subtext in the piece that there’s another incident, that we never mention, that I committed that is much worse even than the other incident. And that is that I made the mistake of getting old. I think that many people have reached that point in their careers and their lives where they feel they’ve been dismissed from a fraternity they’ve always wanted to be a part of. And in the case of my character, he’s desperate to get back and will do any humiliating thing to try to get back to where he once belonged.”

    While the “Brent Spiner” on Fresh Hell is having trouble getting a job teaching acting to porn stars, Brent Spiner is no doubt assured a warm welcome back to the city and university where he was first taught his craft. He says of Houston, “I know it’s hot. I know it’s humid, but it’s home.”

    "Legacy" takes the stage of UH’s Lyndall Finley Wortham Theatre at 8 p.m. Friday. Until then, take a look at “Brent Spiner” hitting up LeVar Burton for money to open a drama school for porn actors.

    unspecified
    news/entertainment

    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

    moviesfilmmaggie gyllenhaalannette beningchristian balejessie buckleypeter sarsgaardpenélope cruzmovie review
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