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    Too pretty to punk

    "I hope you don't get punched in the face": My night as a Slayer/Megadeth fan

    Fayza A. Elmostehi
    Oct 2, 2010 | 11:08 am
    • We completely missed Anthrax. Guess that's what you get when a band starts whenthe doors open.
    • Megadeth was one of the ugliest bands I've ever seen. Although I couldn't seemuch. Lead singer Dave Mustaine's face was sheathed with his hair the wholetime.
    • Slayer's Tom Araya haunts my dreams now.

    I'd never call myself a heavy metal music fan (because if I was, clearly, I'd call it "metal"). In fact, my idea of "metal" is highly wearable and surrounded by precious gems (hell, I may be a neo-hippie, but I'm still a woman).

    But I know what "metal" is. Throttling guitars, tangled, filthy locks, and intimidating, leather-clad ogres snarling and growling into the microphone — pretty much the stuff my nightmares are made of. I've seen a (very) few metal shows in my day. I think I know what comes with the territory.

    Correction: I thought I knew.

    Where's it's a crime to look cute

    When I hopped into my boyfriend's car and was greeted with, "I hope you don't get punched in the face," I probably didn't know what I was getting into by going to see the thrash metal trifecta — Anthrax, Megadeth, Slayer — at Verizon Wireless Theater earlier this week.

    I figured wearing a casual black dress would allow me to blend in with the natives. So what if there was a healthy amount of exposed cleavage? Did my yellow peep toe flats really remove me from contention as a viable viewer? And what was wrong with my Gwen Stefani-inspired ponytail?

    But when my boyfriend followed up with, "You look way too pretty for a show like this," I was flattered. And wrongfully smug.

    Fear is the new black

    As we entered, I could see that donning the hue of death wasn't enough. The slutty, scary steamroller overran the classy caboose, and I didn't have a ticket to ride.

    So I dealt with my insecurity of sticking out like a sunflower in a graveyard the best way I know how: booze. Being from the Midwest, I'm well-versed in the belief that beer levels all playing fields, and I'd be damned if I was going to let my boobs get in between me and a good time.

    We'd already missed Anthrax by the time we arrived, but Megadeth and Slayer were the main draws for my heavy-metal-honey that evening anyway. All I needed was one beer to lube the way between me and heavy metal heaven. And I was having such a great time in line, talking to the surprisingly friendly yet mysteriously odorous long-haired couple ahead of me, looking forward to sinking my claws into a 24-oz. Shiner.

    And then Megadeth began to riff.

    And just like that, I was swept away by the boyfriend so as not to miss one nanosecond of the show. Without my thrash metal Dramamine in hand.

    Uh oh.

    Look, Ma! No hands!

    Politically-charged Megadeth had my boyfriend up in arms, but I kept trying to get a glimpse of lead singer Dave Mustaine's face behind his flowing Rapunzel-esque mane.

    All that craning and straining led me to a crucial executive decision — I would have to battle the throng for access to a few frothy beverages.

    If I'd taken two minutes longer, the boyfriend would've come in search of me. But the delay certainly wasn't the sea of grim-faced metalheads that parted for me without prompting. It was more like the long conversation I got into with the biker chick bartender as to why anyone would waste a perfectly good beer by catapulting it onstage.

    Bonding with the brutes? Boss.

    I've so got this one in the bag, baby

    Having reached the intermission between the Megadeth and Slayer sets, I felt confident I would fare well when Slayer went up to bat. We moved closer to the front and braced ourselves for the onslaught of gristly, musical carnage.

    The Houston Press' Craig Hlavaty called Slayer, "a live force of sound, probably the closest you can get to true calamity without being outright noise. Like a freight train, there are no stops. If you get hit or run over, that's the breaks."

    What if you not only get run over, but flattened and smashed into the pavement by a 18-wheeler hauling boulders and dead bodies, a bloody puddle the only thing marking the spot where you once stood alive on this planet?

    That was me, after about the second thrash of Tom Araya's guitar.

    Out of acute fear and instinct, I turned to my safe haven — the bar. There, I contemplated drowning my tremors in Guinness, but heeding Frida Kahlo's advice about sorrows, I stayed true to Miller Lite and my buoyant terror.

    I should've had that Guinness. 'Cause that's when things started to get ugly.

    The good, the bad, and the exiled

    I maintained my composure (and my grip on a random bystander) when Wasted Dude #1 came barreling through the crowd, spinning me hard on my heel. But I needed a little breather when Wasted Dude #1 plowed back through toward the stage.

    That's when I saw Wasted Dude #2 — a quite conservative, strait-laced friend of mine — with a bouncer attached to the back of his shirt.

    Wait a second. What the...?

    After I swallowed my drunken disbelief and laughter, I hurried outside to unravel the mystery of how one of the most straight and narrow people I know ended up getting tossed out of a show characterized for its aggression.

    Let's just say Headbutting Dude 1, Wasted Dude #2's Headlock 0.

    It was Wasted Dude #3 that almost landed us on Texas Ave. ourselves. Between him trying to grind his hips on me, then putting his head on my shoulder, the wafting gunpowder of testosterone barely escaped the opportunity for ignition.

    Too legit to quit

    After the show and a moment of decompression at The Flying Saucer, I tweeted, "I am not hardcore enough for Slayer." I get ejected off my mountain bike and emerge from the wreckage with a smile, I am dumped from canoes and float to the surface with pride, and yet, I can't handle a few hours of it raining blood.

    By now, my tail has relocated from between my legs to its trademark wagging demeanor, and my feigned arrogance has returned, its typical false bravado intact.

    Am I a converted Slayer or Megadeth fan? Negatron. But I think I've earned my right to reign in blood. And that's all a wholesome Ohio girl can really ask for 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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