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    Movin' on up

    The Amazing Race, week two: Team Houston wants to sell Ghana some sunglasses

    Tarra Gaines
    Oct 3, 2010 | 11:04 pm
    • Mike Wu, left, and Kevin Wu
      Photo by John P. Filo/CBS
    • The participants in this season's "Amazing Race"
      Photo by John P. Filo/CBS

    The Great Wall of China, Stonehenge, Machu Picchu, the Sydney Opera House, the pyramids of Giza, a basketball court behind some nondescript houses in Sugar Land.

    These are the sights of the world shown in the opening credits of this season’s The Amazing Race. We owe that quick view suburban Houston architecture to Michael and Kevin Wu, YouTube celebrities and our home team on The Amazing Race.

    Last week we left Team Houston in a respectable seventh place at Eastnor Castle in England. They began this episode about an hour behind the first place team. Racing out of the castle grounds Kevin urged his dad to keep up and then we see a short clip from an interview that looks like it was shot here before the race. Michael worries that he’s going to slow the team down. The Amazing Editors are great believers in both foreshadowing and irony, so we know that at some point in the episode Michael is indeed going to slow the team down or he is going to succeed in a task so swiftly the team will pull ahead.

    Their seventh place beginning did not matter much because the teams are off to Accra, Ghana and there’s only one flight a day from England. Everyone is on the same flight, and once they land, it’s a free-for-all for the taxis. Their first major task of this leg is at Makola Market for one of Race’s familiar sell-something-to-the-locals challenges, in this case, sunglasses. Many of the other racers appear completely overwhelmed by the chaotic outdoor market, but Michael tells his son that, growing up in Taiwan, he’s not a stranger to this type of market. This is a roadblock task, so only one member of the team can attempt it and it’s Michael’s turn.

    This season gives us lots of pretty blond team members, and most of them are sent in to sell, sell, sell. It’s hard to tell if the Ghanaian market goers sense a genuine niceness about Michael or they simply trust him for quality sunglasses, but somehow he completes the task early. Only a Home Shopping Network host can sell faster. That’s not a metaphor. One team consists of two HSN hosts, and yet Michael sells almost as fast.

    From the market they hop a taxi to the detour, a choice between two tasks. In this episode the choice is “tune in” or “check out.” While the Amazing editors love foreshadowing and irony, The Amazing Race planners love a good bad puns. For “tune in,” the teams have to install television antennas in locals’ homes. In “check out,” they have to transport coffins to a coffin showroom. Team Houston picks “tune in,” which is a bit of a shame because it’s the coffins that are truly amazing. They are carved to reflect the spirit of the deceased and we get to see coffin fish, pianos and cameras.

    Houstonians don’t have to go to Ghana to see these works of coffin art because our own National Museum of Funeral History has a permanent exhibit of them.

    However, “tune in” appears to be the better choice for our team. They locate their client’s small house quickly. Michael goes up the ladder and installs the antenna on the tin roof. They manage to get a clear picture with only a little tinkering. The next time the cable goes out around here, we now all know who to call.

    Team Houston races to a the second market, Kaneshie, which host Phil Keoghan tells us is “one of the largest markets in all of west Africa.” Our guys run through the packed market to the finish mat, and a very nice lady, with a large bowl of fish on her head, welcomes them to Accra. Third!

    Irony also pulled ahead of foreshadowing, as we see how see how invaluable Michael was on this leg, and Kevin tells how he’s coming to see his father as an equal partner.

    From seventh to third, and the Texans won. Go teams Houston!

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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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