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    Bodyguards Included

    King Tut mania builds: First artifact installed at MFAH under watchful Egyptianeyes

    Tyler Rudick
    Oct 7, 2011 | 12:44 am
    • Original canopic container, from which today's stopper was taken for display inthe upcoming Tutankhamun exhibit.
    • The canopic stopper with couriers Samira Ahmed Medany Dawoud Soliman and HodaSaleh Abdelnaby Soliman.
      Photo by Tyler Rudick
    • Tutankhamun: The Golden King and the Great Pharaohs opens at the MFAH nextSunday, Oct. 16 and will be on view through April 15, 2012.
      Photo by Tyler Rudick
    • Lid for canopic container, 1355-13-46 B.C.E., Thebes, Valley of the Kings,Tomb of Tutanknamun.
      Photo by Tyler Rudick
    • Mark Lach, senior vice president of Arts & Exhibitions, the organization stagingthe Tutankhamun show.
      Photo by Tyler Rudick
    • Original canopic container, which remains in Egypt.

    The white gloves came out Thursday morning at the Museum of Fine Arts, Houston as expert handlers from Egypt installed the first item — a canopic stopper — for the upcoming exhibition, Tutankhamun: The Golden King and the Great Pharaohs.

    “This is an exciting day for us,” says Mark Lach, senior vice president of Arts & Exhibitions International, which organized the traveling exhibit. “Up to this point the show has just been walls, lighting and displays.”

    So, what is a canopic stopper, exactly?

    “Once installed in Cairo, it’s likely these items will never again leave Egypt,” Lach says. “This is an extremely rare opportunity for U.S. visitors to see King Tut’s items.”

    After an ancient pharoahnic ruler was properly embalmed and mummified, his or her essential organs were placed in vessels for all eternity — or, in this case, until British archaeologists uncovered Tutankhamun’s tomb in 1922. The canopic stopper is simply the decorative cap that seals the container to preserve the body parts.

    Dating from the 14th century BCE, the artifact stands nearly 10 inches high and bears a resemblance to Tut’s famous mask, which remains in Egypt’s Valley of the Kings due to its fragility. Carved from alabaster, this intricate lid topped one of four chambers carved into a larger burial vault. Within each chamber, a small miniature coffinette would have held one of Tut’s mummified organs. (See the slideshow for images of the larger canopic container.)

    “Burial rituals were quite the industry in ancient Egypt,” explains Frances Marzio, who organized the Tutankhamun show as MFAH curator of The Glassell Collections. “These elaborate rites kept the economy going.”

    In the second floor gallery of the MFAH’s Caroline Weiss Law Building, where the show will open on Oct. 16, Lach gave a brief introduction before two Egyptian handlers gently wheeled the stone lid into the room and placed it in its case. The Egypt’s Ministry of Antiquities requires the traveling artifacts to be managed by a team of its couriers at all times.

    “Ultimately,” Marzio says, “what we hope to do is generate funds for the Grand Egyptian Museum in Cairo, where the Tutankhamun artifacts will remain from this point forward.”

    “Once installed in Cairo, it’s likely these items will never again leave Egypt,” Lach says. “This is an extremely rare opportunity for U.S. visitors to see King Tut’s items.”

    Treasures from Tutankhamun's tomb toured seven U.S. cities throughout the late 1970s, attracting more than eight million visitors and striking the country with a case of Tut-Mania, best remembered by Steve Martin’s zany King Tut performance.

    The upcoming exhibit at the MFAH will feature more than 50 artifacts from Tut’s tomb, less than 10 of which are repeated from the '70s show. Other treasures from ancient Egypt will also be included in what surely will be one the museum’s most popular events in years.

    Tutankhamun: The Golden King and the Great Pharaohs opens at the Caroline Weiss Law Building at Museum of Fine Arts, Houston next Sunday, Oct. 16 and will be on view through April 15, 2012. Tickets can be pre-purchased at 888-931-4TUT or on the exhibition website.

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    Movie Review

    Billie Eilish takes fans behind the scenes in immersive 3D tour film

    Alex Bentley
    May 7, 2026 | 3:30 pm
    Billie Eilish in Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D
    Photo by Henry Hwu/courtesy of Paramount Pictures
    Billie Eilish in Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D.

    In 2021, at the tender age of 19, singer Billie Eilish was already the subject of a documentary, The World’s a Little Blurry. At that point, she had only released one album, so the film threatened to feel too early for such treatment. The ensuing five years have only made her a bigger star, though, so in many ways that movie now feels prescient for the person on display in the new concert documentary with the unwieldy title of Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D.

    Directed by Eilish and blockbuster filmmaker James Cameron, the film takes viewers inside Eilish’s 2024-2025 tour in support of her latest album, 2023’s Hit Me Hard and Soft. Filmed mostly at her series of shows in Manchester, England, the movie is a showcase for Eilish’s music, but it also serves as a smaller exploration of the type of person she is, as well as the impact she has had on her legion of fans.

    The draw of the film is the use of Cameron’s beloved 3D technology, which he has employed in each of the three Avatar films. Unlike in those films, where the 3D has the odd effect of making the visuals too realistic for their own good, the technique brings an intimacy to the large-scale show that underscores the unique bond the singer has with her supporters.

    Eilish and Cameron go back and forth between performances at the concert to behind-the-scenes sequences, detailing the enormous effort it takes to put on a show like that and how Eilish spends her time getting ready for it. As in The World’s a Little Blurry, this film continues to portray the singer as down-to-Earth, someone who yearns to maintain the connection to her fans that she’s had since she released her first single, “Ocean Eyes,” 10 years ago.

    And as the many emotional songs in Eilish’s concert playlist prove, the feeling from the crowd is mutual. While Eilish has multiple bangers like “Bad Guy,” “Therefore I Am,” and the Charli XCX collaboration “Guess,” it’s the sad songs like “Everything I Wanted,” “Happier Than Ever,” and the Oscar-winning Barbie anthem, “What Was I Made For?” that hit the hardest. The depth of feeling emanating from her many sobbing fans singing along to crushing songs cannot be understated.

    For audiences of the film, though, it’s the breadth of camera angles and shot choices that make it truly dynamic. There are cameras everywhere, including in the crowd, inside a cube at the center of the stage that rises and descends, following Eilish as she traipses every inch of the long, rectangular stage, and even a small one Eilish uses to bring an extra personal touch to the in-arena screen. Combined, they capture the complete energy of the concert, something that is not always the case in a film of this type.

    Eilish has almost as many movies — two — as she does albums — three — which borders on overkill for a singer of her age. But both her music and the movies show her to be a person who knows the responsibility of being a celebrity, someone who understands that her fans are the reason she’s famous at all. Her career may go up or down from here, but it’s clear she’s already made a huge impact on those who love her most.

    ---

    Billie Eilish: Hit Me Hard and Soft - The Tour Live in 3D opens in theaters on May 8.

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