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    Aftershocks

    It's a pretty girl fight on Real Housewives of Beverly Hills as Kelsey Grammerwalks around in heels

    Joseph Campana
    Theodore Bale
    Nov 12, 2010 | 1:58 am
    • "The Real Housewives of Beverly Hills"
      Photo by Adam Olszewski/Bravo
    • Camille Grammer is ready to square off against ...
    • Kyle Richards.

    When heroes in action films get ready for combat, they arm with guns and ammo. When housewives get ready to fight, it’s manicures, shopping binges, and a trip to see Kelsey Grammer in La cage aux folles.

    There’s a moment in every branch of The Real Housewives when the polite facades fall away and the show descends into bitch-slapping mayhem. Thank goodness. All those children’s parties last week got to be a bit of a snooze.

    Most reality television is driven by the American taste for girl-on-girl violence: Why should The Real Housewives of Beverly Hills be any different? We could tell, weeks ago, that Camille Grammer and Kyle Richards would be about as compatible as Barack Obama and John Boehner. No one expects the two prettiest girls to get along.

    Like most disasters, the episode begins calmly at the home of Lisa VanderPump, who rousts her live-in-gay Cedric incredibly early so they can head to the flower market. We love that VanderPump plumps up her own arrangements for Villa Blanca, and it’s refreshing to see that early in the morning Cedric’s too groggy to don his International Male wardrobe and settles for a sweater.

    Peace is as fleeting as Cedric’s last trick, however. It doesn’t matter how many white camellias you buy at the market when there's an invite from Camille for all the girls to fly to New York to see her husband don women’s underwear. At least, that’s what Lisa’s looking forward to.

    First the girls pair up for a little retail therapy. Kyle and Taylor Armstrong visit pink-wigged Nony (from the House of Petro Zillia) to find cute dresses for the fight with Camille. Kim Richards and Adrienne prefer Sydney Michelle. The cross-cut shopping scenes reveal that of the sisters, Kyle inherited the taste. Kim keeps honing in on leopard prints that were no doubt in fashion when she was still a child star.

    But before the true depravity of Kim’s fashion sense can be revealed, poor Adrienne learns of her uncle’s sudden death. She rushes off while Kim hovers longingly around a rack of leopard prints. Sadly, this sidelines Adrienne for the entire episode, and we suspect she’s the only housewife who would have been tough enough to referee the fight.

    Adrienne calls Camille to break the news and cancel out on NYC. Camille is hosting what looks like the saddest dinner party ever, mostly populated by staff members. She’s beside herself when she finds out. No doubt, she thinks, it’s the new moon. Really, though, she’s just worried about Adrienne’s bad luck.

    Could bad luck — and sudden death — be catching?

    A little wine with the bores and flunkies she surrounds herself with seems to calm her down. Our favorite party guests were the flirtatious Nick and his wife Tricia who jokes with Camille that she’s OK “loaning” Nick out to her.

    Lisa’s way of preparing for the fight — we mean trip — is with a little treatment for Kyle’s fear of flying. Thank goodness hypnotherapist Tom Silver is available to bend their minds with his EEGs and witchy ways. Lisa fears the EEG is electro-shock treatment. Besides, it might ruin her hair. They examine a 3-D graph of Kyle’s brain waves, which is enough to induce dizziness and phobias. They don brown headbands (“like Pocahontas!” Kyle chirps) as Tom Silver begins the treatment.

    He says, “Now I want you to fall into a really receptive state for hypnosis.” Is it really that simple? We can’t tell, but it seems like he just might be taking them back to witch mountain.

    Camille heads to New York early to see the newly decorated apartment. At only 3,500 square feet, it’s a depressingly “confined space.” I suppose with all the staff, flunkies, and hangers-on, there’s hardly any room for Kelsey to practice walking in high heels. If we had a 3,500-square-foot townhouse in Manhattan, I’m sure we too would develop claustrophobia. Perhaps Tom Silver is available to treat Camille’s phobia.

    As she prepares for the girls to arrive, Camille makes a little time to squeeze in a visit with her dear-old cancer-ridden Mom — while she gets her nails done, that is. Thank God she didn’t have to travel all the way to New Jersey to see her!

    Camille recites her day planner, reminds her mom that Kelsey found her a doctor, and reports her own quest for cancer screening. She’s positive for certain possible future mutations. Thank the stars genetic testing now allows over-privileged Americans to find whole new ways of blaming their parents. Camille’s mother nods, smiles, and spouts a few clichés about positive energy.

    It’s a heart-warming scene almost as touching and intimate as the interaction between Camille and her manicurist.

    By the time the other girls arrive in New York, the last minutes of the episode are already ticking away. It’s another Bravo cliffhanger, but we were pleased to get at least a few juicy tidbits. The plot thickens as Kyle admits that sexy hubby and real-estate agent Maurizio has business with Camille and Kelsey. She’d hate this little fight to impact her husband’s business, but we can tell Kyle is thinking about other kinds of impact and she and Camille pretend to make up before a night out on the town.

    It’s all air kisses and regret in Taylor’s suite at the Dream Hotel, but once they hit the restaurant, all bets are off. Camille believes Kyle has belittled her, and she’s not going to take it. Kim tells us in a video diary that Kyle doesn’t like to fight, but she certainly won’t back down. At last, the gladiators descend to an appropriately low back-and-forth as the other girls look on, horrified:

    “You’re such a f@cking liar, Camille.”

    “You’re just covering your ass.”

    “That’s such bullshit, Camille.”

    “I’m so above this.”

    Watch out, Camille. Kyle is turning out to be the most beloved of the housewives. Besides, it looks like the Lynda Carter-esque beauty is about to go Wonder Woman on your ass.

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    Movie Review

    Knives Out series takes a more serious turn in Wake Up Dead Man

    Alex Bentley
    Nov 28, 2025 | 4:00 pm
    Josh O'Connor and Josh Brolin in Wake Up Dead Man: A Knives Out Mystery
    Photo by John Wilson/Netflix
    Josh O'Connor and Josh Brolin in Wake Up Dead Man: A Knives Out Mystery.

    Since 2019, writer/director Rian Johnson has essentially turned over his career to murder mysteries, including 2019’s Knives Out, 2022’s sequel Glass Onion, and the just-canceled Peacock series Poker Face. He’s back for another bite of the apple with Wake Up Dead Man: A Knives Out Mystery.

    While private detective Benoit Blanc (Daniel Craig) returns to help investigate a seemingly impossible murder, the majority of the focus of this film is on the employees and parishioners at a small Catholic church in upstate New York. Father Jud Duplenticy (Josh O’Connor) has been assigned to the parish to work under Monsignor Jefferson Wicks (Josh Brolin). Wicks is a fiery orator who relies on intimidation, as well as the help of church aide Martha Delacroix (Glenn Close), to maintain control over his flock.

    That group includes lawyer Vera Draven (Kerry Washington), her politically ambitious brother Cy (Daryl McCormack), Dr. Nat Sharp (Jeremy Renner), writer Lee Ross (Andrew Scott), cellist Simone Vivane (Cailee Spaeny), and groundskeeper Samson Holt (Thomas Haden Church). The tenets of Catholicism, and religion in general, are put to the test as Father Jud challenges Monsignor Jefferson for leadership, and a death changes things even further.

    The free-wheeling and fun nature of the first two Knives Out films gives way to a more methodical and introspective approach in Wake Up Dead Man. While Johnson is interested in presenting a murder mystery, it’s the lives of the various characters that take precedence, especially that of Father Jud. He is shown from the start as someone who wrestles with his faith, which is tested on multiple occasions as he encounters people who challenge him more than expected.

    The arrival of Blanc on the scene turns the film into a type of buddy movie, with Father Jud serving as both investigator and suspect. Neither man embodies the type of behavior one might expect out of their respective professions, and what limited comedy the film has comes from their interactions. They’re reined in by Police Chief Geraldine Scott (Mila Kunis), although her desire to get to the bottom of the murder is somewhat stymied by Blanc and Father Jud’s diversions.

    The lessons learned from two very different types of sources — mystery novels and Catholicism — collide over the course of the film. A book club that very coincidentally includes multiple mystery novels, including John Dickson Carr’s The Hollow Man, plays a key role, as does the devoutness of the various people at the church. Ultimately, as was the case in the first two films, the nature of the whodunit comes in second place to how the characters react to the multiple reveals along the way.

    Craig seems to tone down the over-the-top way he usually plays Blanc in this film, and his performance fits in well with the story being told. O’Connor, a star on the rise after Challengers and more, is asked to carry the film and he does so ably. The strong actors in the supporting cast are not used as well as they could have been, with only Close and Brolin truly making an impact. Geoffrey Wright shows up in a couple of small scenes and makes his presence known quickly.

    Wake Up Dead Man is the least entertaining Knives Out film so far, but that’s not to say that it’s uninteresting. Johnson explores topics that result in more talking than action, but those conversations — especially between Blanc and Father Jud — are consistently engaging and revelatory about the characters and the crime they are investigating.

    ---

    Wake Up Dead Man: A Knives Out Mystery is now playing in select theaters; it debuts on Netflix on December 12.

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