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    It's sci-fi for real at the HMNS's new Wiess Hall

    Tarra Gaines
    Dec 8, 2017 | 12:30 pm

    The Houston Museum of Natural Science has always strived to make science fun for young and mature alike, but now with their newly reopened Wiess Energy Hall 3.0, they’ve managed to turn learning about energy science into a thrill ride.

    Yes, the redesigned permanent Hall provides enough educational exhibits and interactive-learning displays to make the sternest high school physics and geology teachers giddy, but the HMNS has also built motion effects simulator rides into the exhibition, allowing visitors to fly, dive and drop directly in the never-ending story of how we discover and harness energy sources to power the world.

    With an expansion from 8,500 square feet to 30,000 in this renovation and redesign of the popular exhibition, the HMNS seems almost modest in calling Wiess Hall “the most contemporary, comprehensive, technologically advanced exhibition on the science and technology of energy anywhere in the world.”

    I recently had the opportunity to take a preview tour of Wiess Hall, where my energy journey began from the moment elevator doors opened on the 4th floor to reveal a wall-sized replica of an offshore drilling platform. But stepping deeper into the Hall, I felt like I had left a 21st-century museum and boarded the engine room of a favorite science fiction spaceship. The main difference from a Hollywood sci-fi movie set and the HMNS is that while some of the Wiess exhibits give peeks into future technology, much of the cutting edge science on display remains firmly grounded in the present–albeit sometimes 8,000 feet under said ground.

    From floating satellites overhead to blinking displays on climate change to an interactive video simulator that allows visitors to feel they’re operating an offshore oil rig, Wiess Hall gives even the most hyperactive museum-goer plenty of hands-on exhibits to explore.

    As a whole, the exhibition chronicles the different forms of energy systems and how we use that oil, gas, solar and wind power to fuel our cities and the very displays delivering all this energy knowledge to museum-goers. And while hydrocarbon fuel remains a large focus, renewable sources like wind and solar also become stars in the continuing energy technology story.

    With much to do, see and learn, there’s enough to keep the most jaded kids and adult engaged, and perhaps awed, for hours by the science and technology, but I’d bet three big features in particular will likely lure Houstonians back again and again for continuing explorations.

    Energy City
    The greatest feast for the eyes comes from this 2,500-square-foot 3-D, 1/150th-scale “white model” of downtown Houston. This little H-Town uses projection mapping technology to create a vibrant constantly changing metropolitan and surrounding energy-harnessing landscape.

    Energy City, which took two years to build and complete, becomes the stage for 30 minutes of animated content. A five minute sequence takes Houston from day to night and then each night brings the coolest science lecture ever, as 32 laser projectors paint a illustrated light story of how we power our lives using the many energy systems, including solar, nuclear, wind, hydroelectric and even geothermal. (Spoiler alert: watch out for volcanos.)

    While Energy City educates on how we can access power from the Earth, sun, wind, and water, it also entertains with brilliant light shows and even fun little animated surprises during the daylight hours. Look closely for car chases and some unexpected space and time travelers.

    EFX 3000 (The Eagle Ford Shale Experience)
    Climb aboard this inner-space ship for a very active lesson on hydraulic fracturing. With curved projection techniques and mechanical motion effects, the simulated ride takes passengers on a bumpy flight–piloted by down-home Texan robot DAR-C–to Karnes County, Texas. Once we reached the gas and oil drilling fields a resident scientist shrinks the EFX 3000 down to miniature size, all the better to navigate through a borehole of an oil well. (Kudos to ride designers and the HMNS for pumping from the Houston’s talented acting well when casting. I recognized our friendly fracking engineer and shrinkologist. as Catastrophic Theatre regular Karina Pal Montaño-Bowers.)

    Geovator
    HMNS members will probably remember an older version of this simulator ride in the previous incarnation of the Hall. The completely revamped Geovator, a geological exploration/time traveling vessel, and its holographic host, Captain Mercaptan, take riders deep into the Earth and then back through time to the Cretaceous Period. After dodging pteranodons and witnessing the meteor strike that killed all the pteranodons, we got down to the business of seeing how hydrocarbons form.

    Wiess Hall 3.0 is now open. Entry to the permanent exhibition is included in a general admission ticket to the Houston Museum of Natural Science.

    Another beautiful day in Energy City, the 2,500-square-foot 3-D, 1/150th-scale “white model” of downtown Houston.

    HMNS Wiess Energy Hall-Energy City day
    Houston Museum of Natural Science Courtesy Photo
    Another beautiful day in Energy City, the 2,500-square-foot 3-D, 1/150th-scale “white model” of downtown Houston.
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    Movie Review

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 pm
    Cooper Hoffman and Olivia Wilde in I Want Your Sex
    Photo courtesy of Magnolia Pictures
    Cooper Hoffman and Olivia Wilde in I Want Your Sex.

    Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut — Three Bewildered People in the Night — in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest — his first film in 12 years — he’s putting it right there in the title, I Want Your Sex.

    Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

    Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

    Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

    It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

    The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

    The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

    A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention — and failing at even that.

    ---

    I Want Your Sex is now playing in select theaters.

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