The holiday light show is returning for its second year of holiday music and tasty treats.
Courtesy of San Antonio Botanical Gardens
Much like a stroll by the River Walk at night, twinkling light displays will never get old. Now the magic is headed to the San Antonio Botanical Garden, in a huge installation called “Lightscape,” just in time for the holidays. (Yes, this winter: We promise it’s coming).
Starting November 11 and running through January 8, the garden will glow with fairy lights, illuminated flowers, and torches — accompanied by seasonal music — as it was last year, in 2021. The mile-long walk will host more than 1 million lights, and has appeared in many botanical gardens from Chicago, to Brooklyn, to Melbourne, Australia.
Some returning features from last year’s design include glowing bluebonnets, as a unique Texas twist, and showstoppers like a “Winter Cathedral” arching over the path. In 2022, more than 80 percent of the installation is new, including a revamped version of the “Fire Garden.” Hot chocolate and s’mores will be available among the “festive food and drinks” offered under the lights.
This genre of family and social media-friendly installation has become very popular; “Lightscape” will be making its debut in Fort Worth this winter and returning to Houston, and a very similar, less holiday-minded installation called “Field of Light” will arrive in Austin on September 9. “Lightscape” is produced by a UK events company called Culture Creative, “in association with Sony Music and WAD Entertainment,” according to a footnote on the website.
Tickets sold out on multiple nights last year, so San Antonians should plan ahead. Time slots are available every open day from 5:30 pm to 9 pm, with 12 days off. More information about operating hours, parking, and buying tickets ($26 to $28 for adults) is located at sabot.org.
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.
