Take Care of Texas, and you might get to see Blake Shelton perform.
Courtesy photo
What do you get the person who has everything? Hint: It's not another "thing."
This holiday season, consider gifting experiences instead of items — and you won't even have to wrap them.
According to Take Care of Texas, a statewide campaign to conserve and protect our one and only Lone Star State, about 8,000 tons of wrapping paper is used each year. Most wrapping paper contains glitter or metallic materials —which means it can’t be recycled — and ribbons, bows, and gift tags also aren’t recyclable.
To help you get into this new holiday groove of gifting time together instead of stuff, TCOT has a pretty amazing experience to give away.
Sign the Take Care of Texas pledge this winter and you'll be entered to win two tickets to Blake Shelton's Back to the Honky Tonk Tour, presented by Kubota.
Shelton's only stop in Texas is at the world-class Moody Center on March 1, 2024, where he'll be backed by opening acts Dustin Lynch and Emily Ann Roberts. This is your chance to hear Shelton sing "Austin" in Austin!
The prize package also includes a one-night stay at the luxurious Thompson Hotel Austin, so you can return from the Friday night concert and sleep in style.
To enter, simply click here and take the pledge to help keep our air and water clean, conserve water and energy, and reduce waste.
The contest is open through December 31, and you only need one entry per person. The winner will be drawn on January 2, 2024.
Michaela Coel and Ian McKellen in The Christophers.
Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.
Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.
Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.
Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.
Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.
While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.
Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.
Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.
