Iconic singer Gladys Knight, the "Empress of Soul," is heading out to some intimate Texas venues on a 2026 tour. She'll stop by the H-E-B Performance Hall at San Antonio’s Tobin Center on Monday, March 2, 2026.
In Austin, she’ll also visit the historic Paramount Theatre on Sunday, March 1, 2026. Knight's Ticketmaster calendar also shows dates in Houston on February 20, Fort Worth on February 22, and El Paso on March 5, but the San Antonio and Austin tickets will be sold on different platforms.
Knight was first known for performing with her family band, Gladys Knight & the Pips, and later broke into a solo career. With the Pips, she led the famous songs "Midnight Train to Georgia" and "I Heard It Through the Grapevine," opened for Diana Ross and the Supremes, and won three Grammy Awards.
In her solo career, she won four more Grammys, including one for No. 1 Billboard Hot 100 hit "That's What Friends Are For" with Dionne Warwick, Elton John, and Stevie Wonder. Beyond music, she acted in both film and TV over more than four decades, appearing in Coming 2 America, Lee Daniels' The Butler, the short-lived Flip Wilson sitcom Charlie & Co.
The busy 81-year-old even appeared as The Bee on Fox singing competition The Masked Singer, where she inexplicably placed third. But she has largely stayed away from recording. Her last studio album, Where My Heart Belongs, was released in 2014.
Tickets for the San Antonio show go on sale Friday, December 19, at 10 am via tobincenter.org. Prices start at $88.50.
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.
The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre — the slasher — that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.
Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.
Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.
Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.
But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.
The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBTQIA+ people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term la petite mort, which means “the little death,” is a euphemism for orgasm).
Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.
While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.
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Teenage Sex and Death at Camp Miasma is now playing in select theaters
