Tag Archives: Alamo Drafthouse

State of the Gallery

No combat-ready unit ever passed inspectionWelp. Two years ago this week, after years of planning and plotting, the Triffid Ranch finally made the transition from a show-only operation to one with a permanent base of operations. An awful lot has happened since then, with a lot more to happen between now and the end of the year. Close the roll cage and keep the fire extinguisher at hand, because things continue to get interesting.

Firstly, while the first official exhibition in the new gallery space isn’t until the weekend of October 13, things aren’t going quiet. The exhibition itself, titled “Relics,” takes up nearly all of the available gallery space, and the enclosures for that are filling out. This leads to funny discussions with friends, and there’s nothing quite like telling Jeff VanderMeer (author of the Southern Reach series, with the movie adaptation of the first book Annihilation due very soon) that an enclosure based on his latest novel Borne is the reason why my work area is covered with Anne Hathaway heads. Trust me: it was even funnier to explain how to get an Anne Hathaway head out of a space helmet without damaging the helmet. And if the thought of WHY a space helmet is so important in a carnivorous plant enclosure, then I’m definitely talking to the wrong audience. (If you’ve read Borne, you’ll know why I needed three.)

Incidentally, as opposed to the one-night ARTwalk events at the old Valley View location, future Triffid Ranch shows will run with extended hours. The opening of “Relics” stretches over Friday, October 13 and Saturday, October 14, with the gallery opening to the public over subsequent weekends until Halloween. The Triffid Ranch is supposed to be an art gallery, so it’s time it acted like one. 

And with the mention of shows, September is going to be quite the busy interlude. In addition to SmallCon in Addison on September 9, it’s time to announce the Triffid Ranch’s first appearance at the Dallas Comic Show in Richardson, Texas on September 16 and 17. The DCS was always problematic at the Valley View location because it tended to coincide with ARTwalk weekends, but with the gallery’s move, the Richardson Convention Center is literally up Central Expressway. This means not only a quick and reasonably painless load-in and load-out for the show, but interested bystanders wanting to view larger enclosures have the option of coming by the gallery after the Saturday night festivities. If this one works out well, a trip to the Irving Convention Convention Center event in February 2018 may be in order.

And on a separate note, the much-beloved Alamo Drafthouse chain announced this week that it was hosting specialty 35mm screenings of the original George Romero film Dawn of the Dead, with the Dallas and Richardson venues running Dawn on August 21 and 23. This is noteworthy partly because the film hasn’t been screened in Dallas since the original AMC Northwood Hills 4 midnight shows ended in 1986, partly because I always wanted to host a screening over at the Valley View space, and partly because this is a charity screening for lung cancer awareness. Oh, and the Alamo Drafthouse Richardson is also literally up Central Expressway from the gallery. If you feel so inclined to catch the greatest documentary about life in 1980s Dallas ever made, I look forward to seeing you all at the Richardson screening on August 23. (For those of us who remember the Northwood Hills midnight shows, it’ll be slightly bittersweet: the Northwood Hills hosted an audience participation crowd that made Rocky Horror look sick, and we can’t relive those days because of Alamo Drafthouse’s strict no-talking policy. Sadly, screaming “You mean I spent the whole day shooting zombies, and all you’ve got is LIGHT BEER?” falls under that policy.)

And on final notes, a mea maxima culpa is due. For decades, my relationship with the Dallas Observer was, shall we say, adversarial. During my writing career (1989-2002), I worked for the Observer‘s competitor The Met specifically because the word that best described Observer writing was “smarm”. There was the story about the editor who introduced himself with “You, of course, know who I am, don’t you?”, and would slam in print anyone who didn’t get down on knees and thank him for the privilege of kissing his butt. There was the other editor who spent all of his available time negging the Dallas Morning News in the hopes that the paper would hire him, or anybody else, really. I was nearly stomped at a music festival in Carl’s Corner, south of Dallas on I-35, because I was introduced as a writer and half of the bands there assumed that I worked for the Observer. I won’t even start with the writer best known as “The James Lipton of Fandom”: to this day, members of Dallas’s music community refer to being nagged and bullied for freebies and access and then slammed in print for acquiescing as “getting wilonskyed”. And then there was the lovely habit of the annual Best of Dallas Awards, where five to ten contenders in every category would be told by the ad department that they would be listed as the winner if they bought at least a half-page ad, and you can imagine the surprise when the Best of Dallas issue finally hit the stands.

Well, as they say, that was then and this is now. The change was first noticeable in Editorial, when an editor apologized in print to a writer for adding incorrect information instead of hiding behind a “We regret the error” note in 4-point font next to the masthead. Then starting with former editor Joe Tone, the paper shed the smarm and the entitlement (not to mention dining reporters prone to making the paper settle on libel lawsuits), to where it’s barely recognizable today from where it was circa 1999. While I can complement many of the regular writers, particularly news writer Steven Young, the changes to the Arts & Culture section under editor Caroline North are stunning. The highest compliment I can ever pay to any publication is noting that the writers all appear to WANT to be there, rather than just collecting a check while paying back on high school slights, and Dallas news and entertainment coverage is all the better for it. By the time Observer reporter Nicholas Bostick stopped by the Triffid Ranch space last February, I wasn’t dreading getting covered by the Observer. I was welcoming it, to the point where I have a standing invitation for the Observer staff to come by the gallery and let me pay for the beer. No expectations, no obligations, just thanks from someone horribly burned out on writing for a crew that makes me want to read a weekly newspaper again out of enjoyment.

In a roundabout way, this is my cue to let everyone know that the ballot for the Dallas Observer Best of Dallas Awards is now online, and I ask everyone to chip in. No obligations, no expectations, and certainly no slates (although I’ll say that I’m very fond of many of the nominees, and a couple of the categories were a tough call in picking the best out of four or five). Dallas is becoming a very different city from the one I grew up in, and we need to encourage and celebrate that. Hell, maybe this is the year I start buying Observer advertising, just to do my part to keep the paper hale and hearty, and keep those great writers and editors in coffee and spare pencils. If you’d told me in 2004 that I’d say this, much less in 1996, I would have punched you in the throat.

Otherwise, it’s the usual song: developments are upcoming, mostly because I can’t talk about them yet. That said, though, sleep between now and the end of the year is going to be something I only hear about. And so it goes.

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Upcoming events and random fun

Yes, so it’s been a bit quiet around here, but that’s because life at the Triffid Ranch continues to amaze. The Sarracenia are now all coming out of summer-induced dormancy, and our unusually humid August means that they’re both larger and more colorful than usual. At the gallery, the process of making new enclosures continues, with new ones planned for Heliamphora and Roridula displays to go along with the Nepenthes. With all that going on, apologies for the lack of immediate updates, and things aren’t going to get any less intense for the next few months.

For instance, last Friday, my plans for September 23 were reasonably easy. Do the laundry, vacuum the house, shave the cat, and otherwise recuperate from a very intense week. That was before Amie Spengler of ConDFW let me know that the Alamo Drafthouse Richardson (one of my favorite movie theaters, mostly because of its policy of kicking out any patron using a phone or tablet during a screening, with no reprieve) was hosting a full movie party around a screening of Little Shop of Horrors. At this point, laundry can wait, and anyone in the mood for repertory cinema this Friday evening is welcome to come out both to view plants and to meet the giant Sarracenia leucophylla that will be the host for the evening. It’s bad enough that the plant and I will be a horticultural Penn & Teller, but the hilarity for people who know me went to “prolapse-inducing” when they discovered that I get to be the Teller.

Surprisingly, that’s not all. It’s also time to note that after years of shows in the Dallas/Fort Worth Metroplex, it’s time to expand outward. This time, it’s a trip to Austin for the Blood Over Texas Horror For the Holidays bazaar on November 13. It’s a one-day show, but after hearing for the last two years about how Blood Over Texas was the next best thing to Texas Frightmare Weekend, as well as one of the ways that Austinites dealt with the impending holiday season, it was time to jump in. Details will follow, but until then, know that after years of Houston, Austin, and San Antonio customers wishing that the Triffid Ranch could get closer, you’ve got your wish. And to quote one of the great philosophers of the Twentiety Century