Jeff Tweedy performs for an Austin City Limits taping.
Photo by Chad Wadsworth
For a town that claims Wilco as a second son, Austin has enjoyed its fair share of time spent with Jeff Tweedy and company. Friday night though, the man in denim gave us two firsts, an Austin City Limits taping without the backing of his Wilco band mates and an introduction to material from his forthcoming album Sukierae, played by a new troupe simply named, “Tweedy,” featuring his son Spencer on drums and childhood friend, bassist Darin Gray.
The evening’s 27-song set was neatly split between well-received tunes from the new album with lush background vocals, care of guests Jess Wolfe and Holly Laessig of Lucius, and well-worn Wilco and Uncle Tupelo favorites that Mr. Tweedy delivered mostly solo. Watching Mr. Tweedy work the raucous Austin crowd, you wonder if the man could just have easily enjoyed success as a stand-up comedian. Commenting on why it took him more than 30 years to write a solo album, Tweedy quipped, “It took me 18 years to grow a drummer.”
Jeff Tweedy performs for an Austin City Limits taping.
Photo by Chad Wadsworth
Jeff Tweedy performs for an Austin City Limits taping.
Anne Hathaway has been inescapable for movie fans in 2026, starring in no fewer than five different movies across multiple genres, including Mother Mary, The Devil Wears Prada 2,The Odyssey, and The End of Oak Street. The actor (who’s pregnant and about to take a well-earned break) is wrapping up her supremely busy year with the psychological thriller, Verity.
Hathaway plays the title character, Verity Crawford, a hugely successful author who writes beach read thrillers, often from the perspective of the villain. An unpublicized car accident renders her immobile and mute, and her husband, Jeremy (Josh Hartnett), and agents make the decision to recruit someone to ghostwrite her next book in order to continue her legacy.
The person hired for the job is Lowen Ashleigh (Dakota Johnson), an aspiring author whose books mostly get ignored. She’s eager to take on the project, but the reality of Verity’s situation throws her for a loop. When she discovers a secret file that seems to be Verity admitting to some very bad things, Lowen starts to spin even more, imagining situations that may not actually be happening.
Directed by Michael Showalter and adapted by Nick Antosca from the book by Colleen Hoover, the film initially has a nice rhythm to it, setting up the three main characters well and building up tension. Though current day Verity can’t speak or move, the film gets to the heart of her through old interviews Lowen watches to get to know her mind better. Using that footage and other small moments at the house, a type of rivalry develops between the two characters.
Strangely, though, Showalter and Antosca fail to capitalize on the early momentum. The story stagnates about halfway through the movie and never delivers on what it seems to be promising. Whether they’re too true to Hoover’s original story or change things too much is difficult to tell for those who haven’t read the book, but either way, the result is a big tease with not much in the way of a payoff.
What’s most disappointing about the film is its inability to decide on a tone. There are some points where it feels like over-the-top, campy fun, and others where it seems like the filmmakers are going for a straight-up horror vibe. The down-the-middle approach that they land on serves neither the story nor the characters well. Moments that should be full of suspense or could get laughs often fall flat because of the indecisiveness of the filmmakers.
Due to her character’s affliction, Hathaway is reduced to a supporting role in the film, but she gets by on presence alone and still has a few scenes where she demonstrates her star power. Johnson delivers a good performance despite her typical lack of emotion. Like many of her roles, it’s her body that seems to get more attention than her acting. Hartnett is on a roll thanks to recent roles in Oppenheimerand Trap, and he puts in solid work here, as well.
Verity has the bones of a tense thriller, but it’s filled in with a bunch of questionable story beats that don’t prove as satisfying as the premise. The meta-plot of the authors of thrillers becoming involved in a thriller themselves should have been juicy and full of great twists, but ultimately it’s as catatonic as Verity herself.
