Fans of the legendary rock band will likely get a peaceful easy feeling when they learn that The Eagles have added an Austin date to their 2022 Hotel California tour.
The band, known for hits like “Lyin’ Eyes,” “Desperado,” and “Take It Easy,” among a ton of others, will perform at Austin’s soon-to-open premier concert venue, Moody Center, on May 19, 2022.
Tickets go on sale through Ticketmaster on Friday, December 3 at 10 am. A limited number of VIP packages, which include premium seats, access to exclusive merch, and parking, will also be available starting Thursday, December 2 at 10 am. Fans can check the official Eagles site for more info.
The Austin show is an addition to the Live Nation-produced Hotel California tour, which made stops in Houston and Dallas last year and another visit to Big D this September. The additional Austin performance is the only new Texas stop.
The band — comprised of original member Don Henley, Joe Walsh, Timothy B. Schmit, Deacon Frey, and Vince Gill — will perform the iconic Hotel California record in its entirety, from beginning to end during each concert performance, and will be accompanied by an orchestra and choir.
But that’s not all that’s in store for Eagles fans. After an intermission, the band will take it to the limit, performing an additional set of their greatest hits.
The full show is likely to strike a chord with Eagles enthusiasts, particularly since Hotel California is the third-best-selling U.S. album in all of history and the band’s Their Greatest Hits 1971-1975 is the best-selling U.S. record ever.
Sebastian Stan is Mihai, a father of five, in the Norway-set film Fjord.
In modern society, where fear of “the other” has made many people into insular creatures, it has become easy to get locked into one point of view. The new film Fjord will be a challenging one for many viewers, as it puts forth a situation that confronts narrow-minded thinking and forces even those who think they’re open-minded to re-evaluate their own biases.
Mihai (Sebastian Stan) and Lisbet (Renate Reinsve) are a married couple who have just moved back to Lisbet’s home country of Norway. They have five children, all of whom were born in Romania, Mihai’s home country. The family, which is part of an unspecified Evangelical Christian sect, runs into issues almost right away when their oldest daughter, Elia (Vanessa Ceban), shows up to school with bruises on her body.
A well-intentioned but perhaps overzealous Child Protective Services system gets put into motion, resulting in the children being removed from the home while Mihai and Lisbet are being investigated. The parents, while acknowledging some minor physical punishment, deny doing anything that would cause bruising, and the possible failings of the system mostly get ignored despite a lack of hard evidence.
Written and directed by Cristian Mungiu, the film is an infuriating watch due to its depiction of a system that seems to be oblivious to its own faults. But it’s also illuminating, as the cultural and linguistic divide that exists between the characters in the film could just as easily be applied to those viewing it. Misunderstandings arise as people switch between Norwegian, English, and Romanian, and interpretations of different words or phrases play a crucial role in how people and actions are perceived.
But the film is about much more than just language mix-ups. Mungiu is purposefully vague about Mihai and Lisbet’s religion, but it’s clear that it leans conservative. This puts them at odds with a liberal society in Norway, and more than one character voices their disapproval of the family’s beliefs. The film is framed in such a way, though, that it’s those who are seemingly most progressive who can’t get over their own prejudices, with Mihai and Lisbet rarely being able to object to how they’re being treated.
The cold and forbidding landscape adds to the drama of the film, especially when Mungiu includes side stories from Mihai and Lisbet’s neighbors about, for example, a rebellious neighbor daughter or their ailing father. While those elements don’t impact the plot much, they add complexity to the film as a whole and demonstrate that some characters are more than who they seem to be on the surface.
Stan, who’s had notable roles in recent years in A Different Man and The Apprentice, puts in another solid performance that is less showy. With a bald head and stoic-but-firm demeanor, he brings depth to a potentially unlikable character. Reinsve, coming off the success of Backrooms, is the emotional center of the film and demonstrates chemistry with Stan after co-starring in A Different Man. The supporting cast is all solid, especially the actors portraying lawyers, who bring to life a system that seems much different from that in the U.S.
Fjord does not play out like a typical American film would if it were depicting a similar situation, and by holding back where more western storytellers wouldn’t, it allows viewers to make up their own minds on who is right or wrong. Many things go unspoken in the film, and the debate on what should happen with Mihai, Lisbet, and their family continues even after the film ends.
