What's a Texan to do when our state starts breaking temperature records? Spend the summer at W Austin's WET Deck, of course.
In addition to refreshingly cool water, the hotel's fourth-floor pool deck sports private cabanas, lounge chairs, tanning shelves, a fireplace, and two outdoor showers for rinsing off.
But of course that's not all. Just like W Austin isn't your typical hotel, the WET Deck is anything but a run of the mill pool. It's the place to be this summer, with weekday passes for non-hotel guests starting at just $25 for Sunday through Thursday.
On the weekends, the WET Deck is open to the public with $40 passes on Fridays and Sundays (registered hotel guests are always welcome at no charge).
During Sunset Swim the bar hours are extended to 9 pm, and on Sundays live DJs are spinning during the Sunchaser Social from 2-6 pm.
Mark your calendar each month for Night Swimand the Zodiac Social, when you can play an astrological game with everyone at the WET Deck while DJs curate the vibe. Upcoming events are July 20 and August 17, by the way. Even better: Each attendees gets to enjoy one complimentary frozen drink.
Quench your thirst with this summer's specialty frozen drinks, the Bora Bora and Paloma.
If life is the bubbles for you and your friends, then book a cabana as your homebase and each guest receives a complimentary glass of sparkling wine.
Got a big crew or celebrating something major? Book a partial or full buyout of the WET Deck for parties, happy hours, wedding receptions, and more that are cooler than anybody else's.
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Buy day passes to the WET Deck here, or make a staycation of it by booking a room here.
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 LGBT 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
