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    Get the Party Started

    Concert of the Year? Pink gets a gold star for dazzling show: She sings, she soars, she sparkles!

    Jane Howze
    Feb 22, 2013 | 11:05 am

    Pink, whose Truth About Love Tour kicked off its U.S. leg in Phoenix last week, with 99 total shows planned worldwide, touched down in Houston’s Toyota Center on Thursday for a sold-out performance. Even those not familiar with Pink through her 2009 Funhouse tour will remember her breathtaking, unforgettable acrobatic performance of “Glitter in the Air” at the 2010 Grammys.

    One mark of a good concert is that you may not know every song in the program when you enter, but you walk out wondering how fast you can get home and start downloading. Pink delivered that and more.

    How Pink can sing while hanging upside down suspended by three male dancers is a mystery.

    The first thing I noticed was the age of the crowd. After going to a Justin Bieber concert last year, where the average age seemed to be about 12, and a Paul McCartney concert that was geared to the baby boomer generation, the Pink fan is harder to peg and includes a slightly older crowd, though clearly not one that had to be coaxed out of their seats. Yep Yanni fans, that would be you.

    The Hives, a Swedish garage band, opened for Pink with a short, highly energetic set which, unlike many opening acts, brought enthusiastic applause.

    Game show start

    Pink’s concert starts as a TV game show, with a slightly annoying emcee scanning the crowd for someone to compete on "The Truth About Love." Surprise! Pink is selected as the contestant and then makes her entrance by being shot into the air on bungee cords as she opens with “Raise Your Glass.”

    It is a dramatic and stunning number, and how Pink can sing while hanging upside down suspended by three male dancers is a mystery.

    The 21-song setlist uses vignettes about one night stands, rejection, parties and regret as a way to introduce songs from her sixth Grammy nominated album, Truth About Love.

    I have always said that Chris Martin, frontman of Coldplay is the hardest working entertainer around, but I’m reconsidering, and now I’m giving Pink the nod.

    Pink quickly moved into some of chart topping hits and fan favorites including "Walk of Shame," "Just Like a Pill,” "F***in' Perfect," "So What," “Family Portrait” and her latest singles, “Try” and "Just Give Me A Reason," featuring Nate Ruess.

    I have always said that Chris Martin, frontman of Coldplay is the hardest working entertainer around, but I’m reconsidering, and now I’m giving Pink the nod. A Pink concert is a little like a Cirque du Soleil performance. There is so much happening on stage—the songs, the dancing and of course the acrobatics—it is a feast for the senses. Sometimes there were so many dancers on the stage that I had trouble finding Pink.

    The stage set was an elaborate production with five screens, one of which was in the shape of a heart, along with dramatic staircases, a wildly talented five piece band, two back-up singers and a high octane crew of dancers.

    Pink made numerous costume changes, many of which showed off her phenomenally toned body. I was particularly drawn to her footwear choices. For some numbers she performed barefoot, but she also sported boots, high high heels and sneakers.

    Best for last

    Pink’s voice sounded strong, especially considering that most of the numbers included strenuous dancing or physically demanding acrobatics. And if she used back-up vocals no one seemed to care.

    During one of the few pauses, Pink asked the audience how many people had been to a prior concert of hers. The audience erupted in cheers. Pink acknowledged the fans by reaching out to grasp hands of those near the stage during several numbers and chatted with fans, saying that her daughter was in the audience and appearing to wave to her saying, “She is a better dancer than I.”

    With Madonna’s last concert tour playing to mixed reviews and Lady Gaga cancelling her 2013 tour, Pink may prove to be the concert of the year.

    Pink saved the best for last. Dressed in a gold bodysuit and strapped into a harness, she flew over the crowd several times, singing “So What,” taking brief stops on perches set up on each side of the arena. She got so close that some in the audience said they could see the detail on her costume.

    It was so spectacular and mind-blowing that there was not one person in the crowd who was not trying to capture the moment on their camera. But Pink was not done. Reprising her famed Grammy performance, "Glitter in the Air," she was again in the air for a hauntingly beautiful performance that had her spinning gracefully as she sang.

    With Madonna’s last concert tour playing to mixed reviews and Lady Gaga cancelling her 2013 tour, Pink may prove to be the concert of the year. Based on the reactions of fans at the Toyota Center Thursday night, Pink gets a gold star.

    Let's get this party started!

    Pink concert, February 2013
    Photo by Alison Finlay
    Let's get this party started!
    unspecified
    news/entertainment

    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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