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    Derulo At The Rodeo

    Shirtless Jason Derulo searches for H-Town's 'It Girl' and gets the party started at sexy Rodeo debut

    Brittaney Wilmore
    Mar 5, 2016 | 6:45 am

    Jason Derulo made it clear early in his debut at RodeoHouston: If you didn’t come to dance, you were in the wrong place. “We came all the way to Houston to party, and I heard this was the hottest party in Houston, tonight,” he shouted out to an excited crowd of 59,236 on Black Heritage Day at NRG Stadium Friday night.

    The sexy 26-year-old singer kicked off the show with “Trumpets”, “Wiggle” and “Get Ugly” before turning the stage over to his dancers. Fans were on their feet, but it seemed the dancing didn’t really get started until he roared back with “Whatcha Say,” his 2009 debut single.

    And for the fans who’ve followed Derulo’s career, he had another treat. “Single ladies that love Jason Derulo make some noise. If you’re not single, I bet by the end of this song, you’ll be riding solo," he said.

    What can I say? The man knows how to work a segue between songs. But it was enough to get a laugh and keep people moving well after his break-up anthem “Ridin’ Solo” was over.

    Derulo wasn’t alone for long, though. He hopped off the rotating stage to touch fans’ hands and get one question answered.“All these beautiful ladies over here, and I was wondering if my ‘It Girl’ was in Houston, tonight," he said.

    For the purposes of this segment, she was. The strobe lights, glass-breaking sound effects and dance-offs mid-song all faded into the darkness as the spotlight shined on the fan he pulled from the crowd.

    However, it left me thinking, how could I do that? I want to be the “It Girl.” Are these girls vetted? But I digress.

    The chosen fan did exactly right: She milked the moment, sneaking in kisses (on the cheek). At one point, she and Derulo were so close, I began to wonder if I should run out to the floor and offer breath mints. My favorite part of the serenade was how supportive the crowd was, cheering her on the entire time.

    On that note, Derulo moved into an acoustic version of “Don’t Wanna Go Home,” but it was brief.

    He brought back the dance party and upped the sex appeal in a way that many fans knew had to be coming. He ripped off his shirt. I don’t think you could say his chest was sweating. It was more of a glisten. But the fans didn’t seem to mind as he transitioned into “Talk Dirty.”

    Derulo set up his finale in a way I thought was meaningful and believable, despite him being half-naked. “This next song is a celebration, and I want today to be a celebration of life. Let’s celebrate our health. Let’s celebrate that we can get up and do what we want to do," he said.

    That part made me think. I’d wondered if that celebration of life was a nod to the near-death experience he had four years ago, when a neck-injury sustained from dancing could have left him paralyzed.

    Derulo spoke with humility about his journey and success from the moment the show started until the final thank you, when he introduced his hit single,“Want To Want Me.” (He and Luke Bryan did an excellent karaoke version of that song. Maybe Derulo should make a cameo appearance at Bryan’s RodeoHouston concert on March 10. Can we make this happen?)

    Derulo ended the show shirtless on horseback and rode off into the sunset – or rather, backstage. Gasps could be heard (or maybe that was just me?) when the horse sped off, catching Derulo off guard. But he laughed it off.

    Overall, I found Derulo to be a talented, high-energy performer who mixed the hits fans love (“In My Head,” “The Other Side,” “Cheyenne”) with the vocal range he reminded everyone he has (“Marry Me”). Add in the snippet of “Broke” – a collaboration with Keith Urban and Stevie Wonder – and Derulo may have just danced, glistened, and ridden his way to another Rodeo.

    Derulo ended the show shirtless on horseback and rode off into the sunset – or rather, backstage.

    Jason Derulo at Houston Rodeo
    © Michelle Watson/Catchlight Group
    Derulo ended the show shirtless on horseback and rode off into the sunset – or rather, backstage.
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    Movie Review

    Chris Rock’s Misty Green is a funny, excruciating look at Hollywood

    Alex Bentley
    Oct 12, 2026 | 5:00 pm
    Rosalind Eleazar in Misty Green
    Photo courtesy of A24
    Rosalind Eleazar in Misty Green.

    For every well-known/successful actor in Hollywood, there are thousands of others whose lives are more tenuous as they struggle to find work. The new film Misty Green is about one such actor who, after a period in the limelight, now finds herself on the outskirts of the industry, just hoping to find her way back in.

    Misty (Rosalind Eleazar) won an Emmy for a 2000s-era TV show that still gets her recognition, but not much work. Still living in the apartment of a recently-deceased man with whom she was having an affair, Misty spends her days sleeping in and her nights getting blitzed on alcohol and drugs. She seems to be heading nowhere fast until a few things coincide to break up her routine.

    The man’s wife (Amy Landecker) shows up and tells her she has seven days to vacate the apartment; Misty’s brother, Jay (Daniel Kaluuya) — who is bipolar — arrives after being kicked out of his facility for non-payment; and Jordan (Chris Rock), a former colleague with whom she had a falling-out, reappears in her life, offering a possible chance to rehabilitate her image.

    Written and directed by Rock (his first feature since 2014’s Top Five), the film is a funny and excruciating look at how the entertainment industry might actually work. Misty is her own worst enemy thanks to late nights fraternizing with unsavory characters like Zach (Adam Driver), who deals in drugs and women in equal measure, but her frustration proves warranted when her agent, Randy (Topher Grace), and casting directors like Rhonda (Tracie Thoms) hardly give her the time of day.

    Misty tries her best to stay positive, but when jobs like singing in a bar are the best she can do, the mountain seems insurmountable. Rock does an effective job of demonstrating the elements that are within and without Misty’s control that affect her ability to regain her position in the industry. The chip on her shoulder is almost as big as the bias some have against her, and other negative circumstances don’t help matters much.

    There are many small touches that Rock and his crew put in the film to give it an air of authenticity. Filming in Los Angeles (a rarity these days), Rock uses both subtle and overt shots of homeless people in the city, suggesting that the line between the haves and have-nots is a fine one, especially with Misty on the verge of not having a place to live. He also has cameos from a few of his funny friends, including a bit of meta-casting of Anthony Anderson (who has faded a bit after starring in Black-ish) in a bit part as a cop.

    Eleazar, a British actor best known for appearing on the Apple TV show Slow Horses, is a magnetic presence as Misty. The character herself is somewhat cringey in her decision-making, and Eleazar sells every bit of her righteous indignation and self-defeating actions. The supporting cast is great across the board, including Rock, Driver, Kaluuya, Thoms, Grace, Anna Kendrick, and Rich Sommer.

    Misty Green makes you rage against the Hollywood machine, laugh at the various ways different people deal with its maddening quirks, and hide behind your fingers as Misty chooses options that don’t help, either voluntarily or because her back is against the wall. It’s a powerhouse of acting that gives a unique angle on the inner workings of Hollywood, one that ironically might be competing for awards at year’s end.

    ---

    Misty Green is now playing in theaters.

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