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    More Music Madness

    Maroon 5 thrills gigantic Madness crowd, but even those who didn't get in had a lot fun

    Reid Schroder
    Reid Schroder
    Apr 4, 2016 | 6:05 am

    Maybe it was all of the media hype from Saturday’s March Madness Musical Festival with Kendrick Lamar, the lack of NCAA basketball, or just the picture-perfect Houston weather, but downtown Houston was absolutely electric with energy on Sunday.

    The schedule for the free Capital One Jam Fest at Discovery Green started at 3:45 pm and I arrived around 2:45, but the line to get inside was already at a two-hour wait. The fire marshal declared the grounds to be at capacity around 5, so if I would have waited it out in line with my non-press credentialed cohort, there’s a chance we wouldn’t have made it in at all.

    Knowing a gate closure following a long wait in line was a very real possibility, I decided the afternoon would be better spent meeting as many visitors as I could find around some of my favorite downtown hangouts. The popular idea in this situation was to quickly cut losses and head on foot to EaDo or travel the METRO rail along Main Street where a row of spacious bars await, and that’s exactly what a lot of people did.

    It didn’t take long to find North Carolina and Villanova fans out and about celebrating Saturday's wins around downtown, and more than a few Syracuse and Oklahoma supporters came out to play as well. If these fans were expecting a party, they certainly didn’t need to be inside the music festival to find it, although Maroon 5 did put on quite the show. (More about that later.)

    At Lucky’s Pub, I spoke to a handful of OU fans who were staying in hotels as far away as Galveston. At Neil’s Bahr I witnesses a heartwarming exchange of camaraderie on the patio between UNC and Villanova fans over a round of Shiner Bocks. At Frank’s Pizza I saw some fans in Syracuse shirts cheering on the Mets, who opened up the 2016 MLB season against The Royals. I guess those Syracuse fans needed a little baseball optimism to take their mind off of last night’s loss.

    Those who did decide to wait out the lines and get into the March Madness Music Festival before the gates closed surely weren’t disappointed once they got in. How could anyone care about a long wait when Pitbull and Flo Rida, two energetic acts who have had Houston’s number for a while now, are giving it all they’ve got on a sunny afternoon?

    Thankfully, the powers that be at the entrance gate turned a blind eye to my partner-in-crime when I flashed my media credential around 8 pm to catch Maroon 5’s festival-closing set.

    What a set full of hits it was.

    Embed from Getty Images

    Singer Adam Levine wasted no time giving his fans what they came for, opening with “Animal,” which was broadcast live on TBS as part of the iHeart Radio Music Awards. He then spent the rest of the set delivering hit after hit while the crowd sang along to every word. If it’s a Maroon 5 song and you can name it, Levine sang it.

    “Moves Like Jagger,” “Harder to Breathe,” “Payphone” and many more were as danceable as ever, giving the crowd ample opportunity to take advantage of the opportunity to move, even though they there was hardly any room. Levine was having a lot of fun with the crowd throughout the show. “We’re on the Internet right now!,” he exclaimed (referencing the live streaming of the show via the March Madness website), “Don’t do anything stupid.”

    The crowd happily abided, even the hundreds listening in the streets far away from center stage. How’s that for a good time?

    The ferris wheel was a photogenic focal point of the March Madness Music Festival.

    March Madness Music Festival ferris wheel
    Photo by Killy
    The ferris wheel was a photogenic focal point of the March Madness Music Festival.
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    Movie Review

    George Clooney shines in Jay Kelly, a sharp and heartfelt look at fame

    Alex Bentley
    Nov 21, 2025 | 3:00 pm
    George Clooney in Jay Kelly
    Photo by Peter Mountain/Netflix
    George Clooney in Jay Kelly.

    The life of a celebrity is paradoxical in that your life is lived in the public eye, yet who you really are is almost unknowable. Movie history is littered with films that try to dig into the private lives of real and fictional actors, with varying results. The latest film to try to unearth what it means to be famous is Jay Kelly.

    In a perfect bit of casting, George Clooney stars in the title role as an actor who’s still world famous even if he’s edging toward the downside of his career. His coterie of helpers, including manager Ron (Adam Sandler) and publicist Liz (Laura Dern), make sure he is taken care of at every turn, often anticipating his needs before he realizes it.

    A run-in with an old friend, Timothy (Billy Crudup), sends Jay spiraling, questioning not just the meaning of his 35-plus year career, but also his relationships with his two daughters, Jessica (Riley Keough) and Daisy (Grace Edwards). Jay’s attempt to manage the crisis pits his identity as a celebrity and as a father and friend against each other.

    Written and directed by Noah Baumbach, and co-written by Emily Mortimer (who has a small role), the film has to walk the tightrope of making the audience like Jay even as he does and says things that might make him unlikable. There’s a very thin line between the character of Jay Kelly and the real life George Clooney; each is seemingly infinitely charming when dealing with the public, but they lead very different private lives.

    Baumbach takes a light approach to the story, occasionally dipping into more serious territory but never going too deep. For some, this may seem like a copout, as if he’s merely pretending to want to explore what celebrity truly is. But as you see Jay navigate his way between his work, his family, and being out among the public, little details emerge that make him increasingly complex.

    A lot of the film’s pleasure comes from the strong actors cast in relatively minor roles. There are not enough words to express what it means to have actors like Jim Broadbent as Jay’s mentor, or Greta Gerwig as Ron’s wife, or Stacy Keach as Jay’s father, or Patrick Wilson as a fellow longtime actor. Each of them and more lend an instant air of excellence to the film that elevates the story beyond its simple premise.

    Clooney may be playing a version of himself, but as the film notes on multiple occasions, playing yourself is more difficult than it seems. He is deserving of an Oscar nomination, as is Sandler, who doesn’t give off even a whiff of insincerity as a man who has given perhaps a bit too much of himself in aid of another man’s career.

    Jay Kelly is not a world-changing film, and some may accuse it of being another navel-gazing Hollywood story. But the forcefulness of Clooney’s performance, the long line of strong supporting actors, and the subtly effective storytelling by Baumbach and Mortimer (making her feature screenwriting debut) help it become much more than might be expected.

    ---

    Jay Kelly is now playing in select theaters. It debuts on Netflix on December 5.

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