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    Taylor Swift's All Red

    Taylor Swift lets her costumes (10 changes) and emotions fly, calls Houston a magical place

    Anna Domning
    May 17, 2013 | 6:41 am

    “Hello Houston, Texas . . . I’m Taylor.”

    A wide-eyed Taylor Swift played to a sold-out Toyota Center Thursday night on the 17th stop of her worldwide “Red Tour.” The show came complete with 10 costume changes, fireworks, confetti and elaborate moving sets. By the end of the night Swift truly had the whole crowd “feelin’ 22.” To me Swift has always been about the lyrics and songwriting, but she proved that she has the vocals to back it up, belting out an 18-song set to thousands of screaming girls, and the occasional miserable dad.

    If it weren’t for the hoards of girls in cowboy boots filling the stands no one would have known Swift began as a country star. Her new Red album is the most rock/pop of any of her albums, with several songs involving techno and dubstep beats.

    Swift shared that she “writes lots of songs about her feelings.” Spoiler alert, she has lots of feelings.

    Swift erupted onto the stage with “State of Grace,” the first track on her new album. I was extremely impressed with the strength of her vocals this night. I've heard Swift sing live in the past and on TV and she rarely sounds like she does on the radio. Next up was “Holy Ground” a fast paced single complete with a flying marching band.

    The third song of the night was the title track "Red" — and Red truly was the theme of the show. From Swift's wardrobe choices and bedazzled electric guitar to her signature red lipstick, you couldn’t escape the color. She explained that she always likes to assign colors to her different emotions and lately the craziness in her life has been a “blinding red.” That craziness surely includes Swift's many tumultuous relationships (and breakups) that are often sensationalized in the tabloids.

    In one of her many (read: too many) audience heart to hearts, Swift shared that she “writes lots of songs about her feelings.” Spoiler alert, she has lots of feelings.

    The lyrics to Swift's songs tell stories about her romances and she doesn’t try to hide who they are about. From Jake Gyllenhaal to the teenage Kennedy to her most recent break up with One Direction’s Harry Styles, she certainly has a lot of material to work with.

    Swift's Texas Mom

    Swift also chatted with the crowd about her love for the Lone Star State. It so happens that her mother, who was comically paraded through the crowd at the beginning of the show, was actually raised here in Houston, attending both Memorial High School and the University of Houston. Swift said she always wondered what this “magical place called Houston, Texas is like, and it turns out [it’s] awesome.” I tend to agree.

    It almost makes you feel uncomfortable that she is sharing so much with you.

    While all the fireworks and acrobats were exciting to look at, Taylor really shined in her intimate acoustic performances. She worked her way through the crowd to a remote stage on the opposite side of the stadium to perform fan favorites “Fearless” and “Begin Again." Without all the bells and whistles, Swift was really able to connect with the audience with just a stool and her guitar.

    My favorite part of the night was when she brought out her opening act Ed Sheeran to perform their duet “Everything Has Changed.” Sheeran did an amazing job of warming up with crowd with a short set that was completely solo and acoustic but still engaging and energized.

    Dramatics

    While performing “Sparks Fly," Swift flew over the audience on a sparkling platform back to the main stage for her final set of songs. The most emotional performance of the night was undoubtedly her rendition of “All Too Well” where she showcased her impressive piano skills. Swift was so engrossed in the tragic love song about another failed romance (rumored to be about Gyllenhaal) that she looked like she was going to burst into tears at any moment.

    There is no denying that listening to Taylor Swift's lyrics is like tearing out a page from her diary, and it almost makes you feel uncomfortable that she is sharing so much with you.

    While there were many instances when I couldn’t help but roll my eyes at her rambling monologues about overcoming bullies and following your dreams, Swift genuinely does seem to be completely humbled by her success and is adamant about being a good role model to her fans. Overall the concert was extremely entertaining and by the end even the miserable-looking dads couldn’t help but tap their feet to the painfully catchy “We Are Never Ever Getting Back Together. “

    Set List:

    State of Grace
    Holy Ground
    Red
    You Belong with Me
    Lucky One
    Mean
    Stay Stay Stay
    Ho Hey (Lumineers cover)
    22
    Fearless
    Everything Has Changed
    Begin Again
    Sparks Fly
    I Knew You Were Trouble
    All Too Well
    Love Story
    Treacherous
    We are Never Ever Getting Back Together

    Taylor Swift concert Houston May 2013
    Photo by © Chinh Phan Fotowerk Group
    unspecified
    news/entertainment

    Movie Review

    Robert Pattinson plays infamous host who catches predators in Primetime

    Alex Bentley
    Sep 24, 2026 | 2:00 pm
    Robert Pattinson in Primetime
    Photo courtesy of A24
    Robert Pattinson in Primetime.

    Robert Pattinson is among a select group of actors with multiple high-profile roles in 2026, having already starred in The Drama and The Odyssey, with Dune: Part Three yet to come. But the one that may earn him an Oscar nomination — if not win — is Primetime, in which he stars as Chris Hansen, the former host of the Dateline NBC show To Catch a Predator.

    The film, directed by Lance Oppenheim and written by Ajon Singh, plops viewers right in the middle of the short-lived run (2004-2007) of the program, which aimed to expose men for trying to have sex with teenagers. Hansen is obsessed with making the show successful, which means enticing as many child predators as they can and recruiting young-looking adult actors to serve as decoys for sting operations.

    Helping him in his pursuit is producer Andie Bender (Merrit Wever), who has her own ambitions; recruiter Xavier Von Erck (Matthew Maher), who perhaps enjoys trapping predators a bit too much; and decoys Dan Plumb (Skyler Gisondo) and Del (Phoebe Bridgers), who have to muster all the improv skills they can when the men show up. As the story proceeds, each participant weighs their own level of comfort with the controversial practices of the show as a whole.

    Depending on the audience, the film can play as a serious drama, a comedy, a horror, or a combination of all three. It seems like Oppenheim wants to confront the audience with the uncomfortable feeling of not having anyone for whom to root. You certainly can’t feel bad for the predators, who actively engage with someone they believe to be a child. But the process of getting men on the show, as well as the treatment of the decoys, is itself unsavory and difficult to defend.

    At the center is a protagonist whose persona is interesting as a character, but less appealing as an actual person. As Hansen pushes everyone around him to do all they can for the sake of the show, his hubris puts him right in line with your standard antihero. But the idea of a man obsessed with his job who all but ignores his family and cheats on his wife is ultimately not that compelling and plays like the cliché it is.

    If the film was supposed to be an exposé on what Hansen and the show as a whole got wrong in the pursuit of justice, it fails to bring about any strong feelings on either side. The one area where it does succeed is in its depictions of the two decoys, and Oppenheim might have been better served by showcasing them more. The film does shift toward being more of a story about Dan than Hansen, but not enough to make a big impact.

    Oppenheim has seemingly devised the film as an acting showcase, and in that regard it works well. Pattinson is all-in with his performance, going to great lengths to demonstrate Hansen’s passion for the show. He has many fantastic line readings, including a one-word utterance late in the film that brings the house down. Wever and Gisondo are just as good, and Bridgers — making her acting debut — steals several of the scenes she’s in.

    The impact To Catch a Predator had on society despite the small number of episodes (20) it had is something worth exploring, as the documentary Predators did in 2025. But Primetime doesn’t get to the heart of the matter in a way that makes for necessary viewing, leaving it as a testament to the skills of its actors and not much else.

    ---

    Primetime opens in theaters on September 25.

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