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    Club Nomadic Day 3

    Taylor Swift closes out Club Nomadic with her only show of 2017 in dazzling concert

    Clifford Pugh
    Feb 5, 2017 | 11:18 am

    Superstar Taylor Swift performed her first — and last —concert of the year at Club Nomadic Saturday night, as a crowd of 9,000 jammed the temporary venue for its farewell Super Bowl concert. “As far as I know I'm doing one show in 2017. As far as I know, this is that one show," Swift told the crowd. "By coming here tonight you are essentially attending 100 percent of this year’s tour dates, so thank you."

    Around 11:30 pm, the singer, wearing a black sequin-and-fringe mini dress and black bedazzled booties, appeared in a cloud of smoke and launched into "The Night is Still Young" (and "So Are We," the crowd sang along, waving LED wristbands that flashed bright colors to the music), "New Romantics" (the bonus track from her hit album 1989), and "Blank Space." The hits kept coming throughout the nearly two-hour concert, with such favorites as "Bad Blood," "We Are Never Getting Back Together," "Out of the Woods," "You Belong With Me," "All Too Well," and "Wildest Dreams" during the 17-song set.

    Swift also offered the first live performance of her new ballad, "I Don't Wanna Live Forever" from the new Fifty Shades Darker movie. Before performing an acoustic version of the song she apologized that her collaborator Zayn Malik wasn't there to join her on the duet and asked the crowd to take his place.

    In a segment about top-selling songs she has written, Swift performed "Better Man," a No. 1 country song she wrote for Little Big Town — it's the first time she has performed the song live — and an acoustic version of Rihanna's "This Is What You Came For," which she and her ex, Calvin Harris co-wrote.

    And, to no one's surprise, she ended the show with her monster hit, "Shake It Off," telling the crowd, "It's time to dance."

    The show was vintage Swift, with high energy songs punctuated by a slower segment in the middle in which she showcased her considerable talents on the guitar and a silver baby grand piano. Throughout each song, kicky graphics and awe-inspiring photos flashed on a screen that ran the length of the long stage in the slick production.

    The only thing that wasn't perfect was Swift's hairdo. She experienced a bad case of "Houston hair," as her blond locks went limp amid the heat and humidity in the venue as the show progressed. But it didn't seem to slow her down as she wiped the sweat from her face often between songs and then resumed her trademark movements, with a flip of the head and a nod to the crowd.

    Celebrities turned out in droves for the concert, which was billed as DIRECTV Now Super Saturday Night. Olympians Simone Biles and Aly Reisman posed for photos with John Legend on the the red carpet and Legend's wife, Chrissy Teigen, seemed in better spirits than the night before when she refused to be photographed.

    Other celebs included New York Jets receiver Brandon Marshall and Heisman winner Tim Tebow, both wearing white shirts, actors Chris Evans, Vince Vaughn, Jeremy Renner, and Adrian Grenier, actress Lea Michelle, TV personality Maria Menounos, and quarterbacks Tony Romo and Eli Manning.

    Orange is the New Black co-star Ruby Rose DJed sets before and after Swift's appearance.

    Although a temporary venue, Club Nomadic got high marks as a concert space. Organizers added a walkway over the gravel leading to the venue, which made walking in high heels much easier for the ladies, and, inside, it was easy to move around even amid the large crowd. The acoustics were excellent and, although the venue is large, it seemed intimate as we stood only about 40 feet from the stage in the general admission section during Swift's performance.

    While there was a long Uber line at the end, traffic in the area was surprisingly easy to navigate. After the concert, my friends and I walked a few block to Washington and easily called Uber to take us home in a matter of minutes.

    ------------------

    Taylor Swift set list:

    New Romantics
    22
    Blank Space
    I Knew You Were Trouble
    Style
    I Don't Wanna Live Forever
    You Belong With Me
    This Is What You Came For
    Better Man
    Red
    We Are Never Ever Getting Back Together
    Love story
    All Too Well
    Enchanted/Wildest Dreams medley
    Bad Blood
    Out of the Woods
    Shake It Off

    Taylor Swift performed her first — and last —concert of the year at Club Nomadic Saturday night.

    Taylor Swift at Club Nomadic
    Getty Images for DIRECTV
    Taylor Swift performed her first — and last —concert of the year at Club Nomadic Saturday night.
    super-bowl
    news/entertainment

    Movie Review

    Spielberg-inspired movie The End of Oak Street is a dino-snore

    Alex Bentley
    Aug 13, 2026 | 2:00 pm
    Ewan McGregor and Anne Hathaway in The End of Oak Street
    Photo by Daniel McFadden
    Ewan McGregor and Anne Hathaway in The End of Oak Street.

    Steven Spielberg is the iconic director of the last 50 years, so it’s no surprise that many other filmmakers have borrowed from his classic films. But most of the time those come in the form of references or homages, not straight up theft, which is what it feels like watching The End of Oak Street play out in front of your eyes.

    Set in the early 1980s in an idyllic suburban neighborhood of an unnamed city, Denise (Anne Hathaway) and Greg (Ewan McGregor) are parents to two teenagers, Audrey (Maisy Stella) and Brian (Christian Convery). They’re also possibly heading toward divorce, as Audrey is secretly writing a novel with a thinly-veiled plot about their life, and Brian is cagey about having to earn extra money with a pizza delivery job.

    That all gets put on the backburner when a mysterious event takes their entire neighborhood back to the time of dinosaurs. Armed with little more than a shotgun and sledgehammer, Audrey and Brian do their best to keep the family safe in their house. But the longer the ordeal goes on, circumstances force them out onto the streets and into the increasing danger that’s all around them.

    Written and directed by David Robert Mitchell, the film tries immensely hard to be like the Spielberg movies its filmmaker clearly adores, but fails at almost every turn. It never earns the broken family in ‘80s suburbia vibes that were prevalent in E.T., going all in right away in the opening scene with a neighborhood block party that feels forced. Other elements like a bully who has it out for Brian, the family dog that disappears, and an angry neighbor come across as the tropes they are and not as organic parts of the plot.

    When it finally gets to its dinosaur sequences, they pale in comparison to those found in Jurassic Park. The strange manner in which the dinosaurs appear is a big part of that, but the action involving them forgoes ominous moments that could build tension for those that play up gore in an unexpected way for a PG-13 movie. Many of the attacks have so little emotional meaning that they come off as comical, which is entertaining but in a hollow way.

    As if those weren’t enough, Mitchell — perhaps at the behest of producer J.J. Abrams (who made his own Spielbergian film, Super 8) — tries to honor Spielberg in other ways. Just like in Jaws, he employs the use of a split diopter lens, which keeps characters in both the foreground and background in focus. But instead of using it judiciously, it’s brought out in three separate scenes, including a laughable one with the four family members where it turns into overkill.

    Hathaway, coming off of a role in The Odyssey that could earn her an Oscar nomination, is the best part of this film. But even her evident skills are dragged down by the ridiculousness of the story, which requires hysterics that even she can’t sell. McGregor can normally be counted on for a good performance, but he gives several line readings with strange cadences that make his already-underwritten character come off worse. Stella and Convery are okay, but their roles are unmemorable overall.

    Mitchell and his team can never settle on exactly what type of film they were trying to make, and so even though The End of Oak Street has a few moments that work, they’re surrounded by many others that don’t. In trying to emulate Spielberg — there’s even a blatant Back to the Future (produced by Spielberg) rip-off towards the end — all Mitchell has done is show how difficult it is to be the master.

    ---

    The End of Oak Street opens in theaters on August 14.

    news/entertainment

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