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    Music Matters

    Diana Ross is a Beatles-sized legend: Time to give this diva her due

    Michael D. Clark
    Mar 1, 2011 | 6:49 am

    To understand the the enormity of having a true diva like Diana Ross playing the Verizon Wireless Theater on Tuesday night is to first understand some simple mathematics: Two is better than one.

    As in two Hall of Fame careers worthy of immortality in the history of Motown, R&B, disco and pop — as Ms. Ross has enjoyed, first with The Supremes and the as a solo artist — is at least one more than most anybody else could ever aspire.

    Beginning as the leader of The Supremes in the 1960s, Ross changed pop music, not only leading the way in making this youthful movement a multi-cultural art form, but a multi-gender one as well. At the height of The Supremes power in the mid-1960s, Ross and her harmonic peers owned the charts and radio scoring No. 1 hits and selling albums with a frequency and volume enjoyed only by their white, male, British mop-topped peers, The Beatles.

    "Where Did Our Love Go," "Baby Love," "Stop! In The Name of Love," "You Keep Me Hanging On," "Love Child." All of these are former top-charting songs and form the spine of a very large discography that makes the The Supremes the still-reigning most successful female vocal group of all time. Their 33 Top-40 singles has meant sales of over 100 million records (and still counting).

    And that only accounts for Ross' first decade in the music biz. Since going solo in 1970 she went back to the top of the charts with a cover of "Ain't No Mountain High Enough" as well as songbird sonnets like "Touch Me in the Morning," and "Theme from Mahogany (Do You Know Where You're Going To)." In the '80s she took disco dance floors by storm with the funky "Upside Down" and then melted hearts and helped couples make babies with her No. 1 duet with Lionel Richie, "Endless Love."

    Along the way she earned Grammy nominations, an Oscar nomination and a Golden Globe for her 1972 portrayal of Billie Holliday in Lady Sings the Blues, and even a Tony award for a 1977 one-woman Broadway show. In more recent years she was honored with the very prestigious John F. Kennedy Center Honor for the Performing Arts Award and the Guinness Book of World Records declared her the most successful female music artist in history.

    So, yeah, having Diana Ross in Houston is kind of a big deal.

    If you can get to this show, then don't miss out. The opportunity to see an honest-to-goodness legend in person doesn't come around very often.

     

     Diana Ross, 8 p.m. Tuesday at Verizon Wireless Theater

    Tickets: $49-$139

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    Movie Review

    'I Know What You Did Last Summer' reboot lacks energy or thrills

    Alex Bentley
    Jul 17, 2025 | 2:00 pm
    Sarah Pidgeon, Madelyn Cline and Chase Sui Wonders in I Know What You Did Last Summer
    Photo by Brook Rushton
    Sarah Pidgeon, Madelyn Cline and Chase Sui Wonders in I Know What You Did Last Summer.

    When the original I Know What You Did Last Summer came out in 1997, it was riding the coattails of Scream, which came out in 1996. Like that film, it featured hot young actors of the time, albeit with a story that was much more standard than the inventive Scream. Still, it made enough of an impact for some studio executive to think it was worth reviving nearly 30 years later with its own legacy-quel.

    In the new I Know What You Did Last Summer, a group of five high school friends — Danica (Madelyn Cline), Ava (Chase Sui Wonders), Milo (Jonah Hauer-King), Teddy (Tyriq Withers), and Stevie (Sarah Pidgeon) — have reunited at the engagement party for Danica and Teddy on the 4th of July. While on an impromptu trip to watch fireworks on a twisty road in the nearby hills, Teddy goofs off in the middle of the road, causing a truck to swerve and drive off the cliff.

    A year later, having sworn to each other to not speak of the accident to anybody, they start getting stalked by a mysterious person in a fisherman’s slicker carrying a hook. With Teddy’s rich father, Grant (Billy Campbell), actively trying to cover up what his son did (as well as the fallout), it’s up to the group to figure out who is coming after them and how to stop that person.

    Written and directed by Jennifer Kaytin Robinson, and co-written by Sam Lansky, the film doesn’t try to reinvent the wheel; in fact, it barely builds something that can roll. It might just be the laziest and most incompetent attempt to capitalize on an existing piece of intellectual property. There is almost zero effort put into establishing a connection between the members of the friend group, making them feel like strangers for the entire film.

    It doesn’t help that the young male actors in the film — which grows to include Wyatt (Joshua Orpin), a new fiance for Danica — serve no purpose other than to be generically good-looking. The most impactful of the men in the film is the returning Freddie Prinze, Jr., who — along with Jennifer Love Hewitt — has his old character from the first two films shoehorned into the new story. The filmmakers undercut any good feelings from their return by giving them hardly anything to do and then having Hewitt deliver the line, “Nostalgia is overrated.”

    The film as a whole never has a sense of momentum. The inciting incident is so tame — they even attempt to save the driver before the truck goes off the cliff — that the guilt they feel and the anger of the person going after them doesn’t feel warranted. Once the attacks start, it is shocking at how low-energy the sequences are, providing no sense of suspense or thrills. The filmmakers resort to the lamest of horror movie tropes, turning the film into a paint-by-numbers affair.

    Cline (one of the stars of Netflix’s Outer Banks) and Wonders (The Studio on Apple TV+, Bodies Bodies Bodies) are the clear stars of the film, but their characters are made into inert scream queens, negating any acting talent they possess. Hauer-King, Withers, and Pidgeon don’t bring anything interesting to their characters, existing merely to have someone else for the killer to go after.

    Even the worst films can have some kind of redeeming value if you look hard enough, but the only thing I Know What You Did Last Summer has to offer is that it becomes so comically bad by the end that you can’t help but laugh at its ineptitude. Both fans of the original and fans of horror movies in general will feel cheated by the experience.

    ---

    I Know What You Did Last Summer opens in theaters on July 18.

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