While the RodeoHouston lineup always has something to suit almost any popular musical taste (sorry jazz/classical fans!), country artists still reign supreme when it comes to ticket prices. That's according to ticket website Vivid Seats, which notes that Australian country music superstar Keith Urban has the Rodeo's highest median resale ticket price at $100.
R&B crooner Usher is right behind Urban at $99, while Voice judge Adam Levine and Maroon 5 are tied for third at $90 with the chicken fried country stylings of Zac Brown Band.
Rodeo goers don't seem to have much interest in the more legendary acts the Rodeo has secured. Reba comes in at a disappointing 13th ($60 median), and REO Speedwagon can't fight the feeling of being in last place at a median price of only $30.
While Urban's tickets may seem expensive, Vivid Seats's data indicates Houstonians are getting a deal when they pony up to see Nicole Kidman's husband perform. Tickets for his regular tour have a $150 median price, so Houstonians are saving $50 per seat (albeit for a shorter show). Rodeo goers also get to see bull riding, roping and mutton busting, which aren't, one assumes, typically parts of Urban's performance.
Tickets to see Jason Aldean, Luke Bryan and Brad Paisley at the Rodeo are even farther below the median prices of their respective tours. Paisley's regular tickets clock it at $134 on tour, but the median price of his Houston Rodeo show is only $41.
Rodeo goers have made Australian country superstar Keith Urban the show's highest priced tickets.
Keith Urban.net
Rodeo goers have made Australian country superstar Keith Urban the show's highest priced tickets.
As recently as the late 2010s, if a movie was made about an LGBTQ+ character, it was more than likely about their coming out experience. Romance, if it existed, was typically chaste, and actual sex was almost completely out of the question. Things have changed dramatically in the 2020s, to the point that a major movie star has no issue starring in a film called Queer.
Based on the 1985 novella by William S. Burroughs, the film features William Lee (Daniel Craig), whom everyone calls just Lee, a writer living in 1950s-era Mexico City who spends most of his time haunting local bars with friends like fellow writer Joe Guidry (Jason Schwartzman) and hitting on younger men. His early interactions in the film seem to indicate that Lee has a bad reputation within the local gay community, as multiple people avoid him or give him odd looks.
Lee senses an opportunity when he encounters a newcomer, Eugene Allerton (Drew Starkey). Despite some awkward interactions, the two of them start spending time together, although Lee has much more invested in the relationship than Eugene does. Their hit-and-miss bond continues until Lee, who’s starting to get into drugs in addition to the booze, convinces Eugene to accompany him on a trip to South America.
Directed by Luca Guadagnino and written by Justin Kuritzkes (making their second straight film together after Challengers), early on the film seems to be mostly about the divide between an older person who’s grown comfortable in his ways and a younger person who’s living a relatively carefree life. The introduction of drugs into the plot changes things, though, with Lee searching out more ways to open his eyes to what the world has to offer.
Guadagnino and his team use some interesting visual storytelling techniques to introduce ideas that may not be present in the actual script. The most successful, demonstrated in multiple scenes, is the superimposition of movements by Lee over what’s actually taking place in the scene. The subtle overlay gives the audience insight into Lee’s true feelings, showing what he can’t or won’t say out loud.
Music also plays a big part in how the plot is perceived, with the use of anachronistic songs from Nirvana and Prince serving to heighten certain moments. The score by Trent Reznor and Atticus Ross is not as in-your-face as the one they did for Challengers, but it complements the film well, especially when the plot starts to get trippy in its final half hour.
Craig, who appears sweaty and disheveled for much of the film, is about as far from the suaveness of James Bond as you can get in this role. He takes multiple risks with his performance and almost all of them pay off. Starkey’s character is subdued by comparison, but still comes off well. Schwartzman and Lesley Manville are given showy roles, with both using altered appearances that make them nearly unrecognizable to deliver memorable performances.
Queer is not as accessible as Challengers was storytelling-wise, but the fact that it tells a story about gay men living their lives as they see fit with no interference or questions shows how far the film world has come in a short period of time. It also continues Guadagnino’s streak of making audacious films in a way that few other filmmakers are willing or able to approach.
