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    Miranda Lambert's Rodeo

    Miranda Lambert shows she's moved on from Blake in sizzling Rodeo performance

    Jonathan Valadez
    Mar 8, 2016 | 6:48 am

    Playing at RodeoHouston for the first time since her split with Blake Shelton shocked her many fans, Miranda Lambert opened her set with “Kerosene” on Monday night. The song, which is about giving up on love, seemed like a subtle way to let her audience know that she is ready to move on without having to mention her former husband and Voice star by name.

    During the song, which was Lambert's first big hit a decade ago, her vocals were muffled, which made it very hard to hear the lyrics. The sound techs quickly fixed the problem and she soon sounded a lot better, proving to the excited crowd of 60,118 why she is one of country music's biggest female stars.

    Before the show started, I looked around NRG Stadium and was legitimately dissatisfied with the lack of cowboy hats and sequin tops in the crowd. I tried to reason with myself and decided that most people were saving their rodeo best for the weekend.

    The lights went down and the fireworks began while a one-minute montage of the rodeo played on the big screen. Nothing will pump you up more for Lambert than fireworks and a montage. The five-time rodeo veteran came out on stage, dressed in a denim dress dripping in fringe and matching cowboy boots, and her “Ran fans” erupted.

    Between songs, a stagehand handed Lambert a beautiful semi-hollowed guitar, and she readied for the next song. Sadly, she only used the pink guitar once. If I had the opportunity to play a guitar that beautiful, I would use it for every song, even if the tune didn’t call for it, but I guess that’s why I’m not a country star.

    After a few, Lambert played a new song called “Sweet By and By,” which she said she had never performed live before. A couple of songs later, she launched into “Baggage Claim” and called on the women in the audience to join in. They went wild as Lambert belted out the last lyrics: “Come and get your shit.”

    In between songs, Lambert played the crowd like the consumate professional she is. At one point, the Longview native said, "This feels like home.” Then, she quickly adjusted by declaring, “No, it is home!”

    She went on to say that she and the band were headed to London in the morning for a series of European concerts and drew big applause when she said, “We’re gonna show them how Texas does it over there.”

    Lambert showed an easy rapport with her band, occasionally playfully hitting and teasing them, which the crowd seemed to enjoy. Whenever she launched into a solo, the guitarist performing it would get into the obligatory power stance and squint his face as if he were concentrating really hard on what he was doing. A guitarist with a soul patch, who looked like he probably played in a ‘90s rock band, perfected the stance and facial expression so well that it looked effortless.

    The bassist danced a lot but often by himself. I have a feeling that Lambert may have told him that if he’s going to do that he better do it in the corner. My favorite member of the band was the tambourine player-turned-hype girl. She played the tambourine as if her life depended on it. It didn’t hurt that she was wearing a sequin top that really stood out as she moved and danced.

    However goofy the band appeared at times, they still gave the impression that they genuinely enjoyed their work and were thankful for the opportunity.

    The most moving moment occurred when the lights dimmed and Lambert played “The House That Built Me” while fans pulled out their cell phones and lit up NRG. The crowd went berserk as Lambert finished the song.

    Lambert & Co. ended with “Gunpowder and Lead” as the audience kept cheering while some sang along. Lambert thanked the crowd and said, “See 'ya next year,” as she left the stage and the crowd roared.

    As the song ended, Lambert was escorted to the tunnel and the fireworks began again. Her catch-phrase “Well-Behaved Women Rarely Make History” appeared on the big screen and I realized that if the singer hadn't made much history on this night, she certainly showed the large crowd a damn good time and proved she is having a good time, too.

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

    Set List

    Kerosene

    Fastest Girl in Town

    Heart Like Mine

    Sweet By and By

    Over You

    Baggage Claim

    All Kinds of Kinds

    Smokin' and Drinkin'

    Mama's Broken Heart

    Covered Wagon

    The House That Built Me

    Automatic

    White Liar

    Little Red Wagon

    Gunpower and Lead

    Miranda Lambert had a good time during her performance at the Houston Livestock Show and Rodeo.

    Miranda Lambert at Rodeo
    © Michelle Watson/Catchlight Group
    Miranda Lambert had a good time during her performance at the Houston Livestock Show and Rodeo.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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