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    Beyoncé's Big Night

    Beyoncé's big night: Superstar singer returns home and feels the love at high-energy show

    Clifford Pugh
    By Clifford Pugh
    Jul 16, 2013 | 2:44 am

    There are a lot of bleary-eye Beyoncé fans this morning. The superstar singer brought The Mrs. Carter Show World Tour to her hometown Monday night and just about blew the roof off the Toyota Center with a high-energy, thrill-packed, two-hour show that lasted until almost midnight and left the sold-out crowd exhausted from a nearly non-stop sing-along dance marathon.

    "I'm home," she said to deafening applause just before launching into her third song of the evening, "Flaws and All." "Houston means so much to me. No matter where I go, it's who I am. I hope I make you guys proud."

    "I'm home," she said to deafening applause. "Houston means so much to me. No matter where I go, it's who I am. I hope I make you guys proud."

    The singer has been on tour nearly non-stop since April, having already appeared in 47 European and U.S. cities on an extended jaunt that will last through December. Yet she made it seem like she was performing the show for the first time with an undisguised glee to be in front of a hometown crowd and a near-pathological desire to entertain.

    Backed by an 11-piece female band, three back-up singers known as The Mamas, several female dancers and two male dancers called Les Twins, Beyoncé whipped through 24 songs — a mix of hip hop-tinged hits, female empowerment anthems and irresistible dance tunes (how can you not shake to "Single Ladies (Put a Ring on It)?") — and eight costume changes. She and the dancers almost never stopped moving (she should patent a workout program of knee bends and hair flips) and while some of the numbers were a little cheesy — as she sang "Diva," the dancers twirled around her with feather fans like a Busby Berkeley musical —they were almost always riveting.

    The set-up of the show played to her strengths. The entire floor of the Toyota Center was general admission standing room only, so fans packed close to the main stage at one end and a secondary stage at the other end. Nothing kills a show faster than older people who have paid a lot for floor seats and never stand up (Eric Clapton's spring show was a prime example); that certainly wasn't a problem here as the enthusiasm of the crowd, mostly under 35 and a mosaic of Houston's diversity, provided an electric spark that seemed to energize the singer.

    Toward the end of the show, she flew above the crowd like Peter Pan to the other stage even closer to the audience, where she sang three of her biggest hits, "Irreplaceable," Love on Top," and the Destiny's Child hit, "Survivor," and declared, "I love this part of the show because I'm close to you guys."

    As a gift to her Houston audience, she threw in “Bow Down,” a chopped and screwed ode to her present success and her childhood in H-Town. It's the first time she has performed the song in concert.

    She also positioned ecstatic fans near the stage for the closer, the hit "Halo," and waded among her admirers as she hit all the high notes.

    While other singers might be loathe to play other performers' dance hits before they take to the stage, Beyoncé had no such worries. The audience grooved to songs by Robin Thicke and Justin Timberlake and the whole side of the arena stood up and danced The Wobble as they waited for the singer to take the stage around 9:40 p.m. By the time she launched into her first song, "Run the World (Girls)," with all-out dance choreography, the audience was primed and ready to party.

    And she didn't stop. Whether it was writhing atop a piano in a sequined blue catsuit and matching heels to the sensual song "1 + 1," channeling her Sasha Fiercest in a green leopard mini and shimmying like Tina Turner to "Why Don't You Love Me?" or adding a military cadence to a mashup of "If I Were a Boy" with The Verve’s “Bittersweet Symphony," Beyoncé commanded the crowd's attention.

    As a gift to her Houston audience, she threw in “Bow Down,” a chopped and screwed ode to her present success and her childhood in H-Town. It's the first time she has performed the song in concert.

    By the time she got to "Halo," preceded by a Whitney Houston-worthy version of "I Will Always Love You," her voice was almost spent. But she wouldn't stop and closed the concert with a powerhouse vocal performance.

    Earlier in the evening, she told the audience that she was so lucky to have their support. "I will never take it for granted," she vowed.

    We believe her.

    Beyonce commanded the stage like a true music superstar in her Houston concert.

    Beyonce stare
    Photo courtesy of Parkwood Entertainment
    Beyonce commanded the stage like a true music superstar in her Houston concert.
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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

    ---

    Marty Supreme opens in theaters on December 25.

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