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    Music Matters

    Katy Perry throws sexual innuendo, fantasy and 17 costume changes —sugar-coating included — at Houston

    Michael D. Clark
    Jul 30, 2011 | 10:06 am
    • A Katie Perry concert is never dull.
    • Is Katie Perry and the bear supposed to be sexy or girlie?

    It was so easy to be a parent concerned with what music your kids listened to 25 years ago. Back then pop stars like Madonna, Janet Jackson and Prince sold sex as song to kids on MTV in the most overt way possible. Mom and dad were outraged, but at least it was easy to identify who the offenders were.

    Friday at Toyota Center lite-pop icon du jour (no disrespect, Lady Gaga but you're a little darker than lite pop) Katy Perry brought her highly-stylized, visually-stunning California Dreams Tour to Houston and set a new standard for turning three-minute songs into imaginative cohesive theater. She also offered parents a whole new layer of terror: Foreplay presented as fairytale.

    "Where are all my sexy ladies at?" asked Perry during a break in her 18-song, two-hour show of hit singles, covers and songs from her two multi-platinum albums. Two excited elementary school age girls enjoying popcorn and glow sticks eagerly started shouting their response.

    At first I thought, "How cute." Then a part of me couldn't help but think, "Am I OK with these youngsters responding to the word "sexy?"

    Such is the conundrum of Perry and the Candyfornia world she introduced in her chart-topping "California Gurls" video last year and which she has now brought brilliantly to life on a multi-faceted stage.

    Perry demonstrated that a strong mid-range and a helplessly likeable personality trumps vocal gymnastics and snooty diva-dom.

    On the surface, Perry has created the ultimate 12 year-old girl's bedroom complete with lollipops, unicorns, fluffy pink clouds and furry mascots. Her video screens are lined in pink neon and her band and dancers dress like Barbie and Dr. Seuss characters.

    But pay attention to the song lyrics, peek-a-boo fashions and thinly-veiled innuendo and it's clear that there is a lot of heavy flirtation mixed in with Perry's innocent sugar. She is definitely walking a delicate tightrope between PG and a strong PG-13.

    I hate that this is an issue, because aside from those moments of discomfort, the show rivaled some of the best and most historic pop concerts of the last several decades. 'N Sync's No Strings Attached Tour and Madonna's Blonde Ambition Tour are the shows it's on par with.

    Weaving a tale about an Alice in Wonderland-type girl who flees an evil butcher to be with her beloved Baker Boy, Perry demonstrated that a strong mid-range and a helplessly likeable personality trumps vocal gymnastics and snooty diva-dom.

    Live renditions of hits like "E.T." and "Waking Up In Vegas," take on new dimensions when you can see her party girl vision played out as she sings. A powerful vocal on "Firework" and soulful reworking of "Hot N Cold" affirmed that Perry's voice doesn't get the credit it deserves while lesser-known torch songs like "Pearl" offer glimpses about some other artistic tricks she has up her sleeve.

    But all that vocal energy was muted by visuals so stunning that the eyes couldn't catch it all. From a multi-colored Lego-inspired staircase to illuminated keyboards, Glee-worthy dance choreography and a stunning 17 wardrobe changes (the seven mid-stride, on-stage outfit changes during "Hot n Cold," is one of the coolest tricks I have ever seen) Perry set the bar very high for how she could possibly top this wonderland in the future.

    Perhaps she might design a stage that is as adult as her music.

    If Katy Perry has mastered anything over her lady-pop peers it's an ability to appeal to children and adults in equal — but very different ways. For the young girls she has filled her albums and videos with visions of unicorns, fluffy pink clouds and light-as-air choruses that are harder to shake than a debt collector. For her more mature fans there is an undercurrent of lust and physicality in her music that is helplessly magnetic because of its innocent hard candy coating.

    The genius is that each individual listener takes what suits them when listening to Katy Perry.

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    Awards Season

    CultureMap critic's guide to the 2026 Oscar Best Picture nominees

    Alex Bentley
    Jan 22, 2026 | 2:00 pm
    Michael B. Jordan and Miles Caton in Sinners
    Photo courtesy of Warner Bros.
    Sinners leads all films at the 2026 Academy Awards with a stunning 16 nominations.

    The nominations for the 2026 Academy Awards have been announced, with 10 films vying for Best Picture. Leading the way is Sinners with an astonishing 16 nominations, the most in Oscars history.

    The other top films include One Battle After Another, which earned 13 nominations, and Marty Supreme, Frankenstein, and Sentimental Value, which each got 9 nominations.

    As a refresher, below are links to the full reviews for each of the nominees covered by CultureMap in the past year, as well as brief thoughts on the films and their various nominations.

    Movie fans will have plenty of time to catch up with each of the nominees, as this year's Oscars ceremony will not take place until Sunday, March 15.

    Here's the list of Best Picture nominees, in alphabetical order:

    Bugonia
    Yet another off-the-wall film from director Yorgos Lanthimos features two great performances by Emma Stone (nominated for Best Actress) and Jesse Plemons at its center. Written by Will Tracy (nominated for Best Adapted Screenplay), the conspiracy theory film is alternately brutal and funny as the characters played by Stone and Plemons use their form of power to try to manipulate the other. With a fair amount of intrigue and two great actors going head-to-head for much of its running time, it gives even more Oscar pedigree to its filmmakers and stars.

    F1
    The biggest surprise among the Best Picture nominees has to be the racing movie F1. It was a technical marvel, to be sure, as its nominations in Film Editing, Sound, and Visual Affects attest. But the fact that it has no other nominations in any of the above the fold categories indicates that its other qualities are lacking. As a showcase (aka advertisement) for the sport it depicts, the film works relatively well. As a complete movie, though, there’s not much to recommend, to the point that it almost negates any of the positives that come from the racing scenes.

    Frankenstein (not reviewed)
    Writer/director Guillermo del Toro (nominated for Best Adapted Screenplay) loves himself a monster movie, and he takes on one of the classics with his new version of Frankenstein (now streaming on Netflix). Oscar Isaac plays Victor Frankenstein, who brings to life The Creature, played by Jacob Elordi (nominated for Best Supporting Actor). With a slew of nominations in technical categories, there's a chance this film goes home with a lot of awards at this year's ceremony.

    Hamnet (not reviewed)
    Writer/director Chloé Zhao (nominated for Best Director and Best Adapted Screenplay alongside co-writer Maggie O'Farrell) gets back to her Oscar-worthy skills for the first time since 2020's Nomadland (after the unfortunate detour into the MCU with Eternals). A story about love, loss, and grief involving William Shakespeare and his wife, Agnes, the film is most notable for the performances of its two leads, Jessie Buckley (nominated for Best Actress) and Paul Mescal.

    Marty Supreme
    There was no other movie this year, or maybe even this century, like Marty Supreme. Directed and co-written by Josh Safdie (nominated for Best Director and Best Original Screenplay alongside 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. At its center is the fast-talking, powerhouse performance by star Timothée Chalamet (nominated for Best Actor), who cements his status as his generation’s movie star one year after playing the polar opposite role of Bob Dylan in A Complete Unknown. Look for the film to be a strong contender in the inaugural Best Casting category, as Safdie fills the film with non-actors who are crucial to the film's success.

    One Battle After Another
    Writer/director Paul Thomas Anderson (nominated for Best Director and Best Adapted Screenplay) has an acclaimed career going back 30 years, but has yet to actually win an Oscar. That will change this year, as One Battle After Another is one of the favorites to win Best Picture thanks to Anderson's stellar filmmaking, as well as multiple great performances that earned the film four acting nominations (Leonardo DiCaprio for Best Actor, Teyana Taylor for Best Supporting Actress, and Benicio Del Toro and Sean Penn for Best Supporting Actor). Add in a story with a very timely political critique (that's getting more relevant by the day) and you have the recipe for a big winner on Oscar night.

    The Secret Agent (not reviewed)
    No foreign country has quite the influence on the Oscars as Brazil, which for the second straight year has gotten one of its films nominated for both Best International Feature Film and Best Picture. Written and directed by Kleber Mendonça Filho, the film is anchored by the performance of Wagner Moura (nominated for Best Actor) as a technology expert in the late 1970s who flees from a mysterious past to try to find peace in his hometown.

    Sentimental Value (not reviewed)
    For the third year in a row, two international films made the cut in the Best Picture race (but whither It Was Just an Accident?). Directed and co-written by Joachim Trier (nominated for Best Director and Best Original Screenplay alongside co-writer Eskil Vogt), the film is tied for the most acting nominations this year, earning nods for Renate Reinsve for Best Actress, Elle Fanning and Inga Ibsdotter Lilleaas for Best Supporting Actress, and Stellan Skarsgård for Best Supporting Actor.

    Sinners
    It takes a special kind of filmmaker to make movies that are both popular and Oscar-worthy, and writer/director Ryan Coogler (nominated for Best Director and Best Original Screenplay) has done it again, seven years after helming the Oscar-winning Black Panther. Both a tribute to Black music history and a gnarly vampire movie, the film is led by Michael B. Jordan (nominated for Best Actor) in dual roles as twins Smoke and Stack. With a story infused with all manner of subtext and a bunch of great supporting performances, including Best Supporting Actress nominee Wunmi Mosaku, the film demonstrates Coogler's great filmmaking abilities that should keep him in demand for years to come. Amazingly, there was only one category for which it was eligible in which it did not receive a nomination.

    Train Dreams (not reviewed)
    The second Netflix movie this year to be nominated, Train Dreams is a contemplative film about a logger (played by Joel Edgerton) in early 20th century America who tries to adapt to a rapidly-changing world. Nominated for Best Adapted Screenplay for the script by director Clint Bentley and co-writer Greg Kwedar, the film is most notable for the work done by Adolpho Veloso (nominated for Best Cinematography), who showcases the Pacific Northwest in all its glory.

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