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    Lady Gaga at Minute Maid Park

    Lady Gaga takes adoring Houston Little Monsters to the edge of glory in dazzling Minute Maid Park concert

    Johnston Farrow
    Sep 14, 2022 | 5:35 am
    Lady GaGa concert Minute Maid Park 2022 Katelyn Besse
    Katelyn Besse channels her best Lady Gaga.
    Photo by Johnston Farrow

    Global pop sensation, Academy and Grammy Award-winner, fashionista, modern day provocateur, and downright talented artist, Lady Gaga brought her acclaimed Chromatica Ball tour to Minute Maid Park on Tuesday, September 13 and took fans on a thrill ride of lights and sound.

    It’s been a long five years since Stefani Joanne Angelina Germanotta played for her devoted fanbase of misfits and outcasts — aka Little Monsters — in Houston. But she more than made up for the absence with a stunning two-and-a-half-hour performance that included four acts, a finale, an encore with costume changes, insane visuals, and enough pyro to level a city.

    Not to mention, she played a varied setlist of mega-hits from her five No. 1 albums sure to please all those in attendance.

    Around the ballpark, Gaga’s icon status to the LGBTQIA+ community was apparent. Gaga’s local contingent of diehards showed up en masse dressed in neon colors, fishnets, glitter, and funky wigs for a night of anything goes, including several Gaga impersonators from each of her vibrant musical eras.

    After a short prelude on the massive stage screens, Gaga’s five-piece band and crew of a dozen dancers kicked into the No. 2 hit, “Bad Romance” from 2009’s The Fame Monster. With a black and white set design that recalled German impressionist films, Gaga performed the entire song encased in a statue-like, iron maiden tomb with her body slowly breaking out.

    Her once-in-a-generation voice took center stage early and often with little banter between songs during the first half of the show. The catchy-as-all-get-out No. 1 songs that launched her career, “Just Dance” and “Poker Face” wrapped up a killer start to a show many had been waiting for due to pandemic cancellations. Dressed in grey baggy pants and grey ruffled sleeves, Gaga looked otherworldly.

    After another interlude, she kicked into the Alice in Wonderland themed “Alice” from 2020’s Chromatica, suspended from a ledge like a Gotham gargoyle in red leather, once again letting her pipes do most of the work. But then the show amped up and turned into a dance party with the beat-driven “Replay” and The Fame Monster’s “Monster,” which had clawed hands in the air, a signature of her Little Monster fanbase.

    Act III showed that Gaga’s recent Vegas residency paid off with her choreographed moves never getting in the way of her vocals. After the industrial goth sounding “911,” sexy Chromatica track “Sour Candy” had Gaga taking center stage for a solo dance number, leaving her visibly catching her breath between songs. The synth-heavy “Telephone” was a highlight with an impressive pyro display that quite literally brought the heat and raised the temperature of Minute Maid.

    Another highlight included “LoveGame” from her debut album that cut into Dr. Dre and Snoop Dogg’s “Ain’t Nuthin’ But a G Thang,” as she introduced her band. After going into the crowd during the Hi-NRG house inspired “Free Woman,” Gaga slowed things down on a smaller stage that sat on what looked like second base near centerfield.

    After acknowledging the deafening applause, she finally addressed the crowd:

    “It’s such a privilege to be on stage to perform for you, it’s a great honor of my life…to feel all the love tonight. I look out there and see lot of people who know exactly who they are. Some of you may not know who you but you’re going to find out and if someone asks you about who you are, you could say what I always say, ‘I was born this way.’”

    A fantastic, slower version of No. 1 hit “Born This Way” once again showed off her voice as she encouraged the LGBTQIA+ members in the audience to celebrate and own their pride before song evolved into an unhinged dance freak out with her full band kicking in.

    Act IV featured mostly solo numbers with Gaga at the piano, including a stirring version of A Star Is Born’s “Shallow.” That said, she added her own flair, doing “Shallow” as a science fiction creature with what looked like tentacle horns, an interesting choice. Of course, she nailed the high octave drama that earned her an Oscar for Best Song.

    She dedicated the other Academy Award-nominated song from that film, “Always Remember Us This Way” to her longtime friend Sonja Durham, a Houston native, who had passed away in 2017 from breast cancer. Overcome with emotion, Gaga could barely finish the track but soldiered through to move onto a slowed down version of the No. 3 smash, “The Edge of Glory.”

    The energy in the ballpark picked up for the last part of the show with Gaga dressed in a black, bedazzled, black leather jacket and fishnets recalling her album cover from Born This Way. She closed the set with more house-inspired dance tracks, including the disco torch song, “Fun Tonight,” the Pet Shop Boys-esque ‘Enigma,” and the bass drop-heavy No. 1, “Rain on Me.”

    A requisite encore gave the star one last chance to shine on what might be her next Oscar, the Top Gun: Maverick ballad, “Hold My Hand.” Dancing in front of a line of fire with monster claws on her right hand, she belted out the tune, a fittingly majestic ending to a truly epic show.

    Overall, the standout of the night was the diverse mix of fans. All ages, teens to senior citizens, were represented. Parents brought their kids. Couples and friends dressed up together. It was rare kind of event with the power to bring people together with a one-of-a-kind ringleader to lead the way.

    Setlist
    Prelude
    “Bad Romance”
    “Just Dance”
    “Poker Face”

    Act I
    The Operation (Video Interlude; contains elements of “Babylon”, “Enigma”, & “Chromatica I”)
    “Alice”
    “Replay”
    “Monster”

    Act II
    Flowers (Video Interlude; contains elements of “Enigma”, “Babylon”, & “Chromatica II”)
    “911”
    “Sour Candy”
    “Telephone”
    “LoveGame” containing snippets of “John Wayne” & “Ain’t Nuthin But a “G” Thang” by Dr. Dre

    Act III
    The Birth of Freedom (Video Interlude; contains elements of “Alice”, “Chromatica III”, & “Sine from Above”)
    “Babylon”
    “Free Woman”
    “Born This Way”

    Act IV
    Tamara (Video Interlude with elements of “Venus”)
    “Shallow”
    “Always Remember Us This Way”
    “The Edge of Glory”
    “Angel Down”
    “Fun Tonight”
    “Enigma”

    Finale
    Sonnet elements of “Flaming June” by BT
    “Stupid Love”
    “Rain on Me”

    Encore
    “Hold My Hand”

    Katelyn Besse channels her best Lady Gaga.

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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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