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    Good as Hell

    Houston's superstar Lizzo brings the juice in her dazzling homecoming at Toyota Center

    Johnston Farrow
    Oct 27, 2022 | 3:05 am

    About damn time.

    Chart-topping, international pop sensation, and hometown hero, Lizzo, finally played the massive show her fans patiently waited to see at Toyota Center on Wednesday, October 26.

    And it was good as hell.

    It’s been nearly three long years since Lizzo — born Melissa Viviane Jefferson — was set to perform what would have been the biggest show of her stratospheric career at RodeoHouston in early 2020. That performance was cancelled along with everything else due to the COVID-19 pandemic and when the rodeo eventually returned in 2022, organizers and Lizzo’s team couldn’t make schedules work.

    That made her two-hours-plus appearance Wednesday night a de facto victory lap, her legions of diehards filling the arena to the rafters.

    The evening also served as a tribute to the 34-year-old Lizzo’s years growing up in southwest Houston, attending Alief Elsik High School, and later University of Houston where she studied music. A true rags to riches story, she moved to Minneapolis to pursue her career as a recording artist, struggling for years as a quirky alternative rapper before embracing funk, soul, and disco and garnering massive acclaim as a multiple Grammy, Emmy, and BET Award winner.

    It was a classy touch to see the Alief Elsik Rams Marching Band performing in front of the building before the show.

    Not surprisingly, based on Lizzo’s messages of female empowerment throughout her catalog, women made up the vast majority of the crowd, dressed in wild outfits, bedazzled sequins, and colorful boas.

    After pulse-building sets from rappers Saucy Santana and fast-rising “Big Energy” star Latto, Lizzo kicked off the night with “The Sign” from this year’s No. 2 hit album, Special. The crowd instantly gravitated to the charismatic entertainer dressed in a suggestive pink jumpsuit as she rose from under the stage in front of a fantastic all-female, five-piece backup band that kicked out the jams all night long.

    “Houston mother****ing Texas!” Lizzo screamed at the end of the song, the decibels ratcheted well past healthy levels. That kicked into “2 Be Loved (Am I Ready)” and its indie keyboard riff, Lizzo’s Big Grrrls dancers showing off with choreographed twerking moves.

    The impossibly louder response following that song was one of a few moments when the star performer became emotional in front of the hometown crowd, turning around to show the Houston skyline lovingly painted onto her wig.

    “I am not going to cry tonight — that is the goal,” Lizzo declared hopefully. “[But] we gonna be acting out. It’s a home show, honey!”

    Love was a big theme throughout the night — loving each other, self-love, body love, Black love, female love, LGBTQIA+ love, love gone wrong — at times it felt like a self-help convention with Lizzo directing the crowd through positive affirmations. Not that it was a surprise to anyone who watched the recent Lizzo-produced, Emmy Award-winning reality competition series, Lizzo's Watch Out for the Big Grrrls.

    Not coincidentally, “Tempo,” the Missy Elliot featuring song from the No. 4 hit 2019 album, Cuz I Love You, featured a solo dance by Houston influencer, fashion model and Lizzo's Watch Out for the Big Grrrls star Sydney Bell.

    Highlights included the Cardi B-guesting “Rumors,” which alluded to the online chatter that has been surrounding Lizzo online, including her supposed relationship with Captain America himself, Chris Evans. Cuz I Love You highlight and break-up song, “Jerome,” had Lizzo showing off her powerful vocal pipes on a therapy couch.

    The Special title-track had her tearing up again to extended applause, showing how much the night meant to her.

    Much like Lady Gaga’s show at Minute Maid Park last month, Lizzo used her platform to talk politics. “Naked” featured visually striking projections onto her bodysuit, ending with “My Body My Choice” in bold letters, drawing a hugely positive reaction from the female-centric crowd.

    After “Everybody’s Gay,” she alluded to the negative punditry from right-wing conservatives when she recently played James Madison’s crystal flute (yes, this was a whole thing), an opportunity provided by the Library of Congress. (Read our story here.)

    She followed that by imploring the crowd to participate in the upcoming elections:

    “We have an opportunity to vote for the people who are passing these laws that are supposed to be protecting us,” she said, everyone staying in their seats. “Because human rights should be a necessity. It shouldn’t be politicized, it should be a given, the bare f***ing minimum, so please go vote.”

    She later took a moment to acknowledge the Alief Elsik marching band in attendance, recalling her time at the high school and giving a shoutout to her mother, who was also in the building.

    She then asked for the house lights to be brought up and proceeded to thank almost every single section of the arena for 10 minutes, telling us all, “I see you," as happy audience members flashed on the big stage screens.

    The triple-punch combo of the record-breaking No. 1 track “Truth Hurts,” “I Love You Bitch,” and always great “Good As Hell” concluded the set with massive singalongs, Lizzo vocals not necessary. And perhaps the most fun moments came when she busted out her flute on “Coldplay” and encore bangers, “Juice” and No. 1 disco throwback, “About Damn Time.”

    Perhaps the greatest thing about Lizzo’s talent besides her otherworldly charm and friendly sincerity was her ability to distill the best of multiple musical genres that cover a wide diversity of tastes, providing something for everyone to enjoy. She’s claimed to be a closet Radiohead fan in high school, and she is obviously influenced by Beyoncé, ‘70s funk, soul, and disco.

    All of this made for a varied and accessible set in what was one of the more enjoyable performances of the year.

    “This is the place I’m from, this is the place I call home,” she said, 713 pride on full display. “I just want to remind you how special you are. I want you to take this feeling home with you and I know I sound like a broken record, but I love you, you are beautiful, and you can do anything!”

    Setlist
    “The Sign”
    “2 Be Loved (Am I Ready)”
    “Soulmate”
    “Phone / Grrrls”
    “Boys” (with intro from Heart of the Sunrise by Yes)
    “Tempo”
    “Rumors”
    “Fitness” (band played live, Lizzo on tape)
    “Naked”
    “Jerome”
    “Break Up Twice”
    “Doo Wop (That Thing) ” (Lauryn Hill cover)
    “Special”
    “I'm Every Woman” (Chaka Khan cover)
    “Like a Girl”
    “Birthday Girl/Happy Birthday”
    “Everybody’s Gay” (followed by band introductions)
    “Water Me”
    “Cuz I Love You”
    “If You Love Me”
    “Coldplay”
    “Truth Hurts”
    “I Love You Bitch”
    “Good as Hell”

    Encore
    “Juice”
    “About Damn Time”

    Lizzo Houston Toyota Center 2022

    Photo by Marco Torres

    The Houston native proved why she's No. 1 for so many across the globe.

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    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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