taylor's grand opening night

Fearless Taylor Swift takes more than 62,000 Houston Swifties on 3-hour journey through all her Eras at NRG Stadium

Megastar Taylor Swift began a three-night run in Houston on Friday, April 22, the first of three monstrously sold-out shows inside the cavernous NRG Stadium, or as it's known this weekend, "NRG Stadium (Taylor's Version)."

She's the first artist to play three straight shows inside the stadium. The crowd was estimated at 62,690.

Earlier this week, Swift merch trucks arrived on site, quickly mobbed by fans and families who couldn't afford tickets to the shows proper or wanted to get first crack at the wares before they went up for sale in the concourses. You will be seeing this merch for the rest of the year. The shirts. The bracelets. The branded everything.

This 52-date tour comes with all the religiosity and thrill of a big tent revival. It's a traveling affirmation of her legacy, running through the past two decades of her discography, with accompanying costume changes. If she ever hits her Vegas Residency Era, they might build a hotel and casino for the occasion.

Imagine revisiting all of your personal eras over the course of three hours every night. It's not quite a greatest hits show, but a greatest weird vibes tour. It's been constructed with enough flashbacks and callbacks to tell a cohesive story. Each of those cuts is there for a specific reason, and Swifties can deduce the why and how for each song's inclusion.

Some acts find it hard to rectify their past personas, preferring to throw them in the mental and physical junk drawers, but Swift's had an open diary of a career. She's made it okay to look back with a touch of anger to find a common thread because she's been methodical enough to leave plenty of connective tissue.

Swift's tour is easily the biggest of the post-COVID era, with demand and thirst for tickets reaching biblical levels of frustration and triumph. In the long term, it may change how concert tickets are sold now that the government has seen enough. In the short term, millions of credit scores will take a hit.

There is no past analog for what Swift currently holds in her hands. Her only true, current-day peer is Beyoncé regarding the devotion and mania she's commanded. Even Beyoncé seems to have backed away from the kind of exposure that Swift enjoys for queenly applause and cathartic, culture-defining tours. Beyoncé doesn't have eras as much as she has had a veritable planetary reign since the first George W. Bush administration.

Plop Swift in the '80s, and she would be the equivalent of Madonna and Michael Jackson combined, with a dash of Stevie Nicks, Carole King, and Siouxsie Sioux thrown in for zest. Lately, she's been closer to her namesake, James Taylor, in introspection and wordplay.

Opening night

On Friday night, the streets around NRG were closed except for roving multigenerational bands of sequined dresses, handcrafted jackets, and the occasional dad already in earplugs, ears girded for screams. Every sequined dress in the Gulf Coast area was at NRG Stadium on Friday and will be in residency until Sunday. Houston Texans head coach Demeco Ryans and his squad will be breathing in glitter dust all Texans season long inside NRG Stadium, no doubt.

Just before 8 pm, Swift hit the stage and embarked on a three-hour tour through the various eras of her career in a non-linear format, preferring to tell her story in vignettes of pop fire of multiple hues. Compartmentalizing a nearly 20-year career is no tall order, especially for a 33-year-old alone at the top of a mountain.

Luckily, she's the master of recasting even the messier bits as lessons, not misfires. As she's begun to diversify her creative output and get more pastoral with her last three albums, it's hard not to see an era-spanning tour like this as a polite form of setting some of those former faces on a shelf for the next decade.

Showcasing her "Lover" era -- centered around the 2019 album -- allowed the material that never made it to tour (thanks to COVID) to get its long-awaited live due. The "Lover Tour" was one of the most significant pandemic-era casualties of the music world, a surefire hit with a solid set of new songs to showcase. "The Man" and "You Need to Calm Down" finally got the stage set adulation they deserved.

The "Fearless" era is the glue of sorts to this whole thing, as it's where a great deal of the crowd will be stepping inside NRG this weekend, fully invested in Swift as she teetered over from country to power-pop. A song like "You Belong With Me" can exist on several plains, which speaks to Swift's songwriting prowess. Later in the wildcard portion of the set, she played a wizened and poisonous take on "You're Not Sorry" alone on the piano.

It was on the "Evermore" and "Folklore" portions of the night where things got interesting, with Swift casting herself as a very Stevie witchy woodland fairy, swathed in soft-goth finery surrounded by a dramatic, moss-covered set design. She seemed to be the most comfortable in a flowing cream-colored dress and ballet flats than any other part of the night, acting out the emotions of the characters she conjured across those two albums. "Tolerate It" came with Swift and a male dancer in an emotional chess match at a kitchen table.

The "Reputation"-era material has aged incredibly well for an album that at the time confused everyone but Swifties, who completely bought into the cryptic industrial pop collection. During this era, Swift was finally able to respond to what had been a hellacious set of years in the tabloids with the proportional amount of venom in from her glittered fangs.

The catharsis of Swift returning to the touring stage was laid bare during "Look What You Made Me Do" for both the artist and the audience. Swift commented on the pandemic's influence on her relationship with her fans and career. Fans had been waiting to sing these songs at a concert for five years, and she had spent just as long working back to the stage.

Looking back at the "1989" era in a new context alongside the collected other eras, the songs acquire a sly bitterness that went unnoticed the first time. "1989" was a monster of a shout-laden pop album, a party thrown in defiance of haters. All Swift had to do was reorder these songs during a three-hour to show off new colors we hadn't seen before. "Wildest Dreams" remains a modern torch song stunner.

Throughout the night, Swift would always return to the tools of her trade, the piano or the guitar, to give songs on the setlist the emphasis she thought they deserved. Even her most playful hits began as an idea on a guitar. Imagine a solo Swift acoustic tour, with our heroine captivating an 80,000-seat stadium.

By the time we got to the final leg of the night — the current "Midnights" era — both "Lavender Haze" and "Anti-Hero" felt like summations of the night. Swift made an excellent after-hours album for ruminating to, combining her newfound character-driven songwriting style with a lo-fi skitter that throbs and rumbles inside a stadium.

Being able to intellectually redesign and recast even the messiest pieces of your past as an artist is something we've only seen the likes of Dylan and Bowie having the latitude to do. Most artists stay in the same gear for decades out of financial necessity. There's a long game shaping up. Whatever era awaits us after this or the next Swift persona we've yet to meet will be in great company.

"Strategy," sings Swift, "sets the scene for the tale."

Setlist

Lover

Miss Americana & the Heartbreak Prince

Cruel Summer

The Man

You Need to Calm Down

Lover

The Archer

Fearless

Fearless

You Belong With Me

Love Story

evermore

'tis the damn season

willow

marjorie

champagne problems

tolerate it

reputation

...Ready for It?

Delicate

Don't Blame Me

Look What You Made Me Do

Speak Now

Enchanted

Red

We Are Never Ever Getting Back Together

I Knew You Were Trouble

All Too Well

folklore

seven

the 1

betty

the last great American dynasty

august

illicit affairs

my tears ricochet

cardigan

1989

Style

Blank Space

Shake It Off

Wildest Dreams

Bad Blood

Surprise Songs

Wonderland

You’re Not Sorry (Taylor’s Version)

Midnights

Lavender Haze

Anti‐Hero

Midnight Rain

Vigilante Shit

Bejeweled

Mastermind

Karma

Photo by Marco Torres/Marco from Houston

Swift was positively Fearless on Friday night,

Movie Review

Kieran Culkin and Jesse Eisenberg deliver comedy with depth in A Real Pain

Photo courtesy of Searchlight Pictures

Kieran Culkin and Jesse Eisenberg in A Real Pain.

Comedy film duos have a long history, from Laurel and Hardy in the 1920s and ‘30s to Tina Fey and Amy Poehler in movies like Baby Mama. But the majority of duos have either been friends or work partners, relationships that can be close, but not as close as family. The new film A Real Pain aims for the comedy that a great duo can bring, but hits deeper because the two lead characters are related to each other.

Benji (Kieran Culkin) and David (Jesse Eisenberg) are first cousins who decide to take a trip to Poland to visit the childhood home of their grandmother, who has recently passed. Their personalities could not be more different, with David buttoned-down and reserved and Benji extremely social, if a little wild. This contrast is on display from the moment they leave on their trip, affecting almost every aspect of their journey.

The two meet up with a diverse tour group in Poland, including guide James (Will Sharpe), recently divorced Marcia (Jennifer Grey), married couple Mark (Daniel Oreskes) and Diane (Liza Sadovy), and Eloge (Kurt Egyiawan), an African man who has converted to Judaism. As the group visits various historical sites, David confronts contrasting feelings about Benji, who goes from charming to abrasive seemingly at the drop of a hat.

Written and directed by Eisenberg, the film is about both the family we have and the history of those who came before us. With Benji and David being Jewish and their grandmother having escaped from the Nazis in World War II, the themes hit harder than they might in other situations. Eisenberg takes care to honor his Jewish ancestors both in the way he has Benji and David talk about their grandmother and the places they visit.

But even though emotions are heightened due to the significance of the trip, the film is far from a dour affair. Benji keeps things interesting at almost all times with a series of impulsive decisions, many that are entertaining for both the tour group and the audience watching the film. He is one of those film characters that is great to watch on screen, but would likely be too much to handle if you were confronted with him in real life.

The relationship between Benji and David is a complicated one; the two obviously have love for each other, but they rarely see eye-to-eye on the best way to approach certain situations. This tension keeps the film grounded, and Eisenberg does a great job at showing the push-and-pull the two cousins have with each other. The little moments, especially when Benji and David go their separate ways, say a lot as the characters try to reconcile where each is at in their respective lives.

Eisenberg has always been an understated performer, so this role is almost perfect for him. Culkin, fresh off his Emmy-winning role in HBO’s Succession, is an ideal foil for Eisenberg, as he has a manic energy that he can control or not control at will. It’s also nice to see Grey in action again, as she brings just the right touch to her supporting role.

The drama in A Real Pain comes from the life experiences of its two main characters, which are on full display despite the story only doling out details in small doses. The film is subtle yet powerful, a testament to Eisenberg’s filmmaking ability and the actors never trying to make too much of their scenes.

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A Real Pain opens in theaters on November 15.

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