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In HBO's rewarding new docuseries, a power struggle at a Texas Renaissance faire

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In HBO's rewarding new docuseries, a power struggle at a Texas Renaissance faire

I haven’t been to a Renaissance faire since — well, not quite since the Renaissance, but a really long time. I know from the billboards, though, that a local edition is still going strong. The one I knew — the original Renaissance Pleasure Faire — was held on the Paramount Ranch in Agoura Hills, among the oaks, a cozy, nonprofit, semi-educational, handcrafted hippie festival co-sponsored by KPFK, our leftist community-sponsored radio station. This was back when LARPing had no life past Civil War reenactors, before cosplay went mainstream, before “Dungeons & Dragons,” Medieval Times restaurants and thatched-roof fantasy blockbuster movies.

All things change, even in the re-created Renaissance, and such events, which have proliferated across the country and into Europe, can be big business. In the documentary series “Ren Faire,” premiering Sunday on HBO, Lance Oppenheim (“Some Kind of Heaven”) trains his camera on the 50-year-old Texas Renaissance Festival, outside of Houston, which claims to be the biggest in the nation, and specifically its founder, owner and operator, George Coulam.

The constructed narrative is one of a power struggle. (This is not a detailed look into the obviously complex workings of a Renaissance faire.) In his mid-80s, George is thinking of moving on — he has determined somehow that he will live to be 95, exactly, and wants to leave enough time for working on his art, his gardens and to “chase ladies.” To this end, he’s on 15 dating apps, including “sugar daddy” sites; we accompany him on a couple of dates to the Olive Garden, where his first and potentially only question is “Are your breasts natural?”

“What is the king without his kingdom?” muses George, who favors shirts with patches representing stars and military medals. “What is the king without his property? He’s free.” But, as we will see, giving up his fiefdom won’t be so easy.

“It’s just a game — some people lose and some people win and some people win more than others,” observes Glenda, a.k.a. Fairy Godmother, who has known him for a long while. “Something to fill that emptiness, his games.”

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Not only is he “King George” in the context of the faire and the minds of many around him, he’s also the mayor of Todd Mission, the town he incorporated in order to be able to stage an event as large as the festival. (It has its own police force.) He lives there in a stone-walled house he calls Stargate Manor, a temple of expensive kitsch with its own arboretum, chapel — where George prays to Jesus, Buddha and Mother Nature — and waiting sarcophagus. One would call him a naive artist, were it not for the master’s in art.

Barely daring to imagine he might one day wear the crown, but imagining it all the same, is Jeff Baldwin, formerly the entertainment director, the latest in a line of general managers whose tenures last no longer than that of a Spinal Tap drummer. (George is capricious.) His association with the festival, which he loves with childlike passion, goes back almost to its beginning; there’s no one more devoted to it, or to George. (“He is our benefactor,” Jeff says to wife Brandi, now the interim entertainment director. “He is your benefactor,” Brandi replies.) He describes himself as “the head Oompa Loompa” to George’s Wonka; in the “King Lear” metaphor he kicks around with Brandi, he’s hopefully Cordelia, whose imperious, impetuous father finally recognizes his honest child’s worth.

Jeff’s primary opponent in this drama of succession is lean and hungry-looking, overcaffeinated Louie Migliaccio. His spiritual, temperamental and physical opposite, Louie runs a kettle corn stand, a burlesque nightclub and other concessions on the site; he pounds Red Bull like it’s a contest, and is determined to buy the festival — his family is rich — beef it up with “new and immersive technology” and, above all, make a lot of money. “Capitalism has a negative connotation nowadays,” says Louie, “but I see the beauty in it.”

Because the characters can seem both ridiculous and relatably human, “Ren Faire” reads as a comedy, of a melancholy sort — a not-so-fun faire. Oppenheim calls the series a “docu-fantasia,” which is to say, liberties have been taken. Stylistically, it aims for, and achieves, a cinematic look, with shallow focus, extreme close-ups, elaborate camera movements and some hallucinatory visual and sound effects to create tension and indicate emotional distress.

Still, real life has a habit of imposing itself even on a docu-fantasia, and “Ren Faire” does a lose a little steam in its final third, as the characters — now including a third contender, Darla Smith, appointed co-manager with Jeff — continue to go ‘round in circles. You may share their frustration. But as time spent in a different sort of place — different even from the one the characters imagine inhabiting — it’s a quite rewarding, even refreshing, not-overlong watch. And the ending is, in its way, happy.

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Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

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‘Clayface’ trailer teases DC Studios’ first proper horror movie

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

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“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

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Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

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“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

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“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”