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    CultureMap Video Exclusive

    This wedding dress has seen 5 brides and it's still fabulous: Showing off a most historic gown

    Joel Luks
    Mar 6, 2013 | 3:59 pm
    This wedding dress has seen 5 brides and it's still fabulous: Showing off a most historic gown
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    As heirlooms are passed down from generation to generation, the beloved objects unveil what's nearest and dearest to the family's heart. One exquisite gown, on view at Rienzi through June 30, sketches one family's journey through many joyful nuptial celebrations.

    Five brides and three generations of Reckling women have walked down the aisle wearing a soft ivory peau d'ange silk gown on display at the former residence of Carroll Sterling Masterson and Harris Masterson III, today the Museum of Fine Arts, Houston's home to its collection of European decorative arts. A cozy gallery at Rienzi — in what was previously the bedroom of Isla Carroll Cowan, daughter of Carroll Sterling's and her second husband, John Cowan, who died in a plane crash in the 1950s — exhibits The Wedding Dress alongside photos and ephemera that reminisce of days past.

    The original gown was purchased at the bridal salon of Neiman Marcus in downtown Houston for the October 1957 wedding of Isla Carroll Cowan's to Thomas R. Reckling III. The dress was crowned with an elegant, intricate veil crafted from antique Brussels rose point lace, which also adorned the hem, neckline and sleeves. The juxtaposition of new, contemporary design with vintage fabrics dialogs on this family's values to treasure the accoutrements of yore.

    The juxtaposition of new, contemporary design with vintage fabrics dialogs on this family's values to treasure the accoutrements of yore.

    The mid-1950s also mark an important era in the development of American bridal fashions. Actress Grace Kelly's magnificent 1956 wedding ceremony to Rainier III, Prince of Monaco, described by the press as the "Wedding of the Century," set a new trend with a frock designed by Helen Rose of MGM that featured a slim, fitted bodice and flared skirt, hallmarks of Isla Carroll Cowan's graceful formals.

    Alterations to the dress were made to appease the unique personalities of Randa Carroll Reckling's wedding in 1981, Katherine Christiana Reckling's wedding in 1983 and Isla Carroll Reckling' wedding in 1986. For her wedding to Joseph Paul Jornayvaz in 2010, Isla Carroll McConn requested the most significant modification, the removal of the sleeves.

    Also on view at Rienzi's The Wedding Dress are newspaper social page clippings, a digital, interactive photography slideshow of the receptions, and related miscellanies, including a garter belt worn by the five brides, a guest book, a gift box and a laced ring bearer's pillow.

    Rienzi's spring lecture at MFAH, set for 6:30 p.m. April 11, titled "Something Old, Something New: The Wedding Dress as Fantasy, Memory and Transformation," presented by by Hazel Clark, research chair of fashion for Parsons, The New School for Design, will focus on the gown as the center of fantasy.

    Watch the video (above) for CultureMap's personal tour with Rienzi's curatorial assistant Caroline Cole, who explains the meaning of the gown and the complementing items on display.

    Isla Carroll Cowan on the occasion of her marriage to Thomas R. Reckling III, Oct. 12, 1957

    Rienzi wedding gowns, March 2013, Isla Carroll Cowen, 1957
    Photo courtesy of © Gittings
    Isla Carroll Cowan on the occasion of her marriage to Thomas R. Reckling III, Oct. 12, 1957
    unspecified
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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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