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    TRF on Ren Faire

    Texas Renaissance Festival distances itself from viral HBO docuseries

    Eric Sandler
    Jun 10, 2024 | 1:18 pm
    Texas Renaissance Festival king and queen

    Long live the king.

    Photo courtesy of Texas Renaissance Festival

    TV watchers nationwide suddenly have opinions about the Texas Renaissance Festival. That’s thanks to Ren Faire, the three-part HBO docuseries that aired its final two episodes on Sunday, June 9 [Spoilers below].

    As CultureMap has previously reported, the series takes a look at a period in 2022 when Texas Renaissance Festival founder “King” George Coulam contemplates retiring and selling the festival. Over the episodes, director Lance Oppenheim introduces viewers to his potential successors: general manager Jeff Baldwin, market vendor Louie Migliaccio, and vendor coordinator Darla Smith.

    The episodes have drawn attention for its depiction of Coulam, who is portrayed as an eccentric octogenarian who wants to sell the festival in order to concentrate on making art, tending his garden, and establishing a romantic relationship with a much younger woman. Towards that end, viewers watch Coulam on dates at the local Olive Garden, where he muses on his sexual ability and inquires as to whether his dates have undergone cosmetic surgery procedures.

    Coulam's opinions about his women, and the mercurial way he treats everyone who works for him, drive much of Ren Faire’s drama. Baldwin, Magliaccio, and Smith all rise and fall according to the whims of the man everyone in the show calls King George.

    Given the attention, the Renaissance Festival felt compelled to reply. In a statement issued to media, the organization distanced itself from the people portrayed in the show. It reads as follows:

    The Texas Renaissance Festival (TRF) is aware of the HBO docuseries which features some of our staff and former employees. While we acknowledge the quality of production and the participation of individuals associated with our organization, TRF emphasizes its commitment to remaining neutral in its public statements regarding external productions.

    As an organization, we strive to provide a diverse and inclusive environment for all patrons and participants. While we appreciate opportunities for exposure and recognition, TRF believes in maintaining impartiality regarding media representations of our festival and its community.

    While we cannot comment on the content or portrayal within the HBO docuseries, we extend our best wishes to all involved in the production. We hope that viewers will enjoy the series and gain insight into the unique experiences and talents of those featured.

    Those who’ve watched all episodes may find the comments strange, since, spoiler alert, Coulam ultimately decides to maintain his ownership of the festival and take over as general manager by demoting Baldwin, firing Smith, and rejecting two different offers from Migliaccio to buy the festival outright. It’s tricky to distance an event from its owner, but that’s what the statement attempts to do.

    Of course, whether getting a closer look at the festival’s leadership makes the thousands of people who attend more reluctant to spend their money at the event remains to be seen, but it seems more likely than not that festival fans will be ready for turkey legs, mead, and creative anachronisms when TRF celebrates its 50th anniversary this fall.

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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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