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    King George dethroned

    Judge rules Texas Renaissance Festival owner must sell his kingdom

    Jef Rouner
    May 8, 2025 | 6:34 pm
    Amid scandals covered by multiple documentaries, the nation's largest Renaissance festival opens for its golden season.

    After a protracted legal battle, a judge ruled owner George Coulam must sell the Texas Renaissance Festival.

    Photo courtesy of the Texas Renaissance Festival

    A Grimes County judge ruled on Wednesday, May 7 that Texas Renaissance Festival owner George Coulam must honor an agreement he made in 2023 to sell the fair. The judgement and sale, if upheld, are not expected to affect the fair's operations in the fall.

    "Our commitment remains unchanged: to deliver a safe, vibrant, and memorable experience for the hundreds of thousands of guests who visit each year," spokesperson Tyler Moyer tells CultureMap in a written statement. "Festival operations are moving forward as planned for the 2025 season."

    The case stems from business dealings depicted in the HBO docuseries Ren Faire. Over the show's three episodes, Coulam is shown engaging in negotiations with a party referred to as "The Greeks," but the deal falls through. Those parties, a group that includes RW Lands, Texas Stargate, and Royal Campgrounds, sued Coulam to compel him to honor the contract.

    Judge Gary W. Chaney sided with the plaintiffs in a brief judgment against Coulam. Not only is he ordered to abide by the original contract to sell the festival grounds and adjacent properties for $60 million, he has to pay $22 million in damages as well as $1 million in attorney fees. Coulam has not commented publicly about the ruling, and it is not known at this time whether he plans to appeal the decision.

    King George's History

    For more than half a century, George Coulam has reigned as king of the Texas Renaissance Festival in Todd Mission. Not only is it the largest and one of the earliest incarnations of such festivals, it codified the concept to such a degree that its model is replicated all over the world. There is no doubt that Coulam has been the Walt Disney of renaissance events.

    However, that long reign has come with accusations of bad business dealings and sexual harassment. Multiple former employees have sued Coulam for hostile work environment related to his conduct. In addition to depicting the sale negotiations, Ren Faire exposed the backstage politics surrounding Coulam's business practices. The show dealt with the possibility of Coulam finally selling the festival to retire, while also highlighting his desire to remain "king," with all the privileges that entails.

    Former performer reacts

    As Coulam's management of the festival grew increasingly capricious, many longtime employees and visitors stopped associating with the fair. Niki Korontona was an employee until 2019 when she decided to leave, partially because of her health and partially because of the toxic environment. She says that if Coulam is truly out, she could see returning.

    "If the sale goes through as it says it's going to, I'll go back," she said in a Facebook message. "While my time with the performance company was its own b----, if the new owners are who I've heard, it will be going into... I don't know... less toxic hands?"

    Few renaissance festivals survive a change of ownership, but it's not unheard of. In fact, Coulam was a part of one of the bigger ones. Before starting the Texas Renaissance Festival in 1974, he founded the Minnesota Renaissance Festival in 1971. The investor of that enterprise, lawyer Jules Smith Sr., then sold his shares and opened a new festival in Maryland in 1977. These days, the Minnesota Renaissance Festival is one of Texas's main rivals.

    That was long before the institutions were cemented into their current forms, worth tens of millions of dollars. Still, Korontana says that a change in management that doesn't mess with what works should succeed.

    "[It's] an ironclad business." she said. "Even recessions didn't break it. It's so commercial that it doesn't matter who owns it as long as tickets aren't too expensive and turkey legs exist."

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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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