Latest news with #RenFaire
Yahoo
3 days ago
- General
- Yahoo
Cause of death revealed for Texas Renaissance Festival founder 'King George'
The Brief Texas Renaissance Festival founder George "King George" Coulam was found dead at his home last Wednesday. Coulam was the founder and longtime owner of the festival. He previously served as mayor of Todd Mission for more than 40 years. TODD MISSION, Texas - Grimes County Precinct 3 officials announced the cause of death of Texas Renaissance Festival founder George "King George" Coulam. What we know According to the Todd Mission city manager, police were called to Coulam's home at about 9 a.m. on Wednesday, May 21. He was found deceased in his home. Officials with Grimes County Precinct 3 Justice of the Peace Mark Laughlin say Coulam died by suicide. What we don't know No other details are available at this time. Dig deeper Coulam is the founder and longtime owner of the Texas Renaissance Festival. He started the Texas Renaissance Festival in 1974, and it has grown into the largest of its kind in the United States. In addition to being the festival's leader, Coulam served as mayor of Todd Mission for more than four decades, but lost the most recent election on May 3. In 2024, the HBO docuseries "Ren Faire" focused on the festival's succession and Coulam's eventual retirement, highlighting the tension between his desire to find a romantic partner and his need to choose a successor. It also highlighted Coulam's strict leadership style. There have been ongoing legal disputes and potential sales of the festival, with a recent judge's order in early May mandating the sale of Coulam's properties, including the festival. The Source Previous FOX 26 reporting and Grimes County Precinct 3 Justice of the Peace Mark Laughlin's office
Yahoo
5 days ago
- Entertainment
- Yahoo
Sherri Papini Breaks Silence About Her ‘Abduction' in New Docuseries Trailer
Sherri Papini recounts her 'abduction' in her own words — truthful or not — in the new trailer for a four-part ID docuseries premiering next month. Sherri Papini: Caught in the Lie, out May 26 and May 27 on ID and Max, features the California mother of two talking on camera about her headline-grabbing disappearance in 2016 for the first time since the incident occurred nearly nine years ago. More from Rolling Stone 'Gone Girls': See New Trailer for Netflix's Long Island Serial Killer Docuseries New Docuseries Examines the Infamous 'Stanford Prison Experiment' Feuding Co-Workers Get Medieval on Each Other in 'Ren Faire' 'Haven't you ever lied? And then has that lie blown up?' Papini says in the trailer, while reiterating her version of events that authorities have deemed were fabricated: 'I went missing in 2016. I was gone for 22 days. I was tortured, I was branded, I was chained to a wall. All of that is true. I did keep some secrets from you, though.' In order to prove her innocence — 'I'm Sherri Papini. I was abducted and I was tortured and the FBI said I made it all up,' she reiterates in the trailer — Papini undergoes a lie detector test, the results of which will likely be revealed over the course of the four-part series (though the docuseries' title seems to hint at the answer). Boasting 'unprecedented access to Papini,' ID said of the docuseries in a synopsis, 'Over the course of four-parts, Sherri Papini: Caught in the Lie retraces Papini's case from the days leading up to her disappearance into her alleged abduction, her shocking return to her family, and the subsequent aftermath that led to her 2022 arrest by federal authorities. For the first time, Papini will share her account of events as she recalls them, offering rare insights into her mindset during her disappearance and the subsequent investigation into her abduction claims upon her return home. Sherri Papini: Caught in the Lie will also chronicle the aftermath of her 2022 guilty plea that Papini continues to navigate, including her present custody battle with her ex-husband, Keith Papini, as she seeks joint custody of their children.' ID added that the docuseries 'will delve deeper into Papini's case to include insight from her parents and sister-in-law, the federal authorities who investigated her disappearance and prosecuted her for lying to the FBI, her former lawyer, her psychologist, as well as the podcaster who followed her story closely, among others. Through these interviews and extensive access to archival footage, legal documents, and court filings, a new picture of her case emerges – illuminating an entirely different side of the story.' Best of Rolling Stone The 50 Best 'Saturday Night Live' Characters of All Time Denzel Washington's Movies Ranked, From Worst to Best 70 Greatest Comedies of the 21st Century
Yahoo
23-05-2025
- Entertainment
- Yahoo
Cannes 2025 wrap: ‘Sentimental Value,' Jennifer Lawrence, June Squibb, and the 2026 Oscar contenders to know
The 2026 Oscar race has already started. Over the last two weeks, several major titles premiered at the 2025 Cannes Film Festival, and it's a safe bet to assume many of the films and performances launched on the French Riviera will play a significant part in the forthcoming awards season. More from GoldDerby 'Ren Faire' director Lance Oppenheim on the corrupting influence of power and accidentally capturing 'America in miniature' How Eddie Redmayne crafted his 'deeply unflappable' assassin on 'The Day of the Jackal' How 'Succession' creator Jesse Armstrong freshly explores mega wealth through tech bro one-upmanship in 'Mountainhead' Ahead, the movies and actors who gained the most during the Cannes Film Festival. Heading into this year's Cannes Film Festival, no movie had more awards buzz than Sentimental Value — and yet, somehow, it seems like the actual film surpassed those lofty expectations. The response at Cannes to Joachim Trier's latest was nothing short of ecstatic: Sentimental Value earned an absurd 19-minute standing ovation and was called a 'masterpiece' by critics and instantly became the film to beat for the Palme d'Or. Regarding its awards prospects, expect most pundits to pencil this one in for nominations in Best Picture, Best Director, Best Original Screenplay, Best Actress for Renate Reinsve, and Best Supporting Actor for Stellan Skarsgård. 'Is Jennifer Lawrence About to Win Another Oscar?' asked Vanity Fair writer David Canfield after Die, My Love premiered at the Cannes Film Festival. It's a good question, unanswerable right now. Still, Lawrence's return to the Academy Awards as a nominee for the first time in 10 years seems likely. The Oscar winner received rave reviews for her portrait of a young mother caught in the grips of postpartum depression in Lynne Ramsay's latest. 'Cannes is a festival where Oscar narratives typically start to take shape, and while it's far too early to make predictions, Lawrence has announced herself as an early frontrunner,' wrote Esther Zuckerman for The Daily Beast. Overall reviews for Die, My Love leaned mixed — the movie, it seems, won't be for everyone — but that didn't stop Mubi from acquiring the project for a reported $20 million. It's potentially a perfect match, especially after Mubi threaded the awards needle this year with The Substance, another polarizing project from a female director that premiered at Cannes and drove Demi Moore into the Best Actress field. This year, three of the five Best Actress nominees, including winner Mikey Madison, started at the Cannes Film Festival. Next year, history could repeat itself as Reinsve, Lawrence, and June Squibb could all land acting bids. Squibb, who would be the oldest nominee ever, plays the title character in Scarlett Johansson's directorial debut, Eleanor the Great. While the movie received some mixed reviews from critics, everyone seemed to agree that the 95-year-old actress has perhaps never been better. Sony Pictures Classics, a studio known for its ability to push unlikely contenders into the awards race — including Fernanda Torres this year for I'm Still Here — will release Eleanor the Great this fall. Reviews for Spike Lee's Highest 2 Lowest suggest the movie is more of an entertaining thriller than a serious awards contender, which is excellent news for people who like their films to be movies. However, star Denzel Washington was frequently singled out as being at the top of his game. 'Washington is smooth as silk, delivering one of his best recent performances as a man caught in an impossible moral quandary,' wrote Pete Hammond for Deadline. 'It feels pointless to wax poetic about Denzel Washington's immense talent, but it needs to be said here as the now 70-year-old living legend continues to prove time and time again why he is one of the greatest actors of all,' added Matt Neglia for Next Best Picture. Washington missed an expected Oscar bid last year for Gladiator II, and the Best Actor field will probably have several significant contenders this year — including Leonardo DiCaprio and Daniel Day-Lewis — but counting out the two-time Oscar winner feels foolish. Wes Anderson's new movie seems like par for the course for the famously fastidious filmmaker. So, let's already pencil in some Oscar buzz for production designer Adam Stockhausen, a four-time nominee who won an Oscar for Anderson's The Grand Budapest Hotel. Reviews for The Phoenician Scheme hailed the project as Anderson's best since that 2014 classic, and many singled out Stockhausen's intricate sets and designs. Richard Linklater's French-language film about the making of Jean-Luc Godard's Breathless received polite praise after its premiere, and currently lacks distribution. However, at least one awards pundit has already compared the project, shot in black-and-white, to The Artist, which won Best Picture. It's a different era of the Academy, but Hollywood loves to celebrate projects about filmmaking. So, once Nouvelle Vague gets dated, consider it an Oscar contender to watch for that comparison alone. Best of GoldDerby John C. Reilly movies: 15 greatest films ranked worst to best Ian McKellen movies: 12 greatest films ranked worst to best Octavia Spencer movies: 12 greatest films ranked worst to best Click here to read the full article.
Yahoo
23-05-2025
- Entertainment
- Yahoo
‘Ren Faire' director Lance Oppenheim on the corrupting influence of power and accidentally capturing ‘America in miniature'
We live in an escapist era. Nostalgic IP-mining reboots abound, large-scale video games are more popular every year, and escape rooms, immersive experiences, and other real-life novelties are now commonplace. Nowhere is this world-outside-the-world energy more prominent than the Texas Renaissance Festival. Founded by George Coulam in 1974, the Texas Renaissance Festival is the largest Renaissance festival in America, encompassing its own Texas town, with Coulam serving as both town mayor and festival king until his death on May 21. Ren Faire, a three-part HBO docuseries created by Some Heaven and Spermworld director Lance Oppenheim, explores a tumultuous time in the fest's long history, as Coulam looks to retire from the festival he's long been synonymous with. Vying for control over the fest's future are Coulam's longtime right-hand man, Jeff Baldwin, ren faire tycoon Louie Migliaccio, and a host of other players. While there's organic humor in the concept — it's a struggle over succession of a fake kingdom, after all — it ends up a dramatic microcosm of the perils of power. More from GoldDerby Cannes 2025 wrap: 'Sentimental Value,' Jennifer Lawrence, June Squibb, and the 2026 Oscar contenders to know How Eddie Redmayne crafted his 'deeply unflappable' assassin on 'The Day of the Jackal' How 'Succession' creator Jesse Armstrong freshly explores mega wealth through tech bro one-upmanship in 'Mountainhead' Oppenheim spoke to Gold Derby about capturing truth in a fantasy land, power struggles, accidentally capturing America in miniature, and the lessons he's taking into his narrative feature debut in Primetime, starring Robert Pattinson and distributed by A24. Note: This interview took place prior to Coulam's death. Gold Derby: You hit on such a tumultuous time for Ren Faire's future. How did Ren Faire come to fruition when it did? Lance Oppenheim: The project began with David Gauvey Herbert and Abigail Road, two journalists who came to me with the story. They found the world of the Texas Renaissance Festival, and George Coulam, the king and the mayor of this town that he had created around the Faire. … I love the idea that there was a real-life fiefdom that had been created by this very eccentric, iconoclastic dude, who cosplayed and also lived a real life as a king … though it's a very stylized portrayal of the succession crisis, every moment was born out of real, intense investigative journalistic practice, and so it was a lot of fun trying to crack it and put it together. You had so much access, including in many private moments. How did you gain that level of trust? Time is really the leveling force with a lot of these things. It took us three years to make this project. It was over 100 shoot days — I was basically living in Texas more than I was living in my own apartment here in New York. I think the other part of this that was a really important piece was that everyone at the Renaissance Festival, more or less, is an actor, in a way. … They move through an almost 80-acre stage, and it's very immersive, so the idea of us coming to them with not just a traditional, fly-on-the-wall [documentary] approach [is appealing]. With George, it was a different story. When we met George, I think he was trying to figure out what we were after. He wasn't interested in talking about the Faire, he was interested in talking about himself as this Hugh Hefner-type, a Howard Hughes-type — one of the first things he said to me was that he was a horny old man. I saw that something in him lit up. He was so interested in saying all the things that everyone around him told him not to say. I would come to him bearing gifts. Sometimes I'd have to convince him to keep up filming with us by gifting him books about the magic of obelisks. At that point in time, once he'd received it, he'd be like, "OK, yeah, I guess I can communicate with [these people] on an artistic frequency, they're not just interested in making some sort of boring documentary," and that's when we were able to keep doing it. Photo: HBO Any time anyone even almost remotely challenged him, he'd balk at that, so I would imagine that receptivity went a long way. Yeah, it was interesting for him. I think we were the first people in his life that weren't employed by him. We had editorial control. And I think, in a weird way, George is one of these people — even though he's so obsessed with controlling everyone and everything around him — I think he also loves being shocked. Even though he is this controversial dude who says all this wild, crazy shit, I do think he is someone who is lonely, and [he] doesn't really have an outlet or anyone to really talk to. I think that's what also happened while we were there. The way I like to work is I usually tell people, "Listen, I'm not gonna tell you what to do or how to do it, but I am going to ask you not to acknowledge the camera." With George, there was none of that. I'd come to him, and he'd always say, "get your ugly ass cameraman out here," and "you get your ugly ass inside my room, and we're gonna start shooting" … then he'd tell us the moment we'd get there, "turn the cameras on, I'm gonna be going off the wall." I realized at that point in time he knew exactly what we were hoping to do, and how I was hoping to shoot things. But because he's the king, and because he identifies as such, I think he wanted to be the king of our process. The series spends a lot of time on the conflict over succession between Jeff, who appreciates the Faire's theatricality, and Louie, who has built a proto-capitalist empire within it. Very different visions. I wanted to know if you could speak to that conflict. I think you nailed it. There's also a little bit of a thing going on there about tradition versus change. Jeff Baldwin — the general manager there — it's the only job he's ever worked. He's been working there for 40-plus years. Louie came from a different place. He did start as an actor there, but he also developed a business of making kettlecorn and all kinds of other products. He really sees himself as an entrepreneur, whereas Jeff really sees himself as a guy that came from the traditions of the space. It's a fascinating idea, the idea of Renaissance festivals, because in some ways, they are the most capitalist environment on the planet. It almost feels like going to Vegas, where the only way to actually have a good time at these places these days is to spend serious cash … it's like it requires a pay-to-play existence. The thing that's interesting, and ultimately I think starts to animate the rest of the series, is at first it almost seems like George is actually thinking pretty deeply about the two different ideas or philosophies, but it becomes clear the more time that we spent with him that he doesn't really care about anything. He just wants the money, and he wants to get out … and then over time, ultimately, the money was sort of secondary as well. It's really just about self-importance, and purpose, and meaning… But yet it's sort of stuck in this never-ending cycle where George controls and dictates every rule in very arbitrary ways. On the topic of its never-ending cycle, there is a rhythm and circularity to the events that occur. Fortunes rise and fall. Tell me about your process of finding the narrative in that, and how you work with the editors to shape it into what it became. It goes without saying for every documentary, the editors don't get enough credit. Max Allman and Nick Nasmee, who edited this series, were really were like my co-authors. They were amazing. They were working with me basically from the first day of production. It was like a three-year edit, in a way. From the very beginning of the process and just meeting people, people would always talk about [how] so many people were cast out of the kingdom… this idea that George likes to flirt with people all the time, and make them feel like they're going to potentially be the heir to his fortune. It's almost a test. The moment you become maybe too big for your britches, or you do something that could bother him, he totally will throw you out. I thought for a long time, just like Jeff and Louie, this time would be different … and by the time that second year came to an end, I guess that it was around 2023, I realized that the cycle was just going — it was a Mobius strip — that the series would operate and tell a story that has happened many, many years before. I went back, and we re-edited some parts of the first two episodes just to make that through-line a lot clearer. This was a story about people who were giving all of themselves to their work in the hopes of some sort of grand prize at the end. What you see by the end of the series is just that there's no end in sight. I thought, it couldn't have ended any other way. Photo: HBO I also want to congratulate you on moving into your first narrative feature with A24's Primetime. How has your experience with Ren Faire affected how you approach narrative filmmaking? A lot of the stuff I had done in the documentary space feels very similar, I think, to some of the stuff that I was doing with this fiction film I just wrapped pretty recently. [In Primetime], working with actors and, for me, having a moldable story that I could keep discovering while we're shooting, was really important. I think the difference of working with untrained actors is that I would always find myself just observing, watching things … just making sure that we were in the right place and position, and then once that thing would happen, I would shoot another two hours in that specific scene … and so it was always like a dance, where what I was photographing had to be real, but also allowing the performance to come into it allowed for almost another form of documentary truth in there. On the fiction film, there were parts of it that were similar. William Friedkin said something once, I'm probably butchering the paraphrasing of it: "You inherit the lives and the lived experiences of where your performers are when you're making the film." In that way, there is almost a documentary dimension. No matter what they're doing, what choices they're making, it's coming from where they are in their lives, and so a lot of that too I was trying to pull into it. I [also] liked that I could look at another story about power, and proximity to power, and what power does to you. I did that with Ren Faire, and I liked doing it within the world of broadcast television in this very specific time period, [and] we were looking at it with the Primetime movie. I love that, congratulations on both projects. Thank you so much. It's funny — I'm just thinking about that first question you asked, too. Going back to that, when I went into making this thing, I thought it was going to be a comedy, and it became a tragedy by the end of it. And I think so much about America, where we are now. … It's funny how George in some ways almost represents both [Joe] Biden and [Donald] Trump, both in his decision-making [and in] the way he moves. He's of advanced age. Maybe he's sharp, maybe he's not sometimes, and then [there are] also all these people that are just scurrying around him, constantly losing favor with him because maybe he doesn't like the way they look on a specific day, or he doesn't like the joke they're telling him. Just the idea of power and what that does to people, to me, it almost makes the documentary feel almost like a story of the American empire in decline, or America in miniature, but just inside this very specific subculture. Ren Faire is now streaming on Max. This interview has been edited and condensed for clarity. Best of GoldDerby How Eddie Redmayne crafted his 'deeply unflappable' assassin on 'The Day of the Jackal' TV composers roundtable: 'Adolescence,' 'Day of the Jackal,' 'Interview With the Vampire,' 'Your Friends and Neighbors' 'Your Friends and Neighbors' composer Dominic Lewis on matching the show's tonal shifts and writing the catchy theme song 'The Joneses' Click here to read the full article.
Yahoo
21-05-2025
- Entertainment
- Yahoo
Texas Renaissance Festival founder ‘King George' dies at Todd Mission home
The Brief Texas Renaissance Festival founder George "King George" Coulam has died at his home in Todd Mission, officials confirm. His cause of death is not known at this time. Coulam was the founder and longtime owner of the festival. He previously served as mayor of Todd Mission for more than 40 years. TODD MISSION, Texas - Texas Renaissance Festival founder George "King George" Coulam has died, authorities confirm. What we know According to the Todd Mission city manager, police were called to Coulam's home at about 9 a.m. on Wednesday. He was found deceased in his home. The cause of Coulam's death is under investigation by the Texas Rangers, Todd Mission Police, and the Grimes County Sheriff's Office. Officials say there is no suspected danger to the public. What we don't know Coulam's cause of death is not known at this time. Dig deeper Coulam is the founder and longtime owner of the Texas Renaissance Festival. He started the Texas Renaissance Festival in 1974, and it has grown into the largest of its kind in the United States. In addition to being the festival's leader, Coulam served as mayor of Todd Mission for more than four decades, but lost the most recent election on May 3. In 2024, the HBO docuseries "Ren Faire" focused on the festival's succession and Coulam's eventual retirement, highlighting the tension between his desire to find a romantic partner and his need to choose a successor. It also highlighted Coulam's strict leadership style. There have been ongoing legal disputes and potential sales of the festival, with a recent judge's order in early May mandating the sale of Coulam's properties, including the festival. What they're saying Niki Marshall is a former member of the performance company with the Texas Renaissance Festival. She says not all of her memories of George's leadership are positive, but the TRF community will keep the festival going. "The only thing that I could say for him is that he did hire some pretty cool people to be in that space," said Marshall. "He gave us the direction that we needed, and I got the opportunity to really make a difference. And it wasn't just for me, it was for the patrons that we performed for every day." Organizers of the Texas Renaissance Festival sent the following statement to FOX 26: "We are deeply saddened by the loss of George Coulam, founder of the Texas Renaissance Festival. For more than 50 years, he built a community that has become a cherished tradition for generations of performers, staff, and guests. At this time, we ask for respect and privacy for Mr. Coulam's family and the extended Texas Renaissance Festival family as they grieve. As this is a deeply personal matter, we are not offering additional comments at this time." Todd Mission City Manager Neal Wendele made the following statement: "Mr. Coulam, a visionary leader, founded the Texas Renaissance Festival in 1974, transforming a remote area into a cultural destination. His visionary leadership led to the incorporation of Todd Mission in 1982, where he served as the first and only mayor until May 8, 2025, shaping our community's unique identity. The City of Todd Mission offers its deepest condolences to Mr. Coulam's family and friends. We request privacy for those affected and will provide updates as appropriate." The Source The information in this article was gathered from sources, the Grimes County Sheriff's Office, and the Texas Renaissance Festival.
