Cube Critics discuss ‘Ren Faire’ and ‘Hannah Einbinder: Everything Must Go’
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Cube Critics Jacob Aloi and Aron Woldeslassie talk about a Shakespearean drama at a Renaissance Festival and a pretty good comedy special.
The following are capsule reviews edited from the audio heard using the player above.
‘Ren Faire’
“Ren Faire” is a three-part documentary series streaming on Max, which delves into the ongoing power struggle at the Texas Renaissance Festival, reputedly the largest in America.
The series focuses on the festival's founder and long-time ruler, George Coulam, as he contemplates retirement after nearly five decades. What sets this documentary apart is its blend of actual documentary footage with staged reenactments and fantasy sequences, enhancing the real-life drama with elements reminiscent of cinema verité and fantasy epics like “Game of Thrones.”
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This creative approach not only enriches the narrative but also vividly captures the Shakespearean scope of the intrigues unfolding in Todd Mission, Texas. Highly recommended for its innovative style and engaging storytelling.
— Jacob Aloi
‘Hannah Einbinder: Everything Must Go’
Hannah Einbinder’s first comedy special, “Everything Must Go,” now streaming on Max, showcases her unique blend of sharp acting and absurd writing.
Known from the series “Hacks,“ Einbinder delivers an hour of comedy that diverges from the typical personal narratives common in debut specials. Instead, she demonstrates a mastery of comedic craft in a performance that feels intimate, like in a black box theater, though it takes place in a regular theater.
The special features moments of technical brilliance, such as sudden lighting changes and segments where she talks over jazz, enhancing the strange and amplified moments she creates.
This isn’t your straightforward, energetic comedy; it’s a bit more niche, coming from a perspective that might not resonate with everyone.
“Everything Must Go” offers unexpected moments and a distinct style that may appeal particularly to those ready for something different in their comedy viewing.
— Aron Woldeslassie
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