Don't drink the Kool-Aid.
Kanye West's Sunday Services have generated a lot of speculation and theories and certainly have inspired more than a few evangelicals.
Back in December, Kanye West and Joe Rogan discussed the possibility that Kanye might come on Rogan's show to do a "serious interview speaking on mental health." However, the show was later canceled, and Rogan just recently stated that he thinks Kanye is "starting a new cult. It's clear, he's on his way," he said. "It's probably gonna be huge."
Kanye's Sunday Services have been drawing comparisons to cults since their inception. "It's got the early trappings [of a cult], I guess we could say," cult expert and sociologist Janja Lalich said to Vox. To better understand whether or not Kanye West is starting a cult, or if you're looking to start one of your own, here are five characteristics shared by the average cult.
KANYE WEST SUNDAY SERVICE | NOVEMBER 3RD, 2019 LIVESTREAM www.youtube.com
1. Cults have charismatic, unquestioned leaders
Cults are nothing without their leaders. A great cult leader is able to persuade followers that they're the messiah, unquestionably knowledgeable and endowed with the secrets to the universe. Leaders often create stories about their own greatness, starting small and then building themselves into a messiah-like figure.
2. Cults use some form of brainwashing or indoctrination
Cults indoctrinate their members into the belief that their allegiances should always be to the cult above all else. They often do this by using a process called indoctrination, which slowly persuades people to fall completely for the cult's ethos. Cults use indoctrination to "break down a person's sense of self," according to How Stuff Works, using techniques like thought reform, isolation, induced dependency, and eventually, dread. As far as we know, Kanye hasn't yet done this.
3. Cults use an "us versus them" mentality
Members of cults are taught to believe that all of their own beliefs are absolutely, unquestionably correct, while others' are fundamentally flawed. Interestingly, many cults actually aren't religious, though many cult members were raised religious but left their faiths.
4. Cults are exclusive—and lavish praise on their recruits
Most cults make their recruits feel special and seen, eventually convincing them that the cult is worth giving up their lives for. People who join cults tend to suffer from low self-esteem and a desire to belong to a group as well as naive idealism, according to Psychiatric Times, making them prime targets for cult recruitment.
5. Cults often exploit their members
More often than not, cults wind up exploiting their members, either monetarily, sexually, or both. Once recruits are totally indoctrinated into the cult, lavished with attention and completely convinced to swear loyalty to the cult, then the exploitation usually starts.
Judging by these criteria, Kanye West is probably not starting a cult.
West does have some characteristics of a cult leader in that he's always believed in his own genius; but for now, it seems like the Sunday Services are just experimental efforts to blend West's love of music promotion with his newfound born-again faith. Actually, most cults seem far more malicious than what Kanye is trying out—thus far, his organization has nothing on, say, the cult of capitalism, or the cult of Christianity.
Cults are part of the fabric of American life. Make sure you know the signs, and if you ever feel tempted to accept any form of Kool-Aid, think again.
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New Zealand's greatest writer-director-actor has some big new projects coming up, but it's worth looking back at his previous work
A lot of filmmakers keep themselves apart from their work.
You can watch all of their films, learn to recognize their style and vision, and still be left with the mystery of who their creator is. That's not the case with New Zealand filmmaker Taika Waititi.
1. Eagle Vs. Shark (2007)<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="865a56bb1507d40fc5d6598b6865e141"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/-dqW6ZAxbp0?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>Waititi's first feature-length film was 2007's <em>Eagle Vs. Shark</em>, a charming low-budget look at socially-awkward romance, starring Waititi's friends Jemaine Clement (<em>Flight of the Conchords</em>) as Jarrod and Loren Horsley as Lily. Aptly compared to 2004's <em>Napoeleon Dynamite</em>, <em>Eagle Vs. Shark</em>'s comedy leaned heavily on Jarrod's cringeworthy attempts to be tough and to live up to his dead brother Gordon (played by Waititi), who was a star athlete.</p><p>While the film offers a lot of sweet and funny moments, and the use of charming stop-motion sequences add to its appeal, it's clear that Waititi was still finding his voice, and the final result lacks the strength of vision and emotional depth of his later work.<i></i></p>
2. Boy (2010)<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="3480389206571831f0aceb58c5f6ffc5"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/ESD3mlgpSwM?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>The fact that 2010's <em>Boy</em> is number five on this list is a testament to Waititi's talent, because <em>Boy</em> is a sweet, disarming, and silly look at childhood for a young Māori boy in 1980s New Zealand. Boy, AKA Alamein, lives with his little brother Rocky and a large extended family. Their mother died in childbirth, and Alamein paints their father (for whom he's named) as a mythic hero who is off saving the world somewhere. In reality their father (played by Waititi) is in prison, but when he gets out, he comes home with his lackeys to bond with his sons, commit petty crimes, and search for the money he buried years ago.</p><p>At first Boy is ecstatic to have his father back and is wholly impressed by all his apparent toughness. But eventually it becomes clear that the elder Alamein is as much a child as his sons and that beneath his posturing he's a sad, pathetic man. Ultimately Boy learns from him who he doesn't want to be.</p><p>The film's blend of sincerity and silliness is endearing, and its meandering story delivers a compelling emotional arc. It's not quite as polished as most of Waititi's later work, but everything that makes him a great director is there in <em>Boy</em>.</p>
3. Thor Ragnarok (2017)<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="e5b5ec8473729ff2d1b53c8f496babae"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/ue80QwXMRHg?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>2017's <em>Thor: Ragnarok</em> is by far Taika Waititi's most successful film, with box office sales just over $850 million. It's also a legitimately great movie and possibly the only Marvel movie to be genuinely funny throughout. While Waititi brings his sense of humor and his keen directorial eye to this story of super-powered gladiators and intergalactic apocalypse (as well as his voice in the figure of Korg, the would-be revolutionary made of stone), this is the only film on the list that wasn't also written by Waititi.</p><p>So while Waititi definitely <a href="https://screenrant.com/thor-ragnarok-original-movie-plan-before-waititi/" target="_blank">had a significant influence on the film's story</a>—which may explain the emphasis on Thor's relationship with his father, as well as his struggle to define himself without his hammer—the restrictions of working in an existing franchise mean that it doesn't quite fit into the mold of his other works, which are purely his vision.<br></p>
4. Jojo Rabbit (2019)<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="8777a725839ef20896e892912d887aa0"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/tL4McUzXfFI?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p><em>Jojo Rabbit</em> is Waititi's 2019 film telling of the story of Jojo, a young Austrian boy whose imaginary friend and father-figure is his hero...Adolf Hitler (played by Waititi). Ostensibly adapted from Christine Leunen's dark novel <em>Caging Skies</em>, <em>Jojo Rabbit</em> explores concepts of war, nationalism, and xenophobia through a child's perspective, and won Waititi the academy award for Best Adapted Screenplay.<br></p><p>While there's something deeply unsettling about <em>Jojo Rabbit's</em> madcap humor being set in Nazi Germany near its collapse, the movie succeeds in portraying the universal challenges of childhood and the struggle to understand a world that is full of deception and hate. Waititi—whose Grandfather was a Russian Jew—humanizes some of the film's Nazis, not to diminish their crimes, but to show how even decent people can end up participating in terrible evil if they don't actively resist. While Jojo initially demonizes the Jewish girl he finds hidden behind his mother's bedroom wall, in the end she's the only one he has left.</p><p>Some will no doubt find that Waititi's humor undercuts the poignancy of the film's message, but the film's outstanding cast holds it together, and the thrilling moment when Jojo finally rejects Nazi ideology (by telling Hitler to f*** off, and kicking him out a window) is irresistibly cathartic.</p>
5. What We Do in the Shadows (2014)<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="88c70af30da13e42b21e31f5971309a9"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/wxt2DSWS_eI?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>2014's <em>What We Do in the Shadows</em> is an absurdist mockumentary that tells the story of a group of vampires from different eras, living together in modern-day New Zealand. While it doesn't attempt to touch the sort of serious drama that some of Waititi's other work touches on, it doesn't have to, because it's his funniest movie. From confrontations with a gang of polite werewolves to the fruitless hunt for virgins, <em>What We Do in the Shadows</em>' semi-improvisational style delivers frequent laughs as the vampires struggle to navigate the modern world.</p><p>Jemaine Clement and Taika Waititi wrote the movie together, as well as portraying two of the main vampires. As silly as the movie is, it still has an emotional core, provided mainly by Waititi's character, Viago—a lovelorn 18th century dandy. While it's since been adapted into a TV series for FX, Waititi's original remain's untouchable for silly vampiric humor.<span></span></p>
6. The Hunt for the Wilderpeople (2016)<span style="display:block;position:relative;padding-top:56.25%;" class="rm-shortcode" data-rm-shortcode-id="7d2b72c873a19446680735f7e749f702"><iframe lazy-loadable="true" src="https://www.youtube.com/embed/dPaU4Gymt3E?rel=0" width="100%" height="auto" frameborder="0" scrolling="no" style="position:absolute;top:0;left:0;width:100%;height:100%;"></iframe></span><p>According to Waititi, 2016's <em>Hunt for the Wilderpeople</em> was the first film in which he really found his directorial voice, and it shows. Following young delinquent Ricky Baker (Julian Dennison) and his cantankerous foster uncle Hec (Sam Neill), who go on the run together in the untamed wilderness of New Zealand. It's a touching exploration of boyhood and manhood and the dynamic relationship between the two. It also features what might be <a href="https://www.youtube.com/watch?v=32QcvEuJYFA" target="_blank">the greatest funerary sermon</a> in cinematic history, delivered by Waititi's minister character. While all of Waititi's movies are worth watching, <em>Hunt for the Wilderpeople</em>—which he spent more than a decade adapting from the stories of acclaimed New Zealand writer Barry Crump—delivers more of the heartfelt and joyful strangeness that makes his movies so satisfying.</p>
The Epstein scandal is the most pristine horror story to come out of the #MeToo era.
Scarlett Johansson still loves and believes in Woody Allen. Chris Brown's fans are still celebrating his music. Even Roman Polanski is still premiering films to applause.
But unlike other predatory men brought down by #MeToo, there's no (arguably) defensible art attached to Jeffrey Epstein's legacy—only horror, perversion, and the power of fame and fortune. In short, the Epstein scandal is the most pristine horror story to come out of the #MeToo era. It's a heavy, opaque drama about a multimillionaire financier who created a "cult-like network of underage girls—with the help of young female recruiters—to coerce into having sex acts behind the walls of his opulent waterfront mansion as often as three times a day." If the unfolding scandal were a film, it'd have a high production quality and an instrumental soundtrack.
Actually, never mind. Jeffrey Epstein is soon coming to your screens—all of them, apparently.
Barely a month after the 66-year-old was found dead in his Manhattan prison cell, society is already cannibalizing the late billionaire by retelling his story across various media platforms. As Vanity Fair recently reported, re-imaginings in the works include: a four-part docuseries from Radical Media in development by Netflix; a Lifetime project called Surviving Jeffrey Epstein; a scripted project and possible documentary by elite Hollywood producer Adam McKay (Vice, The Big Short); and whispers abound of major studios exploring their own scripted projects about Epstein.
Since Julie K. Brown's investigative report first exposed Epstein in 2018, every freshly uncovered detail has solidified him as our ideal modern boogeyman. Unlike other powerful men brought down by the #MeToo movement—high profile figures who've been publicly accused of wielding their positions of authority to prey upon others, from R. Kelly and Michael Jackson to Kevin Spacey and Harvey Weinstein—Epstein's perversions are concrete facts. No culture war army, no political party, no apologists exist for him. And that makes him the perfect, creeping enemy whose mythos includes all the preferred flavors in the American palate: corrupt power, obscene wealth, and unchecked perversion condoned by a network of famous friends and politicians, including world leaders like Donald Trump, Prince Andrew, and Bill Clinton. Even better, the story of this #MeToo boogeyman is unfolding in real time, with real consequences at stake for potentially "hundreds of other people," according to CNBC.
As high as we might be on our love for true crime, Epstein's crimes seem especially tailor-made for Hollywood. As one source told Vanity Fair, "It may be the most significant scandal in American history in many ways because of the level of the people involved, the currency of it, this vast criminal web almost certainly involving blackmail, and then the guy dies when prison guards just happen to be looking the other way? When you have a scandal of this magnitude, it is only inevitable that there would be a multitude of attempts to tell that story for a larger audience."
Now, Hollywood producers and podcasters are cashing in on the story:
Oscar-winning director Adam McKay recently released the podcast Broken: Jeffrey Epstein through Three Uncanny Four Productions. The podcast is hosted by The New Yorker's Ariel Levy and features Julie K. Brown herself. As McKay notes, "The Epstein story still has dozens and dozens of unanswered questions," and Broken endeavors to unravel his deep connections with the rich and powerful who allowed him to get away with his crimes. He's not the disease," producer Laura Mayer says. "He's a symptom of it."
Another podcast crafts a more narrative version of Epstein's crimes a la Serial. A new release titled Epstein: Devil in the Darkness features exclusive interviews with Epstein's former employees, including a New Mexico ranch hand who claims she was hired to recruit young girls to become Epstein's "massage therapists" and his former chauffeur, who's heard in the premiere episode telling the producers that Epstein was referred to as "the pedophile" by the staff: "It was a joke, it was, 'Yeah, we're going to pick up the Pedophile,' because we'd go and we'd pick up these young girls. But I don't think we really believed that's what was happening, but it comes to pass that that's the truth, that's what was happening. But we used to call—it was a big joke in the office all the time." Producers also feature an exclusive interview with Epstein's cellmate in Manhattan's Metropolitan Correctional Center, who witnessed the man's first suicide attempt.
While we'll have to wait and see if those podcasts will delve into the many conspiracy theories already surrounding Epstein's death by (reported) suicide on August 10, there's also a book in the works from Julie K. Brown. Her confirmed deal with HarperCollins will "expose the inner workings of the sexual pyramid scheme Jeffrey Epstein forced girls into, and will implicate powerful, wealthy and influential politicians, academics, businessmen and public figures," according to the publisher.
And of course, Netflix is getting in on the action. Radical Media has already optioned James Patterson and John Connolly's 2016 biography and true crime book, Filthy Rich: A Powerful Billionaire, the Sex Scandal that Undid Him, and All the Justice that Money Can Buy: The Shocking True Story of Jeffrey Epstein, and sold the rights to Netflix. The docuseries has already been in production for a year.
But why? Is there something, anything, to gain from replacing our resurgent fascination with serial killers like Ted Bundy with Jeffrey Epstein true crime features?
Well, for one, no one's arguing that Jeffrey Epstein was a nice guy. While popular serial killer narratives feature the paradox that the most profane sociopaths conduct themselves as upstanding citizens (yes, Ted Bundy worked at a suicide hotline and John Wayne Gacy was a tireless volunteer in his community), most people who knew Epstein described him as "creepy" (unless you're Trump, who found him to be a "terrific guy"). Secondly, Epstein's VIP status was solely based on his obscene wealth, and his millions were slowly acquired throughout a lifetime of being obscene, from beginning his career as an inappropriate prep school teacher in 1974 to becoming a swindling financial trader and consultant. He wasn't a musical icon like Michael Jackson, against whom sexual assault allegations continue to divide his fans, nor was he an actor, auteur, or major studio producer involved with classic pieces of cinema, like Woody Allen or Harvey Weinstein. There's no admiration of his art to stir conflicted feelings. As Americans, we're free to see Epstein as the embodiment of the evils of wealth in corrupt industries—which, perhaps, can bring home the message driving the #MeToo movement, that society's blind idolization of fame and fortune is so glaringly flawed and that classist unaccountability is too immoral to ignore.
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