It’s heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeere! After all of the hype and the semi-final watching and the joy and the tears and the annual euro-drama, the Eurovision Grand Final is finally upon us! Join Kori and Dan as they liveblog the show! If you’re in the US, you can watch for free via Logo’s YouTube channel livestream.
Dr. Strange May Be A Truly Cult Movie
Watching Dr Strange was a truly strange experience for me. I sat before the screen expecting two hours of mindless fun as I watch a self-absorbed jerk become something like a decent guy. You know, this ever-present and ever-satisfying “break the haughty” narrative. A safe bet, not too harsh on the haughty (it’s MCU, after all), but harsh enough we cheer him getting his comeuppance. What it turned into, was two hours of flashbacks as I watched a haughty jerk being broken and brainwashed into a cult.
Probably I wouldn’t react that badly if this experience was not something from my personal past. Things I saw at the screen were excruciatingly familiar. I couldn’t help rooting for the jerk, because I knew all too well what it is, feeling that you are nobody, that the world is crumbling around you—and then being handed something like a power over it.
And while I am sure that it was nowhere near authorial intent, I couldn’t help wondering how many people—impressionable, vulnerable people—would buy into the narrative and turn to some secret knowledge to cope with their illnesses or insecurities. After all, Kamar Taj, both in appearance and in teaching, is very far from fantasyland. You can find dozens of wannabe Ancient Ones just around the corner, waiting for easy prey.
Yeah, sounds very purple, but let me show you why am I so agitated.
What Is a Cult?
A cult—also a totalitarian cult, toxic cult or destructive cult—is a religious or posing as a religious organisation which teachings and practice are designed to achieve and execute total control over its members’ life and death. Not quite a lucid definition, and that’s why the thin line between a cult and a new religious movement is so thin. The subject is controversial, the “cult” word is thrown around as a slur and generally only time we can safely use the definition is, while talking fiction or the cults that 100% exposed themselves as such via some drastic action. Mass suicide or terrorist attack, usually, and sometimes both.
But still there is a list (several lists, but they mostly talk the same things in different wording) of traits that may alarm you that the group is most probably toxic. Let me show how astonishingly well Kamar Taj fits the criteria. Then I’ll try to demonstrate how typical dr Strange’s situation actually is and what usual manipulative tactics were employed to guarantee his loyalty. I’ll use the list provided by M. Kuzmin in his thesis.
1. A Teaching that Rationalises and Encourages Control and Manipulation
They don’t just brainwash—they do it for the greater good and to prevent lesser ones from slipping on the path to salvation. Or something like that. It is prime trait of a toxic cult; a pity it is not easy to see it through, as the real teaching is not revealed until a person is considered “ready” (read: is totally broken).
Through the movie we hear Mordu describing his own path into Kamar Taj. He tells how he went there to get weapons and training sufficient to fight his foes and was promised to get those. Then he was made to go through usual training routine until he understood that his past—name included—was nothing and Kamar Taj was everything and he is destined to be its adherent. Though he recognises manipulation, he not only completely justifies it, but also expresses hope such would be dr Strange’s fate, too.
And indeed, no one in the Kamar Taj is anywhere near ashamed of stringing along a desperate disabled person with promises of healing all the while basically training him as a cannon fodder for future battles.
2. The Leader, Regarded as an Absolute Unquestionable Authority
While there are some cults that have group leadership, this figure is almost inevitable when we talk about the cult, as they are built around them. The guru may proclaim themselves a literal god (or God), as Shoko Asahara or Maria Devi Christ did, or a prophet, as Jim Jones. They can even settle for indefinite “possessor of the knowledge”, as Marshall Applewhite. No matter what they chose, entire existence of the cult depends on their very person and something only they know or can do.
Does Kamar Taj have such a person? Oh, certainly. The Ancient One is just that; an absolute, infallible guru who is right even when she is actually wrong, and whose actions are not for the lesser minds to judge. She wields absolute authority over her acolytes and can make them fight using real weapons or even leave for dead on a whim. All the while the very idea that she may be wrong is a heresy for the loyal Kamar Taj members, and a sign something is “unwell” with the person in question.
3. The Teaching Changes When Situation Changes, But It Is Never Acknowledged
They promised us the world’s end and it didn’t come? Oh, you see, it was not the real end. It was never about something like that. Or better: yesterday they taught absolute monogamy, but now the guru is caught cheating. So, as the guru is never wrong…
Well, we have an entire plot point, no less, dedicated to this exact rule of cult. So, the entire Kamar Taj had existed for ages on a premise that Dark Energy is bad and corrupting and everything Dark Dimension is vile. But lo! The guru used dark energy to sustain her all those innumerable years! She must be a crank, then? A liar, who forbid her loyal acolytes the thing she had been doing all along?
Nah. No way, You see, the rules exist to break them and cheat, and if you think the rules that you were manipulated to accept as a final truth matter, you are our next bad guy.
Or was it an instance of the next cult rule?
4. Each Subsequent Hierarchical Level Is Granted a Different Version of “Truth”
Basically this is the most glaring distinction between a religion, whatever new, and a cult. You join a religion, and you know what does it teach and what do you subscribe to. If it was one god, three goddesses and a ritual cup of tea every three hours when not asleep, that’s it all along. With a cult, you join for a god, three goddesses and a cup of tea, but then learn that it’s not tea but actually vodka, and when you progress in the ranks you may learn that there is one goddess and no god at all, and then – that gods are nothing, only guru matters. And then something.
The teaching of Kamar Taj does change from rank to rank, too. You come to them because they are healers and martial artists. If you are fit for them, you learn about astral and the source code of the Universe. Next level, and you learn the purpose of Kamar Taj is to protect Earth from a certain other dimension and you have to obey strict rules unless you would harm our world. Even next level, and the rules matter nothing and result is all. And then something.
To save time and space let me not delve into other very fitting criteria—like having a teaching that combines syncretic religion with pseudo-science, that justifies and even encourages violence towards critics and ex-members of the cult, that encourages active service in “do whatever you are told” way… Kamar Taj is already cult-like enough.
But nothing proves it as well as main character’s story. Just look for yourself.
Cult Brainwashing 101
So, we have a man in his late thirties/mid-forties, the age of crisis. This man suffers an accident and is now disabled. As his only profession requires the very ability he’s lost, he searches for rehabilitation and encounters a rumour of miraculous healer. Desperate, he goes for it and gradually becomes an active member of a group that presents itself as Earth’s only hope and secret guardians. He never heals and is never able to go back to work. Also, he leaves the world forever, going on to live on the group’s premises.
Huh, sounds familiar, doesn’t it? But it can get worse.
Our hero roams the world in search of the healer, until he encounters a group of thugs. Those thugs beat him violently and destroy the last memento of his previous life: his wristwatch. Only then a member of the group intervenes and quickly saves the day. He waits, because he was told to wait. Because apparently our hero needs…something. Do you know what? He needs to lose everything and to be on his utmost vulnerable when presented with the cult teaching—and to be thankful for help. While not too common, the tactic is widely employed irl. It ensures bigger susceptibility of the adherent-to-be through combination of humiliation and gratitude.
Also, the very exhaustion he suffers because Kamar Taj remains hidden from him is quite helpful, too. Exhausted people are not quite able to think critically, as analysis and logic require much energy and all energy they have goes to sustaining them alive and upright.
And Then Some
Moving on, our hero is presented with some mumbo-jumbo and then graced with a very, VERY acid vision. While here it’s magical in nature, it would be literal acid irl. Secretly feeding newcomers with hallucinogens is a very, very common tactic of those cults that emphasise and promise secret knowledge and spiritual experience. Bright, wild hallucinations make people believe that they were granted visions and have some supernatural power in them.
So, our hero’s weakened mind is bombarded with mumbo-jumbo, followed by acid visions “proving” the mumbo-jumbo is actually true. Nice. But not perfect. To add a final touch, our hero is cast away and left on the street with nothing but his clothes, broken watch and a promise of miraculous healing. He has nowhere to go but to the c… Kamar Taj. But the Ancient One knows her manipulation 101 and makes him yell, beg, despair. He has to wish for acceptance with all his heart, to see no other way. He must beg, because nothing is as effective as humiliation.
Except for a death threat, of course. Being humiliated AND left in a mortal peril is much better. Do I need to remind our hero is subjected to it?
Conclusion (Or Lack Thereof)
My goal was not to imply the authors of the movie did all that on purpose. Never would I even dream of such a thing.
What I actually think is, that the authors used the same tropes the real-life cults use in recruiting new members and promoting their teaching. Those tropes are widely popular in popular culture—which is actually the very reason the cults use them. Familiarity is quite important when encountering something new. Things already at least seemingly familiar attract much more trust and attention than completely new ones.
Combined with several instances of what I consider authorial tone-deafness, this lead to a load of unfortunate implications. As with Thanos, the end result is horrifying idea no author would’ve supported as it is, but accidentally promoted.
The Crown and The Royal Wedding – Who Will Tell your Story
So today is the big day. Meghan Markle, one time actor on this show I never watched, is getting married to Prince Harry, who exists. (I guess he sometimes patronizes sporting events or embarrasses himself, but mostly what he does is exist.) And the one good thing I can see coming from this is that, maybe tomorrow people will finally stop talking about it. God, I hope so. Because I cannot express to you how deeply I do not care. I do not care what her dress looks like. I do not give one tiny shit if her father participates in the patriarchal ritual walking her down the aisle and handing her over to her new owner. Sure, I hope the two kids are happy or whatever, but the ubiquity of this event in all media, even the media that is usually above “celebrity gossip” is a tad exhausting for me.
But here’s the thing. I’m a giant snob. I’m trash. Because I think following the daily lives of alive Royals is a little, well, unclassy, but I’m not willing to admit how many biographies of Queen Victoria I own. I once wrote a top ten list for this very website that discusses my favourite dramatizations of their lives.
Apart from my hopeless snobbiness, which probably accounts for about 73% of my feelings, there is at least one thing I can say in my defense. Monarchy, as an institution in general but specifically in the United Kingdom, has been waning in power and relevance for about, like 400 years. There was a civil war and a revolution that was apparently glorious, and the king/queen just eventually became the person who sat there and looked pretty. But, there was a time when these people’s lives were very directly connected to the life and the fortunes of the nation. That elevated discussion of their personal lives above mere gossip, even if on some level, it continues to feel voyeuristic. Questions that we would never ask about “normal” people who lived hundreds of years ago who have no personal connection to us—who was her boyfriend and what what exactly did they get up to, what did he think of the precise details of the relationship between the Son and the Father within the Trinity, did the bad weather make him really grumpy that night he had an argument with his mother at dinner—become questions of monumental importance. As that became less true, there was still a lot of leftover reverence and loyalty to the Royal Family. And that has certainly waned too. So much so that these days, they occupy this rather bizarre between public figure and tabloid celebrity.
That’s also the reason why we classy types don’t sully ourselves with those shiny magazines at the grocery store detailing this or that HRH’s romantic tribulations, even though we know, deep down, that our counterparts in future generations will venerate them as wonderful contemporaneous sources and keep them sealed in rare books libraries as they discuss the changing role of the monarchy and cultural change, or whatever. Now, though, the feeling of voyeurism, combined with my feeling of being better than the hoi-poloi, keeps me from caring.
But this same squeamishness is why I was a little guilty and hypocritical about my love for The Crown. Surely it treads into the territory of gossip. It certainly makes me a little uncomfortable to think of the nonagenarian Elizabeth watching this show going into the dark details of her marriage, her relationship with her family, and her deep insecurities (because we all know she watches it,) and saying, a little miffed:
The sense of discomfort is not unjustified, and it hasn’t ever really gone away for me. But there’s another consequence to the fact that the life of the queen was the life of the nation: at some level, their lives belonged to the nation. The story of their lives was never really their own. So they became two people, and who knows how distinct. There’s the person that they really were, as they lived their life. This person was as complex and internally contradictory as every other person who’s ever lived. She had feelings and things. And then there’s the character who is in our history books. The fool or the great leader, who had no feelings because their decisions were a matter of the state and no one cared about their dumb feelings. All anyone cared about was what they saw, and the consequences. This public, historical character might be an honest attempt to approximate the real person as best we can, but then again, maybe it’s not.
Maybe it’s a caricature, or a deeply unjust slander. But that character can be just as “real”. At least in the sense that it can have value as common literary possession and cultural icon. Few people would say the Shakespeare’s Richard III is worthless, just because the guy whose body they found in the car park was a little nicer than that. They’re not the same person, but that doesn’t really matter. The fact that the “real” Richard was maybe a better human than eloquent-but-sociopathic villain protagonist isn’t nearly as important as the story we tell. The one that shapes the story of a whole nation.
Maybe you can see it as the price paid for all the privilege that the royals still enjoy. Their story enters the public domain. It’s legitimate source material for our literature the same way that mythology or fairy stories are. After all, Shakespeare wasn’t attempting to write a historically accurate account of Richard’s reign, he was attempting to make a point about fate and freewill. Likewise, the people behind The Crown aren’t so much interested in a dramatic reenactment of actual events. The fact that they don’t depict things that are known untruths doesn’t change the fact that their main goal is to tell a story. A story that is not in the control of these real people who it’s about. Maybe it’s a coincidence, or maybe it’s just another way in which this show is brilliant, but the attempt (and inevitable failure) to control the narrative about yourself is a major theme throughout the 2 seasons released so far.
The characters, from Elizabeth herself to the members of her staff and the politicians who serve her are all very conscious of the fact that they’re playing a role. It’s filling the role that is expected of them, even when it’s contrary to their own true personalities and desires, is seen as the ultimate possible achievement. After all, “The Crown must always win,” the needs of the monarchy come before everything.
The narrative doesn’t endorse this, of course, it spends most of its time showing us what this determination costs the characters, as well as asking the very good question of why they even bother. But on the other hand, the characters who do try to be themselves and buck the constraints of their roles can’t escape being characterized as selfish, shallow, and more than a little maladjusted. Margret isn’t just unhappy in her role, she wants all the perks of being a princess without any of the responsibility. The Duke of Windsor might be a little witty, but he’s also cruel, spendthrift, and a goddamn Nazi.
Not only are the characters aware that they’re playing a role, they’re aware of how fake and often unnatural that role is. They embrace that fakeness as an essential part of their role. What they’re supposed to do is tell a story, a story that they seek the power to determine; the story of Monarchy. And ironically (if that is the right word) this fictionalized portrayal of them on Netflix, dealing with the fictionalization of their lives, is no more likely to get at the truth of them.
Margret is told their own version of why they bother with this emotionally exhausting charade:
Queen Mother: No one wants complexity and reality from us. […]
People have enough of that in their own lives. They want us to help them escape.
Beaton: […] Imagine this, if you will a young woman, a commonplace creature. She sits in her drab little scullery. So much work to do. So much washing-up. How she longs for comfort, for hope. […] She wants to believe her life has some meaning beyond chores. She opens a magazine and she sees Her Royal Highness’s photograph. For one glorious, transforming moment, she becomes a princess, too. She is lifted out of her miserable, pitiful reality into a fantasy. Later, she will step out of her house in a new neckerchief, perhaps, for which she has saved.
Oh, she will hold her head up high. She is renewed. And all thanks to you, Your Royal Highness and to the ideal which you represent.
Firstly, I suddenly feel a little better about my own level of snobbery. Secondly, this sounds nice, but it’s really a kind way of saying, “be quiet, you’re here for people’s entertainment.” But the rub of it is, the inescapable thing that The Crown is able to portray to well, is that despite what they do to shape these essentially fictional characters that are their public personas, it really is out of their control. Maybe because they don’t want to be entertained by the perfect and glamorous Princess Margaret, but by the Hot Mess Margret they’re trying so desperately to hide.
Was Margaret such a hot mess? Maybe. I don’t really know. And the gods only know what people would think of me if all they saw was me leaving parties and the highlight reel of my romantic life. But billions of people do feel like they know Meghan and Harry, just as they once felt they knew Margret. And they feel deeply invested in their private lives.
The story that were supposed to be seeing today is meant to be inspiring. A heart-warming tale of the prince who fell in love with an ordinary girl from LA and made her a princess. You see, little girls of the world, all your dreams can come true! There are several reasons why I find that more regressive than heartwarming, but there are also a few things about Ms. Markle that are a good sign for the viability of the Monarchy and the progress of society as a whole. She’s a woman of colour, she’s over thirty, older than Prince Harry even, she’s *gasp* an actor… And while there has been some gross discourse, especially about that first part, the giant circus that Windsor is today proves that, if anything, all those things, which no too long ago would have been deal breakers, just makes the people love her more.
Poor Meghan. She’s already a piece of media that we’re analysing for meaning and implication. Maybe she’s all over it. Maybe she loves how symbolic she is. Or maybe she just wants to marry her boyfriend and has no idea what she’s getting into. How should I know.
Images courtesy of Netflix
Eurovision 2018 In Memoriam Semi-Finals
And after a week of hyping and judging from Kori and Dan, the semi-finals for Eurovision 2018 are officially over! Boy was that a workout for anyone in the United States. Thanks a lot, ESC YouTube channel for blocking the shows AND STILL BLOCKING THE PERFORMANCE VIDEOS. Don’t worry, we’re dedicated. After some nebulous VPN adjusting and a Latvian broadcaster livestream, we got it sorted. That means we now know who is competing tomorrow for the Grand Final, which we’ll list at the bottom of the article. However, let’s take a moment to remember those acts who will not be joining us on Saturday. Reminder: Dan and Kori are liveblogging the Grand Final here at the Fandomentals starting at 3:00 pm EST.
Dan: A really good pop song that was well engineered, well performed and well stage. Not quite new enough to win, it certainly was more fun than most of the blah that DID make it through. Probably just got cursed by being in a very competitive group.
Kori: I was worried when Azerbaijan and Aisel were slotted to perform first that this might happen. It was a fun song, but more shocking is that for the first time since joining the contest, Azerbaijan will not be advancing to the Grand Final. And they aren’t the only Grand Final mainstay to be dethroned this year.
Dan: A really good song brought down by bad visuals, which seems to be a pattern here. The video for this song was pretty wild and was really interesting, but sadly that apparently didn’t translate onto the stage.
Kori: Look. Croatia and Franka absolutely slayed vocally on Tuesday. Her vocal performance alone had me changing my tune and hoping they’d go through, because it was that good. Alas, it wasn’t meant to be. Still suffering from a song that never really peaked and a bare stage show, Croatia will have to try again next year.
Dan: Just seems like a fluke for Eye-Cue, who had a good video and pretty good staging. They just didn’t bring their A game and the whole thing fell flat. Pity, because their sound was damn unique this year.
Kori: I agree with everything Dan said. All of the elements were there, the vocals, a killer song, a fun stage show, and for whatever reason, they just weren’t connecting the night of. Macedonia widens their streak of not advancing to the Grand Finals since 2012.
Dan: I guess this town wasn’t big enough for TWO folky pop songs this year, between Greece and Serbia. Sadly, this was the better of the two, I think, but the magic of Flute Gandalf was too strong. I am genuinely baffled by this because the stage show looked and sounded really great and the song itself felt like a proper national tune.
Kori: My polyphonic chorus goddess is not advancing. It’s never a good sign during the rehearsals when you hear that a country is bringing in more and more effects because that usually means its staging is a dud. All the smoke and lights did what they could, but something fell flat, and with it so did Greece. This is another country, usually a Grand Final mainstay, not to advance.
Dan: Oh no baby, what is you doing. Malta learned so much between their national performance and their video and they just dropped it all for the two lame boxes and some projections. All they had going for them was presentation and they dropped the ball severely.
Kori: Oh, no. I wanted so badly for this to be good. I actually liked the projections, but Lithuania did them better in semi-final one, and none of the epic story from the music video really carried over. It’s a shame, I was rooting for them.
Dan: This was a really solid pounding rock song with a unique voice. It didn’t quite lend itself to anything groundbreaking but it had some sick pyro and the band sounded great. I have NO idea how this got knocked out and the f*ckboy anthem from the Czech Republic or The Netherlands cowboy music got to move up.
Kori: Color me shocked, because I really thought Poland was going to sail through to the final. The staging was a little wonky, but the song was modern and Poland has been doing pretty darned well for itself in the contest with advancing to the Grand Final since 2014.
Kori: Yet another Grand Final staple country has been knocked off. I grew to like the Humans’ song, but what kind of nightmare show was that with the mannequins of demonic soul-sucking? Seriously, are you trying to give me nightmares? Baby, no, stop it.
How on earth did they qualify?
Dan: I just…really hate this song. It’s just disappointing how polished it is. All of the good musical production and unique staging in the service of a dude who looks like he makes his own hair gel. My only consolation is that Eleni is gonna kick his ass in the finals.
Dan: I’m convinced the judges just fell asleep and their head landed on the “yes” button for this one. One girl in a white dress singing in the sort of dull, pleading tone you get in a DVD Disney sequel does not quality production make. However, if one reads the skinny dude who appears only at the end as the Grim Reaper, marked by his dark clothes and skeletal frame, then this may, in fact, be the best staging.
Dan: I’m not surprised because I dislike this song, I actually really love it. But it’s just NOT really much of a Eurovision type song. I love this heavy stuff, though, and AWS brought a lot of energy to bear on stage. Party on, dudes.
Dan: I just remain baffled by this song. Do Dutch people love country music? Why? Is Waylon just some kind of cowaboo? Why does he need three different guitars for a basic pop-rock country song? Tell me your secrets, Waylon.
Kori: I just. How did this get through? The performance was a hot damned mess! White dude singing rebel country in a leopard pattern jacket, surrounded by all-black background “band” members/dancers who start crumping? Whyyyyyyyyyyyyyyyyyyyyy, Europe?
Kori: Look, I think Alexander Rybak is overrated at this point. I didn’t really care for the song going in and thought if it advanced it would be more to do with Rybak being a former ESC winner. Guess who was right! What on earth was up with that performance? Did he get sick backstage? Rybak usually has a charming personality going for him, but it was nowhere to be seen last night. Instead, he looked exhausted and I was worried he’d collapse before the song was over.
As mentioned above, several Grand Final mainstays didn’t qualify this year, including Russia, Belgium, and Armenia. To tally, that’s six countries knocked out which drastically alters voting predictions. Sure, we can reasonably bank on Greece giving their 12 points to Cyprus, Belarus giving theirs to Norway, and Russia sending theirs to Moldova, but everyone else who normally voted for these countries? Voting is going to be wild on Saturday, y’all.
Bonus note: After the second semi-final, only one country has now qualified for the Grand Final every year since the semi-finals were introduced in 2004, and that title goes to Ukraine.
Countries performing on May 12th
Semi-Final One Winners:
- Czech Republic
- Ireland (good on them for qualifying for the first time since 2013!)
Semi-Final Two Winners:
- The Netherlands
And as always, be sure to include the United Kingdon, Spain, Italy, France, Germany, and last year’s winner (Portugal).