FBI Failed To Spot Faked Evidence in Case Against Alleged Orgasm Cult
It's not every day you see federal prosecutors admit they were wrong. But the fishiness of evidence from a key government witness could no longer be ignored, it seems.
In February, I wrote about the weird, weak federal case against OneTaste, a company centered around the practice of orgasmic meditation. OneTaste was dubbed an "orgasm cult" and pilloried in the media, including a Netflix documentary produced by actress Lena Dunham, and "conspiracy to commit forced labor" charges have been filed against OneTaste founder Nicole Daedone and former head of sales Rachel Cherwitz.
Key evidence in that case included journals allegedly penned by former OneTaste employee Ayries Blanck just after leaving the company. These journals also figured prominently in the 2022 Netflix documentary, Orgasm Inc.
The journal entries were always suspect—and now the government apparently agrees.
"Prior to March 2025, Blanck repeatedly maintained to the government that she wrote the Handwritten Journals in and around the time she left OneTaste," prosecutors said in a March 12 letter to U.S. District Judge Diane Gujarati. "Her account was corroborated by her sister"—Autymn Blanck, who appeared in the Netflix film to read words allegedly lifted from Ayries' handwritten journals.
But Ayries Blanck recently admitted to prosecutors that she penned the handwritten journals years later.
"The government no longer believes that the disputed portions of the Handwritten Journals are authentic," and "does not intend to and will not seek to admit any of Blanck's journals at trial," said prosecutors. They also said they will no longer call Ayries Blanck as a witness at Daedone and Cherwitz's trial, scheduled to start in May.
OneTaste is a wellness company that was founded in San Francisco more than 20 years ago. Its activities have fluctuated some over the years but always included orgasmic meditation, a partnered clitoral stroking practice that practitioners call OMing.
In 2023, former executives Daedone and Cherwitz were charged with conspiracy to commit forced labor. No underlying forced labor charge was filed. (For a much longer dissection of this case, check out my Reason piece from February.)
Ayries Blanck was "Jane Doe 1" in this case—though her identity is now public—and accusations Blanck made in her journals pepper prosecutors' allegations about Daedone and Cherwitz.
But it seems that Ayries Blanck and her sister, Autymn, repeatedly misled the FBI and prosecutors about these journals, per the government's new admissions. And this revelation opens up wider questions about the credibility of the Blanck sisters, whose allegations about OneTaste and its former leaders have been circulated by both the media and the federal government.
Ayries Blanck and her then-boyfriend became involved with OneTaste in 2012 and Blanck went on to work as a sales representative for the company. But she left in 2015, amid some personal drama, and soon sent a demand letter accusing OneTaste of a hostile work environment, sexual harassment, failure to pay minimum wage, and intentional infliction of emotional distress.
OneTaste privately mediated the dispute with Blanck, paying her $325,000 in an out-of-court settlement. While OneTaste has denied Blanck's allegations, it reasoned that the settlement would be cheaper than the cost of defending a potential lawsuit, according to an ongoing breach-of-contract suit filed against Blanck in 2022.
As part of the settlement, Blanck agreed not to "disparage OneTaste or its officers, or incite others to do so." In its breach-of-contract suit, OneTaste argues that Blanck did not uphold her end of this bargain.
A major part of this involves Orgasm Inc, the 2022 Netflix documentary produced by Dunham. Ayries Blanck clearly could not have been in or involved with the film without violating the terms of the settlement. But, in a clever workaround, Autymn Blanck appears on camera to tell her sister's story, reading words allegedly written by Ayries Blanck in 2015. According to Autymn Blanck, Ayries Blanck had left her handwritten journals at Autymn Blanck's house and Autymn Blanck took it upon herself to type up portions of these journals in a Google Doc and share them with Netflix.
It must have seemed like a win-win at the time. Ayries Blanck got to "appear" in the film without violating her nondisparagement clause. Autymn Blanck got a $25,000 paycheck. And Netflix got to air some salacious allegations, including a claim that people at OneTaste ignored or even condoned violence against her and that she had been forced to engage in sexual activity with strangers.
When OneTaste later sought to review the handwritten journals, as part of the civil suit, it discovered Autymn Blanck had mailed them to FBI Special Agent Elliot McGinnis in early 2024.
Federal prosecutors would go on to employ the journals in the case against Daedone and Cherwitz, citing them in an October 2024 motion laying out the case and seeking to have them admitted as trial evidence.
"Jane Doe 1 wrote multiple handwritten journal entries both during and after she served as a student and staff member of OneTaste," the motion stated. "The journal entries, among other things, detail Jane Doe 1's relationships with the defendants and their co-conspirators, financial condition, and psychological state during and shortly after the time she performed labor and services in connection with the charged conspiracy."
Lawyers for Daedone, Cherwitz, and OneTaste weren't having it. In both the breach-of-contract suit and the federal case, they pointed to credibility issues concerning both the handwritten journals and the Google Doc typed from them, including handwriting differences in physical journals and a reference to a book that wouldn't be released until years after the journals were allegedly written.
The Google Doc in which Autymn Blanck supposedly simply transcribed the handwritten journals had more than 50 drafts and hundreds of minor edits, according to Jason Frankovitz, a software engineer enlisted by OneTaste to analyze the documents. Autymn Blanck, filmmaker Sarah Gibson, and someone listed only as "A" had access to them.
And it got fishier. Parts of the handwritten journals—copies of which the government shared with the defense last summer—nearly perfectly matched the final draft of the Google Doc, not the earliest versions.
"If Autymn was merely transcribing her sister's 2015 handwritten journals in a google document created in 2022, the first version of the google document should be identical, or nearly identical, to the handwritten journal," defense lawyers said in a December 2, 2024, letter to Gujarati. "The only inference to be drawn from this is that the handwritten journals were written after the electronic journals."
Federal prosecutors continued to defend the journals…until recently.
"In light of information obtained since [a February 26, 2025] status conference, the government no longer maintains that the disputed portions of [Ayries] Blanck's handwritten journals are authentic," wrote U.S. Attorney John J. Durham in the March 12 letter, which was co-signed by other federal prosecutors on the Daedone and Cherwitz case. "This letter therefore affirmatively corrects any statements to the contrary previously made to the Court and defense."
The letter was heavily redacted before being made publicly available. But it still says enough to suggest that the Blanck sisters hoodwinked a whole lot of people.
Durham notes that Ayries Blanck was first interviewed by the FBI in July 2018 and again interviewed in May 2022. On neither occasion did she mention her journals. It was only in June 2022—after production of the Netflix film was underway—that she said anything about any journals at all.
And it wasn't until March 9, 2023, that Black gave the FBI "copies of typewritten journals pertaining to her time at OneTaste," according to prosecutors. On April 15, 2024, over a year later, the FBI received a package—sent by Autymn Blanck—with handwritten journals and a hard drive that Ayries Blanck had purportedly left with her sister in 2015.
Autymn Blanck testified to the court in the breach-of-contract case against her sister that she sent the package to the FBI after Agent McGinnis noted that OneTaste couldn't subpoena the journals from her if she didn't have them.
After the defense began raising questions about the provenance and authenticity of Ayries Blanck's journals, she was questioned multiple times by the FBI and federal prosecutors—once in October, once in November, and twice in December, according to Durham. Most portions of the letter pertaining to these interviews are redacted, but whatever was revealed, it did not prompt the government to abandon its embrace of the journals just yet.
The FBI and prosecutors again interviewed Ayries Blanck on March 7, 2025, and Autymn Blanck on March 10 and 11. Portions of the March 12 letter pertaining to these conversations are largely redacted. But by March 12, the government had changed its tune about the journals.
"The government no longer believes that the disputed portions of the Handwritten Journals are authentic 'in terms of [being] contemporaneous[ly] [written]'" prosecutors told Judge Gujarati.
Until March 2025, Ayries Blanck said that the handwritten journals were penned around the time she left OneTaste in 2015 and that the electronic journal entries had been typed up later based on these handwritten journals, prosecutors said. She stuck to this story "even when pressed by the government on multiple occasions," and "her account was corroborated by her sister."
"However, upon continuing to be pressed by the government regarding the journals, [Ayries] Blanck has since acknowledged that she physically copied the relevant portion of the Handwritten Journals after typing the Typewritten Journals," prosecutors stated.
Blanck now claims that the typed journal entries that later became the "2015" hard-copy journals were based "at least in part on contemporaneously-written journal entries," according to the government. These contemporaneous writings supposedly encompass both typed and handwritten entries. But if such journal entries really do exist, why didn't the Blanck sisters share the real 2015 entries with the Netflix filmmakers and the FBI?
The path they chose suggests there are either details of Ayries Blanck's actual journals that they wanted hidden, or things not in the actual journals that they wanted added. Perhaps both.
In any event, it doesn't leave the impression that any journals the Blanck sisters have produced or will produce can be trusted, nor does it reflect well on their overall veracity. Per prosecutors' admissions, Ayries Blanck not only made misleading statements to FBI agents on multiple occasions but actively engaged in subterfuge to cover her tracks, physically copying what was typed in the 2022 Google Doc to pass it off as a journal handwritten in 2015.
Lawyers for Daedone and Cherwitz are seeking to have the full March 12 letter from prosecutors unsealed, along with other statements Blanck has made about her journals and the unauthentic journals themselves.
"Since the defense first raised the falsity of the journals in September 2024, the government has consistently misrepresented facts about these fake journals in open court, in various filings, and even in a motion in limine claiming their authenticity," wrote attorneys Celia Cohen and Michael P. Robotti in a March 14 letter to Judge Gujarati. "In that lengthy motion, the government devoted eight pages to the admissibility of these journals, and it specifically asked the Court to find them admissible, based on their 'high degree of trustworthiness.'"
The lawyers also suggest in the letter that "the government should immediately drop the charges against the defendants" and also "investigate and prosecute Blanck for manufacturing evidence for this trial."
In another March 14 letter, attorney Jennifer Bonjean points to a potential departure from protocol when it came to the handling of Ayries Blanck's alleged journals and hard drive, which Special Agent Elliot McGinnis received in a package from Autymn Blanck on April 15, 2024. "Autymn testified under oath at a civil deposition that she sent McGinnis six to eight journals," but "the government has produced only three journals to the defense," they write. "Inexplicably, McGinnis did not put the journals into evidence until May 21, 2024 – over a month after receiving them." McGinnis also took two months to enter the hard drive into evidence, they say.
ACLU scores "historic win for bodily autonomy." An Ohio appeals court has rejected an Ohio law that banned puberty blockers and hormone treatments for minors suffering from gender dysphoria. The law, House Bill 68, is "unconstitutional on its face," wrote Judge Carly Edelstein in a decision co-signed by her colleague Judge Michael Mentel. (The third judge on the panel, Julia Dorrian, concurred in the judgment only.) The case was remanded to the trial court "to impose a permanent injunction as to enforcement of H.B. 68's provisions banning the use of puberty blockers and hormones 'for the purpose of assisting the minor individual with gender transition.'"
The challenge to Ohio H.B. 68 was brought by the American Civil Liberties Union (ACLU), which sent out an email calling the court's decision "an historic win for bodily autonomy and LGBTQ+ Ohioans."
"This win restores the right of trans youth in Ohio to choose vitally important health care, with the support of their families and physicians," said Freda Levenson, Legal Director at the ACLU of Ohio, in a statement.
AI isn't destabilizing elections. In Reason's April issue, I've got a write-up of a recent study from Princeton University researchers Arvind Narayanan and Sayash Kapoor, who analyzed AI-created political content during the 2024 elections. Their conclusion? "AI misinformation plays a very different role from its popular depiction of swaying voters in elections."
Texas launches first post- criminal case against an alleged abortion provider. Texas midwife Maria Margarita Rojas has been charged with providing illegal abortions. "Rojas' arrest marks Texas' first post-Dobbs criminal case for abortion," according to Abortion, Every Day writer Jessica Valenti. Rojas operated a network of Houston-area health clinics. Jose Ley, an employee of the clinics, was also charged with performing illegal abortions. The offense is a second-degree felony with a possible prison sentence of up to 20 years, according to The Texas Tribune.
Amazon nixes Alexa privacy feature. Amazon is getting rid of the option for Echo users to request that their voice requests only be processed locally. "Starting on March 28, recordings of every command spoken to the Alexa living in Echo speakers and smart displays will automatically be sent to Amazon and processed in the cloud," notes Ars Technica. The change is part of the rollout of Alexa+, a subscription service that utilizes generative AI.
"One of the most marketed features of Alexa+ is its more advanced ability to recognize who is speaking to it, a feature known as Alexa Voice ID," writes Ars Technica's Scharon Harding. "To accommodate this feature, Amazon is eliminating a privacy-focused capability for all Echo users, even those who aren't interested in the subscription-based version of Alexa or want to use Alexa+ but not its ability to recognize different voices."
"Amazon is betting big that Alexa+ can dig the voice assistant out of a financial pit," adds Harding."Amazon has publicly committed to keeping the free version of Alexa around, but Alexa+ is viewed as Amazon's last hope for keeping Alexa alive and making it profitable."
NetChoice sues over Louisiana age-verification law. Louisiana Senate Bill 162, which takes effect on July 1, 2025, "places multiple content-based restrictions on certain websites and their users—including parental-consent and age-verification requirements and restrictions on advertising on minors' accounts," explains tech industry trade group NetChoice in a complaint challenging the measure. Under S.B. 162, platforms would have to decide between verifying all user ages (so they could apply special regulations regarding data collection to minors) or treating all users as minors subject to the special rules.
The case—NetChoice v. Murrill—is one of many that NetChoice has been bringing against age-verification requirements. "Louisiana's SB 162 is a fiasco for free speech and online safety," said Paul Taske, associate director of NetChoice's Litigation Center, in a statement. "NetChoice is suing to confirm Louisiana's government upholds freedom and the Constitution and to ensure families and their digital safety are protected."
The post FBI Failed To Spot Faked Evidence in Case Against Alleged Orgasm Cult appeared first on Reason.com.
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Creating Costumes For Teen True Love In Netflix's 'Forever'
Justin Edwards (Michael Cooper Jr.) and Keisha Clark (Lovie Simone) star in "Forever" on Netflix. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix Tanja Caldwell designed the wonderful costumes for Mara Block Ali's Netflix series, Forever. But before that, it feels important to mention the source material on which the series is based. The novel, which has almost the same name, was first published in 1975, by beloved American author Judy Bloom. (Are You There God? It's Me, Margaret was also by Blume.) Forever-the-book won the Margaret A. Edwards Award in 1996, for its 'significant and lasting contribution to young adult literature,' and in 2019 was included in the BBC's list of the 100 Most Inspiring Novels. But regardless of its many commendations, the novel, intended for older teenagers, remains one of the 100 Most Frequently Challenged Books according to the American Library Association, 50 years after its original date of publication. Why? Because the book discusses sex and acknowledges that teenagers might be competent to both engage in the act and be able to deal with whatever consequences might arise afterwards. The reason the book resonated with teens in the 1970s and the 1990s is the same reason that the series resonates with viewers right now; it is a story that respects the voices of its young characters. In her adaptation, Ali made a point of conveying that respect, and of never looking down on her characters simply because they are young. Tiffany (Paigion Walker), Christian (Xavier Mills), Brittany (Adriyan Rae), and Shelly Clark (Xosha Roquemore) . Cr. Elizabeth Morris/Netflix © 2024. Elizabeth Morris/Netflix 'That was very important to Mara,' Caldwell told me, 'it was very important to Regina, who directed the first episode and was one of the executive producers, and all the directors that came on. Everyone, with Mara's lead, was about making it real and genuine to the time and to the people, the adults and especially the young people who are our main characters in this series. It was important to show that growth throughout. I think it's important to show young people in the diversity that they have, even at a young age. I think that gets them interested in their own storytelling, when we tell them in a way that's real and genuine to them.' [Caldwell, I need to tell you, was an assistant costume designer on Black Panther and Black Panther: Wakanda Forever, working under the incomparable Ruth Carter. It is so cool, I had to make sure you knew this.] Forever takes place in 2018 and 2019, a time which, post-Covid, feels almost technicolor in its innocence. These are also years that many members of Gen Z, the generation immediately following us millennials, spent in high school. Seven or eight years later those kids are all adults. Caldwell understood this, and she worked very hard to make her costumes Los Angeles in exactly those two years. Her research was incredibly extensive and the costumes reflect this fact, they are better for her diligent attentions but they never pull from the action occurring in a scene. Justin Edwards (Michael Cooper Jr.), Keisha Clark (Lovie Simone), Chloe (Ali Gallo), Aunt Katherine (Polly Draper) , Uncle Michael (Tim Bohn), and Jeanine (Sherri Saum) at the beach in episode five. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix 'There are significant fashion differences between 2018-2019 and today,' Caldwell said, 'but there are also a lot of similarities. It was really important to make some distinguishing wardrobe options and choices, but we also were able to still play with more modern fashion, which helped us out a lot. The process for me really is discovery and research, about these different characters from the script, but also what young culture was in LA at that time.' Wardrobe on any production is a blend of apparel purchased, rented, tailored, remade, made from scratch. This show was no different, but needing clothing that was from a specific window of time, less than a decade old, meant the costume designer spent a lot of time in Los Angeles vintage stores. 'It was fun to dabble in vintage things, archive things, rare sneakers, rare t-shirts, things of that nature,' she told me when I asked about this. 'It was really fun to dig. When I was a teenager, I really loved vintage, I loved shopping for vintage. I think what I loved more than anything was the hunt, when you were able to find something really beautiful, really amazing, or more than one piece, and it was in great condition, or if it was a designer piece and in your size, so you just so happen to be able to fit it in.' Justin Edwards (Michael Cooper Jr.) and Keisha Clark (Lovie Simone) begin to bond in "Forever." Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix Figuring out who each character is, what they would wear and why, is something worked out between more than one person. The script might be specific about clothing, the showrunner and/or director will have thoughts, the production designer and the scenes they stage will impact how costumes read. Actor spend a lot of time figuring out who they are portraying, and for some performers that involves collaborating with the costume designer. It's a lot to think about and remember. 'Part of what I love about costume design is the research,' Caldwell said to me with a smile, deflecting my praise with precision. 'The discovery, who these characters are and how we see them through a lens of fashion, what will be distinguishing about their characters. One thing I talked about with Mara was creating somewhat of a uniform for Justin. Not that he was wearing the exact same thing, but if you look, you'll see most of the time he has a certain uniformity to what he's wearing.' 'He's always in Dickies,' the designer continued, 'different colors, some may be shorter or longer or more narrow or a little more aged. But he's always in Dickies, some form of a t-shirt, whether it's a plain shirt or it's a band shirt or something with a subliminal message on it. Then he's got a flannel shirt or some type of second layer, which I think is really indicative of Los Angeles culture. Layering is a big thing out here, just with the change of the weather.' Justin Edwards (Michael Cooper Jr.) in an awesome Dr. Dre tee from Episode 1 of "Forever." Credit: Hilary Bronwyn Gayle/Netflix © 2024 Hilary Bronwyn Gayle, SMPSP/Netflix When she was reading the script, the costume designer told me, she could feel the influence on Justin's character from his parents. She thought this might be something that would peek into his wardrobe, a tiny bit. 'His mother, especially,' Caldwell said. 'Whether he wants it or not, her influence, her hand on him is extremely close and heavy. I thought, if she's buying his clothes and she's watching him that closely, she's make sure he does his homework, she's got a tutor for him. She stays in touch with everything that he has going on. She's going to have some hands on his clothes. He's not going to have ripped distressed jeans with a lot of holes, w he's always going to look clean and put together, but still having his thumbprint on it some way, somehow.' 'With Karen Pittman's character, Justin's mother, having to be so strict because she loves him so much, maybe even a little bit to her fault, maybe a little bit overbearing. I think she still wants her son to show up in the world a certain way, that's how my parents were. You have some freedom to express yourself. But there are certain things in fashion, certain trends that you're allowed to do at this age and others you're not allowed to do, that's not the type of image you want to present yourself at this age or under my roof. These are the standards. I feel like that was more or less the way Justin's mother influences his style. His dad, I think he's the good cop. He doesn't say a lot, but when he speaks to his son, he always says something really profound and you just get it and there are some similarities in even the way that they dress. Even in the sweatshirts and hoodies, dad usually is very well put together, but he has this laid back feel. He's never super buttoned up or stuffy, but he doesn't look drabby or disheveled either. I think that's part of him being a chef and also an artist. I think that's why he may understand his son a little bit better.' Justin Edwards (Michael Cooper Jr.) and Darius (Niles Fitch) in personalized variation of their school uniforms. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix As my regular readers will know, I am fascinated by uniforms, by the many, many ways there are to make or source garments en masse. I do love the challenge of military uniforms, but the sort worn to private schools offer similar challenges. 'We bought a ton of uniforms in the beginning,' Caldwell told me, 'because we knew we were going to need a multitude of them for background. We got a multitude of sizes. But before we even did that, we locked down with production, Mara especially, what the colors of the school are. Because there's a whole lot of work that goes into just clearing the name of a school and the colors that you use.' This is what I mentioned a little earlier, how no decision can be made independently of others. Telling stories on film is, by the nature of the medium, a collaborative art form. 'Once we decide what the colors are and what the name of the school is,' Caldwell told me, 'then we go out and we purchase from a uniform store. Then we go out and buy things for the main characters, just to add a little zhuzh to their particular uniform. But in this case, we tried to keep it really true to what it really is in LA. And a lot of private schools give you certain guidelines, on certain days you can wear this, and on certain days you can't. We were modeling their school off of a school that Mara and her nieces or nephews had actually gone to in Los Angeles. We tried to keep to what those standards and rules were. They all had their own little something because I think that's important.' Keisha Clark (Lovie Simone) in her school's uniform. Courtesy of Netflix Our main characters, Justin Edwards and Keisha Clark, don't attend the same high school, though they both do go to schools in LA. 'So, different colors and also two different standards of what the procedures are for those uniforms,' Caldwell reminded me. 'We did that research, and then we came about it organically. We tried on a bunch of different versions, the vest with the skirt, the vest with the plain skirt versus the plaid skirt. Her school didn't have a blazer. His school did, but didn't feel right for him but it felt great for Darius.' I asked the designer what she was concerned about most for Forever, what part of her job seemed to be most vitally attached to the arc the characters follow. 'For me, it was about trying not to draw so far outside the lines. I wanted to still be real and honest. And I love that the kids can wear their own sneakers, we definitely played that up with both of them. We definitely went in on the shoes. I think that was important, I think It's important to see representations of ourselves at every stage of life. If art is to imitate life, and vice versa, we have to show all those different stages, and we need to show it in the rawest, realest way. I think that sometimes we can be persuaded or influenced to show things in a way that we think we know it to be, not what it really is. So it is all about discovery and asking questions and observing people.' While I watched the series I kept noticing small things, like the way that the sportswear the teens wear after school at practice is carefully curated to the character who wears it. 'That's the thing about costume design,' Caldwell told me when I asked her about this,'just about everything is intentional, whether the viewer is aware of it or not.' How did this work practically? I was very curious, because things never happen on screen by accident, and when I see consistency across time, like I saw over and over in this series, I know it is because a person made certain that it did. The designer told me how she used color to subtly nod to the character wearing each costume. Tammy (Emyri Crutchfield) and Keisha Clark (Lovie Simone) in Episode 1 of "Forever." Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix 'For Tammy,' Caldwell explained, 'we put more in these darker muted colors, but they were still rich. We kept Keisha in the bright fluorescents, just because she's the star not only of the show, but she's also the star of the team. She's really pushing herself to get on a university track team and get that scholarship so she can attend. So I wanted her to stand out, even amongst her peers, when she was running. Even when she was with Christian at the Nike camp, I wanted her to seem bright. When she's at the Canyon, which worked really well because it was dawn, she's in a fluorescent orange, two-piece sports bra and matching shorts. When she's first running against Tammy and wins, she's in a fluorescent yellow Nike bra top and Nike shorts.' I asked Caldwell if she would tell me about something she was really proud of, something she figured out or made happen for Forever. There are so many more solutions than we are conditioned to see, and costume design is excellent proof that I am correct. A dozen costume designers presented with the same challenge would come back with a dozen different ways of making it happen. So, while working on this Netflix series, Caldwell generously told me this story, 'This was a really crazy story and something you don't see as much. We were doing interstitials, towards episode eight, Instagram shots that you see really quick that helps us pass time. There is a shirt that we actually made, one that we found, that was vintage,' the designer told me. 'We had to get it made because we needed multiples of it. And later we ended up revisiting it in a scene with Keisha and with Justin. ' 'In those shots,' Caldwell explained, 'Mara was putting them at a Little Uzi Vert concert. We went and found the Little Uzi Vert tour t-shirts from 2018, 2019, saw what those shirts looked like, and we really tried to get them. We only found one or maybe two. Scouring the world, you know, Etsy and vintage shops online and here in LA. The one thing about vintage is that when you're not looking for it, that's when you find it. If you look for something, you never find it. A few of them we had to recreate because we didn't have enough to place on all four actors. Costume designer Tanja Caldwell. Courtesy of Tanja Caldwell 'What's great about our process is in the beginning of prep, we were able to just start collecting a lot of beautiful vintage things. LA still has quite a few really great vintage stores that still collect, an assortment of really great tees in great condition. That was something from the research, in 2018, 2019, what did band tees look like? What concerts were going on? What artists were big then that teenagers were listening to?' Would she be willing to share any names of the places she likes to shop for vintage. 'I'm not a gatekeeper,' the designer said to me with a laugh. 'I like to share information because I like to get their information back. 'We found some really good t-shirts at American Rag on Melrose,' she continued. 'They're always really helpful and were really great, especially with Justin's band tees. They have a great assortment of vintage; skater, hip hop, old vintage Ralph Lauren… It was a really one-stop shop that we could go to. There's a really great shop, Virgo, that I love personally. It's in downtown LA and the owner is this really special young woman who started it. I go there to shop and I love their stuff.' When the last episode of Forever came to a close, I desperately wanted to warn the characters that Covid-19 was coming. That is how real these characters and story feel; the suspension of disbelief is as seamless as the costumes Tanja Caldwell designed for the series. 'I'm just really fortunate that I was able to be a part of it,' said the designer. All episodes of season one of Forever are available to stream on Netflix.
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Why young men seek community in the ‘manosphere'
'Adolescence,' Netflix's hit mini-series about a young man who commits a horrific act of violence after engaging with incel ideology online, brightened the media spotlight on the 'manosphere.' The manosphere — a web of online communities, podcasts and influencers that promote conversations about modern masculinity but often misogyny, as well — was already on the minds of many parents and researchers, but the show put the debate around it into hyperdrive. Some, including the prime minister of the United Kingdom, praised the show for making it clear that the manosphere is leading boys and young men to dangerous places. But others felt the show overplayed the potential for violence and overlooked how many people engage with manosphere content just for fun. Researchers that spoke with the Deseret News about the state of the manosphere agreed that the situation is more nuanced than is often discussed. For one thing, it should be acknowledged that boys and young men who are engaging with this content are often trying to solve a very real problem: the lack of spaces where they are free to discuss their fears, said Daniel Cox, director of the Survey Center on American Life. 'You have podcasters and influencers who are talking to young men and talking about the problems that they have, the experiences that they can relate to,' Cox explained. 'And there's just so few other places they can have this kind of freewheeling, engaged conversations and feel like they're part of something.' That's one reason why Cox and other experts recommend entering into conversations with young people about the manosphere without judgment. Your goal should not be demonizing this online space, but instead seeking understanding. 'The first thing I often say to parents is listen to your young people, be prepared to listen,' said Craig Haslop, a senior lecturer at University of Liverpool who has done research on the manosphere. Research shows that young boys and men are struggling now more than ever before. According to The New York Times, girls now outperform boys in reading tests and achieve higher GPAs at school, while boys are 'more likely to be suspended.' Girls are also more likely to graduate from high school than boys and 'outnumber men in college enrollment.' As boys transition into adulthood, they're delaying important and traditional milestones. This trend is present among young women, too, but young men typically feel it more acutely. According to The New York Times, 19% of men between 25 and 34 live with their parents, in comparison to 13% of women. Men are also slightly more likely to be single — 39% of men are single compared to 36% of women, Pew Research Center found in 2021. Men are also facing new challenges in the workforce. As The New York Times pointed out, 'many of the jobs that mostly men did, like manual labor, have disappeared in the United States.' 'Of men ages 25 to 54, 89% are in the labor force, down from 94% in 1975. Of women that age, 78% are in the labor force, up from 55% in 1975,' the article noted. To put it simply, young boys and men are falling behind and unsure of how to catch up. According to Cox, many manosphere influencers have zeroed in on these issues and provided one of the few spaces where boys can commiserate about their problems. 'I think, to be fair, a lot of these podcasters are probably accurate in identifying some of the challenges that young men are facing,' he said. 'Whether it's economic challenges of the system (and) the fact that, in politics, the system is not responsive to the concerns that many young men have.' Most boys and young men likely aren't initially interested in the misogynistic ideas that circulate in the manosphere, Cox added. They're just looking for examples of how to be men in modern society and for solutions to their struggles. 'I think, something that those folks tend to do is speak very clearly about gender roles and articulate a clear vision of masculinity,' Cox said. 'And even if much of what they're articulating is not achievable or problematic, it is a clear roadmap.' Manosphere influencers, like Andrew Tate, offer advice about the very real concerns on young men's minds, including how to do better at school, how to get dates and how to make more money. But according to Haslop, this advice can drive a wedge between young men and young women. Manosphere influencers 'will reiterate what might seem like innocuous stereotypes, but (that) actually do undermine women,' he said. Listeners or readers may not realize they're becoming more hostile toward women because the content they're consuming seems to fit their experiences, Cox said. They often observe their female counterparts, especially in school, 'getting better grades, getting into better schools, getting awards, getting all the attention. And they're like, wait a second, the story that I'm being told about gender inequality and gender disparity, that's not what I'm seeing in my own life experience,' he said. But this discussion of these trends becomes problematic when it pushes young men into a victim mindset instead of encouraging them to form meaningful connections and try new things. 'It's about you getting what you deserve. It's not about service or not about sacrifice. It's only about how you're feeling and validating your feelings and emotions,' Cox said. Users may end up angry and withdrawn from the world, a trend that stands to deepen the male loneliness epidemic. 'These guys who fall down the manosphere rabbit hole ... are unable to forge and develop the kind of relationships that could help them avoid some of the more toxic lessons that the manosphere is teaching,' Cox said. Harriet Over, a professor at University of York and co-author of 'What do we need to know about the manosphere and young people's mental health?,' also worries about the manosphere's potential influence on mental health. 'Some influencers claim that 'depression isn't real' and that successful men can't get depressed,' she wrote in an email. 'The risk is that engaging with this type of content will discourage young men from seeking out valuable sources of support.' According to Over, there are a few warning signs that parents can look out for if they're worried about their child's relationship with manosphere content. 'One possibility is that children may start to express views they haven't spoken about before,' she said. 'For example ... some influencers are advocating for women to lose the vote.' Over also recommends keeping an ear out for any incel terminology, like 'black pill' or 'red pill.' But both Over and Haslop recommend listening without judgment. 'From our research, one of these we really recommended is to avoid demonizing those influences like Tate,' Haslop said, since criticism can reinforce the narrative that these creators are being targeted for unfair attacks. Instead, Haslop recommends that parents teach their children 'good, critical digital literacy' and encourage them to fact-check and assess information they come across in the manosphere — especially misogynistic or racist content. Over recommends a similar approach. 'Encourage them to think critically about what they view,' she said. Over suggested asking your children these questions: Can you think of counter examples to what the influencers are saying? What do you think the influencers' motivations are in saying things like that? How do you think hearing disrespectful or unkind content makes other people feel? Both Cox and Haslop said young boys and men need spaces to express their feelings and talk about their issues without judgement. 'I think it's definitely one of the issues we've got in society is men not being able to feel they can talk about stuff, being open, being vulnerable,' Haslop said. As Cox pointed out, there's plenty of 'upside(s) for female-only places,' while similar male spaces have 'come under critique.' 'The locker room can ... be a place where young men are kind of feeling out the ways for them to engage with each other,' Cox said. What we need, Haslop said, is for any environment where young men gather — school, sports, etc. — to encourage boys to be vulnerable with each other, talk about their issues and dismantle negative gender stereotypes. Families should have these discussions, too. While we should be worried about boys and young men who feel lost today, this is hardly the first time that experts are wringing their hands over a masculinity crisis, Haslop said. What's new is that digital spaces, including social media sites and podcast feeds, make it possible for problematic responses to today's crisis to spread like wildfire. Moving forward, Cox said he'll be watching for what the rise of the manosphere means for young men's relationships, particularly with young women. As more young boys and men are being drawn into the manosphere, more young women are expressing their aversion for manosphere ideology and the men who promote it. 'I am interested in where this is going,' Cox said. 'Where does it all end, societally? ... Where do we go from here?'