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    ‘Fantastical’ Is a Catfishing Horror Story About Toxic Fandom

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    “Fanatical,” an eye-popping film directed by Erin Lee Carr, details the bizarre 16-year ordeal that the duo and their fans endured.The turn-of-the-century internet was organized not around content selected for us by algorithms, but around shared interests that we sought out. Whether you loved a band or were devoutly religious or had questions about your sexuality, someone had made an AOL chatroom or a message board or a LiveJournal community where you could meet people like you. It was often invigorating and life-affirming, especially if you felt lonely in the real world. It seems like the exact opposite of today’s personality- and ad-driven internet.The new, eye-popping documentary “Fanatical: The Catfishing of Tegan and Sara” (Hulu), directed by Erin Lee Carr, is about that era and what became of it. But the lens through which it tells the story involves a truly bizarre series of events related to Tegan Quin, who with her twin sister, Sara Quin, formed an eponymous indie pop band that became huge right as the social internet was taking off. At the start of the film, Tegan says she’s never talked publicly about the situation before, which began 16 years ago. In fact, she admits to Carr, she already kind of regrets talking about it now.The duo started to become famous after their 2004 album, “So Jealous,” when the sisters realized their growing audiences skewed young, mostly female and mostly queer. Their concerts were safe spaces, and their fans often found one another through sites devoted to the band. Both women, but Tegan in particular, were active on the internet, and made a point of connecting with fans both online and at shows. They fostered a community.But “Fanatical” is not a profile of the band or its fans. It’s a horror story.In 2008, a fan named Julie contacted a Facebook profile that appeared to be Tegan’s. A yearslong messaging relationship ensued, one that turned close and even intimate. But then, in 2011, Tegan did something that felt off to Julie. So she contacted the band’s manager.From there emerged the kind of mystery that’s actually a nightmare, a story Carr tells through interviews with fans, the band’s former management, a few experts and both sisters. The user Julie had been talking to for years wasn’t Tegan at all — it was someone impersonating Tegan, a user they all started calling “Fake Tegan,” or “Fegan.” For Julie, this relationship had been deeply meaningful, especially since Tegan and Sara’s music was a way to process her fear when, as a college student, she began to question her own sexual orientation. When “Fegan” turned aggressive, even verbally abusive, she was wounded — and realizing that years of her life had been spent unburdening her secrets and her soul to someone who wasn’t Tegan was horrifying. As the band and their management discovered, these intimate messaging relationships went far, far beyond Julie — and so did the fallout.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Britney vs Spears’ Review: When the Intervention Is the Problem

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      A Netflix documentary directed by Erin Lee Carr offers a timely if vexing primer on the pop star’s legal battle, which may finally be coming to an end.If the makers of “Britney vs Spears” could add one more update to the end of the documentary’s already lengthy text crawl of developments following the film’s completion, they’d have fresh material. On Wednesday, a judge agreed to the suspension of the pop star’s father, James P. Spears, as her conservator.If you have managed to ignore the unfolding story of the conservatorship and the solidarity movement #freebritney, the director Erin Lee Carr’s documentary may serve as a timely if vexing primer. The conservatorship, a legal arrangement that gave the star’s father and others a kind of absolute guardianship over her, was put into place 13 years ago. At the time, it was temporary. The pop music phenom is now 39 years old. In the summer, the battle over the situation hit warp speed.“Britney vs Spears” quickly establishes the magnitude of the performer’s reach with images of packed concerts and rapt fans (so many screaming teenage girls), and clips from her music videos, including the one that put her on the map: “… Baby One More Time” (1998), in which she appeared famously in schoolgirl garb.Relying on a great deal of pickup footage — some from news coverage, some seemingly from hounding paparazzi — “Britney vs Spears” can be dizzying and dismaying. More often, the documentary provides an apt example of what it must be like to be a celebrity surrounded by intimates whose agendas appear murky at best. Throughout, the viewer must factor in a good measure of suspicion. Which declarations are accurate? Which are biased? When are they both? Why did this person agree to an interview?Among those who speak on Spears’s behalf but also have their own freighted relationship with her fame and wealth are her sometime manager and friend Sam Lutfi, who rates high on the ick-scale, and an ex-boyfriend Adnan Ghalib, who met Spears when he was part of the pack of paparazzi chasing her. Even the superfan Jordan Miller, who helped start the #freebritney movement, seems a little too pumped for his adjacent fame.A welcome exception to the iffier interviewees is Tony Chicotel, a lawyer and expert on long-term-care rights and California law. The filmmakers call on him to help navigate the ins and outs of the conservatorship. Like guardianship, the court-appointed conservator role exists to protect people who aren’t able — physically, mentally — to make decisions. (The recent comedy “I Care a Lot” made dark sport of the potential for abuse, with Rosamund Pike playing a court-appointed conservator who preyed on older people.)The journalist Jenny Eliscu, who wrote about Spears for Rolling Stone, plays a significant role in the film (she’s an executive producer). In 2020, the film’s makers received a load of leaked documents about the conservatorship. In a framing device that tries a little too hard to put some distance between “Britney vs Spears” and more exploitative celebrity coverage, Eliscu and the director sit in front of those documents, a Woodward and Bernstein for an Instagram age. (In February, “Framing Britney Spears,” a documentary produced by The New York Times, was released, which I haven’t seen. The same goes for a follow-up, “Controlling Britney Spears.”)To her credit, Carr is transparent about where her sympathies lie. Early on, the camera peruses a girl’s bedroom, focusing in on a pink boombox. The director confesses in voice-over that at 10, she was obsessed with Spears and “… Baby One More Time.” So much so her father, David Carr, asked, “Why are you listening to that song over and over?” Later in the film, Eliscu tears up as she tells the story of secreting a legal document to Spears at a hotel.“Britney vs Spears” underscores how tricky it is to make a credible documentary about a celebrity under duress without repeating many of the gestures that treat fame as the sine qua non of American culture. Even the Oscar-winning documentary “Amy,” a far more elegant dive into a tough pop-music story, could not elude fully the sense that the way it told Amy Winehouse’s story also replicated at times a suspect fascination.This documentary doesn’t dodge the fact that at the time the conservatorship was put in place, there was a great deal unspooling in Spears’s life that had her family concerned about her emotional — and financial — welfare. The year before the court granted James Spears control of his daughter, Britney had divorced Kevin Federline. The couple had two very young sons, who were the subject of custody skirmishes. Amid those tensions, Britney Spears’s behavior was erratic.But what happens when the intervention becomes the problem? The Britney Spears factory — and its myriad subsidiaries — remained robust, golden-goosed by her output. There was a cottage industry of lawyers employed by the conservatorship. The concert footage, the music videos and the clips of Spears rehearsing dance steps all appear to attest to a hard-working ethos and seem to challenge the notion that she could not conduct her affairs. The greatest lesson of “Britney vs Spears” might be how exploitable the role of conservator can become.Still, something remarkable happens at the end of the film. In a deft move, Carr uses excerpts from a recording made at a court hearing in June. After all those talking heads speaking about her, speaking for her, Britney speaks. And what she says has a sorrow and a fury, but also a clarity and defiance.Lisa Kennedy writes on popular culture, race and gender. She lives in Denver, Colo.Britney vs SpearsNot rated. Running time: 1 hour 33 minutes. Watch on Netflix. More

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      Will the Court Address the New Britney Spears Documentaries?

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      Bugging. Restrictions on spending. Failed efforts to hire her own lawyer.In recent days, three new documentaries have come forward with revelations about the degree to which the conservatorship has exerted control over Britney Spears’s life for 13 years — and the extent to which she sought to regain that control early on, without success.On Friday, for example, The New York Times released “Controlling Britney Spears,” which detailed how Ms. Spears’s father and the security firm he hired to protect her ran an intense surveillance apparatus that monitored her communications and secretly captured audio recordings from her bedroom.Ms. Spears’s lawyer called for an investigation, writing in a court filing this week that her father had “crossed unfathomable lines,” further supporting the need to suspend him as her conservator immediately.Early on Tuesday, Netflix started streaming its own film, “Britney Vs Spears,” which used confidential documents and interviews with people who were close with Ms. Spears to detail the singer’s strong objections to the legal arrangement that went on to rule her life, as well as her attempts to escape it.A third documentary, CNN’s “Toxic: Britney Spears’ Battle For Freedom,” aired on Sunday, and included interviews with some of the singer’s friends and former employees. Dan George, who managed the promotional tour for Ms. Spears’s “Circus” album, says in the film that Ms. Spears “could only read Christian books” and “her phone was monitored.”The Times documentary includes an interview with Alex Vlasov, a former employee of a security firm, Black Box, that was hired by Mr. Spears to protect Ms. Spears. Mr. Vlasov, who worked as an executive assistant and operations and cybersecurity manager, said the firm would monitor Ms. Spears’s communications through other devices that were signed into her iCloud account and share them with her father.The surreptitious audio recording, he said, included her interactions and conversations with her boyfriend and children. (It was unclear whether the court had approved these strategies, and both Mr. Spears and the security firm said in statements that their actions were within the law.)The Netflix film, by the filmmaker Erin Lee Carr and featuring the journalist Jenny Eliscu, reported that, very early in the conservatorship, Ms. Spears had attempted to hire her own lawyer to help her escape the strict limitations of the conservatorship.Ms. Spears is heard on a 2009 voice mail addressing a lawyer, who is not identified, seeking reassurance that her effort to end the conservatorship would not jeopardize her right to time with her two sons. At the time, about a year into the conservatorship, Ms. Spears was represented by a court-appointed lawyer after a judge determined that she did not have the capacity to choose her own.Ms. Eliscu, who said that she knew Ms. Spears after profiling her twice for Rolling Stone, recounts a time when Sam Lufti, Ms. Spears’s friend and sometime manager, asked her to surreptitiously present court papers for the singer to sign; the papers stated that Ms. Spears’s court-appointed lawyer, Samuel D. Ingham III, was not “advocating adequately on her behalf.” Ms. Eliscu said she met Ms. Spears in the bathroom of a hotel and the singer signed the document, but her wishes were not granted.Ms. Spears was represented by Mr. Ingham until July, when a judge ruled that she could choose her own lawyer.Watch The New York Times documentary that highlighted the “Free Britney” movement, which supports the pop star Britney Spears’s efforts to get out of a 13-year court-sanctioned conservatorship.G. Paul Burnett/The New York Times More