Our Date with Anarchism

Illegal logging operations had been razing the oak forests surrounding the town for years, with the backing of one of the sprawling cartels that now effectively controls large swaths of Michoacán, the Mexican state in which the town of 20,000 resides.

And since neither the local police nor the Mexican government seemed interested in following up on the community’s complaints, Cherán’s residents — most of them indigenous Purépecha people — suspected these entities were cut in on the deal. After loggers began kidnapping, raping, and murdering locals, and the clear-cutting began to threaten a nearby spring, the town’s women made up their minds to fight back.

Early in the morning of April 15, a few dozen of them, armed with rocks and fireworks, surrounded a bus full of loggers. They took two loggers hostage and kicked the rest out of town. Then they ejected the mayor, the cops, and any representatives of Mexico’s main political parties they could get their hands on.

Seven years later, the cartels haven’t come back to Cherán, and neither has the government. A citizen militia tightly controls the border around the town, searching visitors for party propaganda along with more common types of contraband. On voting day for the recent presidential election that put leftist reform candidate Andres Manuel Lopez Obrador in power, Cherán residents who wanted to cast a ballot had to travel to neighboring towns to find a polling place.

Cherán now has a council of citizens instead of a mayor and a citizen watch patrol instead of police, and it effectively exists outside the rule of the Mexican government, thanks to a supreme court decision in their favor. Sending the feds packing seems to be working out for Cherán. Crime is down, happiness is up, and the forest is starting to grow back.

In 10,000 years of human civilization, we have yet to come up with a single form of government that’s functional, stable, and capable of scaling up to fit our forever-expanding societies. From god-kings to colonial empires, every idea we’ve had for organizing large populations under one power structure has collapsed when it was stretched too far. It seems like the only ways to unite people behind a government are to threaten them (like North Korea) or bribe them (like Denmark, which is so swamped with oil money that its secondhand-vinyl sellers can afford to winter in South America).

There was a minute there, between the fall of the Soviet Union and the launch of Russia’s internet war on Western politics, where it seemed like liberal democracy might win out as history’s final form of government, capable of uniting the whole world under one global order. But that was before hackers uncovered its possibly fatal vulnerability to the new information paradigm, and brought the entire postwar political order to the brink of collapse with what appears to be a modest Facebook advertising budget. The schisming of the United States, the European Union’s teetering on the edge of a breakdown, and liberal democracy’s seemingly insurmountable difficulty in finding a foothold in the Middle East all strongly suggest that this system isn’t any better suited for the future than Soviet communism was.

For the past few years, the news has felt like play-by-play commentary for a society spinning out of control. Our young millennium has seen technological change, societal change, and environmental change accelerate to dizzying, unprecedented speeds. We’re bound for a kind of a social singularity, one where our increasingly interconnected, digitized, globalized society reaches a tipping point and… something changes on a deep, fundamental level.

We’re about to cross the threshold into a new epoch, one as distinct as the Iron or Industrial ages, and we don’t really know what’s on the other side. Moreover, it’s becoming increasingly obvious that we don’t have a working plan for how we’re going to govern it.

So here’s the question: If we can’t figure out a kind of government that’ll work for us the way we want it to, why should we bother having governments at all?

Cherán isn’t the only community on Earth functioning effectively without a government. Other indigenous communities in Mexico have followed the example of the Zapatista uprising in Chiapas and established their own autonomous cooperatives. Christiana, the leaderless city within Copenhagen, has existed almost entirely outside of direct rule by the city or national governments since 1971, and has even survived a few organized attempts by those governments to shut it down. Closer to home, Burning Man has been collectively building, operating, and dismantling a more or less hierarchy-free city in the Nevada desert every year for over three decades. Maybe, the animating idea goes, we’d all be better off if we gave everyone in power the boot.

The technical term for organizing people without a government — or at least the kind of top-down hierarchical structure that we usually mean when we say “government” — is anarchism. And for a growing number of people, it’s looking like the future of power.

In American politics, anarchism is a dirty word. We typically think it means bomb-throwing terrorists sowing chaos for chaos’s sake, which is why conservatives have for so long used it to try and discredit everyone from labor organizers to civil rights leaders. But America is, in a lot of ways, a deeply anarchist nation, born out of rage against restrictive systems of power, and has remained intensely skeptical of power, even during periods like the one right now where we vote for leaders who openly revel in accumulating it.

We’re taught early on that the United States is a democracy, but the ideal America that we’re raised to believe in — a place of infinite personal liberty, where everyone gets a say in how things are run and anyone who doesn’t like it can head out west and try their own way — is quintessentially anarchist.

The friction between the Thoreau-style anarchist utopia we’re raised on and the constraints of an imperfectly designed representative democracy has done more to shape the American political identity than anything else.

Although anarchism in the United States has operated mostly on the fringes, some of its most potent ideas have managed to embed themselves deep in the mainstream. Anarchism’s success as a political concept is difficult to measure by standard means. For obvious reasons, there isn’t an Anarchist Party fielding candidates whose votes we can tally. But its influence on mainstream American politics is undeniable, even if it doesn’t get much credit.

For instance, the model used by nearly every successful social protest movement of the past decade — horizontally distributed, leaderless, local — was designed for antinuke protests in the seventies and eighties by anarchists, along anarchist principles. On the left, social and political ambitions that even just a few years ago were considered untouchably radical by most politicians have become part of the mainstream discourse. “Abolish the prison system” used to be an intentionally provocative anarchist slogan, so far outside polite political discourse that it could shock an audience into action or reaction. Now? It’s something that people put in their Twitter bio.

Since the Reagan era, republicans have been infatuated with libertarianism — the idea that the government should be shrunk down to a size where it can be drowned in the bathtub.

Liberals have for decades dismissed their anarchist cousins as either ineffective political daydreamers lost in theory and to the infighting that can arise over tiny points of abstract disagreement, or, alternately, as hotheaded hooligans who use revolutionary politics as a cover to excuse their enthusiasm for property damage. But as anti-Trump resistance pushes liberals farther left, many of them are rediscovering their anarchist roots and raising the black flag of anarchy over social media.

Anarchism hasn’t made the same kind of inroads on the right, which makes sense considering how much emphasis conservatism puts on structure, order, and obedience. But it’s there. Since the Reagan era, Republicans have been infatuated with libertarianism — the idea that the government should be shrunk down to a size where it can be drowned in the bathtub. Over the years, libertarianism’s antigovernment ideals have flourished so extravagantly on the right that it’s stopped being shocking to hear GOP politicians making passionate speeches against the validity of the governments they’ve been elected to serve.

All that libertarianism has left conservatives open to accepting ideas like the somewhat contradictory-sounding anarcho-capitalism, which pushes faith in the supremacy of the free market to its furthest logical conclusion, calling for the transformation of a government’s services and duties into saleable products. This philosophy’s been most closely associated with Silicon Valley, where everything new is by nature better than anything that’s been done before, and where the combination of billions of dollars and intense competition have produced egos of a seemingly ungovernable size. But it’s also found open arms in the business-friendly conservative mainstream, where legislators and regulators are already working closely with corporations to reduce the government’s ability to govern them.

PayPal co-founder Peter Thiel is one of the world’s most outspoken anarcho-capitalist true believers, and was one of Donald Trump’s biggest tech supporters during the election. His attention-grabbing speech at the 2016 Republican National Convention shows, ironically, just how much influence anarchism currently has in the upper echelons of power.

In real life, the current flourishing of anarchist enthusiasm doesn’t look much like the Hollywood action-movie conception we’re familiar with: balaclava-clad rioters, guerilla bombing campaigns, rogue hackers releasing viruses that shut down the world’s financial systems while broadcasting video of a shadowy anarchist leader, probably wearing a balaclava, reading a manifesto. Despite their badass reputation, most anarchists are bookish poli-sci wonks who spend more time arguing over theory than anything else.

All that arguing and theory have led to a vibrant spectrum of ideas about what anarchism means, and what the end results might look like. There is, of course, the kind of anarchism familiar to anyone who’s spent any time on a college campus since the eighties: left-leaning, heavy on collectivism, and intersectional with a whole range of social justice causes. There are anarchist schools of thought focused on ecology, ones centered on feminism, and ones for people who don’t want to do anything to help anyone else.

Queer and trans people have expanded the range of possibility for anarchist revolution by adding sex and gender to the list of systems it could disrupt. There are anarcho-communists counterbalancing the current fad for anarcho-capitalism. There are militant anarchists and pacifists. There’s veganarchism, which is exactly what the name suggests.

One of the advantages of anarchism is that it’s easily shaped into nearly anything that someone wants it to be. In an age where our politics and our identity are becoming nearly the same thing, this is a key strength. In our representative democracy, reform is electing someone who sees things more like you than the last person who had their job. Anarchism gives you a plan to tear everything down and rebuild it to fit your specific worldview.

From an outside perspective, the different models might seem impossible to implement in real life, but in truth organizing things along generally anarchist lines makes practical sense.

Systems that are regimented to within an inch of their lives can give the illusion of being secure and stable while hiding massive vulnerabilities. The U.S. spent two decades trying to figure out ways to protect its voting system from hackers and saw a presidential election disrupted by a swarm of cheap Twitter bots. Conversely, an anarchistic system designed for maximum flexibility and adaptability — maybe some kind of data-generated direct democracy — would be able to absorb the effects of unforeseen change. You don’t have to worry about whether or not your president is being blackmailed by foreign agents if you don’t have a president.

The internet gives us a real-life illustration of a nonhierarchical system in action. Organized to avoid hierarchy, the internet stands as the greatest experiment in mass anarchism in human history. It was deliberately designed with a bare minimum of rules by a community of scientists and programmers mixing radical anarcho-leftists and libertarians, and it’s largely resisted efforts by the strongest political powers in history to control it.

Anarchism’s influence on mainstream American politics is undeniable, even if it doesn’t get much credit.

The internet transcends geographic and social borders, allows theoretically anyone on Earth to speak to a global audience, and is set up in a way that even repressive, technologically capable governments like China’s can’t entirely dictate how people use it. In many ways, it’s the culmination of a century’s worth of anarchist dreaming.

The culture that’s emerged online is similarly anarchic. From the very start, the internet’s denizens have revolted at any top-down attempt to infringe on their ideal of unimpeded digital liberty, even as governments and multinational corporations have gotten involved.

Reddit and Twitter became two of the biggest communications hubs on the planet largely because they refused to tell people no in any but the most extreme cases of abuse. As internet culture rewarded platforms that allowed users to set the rules themselves, en masse, and starved ones that tried to import IRL hierarchies, it created a virtual world where the distribution of power is far more favorable to the average person.

In a very real sense, we are never more free than we are when we’re online. And the more time we spend in this virtual anarchist utopia, the more we want the real world to feel the same — and the more frustrated we get when it doesn’t. It’s no coincidence that some of the most effective political and social movements in recent memory have not only been born online, but reflect the internet’s inherently anarchist nature.

There’s no president of Black Lives Matter or #MeToo. There also isn’t a single mastermind behind the alt-right movement or the burgeoning incel intifada that began as an internet joke before crossing over into the real world with tragically real consequences.

Nor does it seem to be a coincidence that the most recent victorious presidential campaign was the one that promised more than anything to get rid of as many rules as possible.

Dapper white nationalists and sexually frustrated spree killers are strong arguments against making the real world more like the internet — and for keeping the societal structures that sometimes feel constraining and outdated but still do a decent job of holding the world together. Some people really do just want to watch the world burn. Giving them ways to share ever more sophisticated means for destruction has made the world more chaotic — a place where prank phone calls have evolved into swattings, where mass shooters are held up as heroes, and where national security specialists (and other concerned people) lose sleep over the possibility that a misanthropic 4channer will somehow set off a nuclear conflagration for the lolz.

Anarchism is a philosophy based on the idea that we can take away the rules and people will still more or less behave themselves. Certain quarters of the internet represent exhibit A in a very strong case that we don’t deserve that trust.

The idea of corralling the internet’s anarchist tendencies went out the window a long time ago. Still, if the world of the internet was organized in a nonhierarchical way, its creators weren’t actively seeking to dismantle dominant real-world structures and global power centers. Blockchain technology, on the other hand, is specifically designed for this job.

You don’t have to worry about whether or not your president is being blackmailed by foreign agents if you don’t have a president.

Like the internet itself, it can be confusing to explain in detail how the blockchain works, but in simple terms, it’s a way of distributing a bunch of information to a bunch of people in a way that preserves the secrecy of the data and prevents corruption by outside parties.

Its best-known application is Bitcoin and the many cryptocurrencies that are causing a virtual gold rush of as yet to be determined proportions. The identity of Bitcoin’s creator, the pseudonymous Satoshi Nakamoto, isn’t known, and so ascribing any specific political philosophy would be just a guess. But since the technology’s unveiling nearly a decade ago, Bitcoin has attracted anarchists of all stripes — in particular crypto-anarchists — who are united less by a specific political goal as by a desire to make it as hard as possible for governments to snoop in on private communication. They want to create conditions for a revolution (or revolutions) without getting hung up on what specific form it will take.

While crypto-secured communication is undoubtedly helping to power some burgeoning people’s revolutions — and is most definitely empowering whistleblowers — it’s the more audacious goal of replacing government-issued money that seems to have the most potential to upend the status quo.

We deal with money every day. Money permeates every corner of our lives, and as long as the government controls money, it gets to share that constant intimate presence. It’s the ultimate form of control. If the U.S. government disappeared overnight, there wouldn’t be rioting because we felt like the grownups had left the room, but because we wouldn’t know how to buy and sell things anymore.

Being able to create and exchange money without the government’s involvement could potentially be even more powerful than communicating without the government being able to overhear. Cryptocurrency poses an existential threat to the establishment, not just because a lone wolf terrorist might use it to buy a nuke on the black market, but because a lot of people might use it to buy a lot of things.

Cutting the government out of our financial transactions would significantly shrink its footprint in our lives. And that’s only the beginning.

Thinking up ways to replace everyday government functions has become something of an obsession in the blockchain world. People are already designing smart contracts that would eliminate the need for courts to verify or enforce them. The blockchain could conceivably replace even deeper government functions, like voting.

If the technology’s evangelists have their way, it’ll chip away one by one at all the myriad roles the government plays in our daily lives until there’s nothing left to hold it up, and it collapses, unmourned and unmissed — anarchy through obsolescence. The fact that most of the financial daredevils flooding the blockchain market are in it for fortune and fast cars, and not explicitly to destabilize Western democracy, is beside the point.

The blockchain is a promising tool for bringing down the established order of things, without a clear picture of what will replace it (besides more things built on the blockchain). There’s a lot of hope that the tech world will be able to deliver us a solution to the situation, even though there’s not yet one in sight.

The model for how things might work after the social singularity we’re heading for could come from treating the distributing of power like selling apps. Software engineer Patri Friedman wants to apply the tech world’s iterative design philosophy — build it, break it, and build a better version — to our quest for a new way of running the world.

The co-founder of the Seasteading Institute, Friedman wants to turn the ocean into a laboratory for applied politics by creating autonomous mini-countries on floating platforms where we can see how even the most experimental governmental theories work out in practice. It’s a radical, sci-fi-level idea — not to mention the source of a lot of jokes about Silicon Valley “visionaries” — but it very well could make it off the drawing board. Friedman and the Seasteading Institute are tantalizingly close to putting a test platform in the water off French Polynesia.

The son of economist David D. Friedman, who coined the term “anarcho-capitalism,” and grandson of the Nobel-winning libertarian theorist Milton Friedman, Patri Friedman is personally rooting for a system based on a radically untethered free market. But the benefit of trying out every conceivable approach is that we might find the solution where we least expect it. Maybe someday soon the residents of a pontoon city in the Pacific will discover that veganarchy is actually the way of the future.

There are others who believe that technology is sufficient on its own to deliver us to the next stage in the evolution of human civilization. We’re on our way to becoming entwined with our technology on a deeper level than we can even wrap our heads around yet. AI, cybernetics, and most likely some new kind of technology yet to be invented are going to blur — and then maybe even erase — the line between us and our computers, between the real world and the virtual.

Anarcho-transhumanists fear that the world-shaking technological breakthrough we’re careening toward could turn into an opportunity for established powers to control us on a much deeper level than before — imagine being offered a powerful new computer brain, but you’d have to agree to let Google use it to sell you customized ads.

On the other hand, if we do things the right way, spreading this new power out evenly, and using it to maximize our use of the planet to benefit every person equally, we could be looking at a world of limitless abundance, where scarcity will disappear, along with the war and oppression and strife that scarcity breeds.

Anarchists are some of the only people besides sci-fi writers who’ve thought seriously about what that kind of world might look like. (The anarchist philosopher Murray Bookchin was already thinking about it when he published Post-Scarcity Anarchism all the way back in 1971.) And anarchy is really the only system that would make sense in such a world. If we don’t have poverty we won’t have crime, which means we won’t have cops.

Cryptocurrencies’ audacious goal of replacing government-issued money seems to have the most potential to upend the status quo.

In these kinds of futures, anarchy is both an inevitable outcome of our maturing as a civilization and a reward for growing up. If we can get to a point where everyone signs on for global peace and equality, we’ll show that we’re not only ready to live without so many rules, but that we deserve to. We’ll have earned our return to the idyllic hierarchy-free existence our species may have once had before we settled down and built farms and towns and cities and nation-states. After 10,000 years, we’ll finally have what we think we’re naturally entitled to: civilization without the constraints of civilization.

But do we really deserve to be let back into paradise? A hundred centuries of nonstop murder, war, slavery, genocide, and wanton environmental damage suggests otherwise, according to anarcho-primitivism, a fairly recent development in anarchist thought that’s surprisingly popular, considering its end goal is the dismantling of every aspect of human civilization separating us from our hunter-gatherer beginnings, all the way down to our use of language.

We get so caught up in politics and money and the busy work of keeping civilization running that we rarely ever stop and wonder if the costs — measured in lives shortened and ecosystems ruined — are worth it. The idea that the world would be significantly better off without us — that ultimately, the only path to peace is suicide on a civilizational scale — is almost incomprehensibly pessimistic.

And yet there it is, lurking in the back of your mind. It flashes into the open for a moment when you see photos from the latest mass shooting. Or when you reach for a bottle of water, realizing that the plastic will end up leaching toxins for decades, and grab it anyway. Or when you think too long about the fact that after 10,000 years, we still haven’t evolved a way for different kinds of people to live together without killing each other.

Asking humankind to throw away its computers and antibiotics and words for things, along with every other redeemable idea we’ve had, to go with our ten millennia worth of bad ones, is easily one of the most absurd demands ever made in the history of politics.

But it’s hard to deny that, if nothing else, it would at least be satisfying from a narrative perspective. Anarcho-primitivism’s idea of a utopia is one that most people wouldn’t enjoy living in — if they even managed to survive the cataclysmic transition it would take to get there. If we don’t figure out a way to handle all the power that we’ve created for ourselves as a species, we might end up there not on purpose, but by accident.

The Sizzle in NFL 2018

Is it Jon “Chucky” Gruden, back coaching Oakland again after nine years in the broadcast booth? Or maybe you’re wondering how the Eagles will finesse the Nick Foles/Carson Wentz situation. Foles shone like a quasar after replacing the injured MVP-track Wentz in early December. The veteran led Philadelphia to their first-ever Super Bowl victory. But when Wentz’s knee is fully mended, Foles is expected to benchwarm.

Meanwhile, Minnesota rode the arm and seasoning of Case Keenum all the way to the conference championship game. Keenum’s reward? Team brass signed his replacement, Kirk “YOU LIKE THAT!” Cousins, to a three-year contract with $84 million guaranteed.

Expect Vikings fans to watch closely. Will the former Redskins QB have the same field chemistry with burner Adam Thiel? Or playoff hero Stefon Diggs?

Quarterback angles abound. In Kansas City there’s a changing of the guard, with five-year-starter Alex Smith, following his first 4,000-yard season, headed to D.C. and unproven Patrick Mahomes, picked tenth in 2017, slated to take over.

Packers QB Aaron Rodgers is back after collarbone surgery. Colts QB Andrew Luck is back after shoulder surgery. Sam Bradford might be back after knee surgery — we’ll see when Arizona hands him the ball. Tom Brady is reportedly miffed at Coach Bill Belichick for this and that. Speaking of Brady, will his former understudy Jimmy Garoppolo pick up where he left off last season, having powered San Francisco to five straight closing wins?

The QB-starved Cleveland Browns drafted Baker Mayfield, not Sam Darnold. The Giants shocked Eli-haters by skipping QBs Darnold, Josh Allen, and Josh Rosen, grabbing running back Sarquon Barkley with the second pick. Up in Seattle, Russell Wilson led the league in tossing 34 touchdowns, accounting for more than 80 percent of the team’s offense. Given their thinning roster, he might have to aim for 90 percent this year.

If Foles and Darnold (drafted third by the Jets) start game one, that will mean 14 different QBs trot out for a team’s first hike as opposed to last year. Seven squads have new head coaches. The off-season coordinator carousel nearly spun off its axis.

This new NFL season is jammed with storylines. The wisdom or folly of franchise-determining decisions will begin to surface in coming weeks. It’s the Penthouse “Power” issue and power rankings are a football staple. But in honor of the drama gamut, I offer something else. In each division, I pick the team with the most story sizzle.

Packers (NFC North)
Pundits love Minnesota to win the North. They point to Croesus Kirk Cousins, RB-phenom-in-the-making Dalvin Cook back from injury, and a stout defense getting stouter with ex-Jet Sheldon Richardson. But in terms of heat, I gotta go with the Pack. (Once a Cheesehead… ) Rodgers starts the season hungry as hell — and maybe a little salty about the team letting Jordy Nelson move to Oakland. A new GM is hoping new coordinators can put it together with a new tight end (Jimmy Graham) and new D-lineman, Muhammad Wilkerson. Top draft picks Jaire Alexander and Josh Jackson should stiffen the pass defense. Green Bay has two terrific young backs (Aaron Jones, Jamaal Williams). And Rodgers is reuniting with his Super Bowl-year coordinator, Joe Philbin. Expect a Pack-Minnesota tussle all season long.

Giants (NFC East)
Drafting Barkley was a bold, potentially awesome move. Imagine if he pops like a Todd Gurley or Kareem Hunt early on. Will Odell Beckham Jr. dazzle again after ankle surgery? Will new coach Pat Shurmur get more out of his guys than Ben McAdoo? Veteran left tackle Nate Solder, ex-Patriot, should give Eli Manning comfort in the pocket. Eli’s 37 now — anything left in the tank? Management obviously thinks so. If Eli and the Giants excel, it’s a national story. If he blows, and the Jints flop, New York media will shriek like Velociraptors.

Saints (NFC South)
Electric division. The Panthers and Falcons are scary. But it’s 39-year-old Drew Brees and the Who Dats I’ve got my eye on. The Saints came within a Minnesota miracle play of going to the NFC championship. They drafted edge-rusher Marcus Davenport with pick 14. He joins 2017 sensations Alvin Kamara (RB) and Marshon Lattimore (CB), your offensive and defensive rookies of the year. Pro Bowl receiver Michael Thomas will be catching passes. Will this be Drew’s year? Even a four-game suspension adds intrigue: How will the team do when running back Mark Ingram II sits for a positive PEDs test?

Rams (NFC West)
Gideon, blow your horn. No team loaded up like the off-season Rams. They traded for or signed elite cornerbacks Marcus Peters and Aqib Talib, WR Brandin Cooks, and DT Ndamukong Suh. Suh joins tackle Aaron Donald, the 2017 Defensive Player of the Year. The Rams unloaded, too: three of four 2017 starting linebackers were cap space casualties. There’s practically a small plane flying above the L.A. Coliseum towing a banner reading THE TIME IS NOW. Wunderkind coach Sean McVay, 32, is a season wiser. Imagine if the splashy roster moves work out. Imagine if Gurley keeps exploding through holes, and QB Jared Goff takes it up a notch. Imagine if Donald keeps dominating (prediction: he will).

Chargers (AFC West)
The LeBron-led Lakers, the star-studded Rams, the winning Dodgers: These teams have sizzle. But the stepchild Chargers have a chance to end up the hottest L.A. story. Gunslinging QB Philip Rivers led his team to nine wins and the league’s top per-game passing yards average last year. Joey Bosa and Melvin Ingram will continue to sack. Another quality Melvin (Gordon) totes the rock. The Chargers added Mike Pouncey at center. They drafted super-safety Derwin James. Wide receiver Keenan Allen is… very good. Ball-hawking cornerback Casey Hayward made the Packers regret letting him go. The 2018 Bolts look ready to zap.

Texans (AFC South)
While researching my Packers book, I met Texans fans tailgating at Lambeau in cowboy boots and cowboy hats in three-degree weather. It made me a Houston fan for life. Quarterback Deshaun Watson flashed in his seven pre-injury games. J. J. Watt should be ready to rampage again. Receiver DeAndre Hopkins is phenomenal. In their splashiest signing, they added the Honey Badger, former all-pro safety Tyrann Mathieu. If the Texans turn it around after going 4-12, they’ll be one of the league’s great stories.

Jets, Browns (AFC East, North)
Their combined record of 5-27 seemed to call for a joint entry. The Jets signed free agents Spencer Long, Teddy Bridgewater, Trumaine Johnson, and Avery Williamson (center, QB, CB, LB, respectively). They drafted the quarterback many felt should have gone No. 1. Darnold will be under the New York microscope — how will he respond? As for 0-16 Cleveland, will Baker Mayfield justify their faith? He’ll have Jarvis Landry to throw to, Carlos Hyde to hand off to, and rookie cornerback Denzel Ward, picked fourth, to snatch the rock and get it back to him. If he’s not ready, ex-Bill QB Tyrod Taylor should give the Browns a chance. n n n 2018 stories? Yeah, we got some. Richard Sherman has to play Seattle twice — in a 49ers uniform. The Jets play both the Packers and the Browns — will it be Darnold versus Mayfield, then Rodgers? I can’t wait for kickoff. Enjoy the season, Penthouse readers!

The Kingdom of Redonda

Not just that: The dead man had, for more than a decade, believed himself to be the king of an uninhabited island in the West Indies. And according to the man’s will, Howorth, a freelance writer based in southeast England, was to succeed him on the throne.

Howorth was stunned by the news. Flattered, too. But there was a catch. In order to validate the claim, the new king would have to travel 4,000 miles to the Caribbean, hike to the highest point on the island, and raise his royal standard — all in less than a month.

Howorth knew he had to try. And so, after calling in a couple of favors, including but not limited to a borrowed helicopter, he raced down to the island and raised his homemade flag to the sky just in time, thus preserving the royal line of succession, and officially beginning his reign as King Michael the Grey of Redonda.

Or so he thought.

In reality, Howorth is the latest in a long line of writers across Europe and North America who have claimed to rule over Redonda, a rocky island about a mile long that is technically part of Antigua and Barbuda. By making a claim to the crown, Howorth became unwittingly entangled in one of the most complex and longest running in-jokes in the literary world, a half-serious fantasy that has been alternately handed down and tossed around for generations.

It started back in the 1920s as a publicity stunt, when the cult science-fiction writer M. P. Shiel started telling journalists that his father, who grew up nearby, had annexed the island and given it to his teenage son as a birthday gift. It’s unclear whether Shiel himself ever really believed his own story. And it likely would have ended there, were it not for the intervention of John Gawsworth, a mediocre but exceptionally ambitious poet who knew an opportunity when he saw one.

After convincing Shiel to pass the mantle, Gawsworth restyled himself as King Juan I and dedicated himself to Redondan mythmaking full-time. He talked up the fledgling micronation to anyone who would listen, including (and especially) the British tabloids, spinning royal yarns and handing out titles and duchies to anyone willing to pick up the tab at his local pub. The legend of Redonda began to spread.

But King Juan was also an increasingly penniless drunk. As his career floundered, Gawsworth started offering to sign away the kingdom itself in exchange for his rent, or even his next drink. More than one person took him up on his offer. And that’s where the power struggle began.

Today, thanks in large part to Gawsworth’s antics, there are multiple competing claims to the Redondan throne. The impish Howorth is one of the primary claimants, with the backing of many real-life Antiguans, and has even lent his power to an English pub in its attempt to become an official Redondan embassy (and thereby skirt antismoking legislation). But he has his challengers, and none loom larger than Javier Marias (aka King Xavier), perhaps Spain’s most famous novelist and a perennial Nobel Prize candidate, who has written several seemingly autobiographical books about the kingdom, and even founded an annual cultural prize in its name.

Where Howorth’s claim to Redonda relies on the land, Marias’s appeals to tradition: He was handed the keys to the kingdom in the mid-1990s, from the man who in turn received it straight from Gawsworth — this time on his deathbed. New would-be kings, meanwhile, seem to come out of the woodwork whenever either Marias or Howorth appears in the media to talk about Redonda. These claimants tend to have no connection to the island or the existing lineage, instead content to make loud, scathing pronouncements from the safety of their comparatively meager online domains.

Is the kingdom a joke? It’s hard to say for sure. Redonda ticks a lot of boxes for a micronation, which are tiny, unrecognized countries that tend to exist more in theory than in practice. But the length and sheer persistence of this particular kingdom — not to mention the shelves of Redondan stories, essays, poems, pamphlets, proclamations, and states of the union produced by its inner circle — suggests something altogether more substantial, and maybe even more legitimate.

Yet even as the battle for the Kingdom of Redonda rages on, fought by combatants who all live an ocean away from the West Indies, the island’s actual occupants — rats, seabirds, and a herd of feral goats — live their days as they always have, foraging for food in the tropical sun, blissfully unaware of the whole thing.

Step Aside From #MeToo

And please don’t, in turn, belittle or reduce me by believing what I say simply because I’m a woman. What a risky message to be spreading. I and everyone else should treat women the way I treat men: I am suspicious of all of you. It doesn’t matter what anatomy you were born with.

We recently saw firsthand why this type of believe-all-women mentality is so hazardous and unhelpful. Case in point: Asia Argento.

On August 19, the world learned that the Italian actress/director was paying hush money to Jimmy Bennett, a former child actor who Argento allegedly sexually assaulted in 2013, when Bennett was 17. All this happened, of course, in the wake of Argento claiming to have been raped by Harvey Weinstein, becoming a #MeToo figurehead and the voice of sexual-abuse survivors everywhere.

As if the bombshell news wasn’t bad enough, Argento denied the allegations and decided it would be best to drag the name of her late boyfriend, Anthony Bourdain, into the mess she created, putting the blame on him along with her alleged victim.

“Subsequent to my exposure in the Weinstein case, Bennett — who was then undergoing severe economic problems and who had previously undertaken legal actions against his own family requesting millions in damages — unexpectedly made an exorbitant request of money from me,” Argento wrote in a public statement on August 21. “Bennett knew my boyfriend, Anthony Bourdain, was a man of great perceived wealth and had his own reputation as a beloved public figure to protect. Anthony insisted the matter be handled privately and… personally undertook to help Bennett economically, upon the condition that we would no longer suffer any further intrusions in our life.”

But then, one day later, TMZ published a series of leaked text messages between Argento and a friend, along with a photo of Argento and Bennett in bed, confirming the allegations.

So, guess what, ladies? We can be just as conniving, cunning, cut-throat, and manipulative as men. Why is this so painful for women to admit? I find it empowering to know that my gender is as stunningly vicious — if not more so — as the opposite sex. We might not be as violent, sexually or otherwise, but what we lack here we make up for in other ways. Argento is a perfect example of this.

After my article “Can We Talk About Toxic Femininity?” came out in the August issue of Penthouse, a group of Argento’s supporters and fellow Weinstein survivors — Rose McGowan, Rosanna Arquette, Mira Sorvino, and Zoë Brock, to name a few — quickly came to her defense. They were up in arms. How dare I question a survivor? How dare I suggest that Asia was using #MeToo for personal advancement? How dare I share an opinion that doesn’t align with their claims? How dare I think for myself!

Just as many women who press charges against their rapist are then slandered — discredited by things that have nothing to do with the case in hand — these victims of Harvey Weinstein quickly perpetuated this same behavior. There was not one logical response to me from any of them. It was only things like: “You’re a cunt,” “Anthony would despise you,” “Get fucked,” and “You write for Penthouse.” I was called a misogynist, alt-right, and many other derogatory and untrue names that people use to discredit others these days. Argento’s lawyers even sent a letter demanding the article be taken down, and an apology issued.

This group is clearly not a fan of the free press.

A now-vanished blog was created in support of Asia, though it was basically a burn book about me. It was supposed to highlight Argento’s activism work; they ran out of material quickly. These women shared it on Facebook and Twitter. They had a friend, Louise Godbold, who calls herself a “trauma nerd” in her Twitter bio, write an article about me, which said: “You are protecting yourself from feelings that the primitive part of your brain has long repressed, believing that they will literally kill you, you become an enemy to yourself… and in doing so, you have internalized the abuser.”

Then on July 12, to show their support of the courageous whistleblower Argento, dozens of these “silence-breakers” wrote an open letter to the Los Angeles Times, which stank of self-righteousness and faux martyrdom.

“One of the most vocal and unwavering figures in the #MeToo movement has been Asia Argento,” it stated. “At the center of our community, Asia has stood, her fist in the air, fighting daily not just for justice for those of us she has come to know, but for abused people the world over. Asia has now found herself on the receiving end of vicious cyberbullying and repulsive slander at the hands of internet trolls who hold her responsible for Anthony’s death. She has been accused of everything from causing her boyfriend’s suicide to trying to use her ‘survivor status’ and the #MeToo movement to advance her career.”

Hollywood’s self-appointed leaders of #MeToo went on to show just how disconnected they are from sexual assault — unless it has to do with rich, powerful, famous men. Mira Sorvino asked me why I hadn’t gone “public” with my own rape that occurred at age 15. She said she found it “awfully convenient” of me to mention my rape in my article, now of all times. This is the same woman who claims to have so much love and compassion for all survivors and “broken people.” Mira, I have a question: What if Harvey Weinstein is a survivor? What if he is a broken person? Should we have compassion for him? Would you? After all, you say you stand by ALL survivors.

Like most rape victims, I didn’t get to go “public” with my rape. I didn’t tell anyone about it, besides my boyfriend at the time, until a few years later when my therapist at drug rehab helped me painfully tell my parents what had occurred and had been a catalyst for a major drug addiction at a young age.

They call themselves “silence breakers,” but they didn’t break their silence until it benefitted them to do so. Until their careers in Hollywood had dwindled down. After they had been in movies produced by Weinstein. What about this is supposed to make me feel as if these people are victims, silence breakers, advocates, activists, or any of the other names they use to describe themselves? Most abuse survivors don’t get to be angry when their survivor label doesn’t get them invited to the Golden Globes.

The response from these crusaders to Argento’s alleged sexual assault of  a minor — a kid she’d known since he was seven years old, when he played her son in a movie — has shown how badly certain members of Hollywood need to step aside from the #MeToo movement.

Rosanna Arquette blamed it all on Harvey Weinstein. Maybe Weinstein put a gun to Argento’s head and made her have sex with Jimmy Bennett? Meanwhile, Rose McGowan asked people to “be gentle” with Argento in a now-deleted tweet, a stark contrast to her usual demands of how to treat people (men) who have been accused of sexual assault.

McGowan had been Argento’s No. 1 enabler, rushing to her side after Bourdain’s suicide. She even intervened and spoke for Argento for days after his death, calling her “a remarkable human and brave survivor,” reminding us how Asia is a “victim,” and disclosing private information about Bourdain without his family’s consent.

But what I find even more pathetic and most telling is how quickly McGowan has distanced herself from Argento. She quickly tweeted that she only got to know Asia in the last ten months — when last November Argento was calling McGowan “my sister.” Later, after TMZ leaked the incriminating text messages between Argento and a “source” (who turned out to be McGowan’s partner, Rain Dove), McGowan got on her digital soapbox to reprimand her so-called friend.

“Asia you were my friend. I loved you. You’ve spent and risked a lot to stand with the MeToo movement. I really hope you find your way through this process to rehabilitation and betterment,” she said. “Anyone can be be better- I hope you can be, too. Do the right thing. Be honest. Be fair. Let justice stay its course. Be the person you wish Harvey could have been.”

This really makes me wonder: Do any of these women actually stand for anything? British GQ just awarded McGowan the Inspiration Award for her “bravery.” They must not have seen when McGowan was unable to handle being asked a simple question about her experience with Weinstein by a group of women. I guess the trauma therapy she received on her reality show didn’t work.

Another completely illogical excuse these actresses have been spewing after Argento’s sexual assault became public is that “victims become victimizers.” Since when did this shit become acceptable or have any kind of relevance? The Boston Strangler was a sexual-abuse victim, so does that exonerate him? There are many people who suffer abuse, sexual and otherwise, and do not go on to hurt others in the way they’ve been hurt. This is a pathetic attempt to justify Argento’s behavior. Watching the women who have been leading the celebrity side of #MeToo use this defense is cringe-worthy to say the least.

But what’s even sadder is the fact that thousands of women who have actually been raped and assaulted believed Argento was a voice for them. Women who maybe hadn’t had the chance to get justice or feel any type of closure or healing had found a hero in her. Argento preyed upon these women and victimized them yet again with her lies. I said it in “Toxic Femininity” and I will say it again: I do not believe Asia Argento was raped by Weinstein. I don’t believe Rose McGowan was, either. Their own accounts of what transpired do not constitute rape.

Has this affected the case against Harvey Weinstein? Absolutely. Has this affected #MeToo? Without a fucking doubt. I often wonder why Ronan Farrow even included Argento’s problematic story in his Pulitzer Prize-winning piece for the New Yorker. How did an award-winning investigative journalist not know about what happened between Argento and Jimmy Bennett?

Anna Silman, senior culture writer at New York magazine’s women’s site The Cut, is a perfect example of someone who’s been brainwashed by this glorified victim-centric rhetoric that’s poisoning our younger generation of women.

In a published conversation between Silman and a much more logical and reality-based thinker, The Cut’s editor in chief Stella Bugbee, Silman states that she finds it hard to be angry at Argento because she’s a victim of Weinstein and because her boyfriend, Bourdain, just died. She says her first impulse was to defend Argento. She does admit this impulse is hypocritical and I respect her honesty, but the entire convo also makes me sad to see how many young, successful, smart women have fallen victim to being a victim. Silman also says, “Asia Argento is ‘our’ girl. We have a vested interest in her narrative. But I think what we’ve learned in the past year is that a lot of these narratives are not as simple as victim and perpetrator, good vs. evil.”

For me, I choose not to call myself a “victim” or “survivor” or any other word that wraps my identity into what happened to me when I was 15. That is my personal choice. Though I certainly respect and understand why someone else would absolutely identify using these words.

What I don’t respect is co-opting a movement about something very real and very important for self-serving personal gain. What I don’t respect is taking words like trauma, victim, assault, rape, and activist and diluting their powerful meanings in order to manipulate the masses. I do not respect the idea of blindly believing someone simply because she’s a woman.

While the media and internet continue to offer up think pieces about the #MeToo movement being derailed by egos and lies, the silence of Anthony Bourdain’s friends and family is deafening. We now know Argento is capable of lying about, well, everything. The content of her and Bourdain’s last phone calls and text exchanges remain a mystery, but if recent events are any indication, it’s most likely that Argento has more victims than Jimmy Bennett and #MeToo.

Marriage Advice

My wife and I are about to hit our five-year anniversary. We have a beautiful toddler son and our daughter is due in November. My wife has been my rock and a great life partner. However, our sex life has been a constant exercise of misinterpretation of bodily cravings. Foreplay: I like to give; however, she is self-conscious and doesn’t like to receive. I’m not a fan of handjobs, but she prefers to give them. We are limited to missionary due to my length and her body’s curvature. We’ve tried to spice things up by using toys and even watching soft-core porn. Neither yielded much change. My question is, can sexual compatibility be attained five years into a marriage, or are we finished products as sexual partners? Thank you for your time and advice.

Congrats on five years of marriage and for raising a great family. We all know how much work relationships and children take. It’s great that you tried using toys and porn to help out with getting sexually comfortable. It’s a really great first step, and it’s a very positive thing that you can be open with each other. Some couples can’t do that. I think your wife needs to address her issues with her self-consciousness independently, maybe even though therapy.

There is little you can do, though, because it’s a personal issue she needs to handle on her own. Aside from that, maybe you can ask for a blowjob instead of a handjob? It’s more intimate and good place to start. If she is open to it, it might help her open up a little and maybe turn her on. If missionary is the only position possible due to physical issues, then you guys have to get really creative. Get kinky! Go to a sex shop and buy some goodies: a ball-gag, a blindfold, etc. I know your wife is pregnant right now, but after she gives birth, maybe you guys need to do some MDMA together. Therapists used to use this stuff to help couples all the time. Just make sure you are taking pure MDMA and not some garbage. Good luck!

Leah: First off, I’m a HUGE fan of Married to the Mob. I’ll forever remember your MEN ARE THE NEW WOMEN stickers I had plastered all over my things in college.

Secondly, after reading your piece on Asia Argento and Anthony Bourdain, I felt like, “Oh my God, she’s saying what I’ve always thought, but didn’t have the balls to say.” So, I feel like you, more than most of the women in my life, can offer me your point of view on this situation.

Up until about last week, I was carrying on an affair with my married boss. I knew it wasn’t a good idea, but it was fun as hell and I just didn’t care enough about “not doing that” to another woman. It wasn’t as though I pursued him, it was just a growing flirtation over the span of months that finally manifested into some of the most fun, risky, and very public sex I’ve had in my life.

I like to consider myself a progressive woman, forward-thinking and steadfast in my belief that women are sexual beings and should experiment to our hearts’ content. That is partly why I felt no guilt about this affair. I wasn’t even looking for anything more out of him. I just wanted the fun, the danger, and the excitement. (Prior to this, I was in a six-year monogamous relationship.)

Am I a terrible person for not feeling any guilt about this affair? I had always been taught that we women have to stick together. But I wasn’t trying to break them up, I was just there for the good times and good dick. Shouldn’t that burden of guilt ultimately fall on the man who made the vows and commitment?

Girl, guilt is a completely useless emotion. I totally get it. It sounds like a hot situation. And of course it makes it extra hot that it’s “wrong.” There is no reason for you to feel guilty. He should feel guilty, even though he probably doesn’t. It is not your job to keep a man faithful. The burden of guilt and shame should absolutely fall on him. Listen, I’m not saying to go around and be a home-wrecker. Fucking a married person isn’t the best thing, but it’s also not the worst. Unless, of course, the wife finds out, goes insane, and tries to make your life a living hell. Just know that the possibility of it getting messy is very real. I’m kind of terrified of love triangles. Love and sex make people do very crazy things. So just stay drama-free. Good times and good dick are excellent until that dick’s wife finds out. Stay aware and stay safe.

I’m 23, I’m dating a girl I really like, and I have a good job, but for some reason I can’t be happy. I smoke a lot of pot, but I haven’t had a drink since college because I’ve realized it’s terrible for my health (I’m Type 1 diabetic). I know your story with your brand: You made the most of a shitty situation and that’s awesome. I guess I just want to hear your thoughts on how to be happy.

How to be happy? Wow! I think that is the quest everyone is after. No one feels happy all the time. Today, I’m not very happy. It happens. But to feel unsatisfied every day is a very different story. I think we all need to manage our expectations of our moods. Once I accepted that I wasn’t going to feel great all the time I felt a lot better. It takes the pressure off me. When I have a bad day, like today, I just remind myself that it won’t last forever. Tomorrow I get to start over and so do you. I try to exercise every day. It is really helpful. It’s actually a game-changer. I box and do SoulCycle. I’ve been on Lexapro for ten years. I try to stay away from shitty people and toxic relationships as much as I can, which is challenging in a city like New York, because it’s crawling with assholes. I just try to be honest with myself and with others about who I am. This makes me happy. Living in truth as much as possible is really freeing. Maybe you need to go deeper? You need to examine what it is that’s missing for you. Sometimes a good job and a great relationship don’t mean shit if there’s something missing within. So, I say search, and go read the Bhagavad Gita. XOXO

Contact Leah with Thoughts or Questions

Going into the Gregory Dark

Smart, bookish, and visually gifted, Gregory Dark ended up going to Stanford University, where he graduated with a Masters in Fine Art, before heading to New York University’s prestigious graduate film school.

Returning to the city of his birth, the painter, conceptual artist, and budding filmmaker dove into L.A.’s burgeoning indie-film scene in the early 1980s. It was while directing a Showtime documentary about the porn industry, Fallen Angels, that Dark accepted an offer to direct his own porn film.

The deal set Dark on a path that would see him bring a new style and sensibility to porn, become a king of soft-core “erotic thrillers” in the nineties, and hit it big as a music-video director in the aughts (think Britney, Mandy Moore, Linkin Park, etc.). Oh, and he directed pro wrestler Kane, who played a deranged serial killer in the 2006 horror movie See No Evil. And did we mention New York’s Whitney Museum owns one of Dark’s early paintings?

Transgressive in his hard-core films (the “Martin Scorsese of the erotic thriller,” as he was once called) and a music-video helmer with more than a hundred credits to his name, Dark became the father of “alt porn,” bringing edge and a New Wave look to onscreen smut. And if anyone’s responsible for today’s porn stars looking more like pop singers and vice versa, it’s Gregory Dark.

Currently, the versatile Angeleno is pursuing a Ph.D. in psychology, of all things. “I was curious about human behavior and subconscious and conscious processes,” Dark explains by phone. We talked to this influential artist and director, now 61 years old, about his life, his achievements, and how he got into porn in the first place.

How did your Las Vegas childhood influence your films?

My cousin owned one part of the Dunes Hotel and Casino. I would go to shows, where there would be these dancers and so-called models and topless showgirls. I started to go backstage to see my cousin, and I would see these women walking around naked. They all seemed to be tall, given that I was only nine years old. That was when I started getting interested in pretty women.

At Stanford and NYU, were you interested in exploring sex as a director?

Making porn was an accident. When I went to Stanford, I was into voodoo rituals. Later, in L.A., a guy named Richard Lerner came to me and said, “I just met this porn agent Jim South, and it was the craziest, most insane experience. This would be a phenomenal documentary if we just hung out at his agency.” The appeal was Jim’s personality, which was like a Texas car salesman, and how he would convince these girls to be in the adult industry by appealing to their narcissism. While I was interviewing the owner of the porn company VCA for the film, the guy said to me, “Have you ever thought about making a porno film?” And I said, “I could make a better film than any of these people!”

Why did you believe that?

I was more interested in the experimental films of Stan Brakhage than I was in Hollywood movies, and I thought I could make conceptual art films with sex — films not conventionally erotic but the antithesis of erotic while still showing the act of having sex. In those days, most people were used to porn movies with soap-opera plots and characters. In my movies, people actually wanted to have sex. They went wild. Women had orgasms. The women I cast wanted to have orgasms. You let them go. I would talk to them, tell them how beautiful they were and appeal to their narcissism.

Is that also how you dealt with pop stars?

Female pop stars hired me to make them as beautiful as I could, so I tried to make them feel good about themselves and feel natural and comfortable. The better they felt about themselves, the higher their self-esteem during shooting. The more natural the experience, the more naturally beautiful they would look.

How did the Britney Spears thing happen?

I worked for an agency at the time and a rep there told me, “Jive Records wants you to do a Britney Spears video.” I had no clear understanding as to why. I spoke to the president of the label and he said, “I want her to be buttoned-up and normal and natural. I want her covered up, to be pure and innocent.” I said, “Great! That’s an interesting conceit.” It’s the fetish of how pure, how normal, she looks. That was a challenging experience in itself because she was not a toned-down girl. She was flamboyant — she did what she wanted to do. The job description was to make her look wholesome, virginal, the girl-next-door. The good girl you could be friends with, who would be a great person to console you if you did something wrong. It also played into that fantasy.

You made Britney look more virginal, while your first big porn film, New Wave Hookers, in 1985, made porn stars look more like rock stars. How’d that idea come about?

I was driving down Melrose Avenue and I saw these girls that were New Wave-y, less so than punk girls, with hair colors and different kinds of things. I thought, Wow! Wouldn’t it be interesting to do a porno movie with these kinds of looks? I dressed porn stars like all these club girls you saw on Melrose. Nobody did that before.

That movie and your music videos, like the one for Mandy Moore’s “Walk Me Home,” utilized brilliant colors. Was that by design?

I didn’t do that consciously. I worked with a phenomenal colorist at that time. In the video for Linkin Park’s “One Step Closer,” there’s a lot of candy colors, but they’re contrasted with dark tones. New Wave Hookers had some of that, but a lot of the coloring was based on hair spray bottles.

What about parallels between your sexy thrillers, like the ones starring Shannon Whirry, and your other work?

I invented a genre of erotic thrillers, like Body of Influence. They were female-empowerment stories that had morality and negative endings. These have more similarities to the pop-star videos than they do to the pornos.

You’ve worked with actors, porn stars, pop stars, rock stars, rappers, and a pro wrestler. How was Kane?

Kane was easy to work with. He understood acting and was more similar to the actors in the erotic thrillers. Some porn stars are less easy to work with.

Was it the thrillers that led Vince McMahon’s World Wrestling Entertainment to hire you for See No Evil?

No, they hired me because of the music videos. Also, I think because Vince McMahon liked that I was a porno director once!

Mourning the Death of the A.C.L.U

When I was a young lawyer, I worked hand in hand with the American Civil Liberties Union in defending the free-speech rights of Penthouse magazine and other media that specialized in what the government called “pornography” or “obscenity,” and what its consumers regarded as erotica (hence the expression, “What they like is pornography; what we like is erotica.”). In those days, real civil libertarians saw the government’s effort to ban such material as full-frontal censorship in clear violation of the First Amendment. That was before radical feminists demanded that the A.C.L.U. stop defending sexist material and start defending the rights of women not to be offended, abused, and even raped.

Despite the lack of evidence of any connection between erotic images and rape, a group of feminists led by the late Andrea Dworkin and Professor Catherine MacKinnon claimed that freedom from pornography was a basic civil liberty and human right. They called me a “pornocrat” for defending the rights of pornographers.

We won that battle and pornography is now pervasive on the internet, in hotel rooms around the world (with several important exceptions), and in adult theaters (the few that still exist). With a few clicks one can watch Stormy Daniels earning her living in Technicolor. Although the Supreme Court still does not regard obscenity as protected by the First Amendment, adult pornography has become mainstream and legal as a matter of practice. There has been no increase in sexual assault crimes, and no reputable scientist has found an empirical connection between pornography and rape.

The issue of pornography, therefore, has not become a divisive one in the A.C.L.U., because there are no prosecutions of those who disseminate adult pornography to adults. In light of the A.C.L.U.’s movement away from civil liberties and toward agenda-driven left-wing politics, it is fair to ask how the current board of the A.C.L.U. would deal with a case involving the prosecution of an adult movie theater, such as the ones I litigated back in the sixties, seventies, and eighties.

My first Supreme Court argument, back in the late 1960s, was on behalf of the owner of the Symphony Cinema Theatre, an art theater that showed European films. He was prosecuted and sentenced to prison for showing I Am Curious (Yellow), an antiwar film that included nudity and some sexual activity. Today that film would probably get a G rating and could be shown on network television. But back in the day, prosecutors claimed that allowing adults to watch the film would destroy our country. How far we have come, with the help of the A.C.L.U. I would not have a high level of confidence that today’s A.C.L.U. board would be as unanimous about this issue now as it was back then.

The A.C.L.U. has undergone a dangerous change from a nonpartisan organization that defends the civil liberties of all, to a partisan organization that now spends a large amount of its budget on elections and other partisan events. It would be hard for a civil libertarian like me to get elected to the board, because I have committed the cardinal sin of defending the civil liberties of President Donald Trump.

During the investigation that led to the resignation of Richard Nixon, I helped persuade the board of the A.C.L.U. to defend the rights of the despised president, including his right not to be named as an “unindicted co-conspirator,” since there was no mechanism for him to defend himself against such a charge.

Today the A.C.L.U. is on the forefront of defending the excesses of prosecutors who are investigating President Trump. Its legal director vigorously supported the search of the office, home, and hotel room of Michael Cohen, President Trump’s personal lawyer. They pooh-poohed the notion that seizing lawyer-client documents that might well include confidential communications presented a core issue of civil liberties. They implicitly approved the use of FBI agents and prosecutors — rather than judicial officers — as members of the “taint team” that would read each and every communication and decide which were privileged and which were not.

Had the shoe been on the other foot — had Hillary Clinton been elected president and had her lawyer’s office searched — you can be sure that the A.C.L.U. would have taken a completely different position. For the current A.C.L.U., agenda-driven issues — especially “getting Trump” — trump basic civil liberties.

The director of the A.C.L.U. demeans critics like me by calling us “the old guard.” But his ageist ad hominem attacks do not conceal the reality that the old A.C.L.U. was far more protective of neutral civil liberties than is the new A.C.L.U.

A Da Vinci Dollar

Integrating old-school printing-press methods with digital technology, the Chicago-born Williams did the impossible. As the Secret Service tried to trace the source, Williams reportedly created as much as $10 million in funny money, his visual skills allowing to him to craft a product stunningly realistic on every level, from the watermark and security thread to the ink and imagery. His exploits were captured in a best-selling 2009 book, The Art of Making Money. Eventually apprehended, the former petty thief turned gangster turned master counterfeiter was put behind bars for a third time. When Williams emerged, he had transformed himself yet again, walking to freedom as an exceptionally gifted painter.

How did you first get involved painting and creating art?

It started when I was in prison. I’d always had a fascination with old currency. I used to collect bills from the 1800s. I marveled at the beauty the old engravers could produce. I always felt like America was a strong, powerful force and the money back then actually showed that. I started drawing with a pencil. I was creating pencil images throughout my transfers from FCI Manchester to FCI Big Springs. I didn’t really start painting until I got to FCI Forrest City in Arkansas. I started with oils. A fellow inmate taught a class. I read art books. You don’t have an iPhone to Google images or watch instructional videos. Using books, I learned by studying the masters, like da Vinci and Michelangelo. I read up on colors and techniques. By the time I got out, I could paint anything my eye could see.

After serving seven years, you hit the streets in 2014. How was your transition?

Before going in, I was a pretty powerful dude in Chicago. I knew all the heads of the mobs. If I needed money, I just printed it. I could have gone to the basement, printed $100 million, and been done with it. Maybe I should have done that. But instead, I just printed what I needed. When I got out of prison it was real humbling. I only had a little bit of money. My wife had left me. She was down in Texas with the three kids. I felt really alone. I didn’t know what I was going to do. A really good friend of mine that I’d let down, Mark Schwartz, got me a job cleaning for $15 an hour.

I went from being a real powerhouse in Chicago to scrubbing toilet bowls.

How would you compare printing money to painting images of it?

Mixing paints is kind of like mixing inks. I feel like I’m still printing money. I’m printing it on canvas now. I get to have that same feeling. I got pieces that have watermarks in them, the same as money. I got the Capone piece. It has a strip like the bills. I also put little quotes within the strips. I got paintings that glow underneath, ultraviolet like money. I got almost every security feature that’s in the bills. Watermark. Strip. The interference. Changing colors. Ultraviolet. All these things, even micro stuff. I got micro-handpainted stuff I did that’s insane. I basically applied all the security features that were on actual money into my art. I got secret symbols in my art. Stuff that you don’t even know is there.

What was it like growing up in a tough part of Chicago?

I grew up in Bridgeport, on the South Side. I was stealing change from parking meters to put food on the table as a kid. Life wasn’t easy. My mom — the bipolar kicked in real bad. We ended up in the projects. Gangs, drugs, violence, the whole thing. Not too many people made it out of there. I had some friends get killed. I’d been shot. That’s when I ended up meeting the old man who took me under his wing and showed me how to print money. I was there until I was about 21. The last time I got shot I was like, I’m done. I went down to Texas. Nine years later, I came back to the same neighborhood.

Your career has taken off since showing your paintings at last year’s Art Basel Miami. What’s it feel like to have your hard work rewarded?

Three years ago, I was at a point where I felt ready to give up. Nothing was working. The jobs I had been doing were paying cheap. I got real close to feeling like, man, this shit just ain’t working. I didn’t look at the painting as something that I’d make money off of. I thought I would be painting houses the rest of my life. I kind of gave up on the dream of being an artist. I still painted but I didn’t look at it as, okay, this is what my life’s going to be. Then my house burned down and I lost everything. The only thing that survived the fire was my paintings. [Real-estate developers] Joey Jr. and his dad Joseph Cacciatore Sr. gave me a studio at Lacuna artist lofts. They’ve supported me since day one.

Art Basel Miami was last December. I didn’t know anybody down there. I didn’t really expect much. I was like, Let’s just go down there and let’s just make contact. Let’s see what it’s about. I packed up the truck and drove down to Miami. When I got there, there were freaking Ferraris, Lamborghinis, everything, pulling up. I ended up selling everything to one guy. An awesome dude. He invited me to his yacht. We showed the art there.

You recently opened your own gallery.

I wanted to open this gallery on Morgan. I didn’t have the money to do it, but I believed I was going to get it somehow. On the day they put the for-rent sign up, I had coffee in Bridgeport with my managers. I told them, “Guys, if we’re going to do this we got to go all-in. I got an apartment nearby. I can walk to the gallery.” They wanted to look at it. We went and looked at the place and what do you know? They wrote a check to the landlord right then and there. The space looked jacked-up. They were like, “Art, are you sure you want to use this for your gallery?” And I said, “Hell yeah, guys. I got the vision.”

Everybody was telling me I was crazy for getting this spot. For the next two months, we jammed on the gallery. I was getting help from local plumbers, electricians. It was really cool how the neighborhood came together to help me with this thing. I went back down to Miami and sold some more stuff to help pay for the continued work on the gallery. One of my collectors down in St. Louis came through and bought two pieces just when we were running out of money and I was getting nervous. Art always saves Art. Every time.

People are comparing your work to Andy Warhol’s.

Warhol gave me a blueprint for bringing the printing that I loved and the painting I now love and making them one. I studied what he did and how he did it. I think the difference between me and Warhol is, I realized art could be more than having people work for you. It has the ability to bring people together from all walks of life, like it did at my last show. I had blacks, Latinos, whites, Italians. Just everyone together having a great time. It showed me that I can reinvent myself through art.

Something that trips me out is that I know a lot of artists and they don’t want to be social. They don’t want to be in the crowd. That’s cool. I get it. There’s a level of privacy to art, but I think to be human is to be social and to love people. As you love people, you’ll create better art. That’s what’s happening to me. I’m seeing my artwork improve. I’m becoming more creative.

Recently you’ve been combining images of money and pop-culture icons, right?

These new pieces, the Bond girls, or even the Floyd Mayweather piece — that was the first one I did where I printed with the gold — are exciting to me. I change the bills to where they’re not the same. I get it to where it looks really close, then I change them. When I’m painting I mix colors. I find the texture of what I want to paint on. Different canvases. Maybe different papers, even glass, metal. I’ve painted on everything. Clay. It’s an experiment. I play with a lot of different things. I like to use different shading to do illusions within the image. With the collection I got now, the Icon Collection, the painting that got me going down in Miami was the Marilyn Monroe. But all the icons I did — Marilyn, Prince, Dorothy, Judy Garland — all these people died of an overdose. The reason I did them was because my aunt and uncle both died of overdoses. My sister’s hooked on pain medicine. It’s real to me.

You did a charity event with Arnold Schwarzenegger in Los Angeles. He bought a painting. What was it like hanging out with the Terminator?

I had the Arnold event, I had my gallery opening, and I was invited to go to Cleveland to speak to the Browns. I met defensive coordinator Gregg Williams and he was intrigued by my story. It was all back-to-back. It was overwhelming to me, the trifecta. In L.A., I met Arnold, Jason Statham, others. Arnold was awesome. Dude was like one of us. He was a real dude. He was digging the story. Loved the art. He spent time with me. I didn’t know what to expect from these Hollywood stars, but they were all freaking awesome. At the end of the night they auctioned off some of my work and we raised $150,000 for kids. Blew my mind. People always congratulate me, but I tell them this is just the beginning.

Shadows in the Valley

Leigh should be done by now, she thought.

She tried calling. No answer. So she contacted Rico Strong, Raven’s male costar.

“We good,” Strong texted when Hearts asked if all was well with Raven and the shoot. “Bring ya black daddy [some] gummie bears please and ya smile.”

He always has his cup, Hearts thought. She had worked and socialized with Strong before, and knew he had a habit of dropping gummie candy into his vodka. Hearts finished her panel, picked up the chewy candy, and drove to the industrial porn studio.

Some 20 minutes later, Raven and Strong emerged together from behind a barred door. As Hearts passed him the bag of gummies, Raven got into the small red car and sat silently. Hearts chatted with Strong for a couple minutes, the actor happy to be done with a six-hour shoot, and looking forward to decompressing with his candied vodka.

After they said goodbye, the two women drove off into the night. Raven was oddly quiet. “What’s wrong?” Hearts asked as they drove down the 101 Freeway.

Raven, head shorn, heavily tattooed, burst into tears. “Oh, my God, what just happened?” she cried out, according to Hearts. Then she grew hysterical.

Strong, she said, had abused her on set.

Raven and Hearts had always liked Rico Strong. A 14-year veteran of the porn business, he had earned a reputation for professionalism and a sense of humor. He began shooting porn at age 18 to support his mother and grandmother, and within a few months he was pulling in $100,000 a year, he says. Over time, Strong became one of the most prominent African-American male porn stars of the Bush era. He calls himself a legend.

“People don’t even recognize you in porn unless you work with Rico,” he tells me in a phone interview. Without appearing alongside Strong, he suggests, “You’re not a girl who can say she’s a star doing interracial.”

But it’s no longer the mid-2000s. Like most porn stars, Strong’s pay has declined (slightly, he says) thanks to the popularity of free tube sites. Moreover, in 2016 Strong suffered what he calls a “dick injury” — the erectile-dysfunction drug Caverject had given him priapism, his painful erection lasting 19 hours. In an emergency procedure, a doctor administered anesthesia and drained blood from Strong’s penis with needles. A leading urologist, Dr. Tobias Kohler, likens the condition to “a heart attack of the penis.” It could have ended Strong’s porn career, but he recovered slowly and returned to work.

Earlier this year, Strong starred in an interracial gangbang alongside Hearts. Studios typically pay white women more to have sex with black men on camera. One performer said she received $2,500 for her first interracial scene — $1,500 more than her typical rate. Hearts showed up on set with Raven, Strong tells me. Noticing the carefully orchestrated design of tattoos covering nearly her entire body, Strong told Raven he loved the ink.

“I really, really, really liked [Raven’s body art],” he reiterates in our interview. “These bitches are cool. They are hella cool. I love the relationship they have with each other. They are pretty — different pretty! They are unique.”

On set at the gangbang, Strong and Hearts exchanged numbers and stayed in touch. Strong recalls Hearts sending him funny Snapchat clips and photos she took. “Nikki does great fucking photography work. She takes dope-ass pictures,” Strong says.

“You’re my girls,” he liked to tell the women, according to Raven and Hearts. “You’re my buddies.”

The weekend after Valentine’s Day, Hearts invited Strong to the Roosevelt Hotel. Located on Hollywood Boulevard, the place is a classic high-low Los Angeles staple: Marilyn Monroe used to live there, Lindsay Lohan used to drink there, and outside on the sidewalk homeless men sprawl while Johnny Depp impersonators duel for tourists’ attention.

Hearts and Raven were at the Roosevelt socializing with porn industry friends. Having planned a staycation that weekend, they’d gotten a suite. After arriving, Strong hung out with the couple, partying, laughing, enjoying their company. A few weeks later, while the couple was shopping for a new leather couch, Raven got a text from Strong. A female scene partner had bailed, and he wondered if Raven could replace her.

Strong, Raven says, described the scene as “kinda rough” with “light racial play” — a description she didn’t believe evoked the intense physical interactions expected of BDSM scenes, like those she’d shot for Kink and other companies. Strong said he didn’t know what production entity was paying for or distributing the film. Regardless, Raven says she texted back, “All right, I’ll rush my ass there.” After all, Strong was a buddy.

Leigh Raven

When Raven arrived at the address, she found a studio that looked like an auto shop. As she entered, she recalled seeing a warren of rooms, with one space a prison set, another containing piles of broken furniture, a third apparently a crash pad for an elderly man.

It was, Raven recalls, “a junkyard for porn.”

The studio’s owner was director Just Dave, a scruffy, tattooed industry veteran whose Twitter bio reads, “I shoot super hardcore the way it’s supposed to be shot!”

He introduced himself to Raven. She says the space and the fact that Dave would be shooting the scene made her nervous. When Hearts worked on Dave’s crew, she recalled Dave telling her, “I’ve been around dykes before. Dykes are mean. I better be nice to you.”

The shoot began with Dave asking Strong and Raven for their list of do’s and don’ts, which is standard practice before filming. This boundaries discussion appears early in the behind-the-scenes footage Dave later released to the media. During these minutes, Raven does not appear visibly nervous. Seated beside Strong on a white couch in the white studio space, she smiles, her manner casual. “You like rough sex in your personal life?” Dave asked, by way of introducing the scene.

“I do,” Raven replied, munching a green apple.

“Do you think it’s safe to say this guy isn’t breaking you?”

Raven giggled and looked at Strong. “I think we’re going to be okay.”

“I don’t think I’m gonna break her!” Strong joked.

In between more bantering, Dave told Raven, “If there’s anything we discuss and you do not like when we’re doing it, you can always say something. I cut anytime I hear stop, cut, and no.”

Raven agreed to a menu of slapping, including “butt smacks,” “boob smacks,” and “face smacks.” Dave asked if she was okay “throwing up” apples. Brandishing the green fruit, Raven replied, “Woo hoo!” Dave then asked, “Is there anything you absolutely don’t like?” After a brief pause, Raven looked Strong’s way. ”When we get to the sex,” she told him, “I have a pretty shallow cervix, so if you’re going to be slamming in there, it’s not gonna feel so good. You can still fuck me rough, but be a little more cautious.”

“We’ll make sure you are lubed up,” Dave replied.

When this discussion was over, Dave instructed Raven to put on a blue tank top bearing a picture of a cartoon donkey, symbolizing the Democratic party. The scene began with Raven on her knees while Strong stood over her, quizzing her about the party’s history of racism. In response to her answers, he would slap her. The first slap happens roughly half an hour into the behind-the-scenes (BTS) footage, a crisp strike that makes Raven laugh in surprise.

“It wasn’t a fake slap,” she stated in a YouTube video Hearts shot three days later capturing Raven’s account. “It wasn’t a slap that we typically use in porn to make things look a little bit more intense than they actually are. It was very painful, and it definitely stunned me. I, you know, saw stars, so to speak.”

In a precisely written, 3,600-word joint statement from Dave and Strong published by Adult Video News on April 12, Raven’s reaction to the slap is characterized as a “long hearty laugh,” implying that the contact couldn’t have been that hard. There’s another crisp, sudden smack roughly an hour into the BTS footage, causing Raven to go, “Oh!”

Insisting that he only delivered stage slaps, Strong denies that he hurt or ever would hurt Raven. “I would never hit a girl,” he tells me. “I’m 225 pounds. If I hit a dude, I’m gonna break your face, bro. I know how to hit a girl and make it look good. She has to go home and see her family. I’m not gonna do that shit.”

The veteran performer, whose scripted dialogue with Raven during the smacks, fellatio, and intercourse plays up their racial difference, goes on to reference one of the main characters, a cruel slaveholder, in a Quentin Tarantino movie.

“I love Django Unchained,” Strong says. “Leonardo DiCaprio is not a racist, but he said ‘nigger’ fucking 400 times in that movie. That doesn’t make him a racist in real life. He’s playing a character for his money in that movie. It’s the same thing I am doing on the set for that movie. It’s a character for this genre of porn that these fans like.”

The face slaps gave way to an aggressive deep-throat scene, with the two performers taking various positions on and beside the couch. The act’s length and physicality challenge Raven, who gasps for air at points, but she stays at it. The script called for her to go beyond gagging and actually regurgitate apple chunks as she fought to keep Strong’s erect penis down her throat. She recalls her costar saying at one point, “I hate doing these. I’ve done, like, 40 of these [scenes]. It sucks, man.”

In her YouTube account, Raven characterized the deep-throating as “a very, very, very rough blowjob where if I pulled back I got punished, so to speak.” Elaborating, she stated, “Rico was then sticking his dick in my mouth as far as he could while I was giving him, you know, leg squeezes, leg nudges, to ease up, but he wasn’t easing up… It was becoming unbearable at this point, because I had big, giant pieces of apple coming up the sides of my throat where, essentially, I’m choking.”

Claiming she was given additional apples so Dave could get the regurgitation footage he needed, Raven went on to describe herself during these mid-shoot minutes: “[I was] covered in saliva, snot. I’m sitting on the edge of the couch, not really saying much, wanting this to really be over.”

In their April statement, Dave and Strong emphasized that Raven showed no concern in the pre-shoot discussion when Dave mentioned the “throat-fucking” requirement. And they pointed out that she even referenced a “blowbang” scene she shot in January where she hung upside for 45 minutes while being deep-throated by multiple performers. “I popped all blood vessels in my face,” Raven tweeted after that shoot, “but it was all so worth it.”

Continuing to defend every element of the shoot, the statement noted that Raven never called for the scene to stop. It added, “No one who’s ever watched rough sex scenes would consider the March 6 scene among the roughest scenes out there. Not even close.”

After the grueling deep-throat session, Raven had sex with Strong in what she says was a sharply painful reverse-cowgirl position. In the BTS footage, which records two hours and 45 minutes of the six-hour shoot, there are moments when Raven whimpers; at one point she briefly wails.

“I was being penetrated extremely, extremely deep,” Raven said in the YouTube video. “I was squeezing [Strong’s] leg, his left thigh, I think, as hard as I could, while pushing away and wincing in pain and tears coming down my face, and he would smack my hand away, say some sort of ‘dumb white bitch’ comment.”

During the sex, her legs began shaking uncontrollably, a moment she mentions in the video. Raven says the position’s duress and the difficult penetration was not acknowledged by the men. She also claims Strong put his hands around her throat as they had sex near the end of the shoot, and again she saw stars, her vision briefly going black.

As to why she didn’t protest, didn’t ask Strong to stop, didn’t ask Dave to cut, and didn’t get up and leave, Raven says she was scared.

“I didn’t know what could happen to me. I was in a warehouse, it was nighttime, there were multiple men on set, it was just me,” she stated in the video. Raven says she did not expect the shoot to get this rough, and once it did, she told herself just to endure it.

The Adult Video News article publishing the April 12 statement also included Raven’s written rebuttal. She said the reason she didn’t end her participation in the scene was because her “defense mechanisms” had kicked in. Even that surprised laugh when the first face smack arrived was a way of coping, she suggested. “Things only got worse” from there, she continued in her statement, “and I did my best to dissociate and get through it. I remained in a state of protection mode for the remainder of my time on set.”

The shoot concluded with Dave filming a standard “exit video.” On most porn sets, directors record these interviews, asking performers if they consented to the activities captured. Wrapped in a pastel knit sweater, Raven answers questions asked by a production assistant. During its 2:27 length, she’s not visibly upset. She smiles, briefly laughs.

Asked to sum up the shoot, Raven says, “It was something new, for sure, but… it was good.” The assistant points out that she never asked Dave to pause a scene and he seems impressed by her stamina, saying it’s not typical for shoots like these.

Then he asks, “Was [Strong] attentive of your do’s and don’ts?”

“Yes,” Raven responds.

“Did you feel safe during the shoot?”

“Yes.”

“Did you feel respected by staff?”

“Everybody was really nice and attentive,” Raven answers.

“Would you ever shoot with us again?”

“Yeah.”

Later, with Strong sitting beside Raven in the frame, she is asked, “And you weren’t raped?” No, she says. Not long after that she was handed her $1,000 check and left.

Nikki Hearts

Three days later, Hearts posted the YouTube video with Raven sharing her account of the night. Wearing a navy hoodie and large-framed eyeglasses, gazing straight ahead, she discusses the shoot in detail for roughly 40 minutes.

“Why did I agree to everything in the exit interview?” she asks aloud, when I meet the performer in June. “How could I believe it was safe to say how I really felt about that scene? In what world would that have gone over well? I was alone, surrounded by men who had just crossed my boundaries. They were all 50 pounds heavier than me.” She says some of their conversation during breaks did nothing to ease her mind. “Bottom line,” Raven continues, “I was willing to say anything to get out of that warehouse safely.”

When Raven and Hearts got home that night, they laid in bed with their puggle and two cats, trying to process what happened. They were friends with Strong, they were unsure who had paid for the video, and Dave had claimed to have shot many such scenes. Raven says the director indicated he was scheduled to film a similar scene the next day, and she felt concerned about what the female performer might face.

As for Hearts, she recalls struggling to make sense of it all.

“I really liked Rico and I like a lot of his friends,” Hearts tells me in June. “I was super betrayed and confused, but I don’t even think [Strong] knows he did something wrong. I felt so strongly that Dave allowed it and pressured it to happen. Rico was doing it for money.”

“And I was taking it for the money,” Raven says.

Turning to friends for support, Raven texted porn star Riley Nixon, sharing in broad, unsettling strokes what she said she’d been through. Before Raven even mentioned her costar, Nixon says she texted back, “Was this Just Dave’s set?”

In January, Nixon herself had received an invite from Strong to shoot a video with “light racial play.” To her, “light” meant Strong might say something like, “Little white girl, you like that big black dick?” She found it strange that he did not know the name of the production company, but her rent was coming, and she was broke. She agreed to the shoot.

At the set, Dave asked Nixon to put on a shirt that said “Feminist.” During the scene, Strong asked her questions about feminism and smacked her face as she answered.

“I like getting slapped in the face when it’s done properly,” Nixon tells me. “It’s great, but it’s not done to cause extreme injury. You have to learn to do it properly. Rico does not know.”

When the scene finally wrapped, Nixon stood up. Vomit, she recalls, drizzled down her body. She went to the bathroom and discovered a filthy floor. This was a time when ringworm had been traveling through the porn community, so Nixon grabbed an old washcloth and dropped it on the shower floor to stand on. Thinking she should document the conditions, she snapped a few photos, stepped into the shower, and tried to get clean in the dirty stall, which offered dishwashing liquid rather than body wash.

When direct-messaged about this account, Dave neither denied nor disputed Nixon’s description of the shower. As for Strong’s take on studio conditions, he says, “Some things aren’t the best. But I felt okay.”

Nixon sees one key difference between her experience and what Raven recounts. Soon after leaving the studio on that March night, Raven began to feel she had been victimized. A line had been crossed, she believed, and the word “rape” entered her mind.

“I would never do anything in this world to hurt a woman, let alone a woman in my career,” Strong said. “It has to do with racism. She knew the attention she’d get if she put it on a black man.”

Nixon does not characterize her own experience this way. “I am not trying to throw them in jail,” she says. “I consented.… [Rico and Dave] need to learn or get a new job.”

Unsure of what to do with what Raven had told her, Hearts reached out to legendary porn star Buck Angel.

“What? What?” Angel responded when Hearts described what Raven allegedly experienced. As a 46-year-old trans man, Angel has long advised younger performers, even calling himself their “tranpa.” He suggested Raven should go public with her account.

“It needs to be spoken about,” Angel tells me in an interview. “The more this happens in our industry, and the rest of the world sees this, we are [going to be viewed] as perverts [who] rape women. This is a male-managed industry, and there is a huge disrespect for women.” He pauses. “Even though I’m a transsexual man, I’m still a man, and I’m treated so much better than women in this industry.”

It would not have been the first time a porn star made allegations of abuse. Linda Lovelace, star of the 1972 movie Deep Throat, accused her manager of rape in her notorious 1980 memoir Ordeal. Jenna Jameson detailed a lifetime of sexual abuse at the hands of various men in her autobiography How to Make Love Like a Porn Star: A Cautionary Tale. Retired porn star Shelley Lubben is one of several ex-performers who has alleged being raped by costars. In 2015, Stoya and other porn stars took to social media to accuse male performer James Deen of sexual abuse (he denied all accusations).

All of these accounts and allegations became cautionary tales for young women entering porn. But Raven and Hearts were hoping that a lengthy, detailed video account, recorded fresh after the alleged incident, would not only act as an immediate industry alert but might also help bring about some actual change in gender relations on porn sets.

In this way, it could be another chapter in the #MeToo movement.

Raven spoke to Riley Nixon, explained her goals in going public, and the women agreed to film a YouTube video at a friend’s house in the Hollywood Hills.

The March 9 video quickly went viral.

In response to the allegations, Rico Strong stated that he believed Hearts was in love with him and had set up Raven to falsely accuse him because she was angry that her wife was having sex with him on camera. “I would never do anything in this world to hurt a woman, let alone a woman in my career,” Strong said. “It has to do with racism. She knew the attention she’d get if she put it on a black man.”

“If Nikki was racist,” Buck Angel tells me in response to Strong’s conjecture, “she would not have shot [that gangbang film] with him in the first place.”

Just Dave reacted by releasing the behind-the-scenes footage, which offers a wide shot of the set from a fixed position, with Raven’s facial expressions not always visible. He sent the footage to longtime sex-industry reporter Tracy Clark-Flory, who had written about the YouTube accusations for Jezebel. Her April 14 story highlighted the fact that Dave and Strong made transphobic jokes on set, which prompted additional controversy.

“They didn’t even fucking realize it [came off bad],” Hearts says of the trans jokes.

Riley Nixon

Given Dave’s willingness to circulate the BTS footage, no one was surprised that the tape contained no smoking-gun evidence in support of Raven’s account. As Clark-Flory wrote, “Her key allegations — that she was uncomfortable with the nature of the shoot, guided into a particular sexual position she had voiced concern about, pressured into eating apples to vomit on camera, penetrated deeply enough to cause pain, and scared of voicing her discomfort on set — cannot be ascertained from the video footage. Raven is shown laughing at several points in-between takes and also being quiet and looking tense.”

The footage is available for anyone to access at several online venues, including AVN.com. Viewers can make up their own minds about how to interpret the rough-sex scenes and Raven’s vocalizations, as well as her demeanor before and after the marathon session. But to Just Dave, this footage is case closed. When I direct-message him on Twitter, he writes, “The truth is irrelevant! Why let the truth get in the way of a good narrative? This girl made everything up! Everyone who has watched the BTS video knows it! But everyone is afraid of the backlash for defending me. I definitely have a shit ton of DM’s from everyone telling me what a raw deal I got. But hey: That’s life.”

Declining an interview, Dave directed me to his April 12 joint statement. It’s a careful text, with a point-by-point rebuttal of Raven’s claims. Flatly denying “every accusation or implication of assault, sexual assault, deception, bullying, and consent violations” made in the YouTube video, it insists Raven was fully briefed on the shoot’s requirements. It mentions Dave’s 15 years shooting porn. It ends by warning of the dangers of “one-sided Twitter trials.” Addressing all porn directors and producers, the statement argues that without better protocols for handling allegations, a false claim could destroy a career.

In Raven’s same-day response posted on AVN.com, she contended that the face smacks were “flat-out violent.” She wrote, “I do a ton of rough scenes. Probably some of the roughest in the business as a matter of fact. I am able to do this because of the fact that am not taken by surprise at any moment [and] the environment is controlled.”

When she films “extreme BDSM scenes,” Raven continued, those on set “know how to look for true pain or discomfort.” Here, she said, “there were plenty of times I visibly cried, and pushed away at Rico, hoping that at some point Dave or [the assistant] would recognize my pain and cut.” She reminds people that the BTS footage captured less than half the shoot. And she explained that her reason for going public was to “get the word out to other women who might be put in the same situation, as quickly as possible.”

As the YouTube video continued to circulate, Raven and Hearts spent tense evenings at home beside their beloved pets. Death threats began hitting their inboxes. Though some female porn performers publicly defended them, others attacked them on Twitter.

“Wow!” Buck Angel reacted when I asked about other actresses taking shots at the couple. “What does this say about this situation to me? It says women are fearful to lose their jobs, so they don’t want to speak out.”

During this period, the phone rang. Hearts hesitated, then answered. It was Ian O’Brien, Senior Director of Programs and Operations at an adult-industry advocacy group called the Free Speech Coalition.

“We need help,” Hearts told O’Brien, saying she and Raven feared for their physical safety. O’Brien drove to their house with a box of pizza. Sitting down opposite a stripper pole and an oversize Chucky doll, he listened as the couple told their side of the story. He ended up booking them a hotel room and drove their pets to a 24/7 animal daycare.

Safe in the hotel, Raven and Hearts continued to encounter online attacks from female performers, members of the roughly 2,000-strong Valley porn community.

“Everyone says porn is one family, because we all make our migration to [the Adult Video News Awards in Vegas] once a year, and we’re all [transplants], but we’re all one big, literally incestual family,” Hearts tells me. For a long time, the house the couple shared had been an unofficial shelter for distraught girls in the porn industry. These were young women who came to Los Angeles, ran into trouble (abusive boyfriends, drugs, money problems), and ended up crashing for a time in the safe space of this house.

“Now we are here alone,” Hearts laments. “We don’t have a lot of support.”

In the days following the March 6 shoot, Raven attempted to achieve more than social media justice. She believes directors are responsible for their workplace, not performers. She says, “[Dave’s] just as much, or more, at fault.” Troubled by the thought of other women working on his set, she called the Division of Occupational Safety and Health (Cal/OSHA) for help. She wanted to report an unsafe workplace environment.

“Get there this day, this time, and you’re going to find fucked-up shit,” Raven recalls telling an official at the government agency. To her knowledge, the agency never investigated. (Cal/OSHA is not at liberty to discuss specific complaints, they told me.)

“OSHA does not care about porn,” Buck Angel observes. “They don’t think it’s a legitimate career. I’m in the cannabis business now — it’s exactly the same as the early porn business: the way people react to you, these stigmas.”

More consequentially, Raven also went to the Devonshire Police Department, an LAPD precinct in Northridge, and filed a police report. She underwent a SART exam, which she says discovered cervix bruising and a vaginal tear. Later she was interviewed by a female detective. The session did not go the way Raven expected it would.

“Don’t bullshit me, don’t lie to me,” she recalls the investigator saying as they sat alone in a room and went over her account. (The department did not return two voicemails requesting comment.)

“I have no reason to lie,” Raven responded. “I’m flustered.”

“I already watched the video,” the detective said, according to Raven. “Just Dave brought it over.”

“Then why did I have to explain all that?”

“That was not how it all happened,” the detective stated.

“Everyone says porn is one family, because we all make our migration to [the AVN awards]… but we’re all one big… incestual family.”

Raven asked her if she had watched the entirety of the behind-the-scenes footage.

“I didn’t watch it all,” the investigator answered, according to Raven. “Since you didn’t say ‘no’ and you didn’t say ‘stop’, what can I see that shows you were in discomfort?”

“I was crying. I was saying ‘ow’.”

“There’s no law against crying in porn.”

When Raven came home, she wept to Hearts about her exchange with the female detective. The police department ultimately chose to drop the case.

“[The cops] were just as offensive as the incident,” Hearts says.

The debate around the Raven/Nixon video has emerged at a pivotal time for porn. In 2013, the Obama administration marked porn companies as “high risk,” encouraging banks to stop taking adult performers’ money. Throughout the Obama era, California politicians attempted to pass laws mandating performers use condoms. (It did not cross their minds that this would simply just push porn further underground.)

Under the Trump administration, the sex-worker witch hunt has arguably worsened. President Trump signed FOSTA (the Fight Online Sex Trafficking Act), a bill that also prevents sex workers from advertising online, and senators Elizabeth Warren and Marco Rubio are currently collaborating on new legislation that would expand the previous administration’s war on sex workers’ bank accounts. Meanwhile, Tennessee congresswoman Diane Black is insisting that porn causes school shootings.

“It was bad under Obama and it has gotten worse,” says Buck Angel. “It has gone back to this puritanical everyone-is-on-drugs view.”

Media stories about on-set abuse do nothing to help the industry’s reputation. The accusations leveled against James Deen in 2015 were widely publicized. A year later, porn star Nikki Benz alleged that she was subjected to physical abuse on a set with director-performer Tony T and performer Ramon Nomar. She’s suing them for sexual assault; they’re suing her for defamation.

It has been difficult for the porn industry to prevent worker abuse. According to O’Brien, the Free Speech Coalition lacks formal policies and protocols for allegations of abuse. Production companies did not band together to form the coalition to fight rape; they aimed to fight censorship laws, while providing a code of ethics.

As MindGeek, PornHub’s parent company, increases its reach and porn stars jump to more indie work, the Free Speech Coalition has been forced to retool its mission.

“The realm of governing in the industry — especially something as complicated as these claims — is something we have to figure out,” O’Brien says.

But the Free Speech Coalition only has so much control.

“The Free Speech Coalition is voluntary,” O’Brien explains. “A lot of it is based off of trust. The decentralized nature of production makes it difficult to regulate. We can’t just have a conversation with a company and say, ‘Fix your policy.’ They may have hired an outside contractor. We may or may not know them.”

In other industries, workers would turn to the government to push for regulation, but porn workers don’t have faith in this as an option. To their eyes, the government either targets them or ignores them.

“How do you talk about assault or violence in an industry that has had so many false presumptions about it without triggering biases,” O’Brien remarks.

In July 2016, several porn performers established the Adult Performers Actors Guild (APAG) to address concerns of workplace abuse. APAG has encouraged performers to avoid taking to Twitter or Instagram for justice.

“It’s the day of social media,” says union president Alana Evans. “When we are upset, we like to go public.” But Evans believes airing workplace grievances online prompts production companies to go on offense and avoid cooperating. To avoid a kangaroo court, APAG instructs women to file a union report and then allow the group to investigate.

APAG has fought against directors shooting exit videos, encouraging them to pay before the end of a shoot, and advising performers to say “no” upfront or in the moment to any activity they don’t want to participate in. “Right then and there is where we take away consent,” Evans says of exit videos. “You’re extorting her. She’s looking at either paying hundreds of dollars in kill fees or having sex and doing something she didn’t want to do, because you’ll make her pay. It is not a small amount of money.”

In April, the Supreme Court of California ruled that many workers previously considered contractors are now employees. APAG believes this will make it easier for the union to negotiate with producers and protect workers. Still, even with this change, some porn veterans remain pessimistic. “Unions in the adult-film industry are difficult for a number of reasons, the biggest being the blurred roles of performer-producers,” remarks Jizz Lee, a producer at Pink and White Productions. “There’s also not enough financial infrastructure — thanks, tube-site piracy.”

Lee and others see a more grassroots organization, the Adult Performer Advocacy Committee, as a possible solution. The group promotes a code of ethics, hosts performer mentorship programs and skill sharing, and offers other resources. After director Shine Louise Houston read their ethics guidelines, she stopped giving paychecks following exit videos and starting distributing the payments beforehand.

But not everyone in porn will self-regulate, Hearts points out.

“If you have shot any sex, you can be a porn director,” she notes. And she makes the point that no one can force a director or producer to follow ethical guidelines.

In other industries, workers would turn to the government to push for regulation, but porn workers don’t have faith in this as an option.

The March 6 BTS footage captured a professionally run set in terms of paperwork distributed and signed, the director proceeding through the boundaries and script discussions, the exit interviews and payments. But that doesn’t mean everything about the shoot was transparent. For example, Strong says he doesn’t know what company or entity was associated with it, or the one he shot with Dave and Riley Nixon earlier.

“I don’t know whose site it is. I’ve never met the owner — anything,” he tells me. “I know Just Dave is working for someone else. I’ve heard him call and say, ‘I want this. I want that. Here’s the script.’ He sends it in.”

As for these scripts, with their race-play dialogue, aggressive deep-throating, and regurgitation moments, Strong says he has toned some of them down prior to shooting. Elaborating, he states, “It was some of the racial play and some of the things they wanted me to say. I wasn’t comfortable saying it, with everything going on in the media. I don’t need to say that right now… I don’t want to go that deep into that character.”

He says he also weighed in concerning the regurgitation requirements. “I can’t handle throw-up,” he tells me, saying he suggested what the women should ingest. “Let the girls only drink water and eat apple slices. We bought apple slices from Whole Foods. When you chew that up, it’s just water.”

As you might imagine, the controversy surrounding the March 6 shoot has impacted the work lives of Strong and Just Dave. Their joint statement addressed this. “Just Dave’s shoots have ground to a standstill and Rico hasn’t worked in more than a month,” it pointed out, adding, “A leading talent agency’s response to the accusations was to ban both from ever working with its roster.”

The morning Strong and I talk, he says he woke up to a notice on his door saying the electric company was going to turn off his lights unless he paid his overdue bills.

“I have now not worked in 106 days,” he tells me. He still supports both his mother and grandmother, and says both women are now suffering from cancer. He paid their medical bills out of pocket, but now he has run out of money. And because of his years of work in the adult-film industry, he says it’s hard to find another job.

“I never even wanted to do porn,” he tells me. “I’m stressed out. I know I didn’t do anything. I know I would never put someone in an uncomfortable situation.” Looking back over his many movies, Strong says there were times when women declined to perform certain sexual acts, and he told directors, “Kill the scene. I’ll eat the [financial] bullet.”

“It fucked my life up,” he says of what happened. “My life is a disaster.”

Leigh and Nikki

Raven and Hearts have had their own struggles.

Arriving early at their house one day in June, I wait beside a doormat reading “Go Away.” The women arrive with McDonald’s hamburgers and weed. They welcome me into their tidy home, where I spot a row of Converse sneakers and see-through stripper heels. Raven wears a hoodie over her now fully shaved head, shuffling around in furry slippers. Hearts rocks purple pants, an Evil Angel sweater. The whole house smells of candles.

Sitting on their leather couch, they discuss porn-world rumors and conspiracy theories about Hearts. While I was reporting this story, a porn star told me she had heard that Burning Angel, a popular alternative production company, had fired Hearts for alleged Nazi ties. (A Burning Angel spokesperson dismissed the story as ridiculous.) To the surprise of Raven and Nixon, Hearts received most of the criticism.

“They have this conspiracy that Nikki put me up to this, because she is a jealous wife, and I had chemistry on set with Rico,” Raven says. “There have been performers that have completely turned on me. They said I made this up to get fame and notoriety. Please tell me where the money is coming from.”

In fact, producers and directors have stopped calling. Raven estimates she has lost 90 percent of her work, with only Penthouse and Evil Angel booking her as of press time. Hearts previously worked behind or in front of the camera three to five days a week, but all her porn work has vanished. Still, she insists she is fine with being excommunicated.

“I’ve exited porn,” Hearts says. “I can’t work with these people, with this kind of shit.”

Although Riley Nixon has booked scenes with Kink and a few other producers, she hasn’t worked much either. Raven, Hearts, Nixon, and Strong have all ended up in a similar situation: exiled from the San Fernando Valley’s most notorious industry.

Raven and Hearts admit empathizing with Strong. “He was doing his job to get his paycheck,” says Raven. Still, as that March night comes back, she adds, “But at the same time, anybody with any morals or basic understanding of morals would have backed off.”

Hearts tells me she used to be idealistic about the porn industry, believing it could help American sexual attitudes broaden and evolve. Her view has changed.

“Porn is joked over and laughed at, like it’s not a real job,” she says. “I am seeing now why people think that. If you work at McDonald’s, you are treated better.”

When Raven and Hearts posted the YouTube video, they hoped to help women performers avoid what they viewed as a potentially dangerous situation. And they believed it could help lead to greater awareness of the way women are treated in porn. Instead, both the accusers and the accused have become characters in a story with tragic outlines. It’s a tale that seems part Rashomon, that classic Akira Kurosawa film about how different people can interpret the same event in contradictory ways, with truth elusive. And it’s a tale of what can go wrong when accusations go viral in an era where gender relations are so supercharged, and people so quickly pick sides. No one wins in this story.

Power Failure

Shadow of the Tomb Raider (Square Enix, Xbox One, PS4, PC)
— If you only associate Lara Croft with short shorts and a physics-defying chest, then you haven’t played one of her games since the Tomb Raider franchise got a reboot in 2013. The series’ titular star shrank in bra size and grew as a character, becoming the ultimate off-the-grid survivor. That game marooned teenage Croft on an island with the sole goal of staying alive rather than slaying Eurothugs or snatching relics. The 2015 sequel, Rise of the Tomb Raider, restored a crucial element lost in the reboot’s woods: tombs worth raiding. Now, Shadow of the Tomb Raider completes the so-called “survivor trilogy” by mixing Croft’s Bear Grylls-style wilderness skills with an epic quest for ancient doodads.

In this game’s jungles and tombs, we see Lara demonstrating everything she learned as an alumnus of her last two adventures. She spelunks sprawling caverns and explores hidden cities crammed with traps and puzzles that require actual cunning rather than random item collection. You have more control than ever — the best in the series — over Lara’s shimmying, leaping, and rope-swinging abilities, to the point where exploring actually feels thrilling and even dangerous. In between the raiding parties, she’s free to explore vibrant villages or go all “snake eater” in the wilderness, taking out thugs with sneak-and-strike guerrilla tactics that have become the new normal for this series.

But just as her assassin abilities peak, Lara realizes she still has some growing up to do. Deep in a Mexican Mayan tomb, she recovers an artifact with doomsday potential. Suddenly, Lara learns that her freewheeling approach to relic-hunting — grab the artifacts before the bad guys do — might unleash an actual apocalypse. It’s an intriguing twist in this trilogy’s charting of Croft’s formative years, and a strong sign that her days of mini-shorts and imperialist tomb raiding are dead and buried.

Metro Exodus (Deep Silver, Xbox One, PS4, PC)
— Good luck eking out a living in Metro Exodus’s radioactive wasteland, where you’ll find no phones, lights, or Instagram, and no remaining limbs if you’re not careful. Wield homemade weapons and skulk through ruins crawling with mutants in this nightmarish trek through postapocalyptic Moscow.

Red Dead Redemption (Rockstar Games, Xbox 360, PS3)
— Survive off the grid at your home on the range in this lead-slinging homage to spaghetti westerns. Filled with steamboat shootouts, stage-coach robberies, and showdowns at high noon, it’s the best Wild West game you can play until the sequel launches in October.

Subnautica (Unknown Worlds Entertainment, Xbox One, PC)
— Like a videogame version of the movie Cast Away but with a sci-fi twist, Subnautica ditches players in a tropical sea on a distant planet. Scour coral reefs and deep-ocean vents for food, water, and materials to repair your ship while trying to stay free of the alien fauna’s food chain.

State of Decay 2 (Microsoft Studios, Xbox One, PC)
— GTA meets The Walking Dead in this wide-open adventure set in a zombie-infested world. Build a base with up to three pals and embark on raiding missions while managing limited resources and your own team of survivors. Just be ready to put a bullet in your friends’ heads if they succumb to the zombie blood plague.

Jonathan Demme

To anyone who ever worked with this gregarious, prolific filmmaker, this big-hearted tribute came as no surprise. Demme was all about collaboration.

The director’s interests and talents were wide-ranging, as was his body of work — features, documentaries, TV, performance films. And his enthusiasm for his subject matter was always palpable, especially in his smaller films. Demme had an uncanny knack for bringing together the very best people — actors, writers, art directors, musicians — and he often went overboard in sharing credit. But it was all part of what made his films so great, and why he was so beloved. For him, every project was a passion project.

Demme died of esophageal cancer in 2017, at age 73, and the film world still mourns his loss. Even though we’ll never know all the brilliant work that awaited, we can still tap into his rich and generous legacy. Lucky us!

Stop Making Sense (1984)

Demme saw the Talking Heads in the early eighties, and said he was blown away by “this movie just waiting to be filmed.” He tracked down David Byrne, toured with the band for about a week, and then filmed them over four nights at the Pantages Theater in Hollywood. It was December 1983, and the Heads were at their prime, having just released the now-classic album Speaking in Tongues.

This is the first of several music films by Demme — he later shot performances by Neil Young, the Pretenders, Robyn Hitchcock, and Justin Timberlake — but this one’s his most iconic. It’s a visceral, visually gorgeous masterpiece (the cinematographer, Jordan Cronenweth, had just finished Blade Runner), and it’s pure joy. As Demme told Time, “I love this movie passionately with all my heart.”

Something Wild (1986)

Ask any true film nerd and they’ll tell you how much they love this movie. Critics heaped it with praise, but it barely registered with audiences when it was released.

Jeff Daniels plays Charlie, a nerdy, repressed accountant, and Melanie Griffith is Lulu, an alcoholic wildcat who kidnaps him in her ’67 Pontiac convertible and takes him to her high school reunion. It’s a bizarre, unpredictable story (Demme called it a “schizophrenic… screwball comedy that turns into a film noir”) loaded with vividly drawn characters, great music (by X, Big Audio Dynamite, New Order, and a live performance by the Feelies, one of Demme’s favorite bands), and fantastic costumes and production design. Added bonus: a young, crazy Ray Liotta in his first movie role.

The Silence of The Lambs (1991)

We’d be remiss in not mentioning the film Demme is best known for, and which won a whopping five Academy Awards.

Yeah, we know, everyone on the planet has seen this movie, and for good reason — it’s perfect. This was Demme’s big leap from quirky medium-budget indies to Hollywood blockbusters, and, apropos of the subject matter, his style is more serious. But in the film’s most notorious scene — Buffalo Bill (Ted Levine) shimmying to Q Lazzarus’s “Goodbye Horses,” barely dressed in drag, his junk tucked between his legs — we get a quick blast of cool, classic Demme: his taste in music, flamboyant costumes, bohemian art direction. (Some trivia for y’all: Levine said he was so nervous about shooting this scene he did a couple shots of tequila beforehand.)

Rachel Getting Married (2008)

This movie gave us a whole new respect for Anne Hathaway, who’s fantastic as Kim, an addict who’s released from rehab to attend her sister’s wedding. Demme made a big stylistic shift here, blending his well-honed documentary skills with narrative storytelling, shooting many of the scenes unrehearsed using a handheld camera. The result is a vibrant, nuanced, and shatteringly personal family drama — for which the director (naturally) credited veteran cinematographer Declan Quinn, brother of actor Aidan.

As it was with all of Demme’s films, this one’s a near-perfect symphony of casting, acting, music, production design, writing, and, of course, directing. And rather than hiring extras for the final wedding scene, the director called on a lifetime of friendships and collaborators to fill in as guests, including Fab 5 Freddy, Robyn Hitchcock, and Roger Corman, an early mentor. Shortly after premiering it at the Venice Film Festival, Demme claimed to love this movie more than any other he’d made. We agree.

Can We Talk About Toxic Femininity?

On June 8th, celebrity chef, author, and food show host Anthony Bourdain hanged himself in his French hotel room. Although Bourdain had openly talked about his battles with addiction and depression, the world was shocked that he had taken his own life. The question on everyone’s minds: Why would he do this?

However, as the days went by and the press storm raged on, another question arose, this one not about why Bourdain committed suicide, but about how his girlfriend, actress Asia Argento, and a friend of the couple, actress Rose McGowan, came to be feminist heroes to so many American women.

How are these things connected, besides the fact that Argento was dating Bourdain when he died?

Hear me out, because what has unfolded in the wake of Bourdain’s death is a display of chronic, predatory narcissism from Argento and McGowan. These two women have used and abused the #MeToo movement—which they have been at the front lines of since the beginning—for their own personal gain. I know it’s uncouth for me to say that, but I’m saying it. I’m uncouth. Kick me off the planet, ladies.

I’m not arguing that Argento’s public indiscretions with French journalist Hugo Clément caused Bourdain’s death. (More on that later.) People cheat on one another. I’ve been there. Most of us have. Lust has a hard time steering your moral compass when you’re drunk on pheromones. It’s not the adulterous sex that eats you up inside, but the lie afterwards.

I, for one, have made a daily—okay, weekly, maybe monthly—commitment to owning my shit. That’s the only way I’ve been able to quiet the noise inside my head and find any kind of peace in my life. (That, along with therapy, exercise, 12-step meetings, antidepressants, and so on.) To me, it’s all about personal responsibility. Which is why I would never blame anyone for someone else’s decision to kill themselves.

That said, it’s ironic that since Bourdain’s suicide, we have witnessed a display of totally irreconcilable behavior from two women who are among the most prominent faces of a movement that centers around accountability.

Born in Rome, Asia Argento was raised in a family of famous Italian artists. Her father, Dario Argento, is a director and screenwriter best known for his innovative and influential horror movies. Her mother is the actress Daria Nicolodi, who starred in several of her husband’s films. Beyond this, Argento has a lineage of family members who were musicians and composers, including her maternal grandfather, Alfredo Casella.

On October 10th of last year, journalist Ronan Farrow published a bombshell New Yorker article in which 13 women made allegations against Hollywood kingpin Harvey Weinstein, sharing accounts not only of sexual misconduct and harassment, but also rape.

Credited with initiating the contemporary #MeToo movement, the article detailed what it called Argento’s “rape” experience with Weinstein, one very similar to Rose McGowan’s own experience with the producer. Wrote Farrow: “Asia Argento, an Italian film actress and director, said that she did not speak out until now—Weinstein, she told me, forcibly performed oral sex on her—because she feared that Weinstein would ‘crush’ her.” Argento went on to tell Farrow, “I know he has crushed a lot of people before. That’s why this story—in my case, it’s twenty years old, some of them are older—has never come out.”

And you know what? I wasn’t going to go there. But fuck it. I’m going there. I’m going there because someone needs to. American journalists today are scared. They are cowards. Their opinion pieces are timid when it comes to topics like this, while they share a much different view when texting in private. So here is the ugly fucking truth everyone, because you have all been spoon-fed a bunch of idealistic garbage over and over and over.

Argento and McGowan describe Weinstein giving them oral sex, and both say they faked an orgasm in hopes of getting the experience over with as fast as possible. Calling this “rape” is doing our society, including sexual-assault survivors, a disservice on so many levels. I was raped when I was 15 years old. I know a lot of women will accuse me of victim-blaming, but at some point, we have to remove the impenetrable shield that one receives when she is considered a victim.

Argento went on to have a consensual relationship with Weinstein for several years. The New Yorker article is what thrust the Italian actress into America’s cultural conversation. Before this, the American media knew little about her.

Make no mistake, Weinstein is a monster. He is a total predator, and I consider the women who spoke out against him to be very brave. But what Argento and McGowan are doing is not brave. In fact, it’s disingenuous. Rape and sexual transactions are worlds apart, and they need to stay worlds apart.

Argento was not blackmailed. She was not threatened. She had a sexual relationship with Weinstein which resulted in a transactional, consensual union, because—let’s be honest—that’s how Hollywood works. Fast-forward a few years and Argento saw a bigger opportunity: She could brand herself as a survivor.

Anthony Bourdain met Argento on the set of his wildly popular CNN show Parts Unknown when he was filming in Rome. Argento, a single mother of two and Italian celebrity, ended up a guest on the show. In February 2017, not long after they met on camera, the New York Post confirmed the two had started dating. One quick scroll through the couple’s individual social media accounts reveals that Bourdain was completely smitten with Argento, posting photos of her on the regular with heartwarming comments.

Bourdain was openly supportive of Argento’s involvement in the #MeToo movement as she rose to be one of its most prominent and vocal crusaders. Bourdain never held back when standing up for her or any part of the #MeToo movement, even defending McGowan and her feminist activism. The #MeToo movement had accrued a strong new male ally in Bourdain.

Bourdain had built his brand around captivating storytelling and a “no fucks given” attitude. He was honest about his shortcomings—struggles with drugs and alcohol and depression—while also detailing the craziness of the culinary world. My sister Sarah put me on to him after she read his memoir Kitchen Confidential. I stole her book when she was done, and I was hooked. We both were. How could you not be? Tall, successful, smart as fuck, bad boy, deep with a dark streak. The country swooned for Anthony Bourdain. He became our very own American ambassador. He made us proud, representing our nation while he traveled the world filming his series.

Bourdain gushed publicly over Argento, and when it came to her career, he was her biggest supporter. This is what you do when you love someone and believe in them. He wanted her to succeed because he adored her. His influence led to her new role as a judge on the Italian version of X-Factor, and he hired her to direct an episode of Parts Unknown when the series filmed in Hong Kong. The segment aired on June 3rd. In the closing scene, Bourdain stated what many of his fans had already figured out when it came to his feelings for Argento: “To fall in love with Asia is one thing. To fall in love in Asia is another. Both have happened to me.”

But in the days leading up to his suicide, things between the couple seemed to get rocky.

On June 5th, three days before Bourdain’s suicide, paparazzi photos of Argento and the young French reporter Clément, 28, were published in the Italian gossip magazine Chi. The photos showed the two holding hands, kissing, hugging, and dancing in a bar in Rome.

Argento fought to have the photographs pulled. Bourdain was mysteriously no longer following his girlfriend on Instagram. Argento then posted an Instagram story of herself in a Sid Vicious shirt that said Fuck Everyone, and captioned the image: “You know who you are.” Three hours later he killed himself. And she deleted the image off of her Instagram story.

Hours after it was confirmed that Bourdain had died, Argento quickly posted a statement regarding her boyfriend’s death on Instagram. We’ve all seen the message. It floated through the American media for weeks. Argento inserted herself into the coverage surrounding Bourdain’s suicide, and received an outpouring of sympathy, while Bourdain’s wife of ten years, Ottavia (the couple separated in 2016), remained silent and removed from the circus.

Why was Argento—who had only been dating Bourdain for a year and a half—speaking out on his behalf, instead of the woman he was legally married to at the time of his death, the mother of his 11-year-old daughter? Why has the American media been tiptoeing around the scandalous, romantic photos of Argento and Clément?

As numerous eloquent tributes to Bourdain were published, Argento decided she was too grief-stricken to continue speaking publicly and handed the torch to Rose McGowan. The former Charmed star penned a letter to the public on behalf of Argento, which McGowan’s publicist, Nathaniel Baruch at Brigade Marketing, promptly emailed to Rolling Stone.

McGowan’s letter opens by saying Argento is now a victim not only of rape but of suicide.

“Sitting across from me,” she writes, “is the remarkable human and brave survivor, Asia Argento, who has been through more than most could stand, and yet stand she does. She stood up to her monster rapist and now she has to stand up to yet another monster, suicide. The suicide of her beloved lover and ally, Anthony Bourdain. I write these truths because I have been asked to.”

McGowan then discusses Bourdain and Argento’s alleged “open relationship” in an obvious attempt to justify the photos with Clément. It’s too bad Bourdain isn’t here to confirm her statement that he and Argento were “free birds” who “loved without borders.”

McGowan reminds the reader to “NOT do the sexist thing and burn a woman on the pyre of misplaced blame,” and then says that Bourdain allegedly reached out to a doctor for help with his depression but did not take his advice. (How the fuck she knows that information and why she chose to disclose it remains a big fat question mark.)

McGowan also states that both Argento and Bourdain suffered from depression, but “she did the work to get help, so she could stay alive and live another day for her and her children,” while Bourdain’s depression usurped him. “His decision, not hers,” McGowan writes. “His depression won.”

What is brave about manipulating a narrative surrounding a man’s death? What is courageous about having McGowan speak on Argento’s behalf, while Ottavia Bourdain has to tell her 11-year-old daughter that her father is never coming home? I can’t even find a word to describe what that is. It is stomach-turning. To hide behind the story of being a rape survivor and to shelter one’s self with the #MeToo movement is disgusting.

As the mother of an 11-year-old girl, I’ve tried to imagine being in Ottavia’s shoes. I imagine having to tell my daughter how her father died. Then I imagine that the most grief that Ottavia is feeling is not that Bourdain is dead and gone, but that she can’t fix it. She can’t take that pain away from her child. Thinking about it makes me feel so sad. Yet, Ottavia remains stoically silent. She has to protect her family. It blows my mind that McGowan and Argento never thought about Bourdain’s daughter before kick-starting their media circus with that open letter.

Why is the American media protecting Argento and McGowan’s victim narrative? Why are they feeding it like the ugly, insatiable beast that it is? Have we forgotten that the #MeToo movement was started in 2006 by 44-year-old Tarana Burke to inspire healing for sexual assault survivors in her black community in the Bronx? I interviewed Burke on my podcast, Improper Etiquette, and her selfless story is so far removed from the celebrities like Argento and McGowan who have co-opted it. That said, would #MeToo have the power it does now without Hollywood’s endorsement? Probably not. But that’s a matter separate from the behavior of Argento and McGowan in the aftermath of Bourdain’s passing.

Although Argento claimed she was so distraught that she required McGowan to be her voice, she has been very active on her social media, filling her Instagram feed with stories and posts. In one of them, she posed wearing a Suicidal Tendencies parody shirt while touting the hashtag #stayingalive.

In mid-June, a mysterious Instagram account called @justicefortony emerged, then shut down some days later (there were people on social media pushing for the account to be stopped.) However, when it was initially live, the first post was a black box with the following cryptic comment:

“Not surprised she blocked me. Having the truth out there was becoming too uncomfortable. She was a monster to him. She took an already very damaged and very sensitive man and destroyed him. His friends and coworkers tried their best to make him see what was going on, but he would just push everyone away. No one could say anything negative about Asia or Tony would try to remove them from his life.”

The post went on to describe how Bourdain had one of his longtime crew members fired at Argento’s request, and how much Bourdain had changed after dating the actress.

“In the end those pictures were too much,” wrote the creator of @justicefortony, referring to the paparazzi photos of Argento and Clément. “He must have finally realized what she was doing and his world came crashing down.”

So what led to Bourdain’s death? Do we just say it was depression? I think suicide is a lot more complicated than that. It goes against everything our brain and body tell us to do. Most of us wake up every morning and try our best to stay alive. Basically, we do shit to avoid dying. But perhaps a person can hit their pain threshold, and everyone’s is different.

Men don’t deal with humiliation the same way women do. Men sometimes murder their lovers over humiliation. They also kill themselves over feeling humiliated. That doesn’t mean that we women should be held responsible for men’s behavior. Fuck no. But we should recognize how powerful we can be. We can choose to use our power any way we want. Maybe we should acknowledge that power, so we can proceed accordingly?

In the comment section of @justicefortony, its creator went on to detail the fighting that took place between Bourdain and Argento before his death.

“They started fighting on Tuesday,” the person wrote. “Tony had to leave the set multiple times to talk to her on the phone. Things escalated on Wednesday when by all accounts she told him she no longer wanted to be with him. Everyone was keeping an eye on him all day and night because he was incredibly distraught.”

@justicefortony went on to state that this was not the first time the couple had broken up, and that by Thursday, Bourdain seemed to be better and “kind of wanted everyone to back off.”

Days later, @justicefortony continued, “Knowing this, her posts about Tony being her love and her rock were particularly distasteful. If she just disappeared and stopped harassing everyone, if she didn’t have Rose write that awful letter, if she didn’t try to gain from his death, I wouldn’t be here writing this.”

I would be skeptical of this random, anonymous reveal if it weren’t for the fact that Ottavia Bourdain was following @justicefortony.

On May 20th at the Cannes Film Festival, Argento gave a speech about her 1997 alleged rape by Weinstein. (From the audience, Clément filmed her address and posted it on his Twitter.) The Washington Post and other media outlets hailed the moment as “powerful.”

I wouldn’t call it powerful. Argento was onstage to present the award for Best Actress and used that spotlight to talk about herself and further her #MeToo agenda. Then she had the audacity to throw shade at Ava Duvernay for not giving her enough support as they shared the podium during her impromptu speech. Argento later tweeted to Mia Farrow that no one came up to her and acknowledged her speech except for Spike Lee. Did she give this speech with the expectation of praise, or to advocate for a movement she claims to deeply care about?

Earlier this year, McGowan published a memoir called Brave. It details her fight against the evil showbiz industry. Ironically, she then came out with an E! network reality show, Citizen Rose, to promote her book tour. So much for dismantling the evils of Hollywood.

When I first saw McGowan in the 1995 movie Doom Generation, I thought she was iconic. I was obsessed with that movie and her entire look. She had so many great moments during her career that I supported, including her barely-there chain dress on MTV’s red carpet in the late nineties. And she had my support when she came out against Weinstein, but in hindsight, I question her claims and motives. I question if she understands how irresponsible it was to call her #RoseArmy to action when Weinstein released an email from her former manager that challenged her rape claims. (Her former manager, Jill Messick, committed suicide after the harassment from #RoseArmy.) So yeah, I question McGowan’s movement. And it’s my right to be able to do that.

Last month, McGowan hired accused child killer Casey Anthony’s lawyer, Jose Baez, to represent her in court as she is facing up to ten years for cocaine possession. She claims that Weinstein planted the drugs in her wallet in an effort to delegitimize her.

Two women who dreamt of being famous movie stars have now selfishly and irresponsibly used the #MeToo movement to suck whatever amount of attention and fame they can from it. They have used this movement to help only themselves.

I don’t think either of these women has a grasp of or are capable of understanding Tarana Burke’s movement. And as much as I hate the term “white feminism” (that’s the white feminist in me feeling defensive), these women are the epitome of what that is.

You can’t hide shitty, awful behavior behind the excuse of misogyny. Not everything has to do with gender discrimination and the patriarchy, and to pretend that it does is a disservice to the feminist movement. I am all about fighting toxic masculinity, but to demand that all women must agree and support one another because we are the same gender is ridiculous and illogical. (Toxic femininity exists. We can’t continue to deny that.) Maybe McGowan and Argento are just two really damaged human beings? I don’t know. What I do know is that you cannot heal unless you own up to your shit and get real honest with yourself about who you are. These two women seem to be completely incapable of being honest with themselves.

In this new climate of public reckoning, #MeToo, and the Trump regime, we are all walking on eggshells, terrified to criticize anyone at the risk of being branded a sexist, a racist, or a homophobe. The kind of outrage that disagreement causes in 2018 makes it nearly impossible to seek truth through an exchange of ideas. I am saddened that this discourages people from speaking up. But I refuse to live in fear. I refuse to live my life worrying about who I will offend by speaking my mind. And I encourage you to do the same.

Melissa Broder

Then in 2012, she started doing something that would eventually lead to the national profile and universe of fans she has today. She created the Twitter alias @sosadtoday and began barfing out dispatches from her anxious brain. The account quickly took off, and soon even celebrities like Katy Perry and Miley Cyrus were retweeting @sosadtoday. The writer struggled with anxiety and depression, it was clear, but she used dark, brilliant, self-deprecating humor to deal.

Fans couldn’t put a name to the tweeter until May 2015, when Broder unmasked in a Rolling Stone interview. A book deal soon followed, and in 2016, Grand Central Publishing released the essay collection So Sad Today. Vanity Fair called Broder’s book “a triumph of unsettlingly relatable prose,” while GQ named her “the internet’s most powerful merchant of feelings.” The suburban Philadelphia native blew up like confetti.

After a bazillion more neurotic, hilarious tweets and popular columns in Elle and VICE, Broder is back in the spotlight with her debut novel The Pisces, a strange, sexy, and addictive story about a disastrous woman who falls in love with a Venice Beach merman.

“Falling in love with a merman is not for everybody,” Broder tells Penthouse. “But if you’re the type of person who craves the intoxicating potentiality of the first weeks of an affair, who wishes that an erotic moment could sustain itself infinitely, and who doesn’t understand why fantasy can’t just be reality, then you are merman bait. I am that person.”

Broder writes fearlessly, with humor and depth, examining the manic highs and lows of fucking and falling in love. “If I’m not turning myself on when I write erotica, I’m doing something wrong,” Broder says. “The writer should be wet.”

Elaborating on her approach, the L.A.-based author says, “It’s about physical empathy, the ability to inhabit different bodies. It’s also about writing from other places within oneself besides the brain — the gut, the pussy, the subconscious — and allowing oneself to access those places without self-editing in the first draft.”

To bring about that access, Broder prefers to draft by dictating into her iPhone. She likes to write in transit, in places where she shouldn’t necessarily be writing. In New York City, where she got her MFA, she wrote poetry while riding the subway, using her iPhone’s Notes app.

In L.A., Broder writes in traffic, while shopping for groceries, or working out. “Sometimes I’ll be dictating while jogging and say, ‘It was a cock that she had no idea she had — I’d found her cock,’ and people on Santa Monica Boulevard look at me weirdly.”

Image by Maggie West