Article
Culture
Masculinity
5 min read

Russell Brand and the bystanders: how to say enough is enough

When calling out misogyny, low standards are expected of men. Tiffany Bluhm assesses the ‘Say Maaate’ campaign and explores bystander intervention. Part of the Problem with Men series.

Tiffany Bluhm is a speaker and the author of Prey Tell: Why We Silence Women Who Tell the Truth and How Everyone Can Speak Up. She speaks and writes at the intersection of justice and faith for conferences, churches, and companies.

Three young men sit on a couch. One is leering at a phone while the others look on hesitantly
The 'Say Maaate' interactive video encourages users to pick a moment to act.
Mayor of London.

 In the wake of headlines filling our news feed reporting a story, yet again, of a pop culture icon taking advantage of women, be it Russell Brand or “That 70’s Show” star, Danny Masterson, we’re quick to say “enough is enough,” but perhaps the question to ask is “how do we stop it?” What standards are we expecting of men as individuals and as a collective whole? How will they self-edit their interactions with women? What do we expect of men in the workplace, at the gym, at church, or in the public square? We know what we don’t want them to do, leverage their power, privilege, or platform at a woman’s expense, but that’s an undeniably low bar. What could they do to stop each other before their actions get out of hand? 

Before heinous stories of sexual violence are aired on the BBC or CNN, we’re holding the communal line of what we’ll accept from men. 

After learning of the ‘Say Maaate’ campaign—a public information campaign inviting male mates to call each other out when they witness misogynistic tendencies toward women without jeopardizing the friendship thus jeopardizing the influence on each other—I recognized its brilliance lies in its interception of misconduct before it gains momentum or is considered high stakes. Before heinous stories of sexual violence are aired on the BBC or CNN, we’re holding the communal line of what we’ll accept from men, be it sexist jokes or public harassment. This endeavor, which includes bystander intervention, where those within eyeshot or earshot will attempt to distract and intervene in a potentially hazardous situation when men assert unsolicited dominance or advances toward women, is so successful that it’s employed by the United States military and countless higher education universities and colleges in the States. It puts the onus not on the woman impacted during the encounter, but on those around her, to step up and intervene at the first sign of a power imbalance, ranging from a man standing too close, to a woman darting her eyes to avoid eye contact, to outright sexual and verbal harassment. 

Bystander intervention invites the bystander to disrupt the moment, and after the moment has passed, confront the antagonist with either the benefit of the doubt, “maaate,” if deserving, or a “Man, she didn’t like that, read the room.” Lastly, it beckons the bystander to check on the woman who was the recipient of unwanted harassment. Bystander intervention provides much-needed boundary reminders of what we will and won’t accept in a society where the moral arc of the universe desperately needs to bend toward justice. This practice refuses to normalize women’s subjugation or sexualization, it offers a lifeline where there hasn’t been one before, with women left to their own defences against men with no intention of respecting them.  

I feared the ramifications of speaking up against a man with more clout than I. 

Interestingly, men with power—financial, organizational, political, celebrity—perceive themselves to be more attractive, assume women want them, and sexualize interactions with women. In a world where women are often playing by men’s rules, this makes for disastrous outcomes. Far too many women fear they’ll lose access to their place of perceived or actualized power if they speak up for themselves, or other women, who’ve been maligned, even slightly, by men with power and poor intentions. In my own experience, I feared the ramifications of speaking up against a man with more clout than I. How would this affect my social and professional standing in my community? Would others perceive that I have an axe to grind when that wasn’t the case? Would they frame me as prudish? Would they assume I asked for it? Would they assume I’m trying to unnecessarily take down a “good guy.” Instead of speaking up when the stakes were small, after an off-handed comment, sexist joke, or a lingering hug, I assumed this is just how it is, boys will be boys. If I want to get by in this world, I must put up with it. 

If only the men listening would have thrown him a “maaate.”  

Research shows that this pompous approach men exhibit toward women starts on the playground in primary school, gains steam in the locker room in secondary school, cements itself in university culture, (what Americans refer to as “frat culture”) and before we know it, twentysomething men are carrying this toxic idea of what it means to engage women into adult life, and further, it’s celebrated, as was the case of Brand’s public persona. Too often harassment and misogynistic tendencies of any sort equate to validation of masculinity. In this line of thinking, the subtext is that women exist to be dominated, harassed, or taken advantage of for the sheer pleasure of men. This is the genius of bystander intervention; it swiftly reckons with the subtext of a culture hellbent on letting men get away with whatever they want and whoever they want. 

He addresses her harassers, beckoning them to examine their own lives rather than fixate on hers. 

While the Christian church is no stranger to sexual trysts or infractions by men of the cloth, the ethos of Jesus regards women as worthy not of subjugation nor sexual harassment, but respect and dignified engagement. He modeled this respect and casts a vision for women to find solace and safety in men, never harm. 

A great example of bystander intervention in history starts with pious religious leaders attempting to trap the counter-cultural rabbi Jesus by throwing a woman at his feet, alleging she engaged in adultery, a crime, at the time, worthy of public stoning. A clear imbalance of power, with a woman’s life as collateral for trapping Jesus, the religious leaders wondered if he might keep allegiance to the law or break from it. They made the encounter about Jesus; Jesus centered the encounter on protecting the woman who’d been dragged to the public square. Jesus first intervenes by writing in the sand as his answer to the question posed by the leaders. Her physical safety is of utmost importance as evidenced by his actions. Then, he addresses her harassers, beckoning them to examine their own lives rather than fixate on hers. Finally, he checks in with the undoubtedly traumatized woman, a mere prop in an attempt to trap a man who modeled equality and respect between the sexes. 

If bystander intervention was effective 2,000 years ago to protect and uphold women’s dignity and safety, and has modern success in the military and on university campuses, maybe there’s room for the men in our community to prevent harm before it happens? Maybe we can right cultural wrongs? Maybe before learning of Brand’s misconduct, we’ll learn of a bystander who stepped in before a sexist slur was accepted in everyday conversation or intervened when a woman was uncomfortable. Since the issue is not weak femininity but toxic masculinity, maybe men can learn to say, “Enough is enough.” 

Review
Ambition
Culture
Film & TV
Politics
6 min read

Why we’re fascinated with power behind closed doors

Conclave captures the powerful chemistry between heaven and earth.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

A cardinal glances to the side as he stands amid a gather of clergy,
Cardinal Thomas Lawrence played by Ralph Fiennes.
Film Nation.

An ecclesiastical election, conducted behind closed doors, by a group of old men hardly seems a subject for a riveting thriller. Yet, back in 2016, Berkshire-based novelist Robert Harris thought otherwise. Conclave became an international best-seller. 

Now it’s been turned into a movie. And, according to the cognoscenti, a rather good one at that. British Vogue lauded it with great enthusiasm: 

“It’s a treat in every sense – visually, sonically, dramaturgically – and, as we hurtle into this bleakest of winters, exactly the kind of galvanising, pulse-racing shot in the arm we all need.” 

Really? 

Well, following its UK premiere at the London Film Festival in October, the BBC were quick to report a potential flurry of Oscar nominations and even that it was ‘thought to be a strong contender for the best picture award’. 

So, what’s going on? How has this dangerously dull and turgid subject turned into a narrative that tames the critics and converts the sceptics?  

A late night showing on the day of its release at the end of November beckoned me to find out. So off I went with my wife, after she had finished Gospel Choir practice. 

Directed by award winning film-maker Edward Berger (All Quiet on the Western Front), it stars Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini.  

The premise is simple. The Pope is dead, and the Cardinals of the Catholic Church convene from around the world to choose his successor. But this, of course, is only the beginning. 

Sequestered in the Vatican the prelates are cut off from outside influence as the secret process of electing a new pontiff is enacted. But this does not stop events, past and present, from impacting and shaping their deliberations.  

Overseen by Cardinal Thomas Lawrence (Fiennes), the British Dean of the College of Cardinals, the story unfolds as he negotiates these successive revelations and happenings. Along the way he is also wrestling in his own faith for spiritual reality and personal integrity. 

As they gather, the not-so-friendly fraternal rivalry of the cardinals and the manoeuvring of the leading contenders sets up a presenting series of tensions for the Conclave: 

  • Cardinal Bellini (Tucci) is the Vatican’s theologically progressive, yet diffident, Secretary of State 
  • Cardinal Tremblay (Lithgow) is a slippery and ambitious, self-promoting Canadian conservative 
  • Cardinal Tedesco (Sergio Castellitto) is the forthright and reactionary traditionalist Patriarch of Venice  
  • Cardinal Adeyemi (Lucian Msamati) is a theologically conservative and populist Nigerian who offers the possibility of making history as the first Black pope.  

Then, at the last minute, into the mix enters a cardinal that no one knew of. Cardinal Benitez (Carlos Diehz) is a Mexican who arrives claiming the late pope appointed him Archbishop of Kabul in pectore (in secret) prior to his death.  

Shuttling between their living quarters in the Domus Sanctae Marthae and the Sistine Chapel, the venue for their voting process, the story unfolds. A complex interplay of ecclesiastical politics, theology and spirituality intermingle with issues of identity, character and choice to make for a heady mix. At stake, or is that on offer, is the power of the Papacy. 

Reflecting the church at large the Conclave is a community of conservatives and liberals, traditionalists and progressives, populists and academics, activists and administrators.  

Like the world at large, all human life is here. Men with hidden secrets, driven by ignoble motives that often dress themselves in more noble apparel. Ambition, greed, ego and privilege rub shoulders with graciousness, sincerity and self-sacrificial service. Sometimes even in the same person. The human condition is a complicated one. It seems that power retains its age-old allure and ability to corrupt. 

And maybe that’s it. For all the secrecy and mystery that surrounds a papal election, right down to the colour of the smoke, it is a human concoction. Human fingerprints are all over it, just like they are all over the church.  

The church aspires to be better. To be shaped by a higher ideal. To properly be ‘the body of Christ’ and represent the imago dei in the world. To so inhabit the love and grace of God that through its life and witness God might touch and transform the world for the better. Yet, as one of the Italian cardinals correctly, if too easily, argues, “We are mortal men; we serve an ideal. We cannot always be ideal.” 

Indeed, the great apostle St. Paul had to confess, “Not that I have already obtained all this, or have already been made perfect …”, but he is committed to go further, “… [yet] I press on to take hold of that for which Christ Jesus took hold of me.” There is an ideal to pursue. 

As the cardinals progress through successive rounds of voting the field of candidates narrows and the required two-thirds majority comes within reach. Yet the prospects of the main characters rise and fall through the twists and turns of the plot as it heads to its inevitable climax.  

Then one final, unexpected and flabbergasting reveal hits the audience from out of left field. It is a masterful denouement to the tale. 

Speaking about how it all came together Harris revealed: 

“I approached this not as a Catholic and not as an expert in the Church. So my preparation began by reading the gospels, which are revolutionary. And the contrast between that and this great edifice of ritual and pomp and power and wealth of the Church is striking … There's also this question of can you freeze anything at a point nearly 2000 years ago? Haven't the world and humanity evolved?” 

As we drove home at gone midnight I found it hard to disagree with Vogue.  

The visual spectacle created by cinematographer Stéphane Fontaine plays wonderfully with the renaissance setting of the Vatican. It is a beautiful and luscious feast for the eyes.  

Volker Bertelmann’s teasing creativity with the score made the drama come alive and heightened what has been an unforgettable experience. 

But for me, most of all, it was the drama. The story that was told. The unfolding of events and the interplay with people and their motives, their relationships and their vested interests. It is layered and nuanced and complex, just like real life.  

It has left me pondering once again the chemistry between heaven and earth. Between our freewill and agency as individuals and the mystery of the divine presence and the fruit of prayer.  

As the cardinals prepare for the final vote a waft of air blows gently through a broken window in the Sistine Chapel and rustles their voting papers. Is Berger tipping his hat to the presence of the Spirit of God, present and active in human affairs? 

Perhaps the last word should go to Robert Harris. 

“With temporal power, or indeed spiritual power, it is very difficult to avoid factions, scheming, the lesser of two evils—all the compromises that go into running any huge organization and trying to keep, not just hundreds, but thousands of people onside … I have a lot of time for politicians, just as I have a lot of time for these cardinals, because they are grappling with almost insoluble problems. But someone has to do it. Someone has to run a society. And I've tried to write about them with a degree of sympathy.” 

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