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
Addiction
Culture
Theatre
5 min read

The ancient drama of rehab

People Places & Things is a modern play with old stories.

Simon Walsh is a communications consultant, journalist and non-stipendiary priest in the Diocese of London.

on a stage a woman kneels on a bed amid frantic action around her.
Denise Gough as Emma.

‘There is no higher power,’ says a character defiantly in People Places & Things, the revival of Duncan Macmillan’s 2015 play about addicts and addiction. It’s an echo from Greek tragedy when anyone denies the gods, and now has a modern ring in all the self-help, self-belief talk of recovery and resolve.  

Denise Gough reprises her lead performance as Emma for which, last time around, she swept the board in awards and nominations. It’s easy to see why. She’s on stage almost the entire time, compelling and fluent throughout. The opening scene has her in the white-box modern set wearing a Victorian costume, for her character is an actress in Chekhov’s The Seagull – almost meta, and the first hint and how this a show where realities and identities blur with layers upon layers. 

Soon after, Emma (if that is her real name) checks into a rehab unit. She doesn’t feel she has a problem but is there for a break. ‘Drugs and alcohol have never let me down,’ she says at one point. A brisk female doctor in a white coat admits her, played by Sinéad Cusack. A couple of scenes later, Cusack reappears as the clinic’s group therapist. This time she’s full of empathy – barefoot and with a scarf over one shoulder – all herbal tea and sympathy. 

But the therapist’s work with her charges is vital. Some even get to ‘graduate’ and host a non-alcoholic party the night before they leave, having successfully stayed the course. Probably not Emma though. She’s too feisty, individually unable to admit her problems, and inevitably she crashes. There’s a naturalistic feel to the production and narrative, even when it jolts into dream-like sequences or bright lights with thumping techno music.  

Anyone with experience of an addict or addiction will find it all too familiar. The later scene where Emma returns to the parental home is a crucible of pain, and embodies the play’s title. It concerns ‘the people who can make us relapse, the places which trigger associations, and the things which are the props of the old habits’. And it’s made more complex by the family in grief over the recent, sudden death of Emma’s beloved brother in a freak accident. ‘It should have been you instead’ is the parental curse on this remaining child. 

There’s a slow and silent feel to the way it develops. The word inexorable comes to mind, something that cannot be changed or stopped. Like Greek tragedy, the tension is in how this will resolve, and if it will turn out as badly as feared. It does and it doesn’t, which is at least true to the addiction journey. 

Jeremy Herrin expertly directs an intensely fine cast: Russell Anthony, Holly Atkins, Ryan Hutton, Malachi Kirby, Danny Kirrane, Paksie Vernon, Kevin McMonagle, Ayò Owóyemi-Peters, Lousie Templeton, Dillon Scott-Lewis. These are nuanced, crafted performances which inhabit Bunny Christie’s versatile, stylish set with presence. 

 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity... 

Faith plays at the edges of this work. There are passing references to religion: a ‘bibling grief’, communion wine, the power of prayer. More tears, said St Teresa of Avila, are shed over answered prayers than unanswered ones, and this outward expression of a cry for help connotes the spiritual struggle of addicts along with their pity. As the first disciples themselves asked, ‘Teach us, Lord, how to pray.’ 

Addiction was not something Jesus had much to say about. Healings take place throughout each of the four gospels. The sufferers present with various ailments and of differing origins. For some it is hereditary, others through sin (such as when Matthew records Jesus healing a paralyzed man with the words ‘your sins are forgiven’). At other times there is a clear need for recognition such as when Jesus visits his hometown. He ‘laid hands on a few sick people and cured them’ but otherwise ‘could do no deed of power there… and was amazed at their unbelief’. 

These healings, however, do not obviously deal with addiction. The closest connection is probably the examples which deal with demons. The encounter with a man possessed in the land of the Gerasenes, a little earlier, is instructive. Here is someone who ‘lived among the tombs; and no one could restrain him anymore, even with a chain; for he had often been restrained but the chains he wrenched apart; and no one had the strength to subdue him’. But Jesus confronts the demon, the ’unclean spirit’, and sends it into a herd of swine ‘numbering about two thousand, which then rushes to the sea and is drowned. 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity. The healed demoniac is found with Jesus, ‘sitting there, clothed and in his right mind’, though the swineherds do not believe it and remain scared. They beg Jesus to leave and the ex-demoniac wants to go with him, but Jesus tells him to stay: ‘Go home to your friends, and tell them how much the Lord has done for you, and what mercy he has shown you.’ He is to give his testimony. 

Drama at its heart has to be about telling a story and finding a universal truth.

It’s a running debate that lived experience and life identity are now more important than acting ability when it comes to race, sexuality, gender and so on. Denise Gough has given testimony ahead of this run – how as a teenager she fled her native Wexford for London where she fell into homelessness, drug and alcohol abuse, and was the victim of grooming. She has told her story, with purpose, much as those people who experienced healing and deliverance gave their own account to the Early Church. 

Drama at its heart has to be about telling a story and finding a universal truth. The gospels are full of this, with redemption and rehabilitation. Lives changed, sins forgiven, and a new future made possible. There is power in believing, and knowing that when someone might stumble and fall, it is not the end. In fact, it might just be the beginning. 

  

People, Places & Things is on at the Trafalgar Theatre, Whitehall, London, SW1A 2DY, until 10 August 2024.