Tegan and Sara got catfished. The gripping documentary ‘Fanatical’ explains how

As a seasoned musician and songwriter who has been in the industry for quite some time, I can certainly relate to Tegan and Sara‘s experiences with fans and the challenges that come with fame. Having seen my fair share of adoring crowds and the occasional overzealous fan, I understand their perspective on the delicate balance between connection and privacy.

Tegan and Sara, as far as anyone could tell, were living the dream.

2013 marked a significant milestone for the Canadian pop duo of twin sisters who had been diligently working for 15 years. That year, they achieved their first Grammy nomination, their debut top 10 album, and shared the stage with Taylor Swift at Staples Center. The following year, they kicked off their tour as opening acts for Katy Perry in arenas. In an even more impressive feat, they graced the Academy Awards stage in 2015, where their hit song “Everything Is Awesome!!!,” from “The Lego Movie,” was nominated for the prestigious original song award.

Yet behind the scenes the sisters felt trapped in a nightmare.

Two years prior to her encounter with Swift, Tegan Quin uncovered an internet hack where an unknown individual breached her private files and pretended to be her, forming deeply emotional and at times, sexually suggestive online relationships with fans of the band. As the Oscars approached, this deception had become so intricate that Tegan, who valued her openness towards her fans, was unsure about who in her circle she could rely on.

She admits that all her success only made her more concerned for her own safety,” she says. “In other words, ‘it seems that this has turned into an unpleasant situation.’

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In the captivating documentary “Fanatical: The Catfishing of Tegan and Sara,” directed by Erin Lee Carr, we delve into a chilling narrative unfolded last week on Hulu. Somewhere between a detective story and an intellectual analysis, this film chronicles Tegan and Carr as they persistently hunt for the online imposter known as Fake Tegan, or Fegan. However, “Fanatical” isn’t just about unmasking one digital fraudster; it also sheds light on the hazy boundaries of identity in the early social media era and exposes the harmful fandom culture that allowed Fegan to exploit fans yearning for an intimate connection — perhaps an excessively close one — with their beloved musician idol.

Tegan, 44, admits to having a complex dynamic with those she catfished, as they were attempting to gather her personal information online. “I understand it was terrible what transpired for them,” she explains. “However, one must also consider that by delving into my life, you’ve put yourself in a vulnerable position.

Why reveal the details of their long-hidden story now? A decade ago, aspects of celebrity life and its drawbacks greatly troubled Tegan. “I felt uneasy, scared, and didn’t want unwanted physical advances or internet posts about inappropriate relationships with me,” she explains to Carr, who is 36, during their coffee meeting at a restaurant in Silver Lake. “It was repulsive. However, I felt like I wasn’t allowed to express these feelings – as a public figure, as a woman, as a queer individual – without being seen as whiny or ungrateful for the privileges I had.

Since the mid-2010s, discussions about pop music, particularly the intense parasocial relationships between stars and fans, have evolved. Taylor Swift’s song “But Daddy I Love Him,” a track from her latest album often interpreted as an allegory for her feelings towards fans criticizing her relationship with Matty Healy of The 1975, exemplifies this shift. Similarly, Chappell Roan’s recent social media comments address what she perceives as predatory behavior that has become accepted due to how women in the spotlight have historically been treated.

“I’ve been so inspired watching Chappell just say how she feels,” Tegan says.

As a passionate cinephile reflecting on my journey, I can attest that I’ve witnessed the transformation of our perspectives on personal boundaries up close. This insight stems from my personal experience, such as attending a gender reveal party with Gypsy Rose Blanchard back in August, an event chronicled in her 2017 documentary “Mommy Dead and Dearest,” where I got a glimpse into the complex dynamics she faced with her abusive mother.

Carr stated, “I approached her and suggested we take a photo for social media.” Then I found myself asking, “What are you up to?” or, in essence, “Move along. You’ve got more important things to do.” This individual, their life is private. We don’t need to intrude on that privacy by broadcasting it.” (Interestingly enough, Blanchard shared the party details herself on Instagram.)

Originally, Tegan’s enthusiasm for sharing the tale of False Tegan emerged in the form of a podcast concept. However, when she shared this idea with Carr, he encouraged her to consider producing a documentary instead.

The director expresses that he was curious about how Tegon would engage with these individuals who believed they had a connection with her. He emphasizes that the scenario needs to be observed visually rather than just heard.

Without a doubt, some of the most emotional moments in the film are those where Fegan’s victims show genuine emotion upon meeting the real Tegan, perhaps stirred not just despite, but perhaps because of, the embarrassing situations connected to her. Interestingly, Carr also found this connection: She encountered Tegan and Sara during her high school years, long before they were friends with Swift, a time when the duo were still cultivating a devoted fanbase primarily made up of young queer women.

For me, their music took on a deeply personal, emotional voyage,” Carr explains. “It encompassed feelings of heartache, longing, inadequacy, and being queer. I enjoyed The Mars Volta too, but their songs were a mystery to me. Tegan and Sara’s music, however, felt incredibly intimate. I felt as if I knew them personally.” She chuckles. “Our film explores this connection, though there was no fan fiction involving me in the story.

“Erin knew where to draw the line,” says Tegan with a laugh.

The artist ponders if her extensive openness towards fans and acquaintances, such as engaging in lengthy conversations at merchandise booths following concerts or keeping up with an email exchange with a radio station acquaintance she met once back in 2001, might have unwittingly invited situations like Fegan’s. She admits there were instances when her sister accused her of being overly friendly to strangers: “She would say things like, ‘You’re too kind to strangers. You’re too approachable when people come up to you at the bar.’

As Sara explains, Tegan has been known for her unique approach to friendships since elementary school. She often formed bonds with kids who would be around only for a short time and then vanish, as Sara recounts in a separate conversation. Unlike Sara, Tegan seems to have an intrigue towards specific types of people that I don’t share. In fact, my feelings towards those individuals are not just indifference; they make me cautious.

From Sara’s perspective, fans share some similarities with an artist’s clients. She might argue, “Tegan and I could easily have a dispute that could potentially end our careers over this point. However, we don’t see eye-to-eye on it. But as far as I’m concerned, when you buy my album or tickets to a concert, it’s like a transaction: You gave me money for my work, and I provided it to you.” She clarifies, “That doesn’t imply that you have access to every other aspect of my life.

In response to Roan’s comments on overzealous fans, Sara expresses, “Well, they certainly can act a bit mad, can’t they?” However, when it comes to comparisons between the two popular queer music acts while promoting “Fanatical”, she politely refuses such an association.

If you engaged in an in-depth discussion with any well-known individual who identifies as straight, they would share some extraordinary stories with you,” she explains. “However, I believe the extraordinary events that occur in our lives are often interpreted differently: ‘Ah, they’re gay and their fans are also gay – this is the LGBTQ+ community exploiting each other.’ But to me, this isn’t any different. People are fundamentally simple: When we see something attractive, we’re drawn towards it, and some people move faster than others.” She nonchalantly shrugs.

Despite the unavoidable turmoil that surrounded the Fegan drama, which never truly concluded in “Fanatical,” Tegan and Sara chose to step away from the brighter spotlight of mainstream pop stardom they were edging towards in 2015. As I put it, we’ve deliberately opted for less commercially successful albums. We’ve returned to collaborating with independent artists. We’ve been touring less, I shared. (Our latest album, “Crybaby,” released in 2022 on the independent Mom + Pop label, marked a shift after years with the Warner Music Group.)

However, it surpasses the size of the fabricated Tegan. It’s like the industry demands, ‘Produce more content, perform more concerts, interact with more radio stations.’ This pressure often drives artists away. Tegan remarks, ‘This, combined with the profound deception from our followers – it led us to exclaim, “We are so passionate about music that we must find a way to rectify this situation.”‘

Currently, Tegan believes she’s become more cautious since her relationship with Fegan, which happens to be pleasing to her partner, Sofia Snow. The couple first met in L.A., post the hacking incident in Tegan’s life. As she shared at the restaurant, “We didn’t exchange emails or video calls; our communication was essentially empty unless we were face-to-face.” Laughingly, she also mentioned, “Interestingly, Sofia was a cybersecurity expert back then.

“Isn’t that insane?” Carr asks. “It was destiny.”

Tegan replied, “I won’t be sending you any explicit pictures.” To which she responded, “Absolutely right, you shouldn’t.

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2024-10-24 13:34