Between Heaven and Hell
The duality of human nature embodies a constant struggle between two opposing forces. Good and evil, beauty and ugliness, thinness and voluptuousness, asceticism and hedonism. Between these extremes lies a spectrum of the unclassified, the forgotten, that which is neither wholly good nor bad—merely human. Perfection is divine; chaos and disharmony are devilish. It is no wonder that this dilemma fascinates artists, philosophers, and great thinkers. Yet, I don’t believe it is a concept that can ever be fully defined. No force will ever claim ultimate victory; there will always be a sine wave of harmony, periods of happiness, and times of sorrow. But why are those who dwell in the middle portrayed as so complex?
Consider “Bram Stoker’s Dracula”, Brad Pitt in “Fight Club”, James McAvoy in “Split”, and Rosamund Pike in “Gone Girl”. What do these characters have in common? They are morally corrupt individuals who captivate the audience. Simply put—why are psychopaths sexy?
Isn’t falling in love akin to being a psychopath? Isn’t love itself psychotic? You think of someone constantly: their favorite color, their breakfast preferences, their current thoughts. Constant planning, being consumed by the object of your desire. This compulsion tells you, “Yes, go ahead.” It’s crazy, and I’m not even mentioning the times when the other person doesn’t know you exist.
But these little fantasies are harmless, right? Wondering what someone tastes like—that's a bit psychotic. Yet these are thoughts everyone has had at least once. “I will go mad if I don’t see you, if I don’t touch you” (which is borderline assault!).
What if love consumes you so entirely that you always want a part of them with you? We all collect trophies—nudes, screenshots, photos, furniture, receipts from the first date. The sweet frustration of suffering. Love and pain are inseparable.
What if you love someone so much that when they die, you want to inhale their soul?
Psychopaths, love, faith?
Why are psychopaths in movies shown to be sexy? And why do our brains so easily accept this? Is it a fascination with domination and predation? Vampires are hot, werewolves are hot, psychopaths are hot. Is it an unfulfilled fantasy or the allure of a little danger, giving in to animal instincts? Why can’t we make a movie about a regular, well-prospering guy with a decent job for us to fantasize about? Oh, wait, there was American Psycho—and the title is self-explanatory.
Is it the confidence? Is it just the mystery? We want to get into someone’s brain and understand it. Isn’t that love itself? So many parallels exist between good and evil.
Is being good boring? Too vanilla, too ordinary? Fifty Shades of Missionary wouldn’t make a blockbuster. We don’t want to see regular sex. We are fascinated with pain—something most of society wouldn’t want or do. Mr. Grey is toxic and controlling, but he knows how to satisfy a woman, and that’s it; everything is forgotten! Our physiology—oxytocin, serotonin—floods of spanks and orgasms wipe away any rationality. Human nature is not as rational as we think. We are driven by our instincts and hormones. Wars have been fought over the possession of a woman, hearts have been broken, and honor has been questioned.
Aren’t “those psychos” sexy because they are free? Slaves to their desires but free from social constructs and rules, living true to their nature. Good art is honest art.
Love has many shades and colors—kind, gentle, possessive, obsessive. You can love ideas, people, religion. Love is the ultimate goal and a dangerous drug. We seek our Messiah, our salvation. Here comes spirituality and religion.
Love gives us a goal, faith. It motivates us.
And what are people capable of in the name of love, in the name of faith?
The HBO documentary "Love Has Won" delves into the disturbing world of a cult whose members fervently believe that their leader, referred to as "Mother," is the reincarnation of a goddess destined to liberate humanity from sin and elevate the Earth's vibration. This cult, shrouded in mysticism and the promise of spiritual awakening, attracts individuals who have experienced trauma, feel lost, or are desperately seeking something to believe in. They find solace and purpose in "Mother," seeing her as a beacon of hope in their turbulent lives.
The cult's practices are extreme and exploitative. Members are subjected to severe deprivation—denied adequate food and sleep, and often fueled by drugs and alcohol—all in the name of faith. This relentless physical and psychological manipulation aims to break down individual will, making followers more susceptible to the cult's doctrines and more dependent on their leader. The harsh conditions are justified as necessary sacrifices for spiritual purification and enlightenment, further entrenching the members' belief in "Mother's" divine mission.
Financial exploitation is rampant within the cult, with thousands of adherents providing monetary support to sustain the group's activities. These followers are often isolated from their families and communities, their devotion to "Mother" overshadowing their previous lives. They genuinely believe that they are supporting an incarnation of Christ, a savior who will guide them to salvation. This blind faith and financial backing enable the cult to maintain its grip on its members, perpetuating a cycle of dependency and delusion.
"Love Has Won" paints a harrowing picture of how vulnerable individuals can be drawn into a cult, manipulated through a potent combination of emotional exploitation and charismatic leadership. The documentary highlights the dangers of unchecked faith and the human need for connection and purpose, which can sometimes lead to destructive and dehumanizing experiences. This exploration of cult dynamics serves as a cautionary tale about the fine line between faith and fanaticism, and the devastating consequences that can arise when that line is crossed.
Directors purposely play with their audience, balancing on the edge of disgust and arousal. Think of “Stoker” or “Fresh”. Stoker could be seen as a feminist statement, embracing the dark side of the self, made even more alluring by Matthew Goode. Fresh explores the idea of cannibalism, almost sexy, portrayed by Sebastian Stan. Is it a coincidence that both actors are among Hollywood’s most attractive men? Change the portrayal to someone more mediocre, with more flaws and less charm, and you see a completely different image—the real one. Using serial killers as protagonists/antagonist is a metaphor, not a reflection of reality. It can be looks and wit, or intellect mixed with cold calculation, like Hannibal. It depends on what the director wants us to feel—amusement and a sense of questioning, or fear and horror.
Humans are attracted to the familiar but also to the completely unknown. This is why sociopathic skills are so interesting, reflecting the grayness of morality. These shades of gray are a constant inspiration to all artists because they cannot be put in a box. We love to label everything; we need to understand—it gives us comfort. But oscillating on the edges of those brackets is tempting.
We like to think of religion as a clean monument of virtues. We aspire to be blameless, pure, perfect, but we always fail, like Sisyphus carrying a rock. Regardless, we believe, we pray, we give power to God, being at His mercy. Giving away power is another form of comfort. It’s easy to step from faith into obsession, regardless of your church. Why do we try? Because the ultimate prize is illumination, ecstasy—the final stage of spiritual growth. The same with love; we seek final fulfillment.
Such a universal value transfers to every area of life. It’s a goal, our mission. Like a cannibal craves human flesh, Stoker gives in to his compulsions. People chase love, salvation, perfection—anything that gives existence meaning. Everybody dreams, but not everyone simply takes what’s there, regardless of the consequences. Maybe that’s why psychos are sexy?
