It was the Peanut Butter heist that won me over. Everyone watching “Cape Fear” knows what I’m talking about – it’s the sixth-episode confrontation in which Max Cady, played by Javier Bardem, tangles yet again with his nightmare neighbors Anna (Amy Adams) and Tom Bowden (Patrick Wilson).

Some of you may be thinking I’ve mischaracterized the Bowdens since past versions of “Cape Fear” establish Max as the nightmare. But for all of Tom and Anna’s trepidation toward Max, they do little to thwart him from being all up in their business.

In one scene, Anna discovers Max in her kitchen making a sandwich for her son Zack (Joe Anders). In another, her daughter Natalie (Lily Collias) hitches a ride with him. Anna carpools with him too, and Tom joins Max for a few drinks at a local bar. The Bowdens spend more time with their local tormentor than I have ever spent with my neighbors, whom I like quite a bit.

All this happens after Zack turns up with a missing toe, which Anna suspects Max orchestrated. Just like she and Tom strongly suspect Max spiked the family’s iced tea with Tom’s stash of LSD. Why does Tom have a stash of LSD? For microdosing, because Tom is a yuppie who hates his life.

Anyway, when the couple angrily strides across the street to confront Max, we’re supposed to be in their corner. But Max’s door is open to them, and inside they find him preparing a luxurious meal. Before Tom gives the hardened ex-con an earful of what for, he and Anna are shocked silent when their cat strolls into Max’s kitchen.

“You took Peanut Butter?” Tom yelps in a way that halts Max in his tracks. He walks over to the cat and picks him up, and in previous adaptations of this story, this might signal that a disturbing act of animal cruelty is about to happen.

But Bardem’s Max is a different breed of psychopath from those previously embodied by Roberts DeNiro and Mitchum. “Peanut Butter? Really?” he says. “You’re calling this majestic creature . . . Peanut Butter?” Then he kisses kitty on the cheek and reintroduces him as Maní – the Spanish word for peanut.

“Maní will come home when he’s ready,” he says later. “You can’t force a cat.”

“Cape Fear” has now inspired three screen adaptations – two of them feature-length films that last about as long as the endurance limit most people have for its brand of sadism. In adapting the premise for TV, series creator Nick Antosca dilutes the movies’ naked menace by pouring reasonable doubt into both Max’s profile and that of the Bowdens, the married lawyers behind his downfall.

That doesn’t save “Cape Fear” from being a 10-hour slog set to an imitation of Bernard Herrmann’s anxiety-inducing score, but it does lend a little intrigue to Antosca and Bardem’s interpretation of Max.

The TV variation of Max Cady is where the classic prestige drama Difficult Man shakes hands with a manosphere cultist’s pent-up aggression. Bardem’s villain is built more like an aughts-edition antihero. He was once a respected celebrity chef who loved his wife even though he cheated on her, and exudes a kind of danger that brings out a touch of Bonnie and Clyde syndrome in horny strangers.

Meanwhile, Anna and Tom Bowden are a split version of the attorney previously played by Gregory Peck and Nick Nolte, Sam Bowden. Their relationship with Max is also much more personal: Anna was Max’s pregnant lawyer in the trial where Max stood accused of killing his expectant wife, while Tom was the prosecutor.

At some point, Anna persuaded Max to plead guilty even though he maintained his innocence. Shortly after Max’s trial ended, Anna and Tom got married, Anna got sober, and both buried a few secrets. While Max spent 17 years in prison, Anna built a reputation for freeing wrongfully convicted inmates, while Tom went to work for a fancy law firm.

It’s hard not to feel some kind of sympathy for Max, who sustained a severe brain injury while he was incarcerated that required surgeons to install a metal plate in his skull. As he tells a fellow prisoner in a flashback, he’d never murdered anyone before he killed the men who attacked him. Who knows if that’s true? Then again, Anna and Tom aren’t exactly paragons of honesty either.

Everyone in this series is some shade of awful. Anna’s boss, Noa (CCH Pounder), thinks Max is just the greatest, to the point of gaslighting her unnerved colleague. An unhinged girl who turns out to be his secret daughter, Nevaeh (Malia Pyles), has been living in the walls of the Bowdens’ house and messing with their kids. Max even has his own stalker played by Juliette Lewis, who also starred in the 1991 movie.

Still, there’s no getting around Max’s demonic impulses or the Bowdens’ clumsy game of FAFO mixed with “You Started It.” As Anna and Tom keep saying, Max was going to come after them no matter what. But good lord, they are bad at this.

I’ve always understood Max Cady to be a poisonous extension of the male ego, dating back to “The Executioners,” John D. MacDonald’s 1957 book that started it all. Max Cady either validates the paranoia of upstanding men obsessed with protecting or dominating women, or the disdain felt by those whom such men look down upon.

Relatedly, his cinematic incarnations have evolved over the years: In the 1962 film, Mitchum’s Cady is a straight-up unrepentant criminal terrorizing Peck’s Sam Bowden by threatening to rape his wife and virginal teenage daughter. DeNiro’s take in Martin Scorsese’s 1991 remake amplifies Max’s barbarism and Lewis’ Lolita vibe as Sam Bowden’s daughter, establishing her teenage curiosity about Max by sucking on his fingers. (Scorsese is also listed as an executive producer on the series, along with Steven Spielberg.)

Antosca’s choice to leave rape out of the equation in the TV show, then, is a smart one. Instead, he falls back on a tried-and-true fridging: Not only was Max’s wife brutalized to a degree that there were knife marks on her bones, but the killer also cut his unborn child out of her belly.

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By the rule of Difficult Men, if Max does bad things, he has his reasons. And if he does those things to terrible people, they probably have it coming. Unfortunately, one of the people who paid the ultimate price in this feud is Anna’s coworker, whom she couldn’t leave out of her personal problems. He’s currently resting in pieces, poor guy.

The plot of “Cape Fear” dictates that this sporting tale of homicidal pettiness can only end one way. Until that inevitable conclusion, I’ll be rooting for Max Cady’s campaign against the Bowdens’ vortex of selfishness, which is entirely OK to do. None of these people is real, but the irritations they represent – NIMBYism, narcissism and the compulsion to destroy others to build ourselves up – are quite familiar. If the Bowdens were better written, I wouldn’t wish them ill. But I always trust the instincts of a good cat.

“Cape Fear” is currently streaming on Apple TV.

 

The post This new “Cape Fear” has me rooting for Max Cady appeared first on Salon.com.

When news of Sam Neill’s death at the age of 78 broke earlier this week, much of the public sentiment for the late New Zealand actor revolved around his humor and charm. Neill was a consummate character actor, hard-working and driven by a love for his craft, with a filmography spanning decades and roles that touched countless lives. And as such, Neill was a fount of fascinating stories and notable quotables — products of keeping his eyes open to all of the world’s strange beauty.

The New York Times’ Kyle Buchanan reminisced on an interview with Neill from 2022, promoting his return to the “Jurassic” franchise alongside former costars Laura Dern and Jeff Goldblum, in which Neill spun a truly incredible anecdote about his son farting in front of Princess Diana. On X, a user posted a magazine clipping in which Neill revealed how he’d commit a murder. (At the time, he was making the rounds for the BBC miniseries adaptation of “And Then There Were None.”) “I’d use a steamroller,” Neill confessed. “There’s a couple of people I’d put under a steamroller, but I won’t say who they are; otherwise, when they see a steamroller coming their way, they’ll be on full alert. And steamrollers don’t go very fast.”

Beyond making us laugh, Neill’s wit was one of those special traits that enhanced all the other aspects that made him so lovable as both an actor and a person. His real-life geniality provides a stark contrast to some of his most famous roles as monstrous men committing equally hideous deeds. His best work tunneled into life’s darkest spaces to excavate ideas about our fears and obsessions, often reflected through dazzling practical effects that matched the naturalism of his greatest feature: a singularly expressive, malleable face. The mixture of satisfaction, excitement and sheer bewilderment that Neill wore in the first dinosaur scene in “Jurassic Park” was so effective that it made viewers feel like they, too, were witnessing something beyond imagination. To convey so much using nothing but the  God-given tools in your arsenal is the mark of a truly great actor.

Though “Jurassic Park” may be Neill’s most loved work, it’s far from his most impressive. To quantify a career like Neill’s is impossible, but “Jurassic Park” points to a trend that spanned his filmography, even defined it. Throughout his career, Neill pitted himself against creatures both real and imagined — or, even more often, somewhere in-between — to reveal humanity’s foibles in the face of the freakish and fantastic. Neill’s penchant for the weird and abstract allowed him to use his unique features and distinct, gravelly voice to create characters who were as devilishly memorable as the beasts they went up against. Few performers could make your blood run cold one minute and have you laughing the next. And Neill relished that ability, returning time and again to characters whose unpredictability mirrored life’s, creating an oeuvre that is both grotesque and supremely human.

It’s telling that Neill’s first major film role outside of a few sleepy Australian movies was as a grown-up version of “The Omen” antichrist Damien Thorne in 1981’s “The Final Conflict.” With his slick black hair and steely gaze, he was practically born for the part. But those features were on far more chilling display — and for a significantly better film — in Andrzej Żuławski’s “Possession,” which debuted the same year, making for a pair of roles that supply a sturdy outline for Neill’s career. In Żuławski’s famously imposing psychological horror film, Neill stars alongside Isabelle Adjani as Mark, a young man whose life and marriage are falling apart at the seams after his wife, Anna (Adjani), has an affair and begins to exhibit strange behavior. As the first person the viewer sees in the film, Neill has the responsibility of setting the tone — a nearly inconceivable task for a movie that twists itself into a knot before consuming and regurgitating itself 10 more times. But Neill is up to the task, creating an atmosphere of sheer bleakness with little more than a look that is, somehow, both vacant and teeming with emotion.

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Though many critics and historians have tried, it’s impossible to get to the true root of a work as oblique as “Possession.” There are 100 feasible readings of Żuławski’s film, and just when those all seem to make sense, you could conjure up a 101st. What’s certain is that watching Adjani give herself over to Anna — and the gurgling, tentacled creature that may or may not be a figment of her fractured reality — is one of the most terror-inducing experiences you could have with a movie. But it’s important to note that “Possession” is a two-hander; Adjani’s performance needs Neill’s to sing, or perhaps, screech. He rises and falls at the same pace as his companion in this nightmare, laying the groundwork on which Adjani can create something so enormous. Neill’s performance is as flailing and furious as hers, and together, they turn “Possession” into a radical piece of filmmaking that has deservedly earned its cult following and late reverence. It’s really no wonder that Neill would go on to play characters who echoed Mark’s descent into madness, splitting off into equally extraordinary works of spine-tingling creature feature dread.

While some might cry sacrilege at comparing a filmmaker like Żuławski to Paul W.S. Anderson, the man behind such cinematic triumphs as the “Resident Evil” film franchise and “Alien vs. Predator,” both directors knew exactly how to push Neill to his most frightening limits. Like “Possession,” Anderson’s 1997 space horror, “Event Horizon,” took its time becoming a cult classic. Though the film was initially a critical and box office flop, it contains some of the most captivating sequences of outer-space terror you’ll find in any film, largely thanks to Neill’s petrifying turn as Dr. William Weir, a spaceship designer driven mad by mysterious visions. Weir and a small crew are sent on a recovery mission after the lost spaceship, the Event Horizon, suddenly reappears in orbit around Neptune, issuing a distress signal. When they arrive, they discover an inexplicable massacre has occurred, potentially the result of the ship’s ability, engineered by Weir, to fold space-time and travel great distances in a flash.

“Event Horizon” demonstrates a major theme in Neill’s most gruesome creature feature performances: the slow, onscreen transition from good to evil. Though Neill had more than a lifetime’s experience playing characters who were solely benevolent or entirely wicked, he was remarkably adept at navigating the journey back and forth between these two polarities. Even when they were written simply, his characters were never one-note. Neill seemed to savor the chance to go deeper, to look more closely at our innate capacity for acts both moral and depraved. Often, it’s trauma that changes us, that pushes us past the confines of what we know to be righteous and toward something cruel and unusual — a picture of ourselves that looks unfamiliar.

Dr. Weir, trying to do good for the world while still grappling with his wife’s suicide, reaches that threshold with unnerving speed (and even a bit of camp). But in “Event Horizon,” Neill avoids hokeyness in what could otherwise be an extremely hokey film, finding the emotional center in a character whose inner demons become real-life manifestations of Hell. It’s rare that an audience will sympathize with a character who is almost too nightmarish to bear, but Neill’s ability to consistently humanize the inhuman is precisely the kind of quality that we go to the movies for.

Of course, we also go for stories that are larger than life, that traverse beyond this realm into a place that only movies can go. One may argue that “Jurassic Park” is Neill’s perfect example of such a power. But my personal favorite will always be John Carpenter’s “In the Mouth of Madness,” a film that, by its title alone, is so fitting for Neill’s career that it’s almost comical. If you watch any film of Neill’s to pay tribute to a life well-lived and a career well-balanced, let it be this one: a hauntingly prescient, brilliant work of horror that perfectly encapsulates Neill’s most notable characters.

In the film, Neill stars as insurance investigator John Trent, who has been hired by the book publisher Arcane to track down their missing horror author, Sutter Kane, whose next book is hotly anticipated by the adoring, obsessed public. John’s work leads him to Hobb’s End, the fictional town in all of Kane’s novels come to life, where a series of strange occurrences that seem to lead back to Kane are happening more and more frequently. But John believes all of it to be an elaborate publicity stunt concocted by Arcane — or, at least, that’s what he tells himself.

Riffing on the public’s fanatical response to Stephen King’s work with a culty, Lovecraftian spin, Carpenter and screenwriter Michael De Luca craft a fascinating tale of how idol worship alters our collective consciousness, in which Neill is an essential component. As an ordinary man thrust into a world of monsters and maniacs, Neill is inherently playing with ideas about art and celebrity that reflect his own career. “In the Mouth of Madness” ponders just how powerful media — and our relationship to it — can be, and Neill gives an electrifying turn as a man caught up in a myth made real.

Neill said that, in filming “Possession,” he “only just escaped with his sanity barely intact.” And with “In the Mouth of Madness,” he once again evaluates the price of making great art, but this time from a safer distance. One could easily read the film as a meta examination of Neill’s work, of the kinds of characters he was drawn to, the ones that no audience member could soon forget. These men were striking figures, as intimidating as they were irresistible. They were characters who made us remember why we look to certain actors for specific things, and how important it can be to pay attention to the feelings they conjure within us. For Neill, it was the passion for complex, wily characters, and how those types of people reacted in situations that were equally complicated. His performances reminded us how easy it is for a person to lose their senses when they come face-to-face with something spectacular and indescribable. And what is life if not spectacular and indescribable? Through Neill’s work, we could explore our fears about what we can’t always understand. He wore the terror for us, making life’s big mysteries seem just a little less daunting — even if they, like Neill, will always be unpredictable.

The post Sam Neill, king of the creature feature appeared first on Salon.com.

Pete Hegseth has once again decided to humiliate the American military, this time by claiming the troops need more testosterone. But the defense secretary, armed with his perfectly coiffed hair and alleged makeup studio, is ready to restore their manhood. In a video released Wednesday, Hegseth discovered spoke of how “the modern battlefield is brutal and unrelenting” and “demands maximum psychological and mental readiness.”

His solution? “High-T,” as he put it. Despite his loathing of “beardos,” Hegseth is excited about “fixing” those he deems falling short in the manhood-measurement department. Since he can’t actually pull out a ruler and demand his “warfighters” drop trou, the former Fox News host is doing the next best thing: making testosterone level testing mandatory for all service members over 30. 

The move is just the latest example of a paradox that plagues MAGA men, from Donald Trump down to the everyday Joe Rogan fan posting workout videos in his Oakley sunglasses. Efforts to prove their masculinity are so over-the-top that they inevitably read more as anxious than tough, revealing the deep well of insecurity fueling the movement.

Hegseth is an especially cringeworthy example, with an attitude toward the troops that is less of a leader and closer to a third-grade boy dressing up his G.I. Joes. He’s fixated entirely on superficial indicators of “manliness,” which gets in the way of the concerns that any normal adult would have in the job, such as how to avoid causing wars and proceeding to losing them.

“There is no magic formula that can tell us what level of testosterone best prepares someone to serve in the United States military,” Dr. Emile Redwood, a urologist with Physicians for Reproductive Health, told me. While “there are broad physiologic parameters of estrogen and testosterone that support our overall endocrine system function,” he said, they don’t correlate to “our mental readiness to be a clear and cogent member of a team.”

“Testosterone levels have no place as a proxy for a myriad of physical and mental readiness tests, where capacity and readiness is directly measured,” Redwood concluded.

But it’s unlikely Hegseth understands or even cares about what the actual medical science says. This is the same man who declared in 2019 that he doesn’t wash his hands because “germs are not a real thing.” He later tried to write his germ denialism off as a joke, but at the Pentagon he has ended flu vaccine mandates for service members, calling them “absurd.” This decision is likely rooted in nothing more than a childish understanding of biology, which equates testosterone with being “manly” and therefore assumes the more “T”, the manlier the man. In reality, artificially boosting testosterone, especially if not medically indicated, can shrink testicles, lower sperm counts and even make it harder to urinate. 

According to the New York Times, women will also be tested, even though women typically have much lower testosterone rates than men, which is not a medical problem. But again, this isn’t about science or health. Hegseth’s hostility to women in the military is well-documented. In his book “The War on Warriors: Behind the Betrayal of the Men Who Keep Us Free,” Hegseth declared that women aren’t tough enough for “the military, especially in combat units.” As defense secretary, he has a pattern of blocking military promotions for both women and people of color. His new insistence that high testosterone levels are necessary to do the job sends an unmistakable message: that women are categorically unable to serve as “warfighters.”

Women have been serving for decades now, including in front line roles, even if they were only legally recognized as combat soldiers in 2013. But Hegseth can’t seem to accept this reality, which speaks to his immaturity and eagerness to bury himself in reactionary fantasies. He’s not alone, either. This juvenile “no girls allowed” attitude has been growing more toxic in recent years, and has been propelled by Republican leaders, from Donald Trump down to the party’s grassroots, who encourage men to believe it’s somehow more “manly” to play-act being tough guys rather than growing up and living in the real world. The vibes are childish, more like those of 11-year-old boys pretending they’re in an action cartoon than adult men who read books and enjoy the company of women.

Hegseth may believe the military has a “low T” problem, but in fact it’s just the opposite. There have been numerous reports of health problems, and apparently even the 2022 death of a new recruit, due to soldiers taking performance-enhancing drugs, including testosterone and human growth hormone. In response, the Navy SEALS instituted random drug testing in 2023.

Hegseth insists his testosterone push is “not about artificial enhancement,” but the disclaimer is an empty caveat. Young men are bombarded by advertisers and social media influencers selling shady supplements and drugs that promise to give them an edge. Now, the head of the military hyping testosterone like it’s a magical elixir will only enhance the appeal of dangerous performance-enhancing drugs. 

Jamelle Bouie of the New York Times noted on Bluesky that Hegseth “cares more about his 1950s aesthetics than a functional and competent armed forces,” right down to micromanaging facial hair and his unscientific assumptions about hormone levels. The disastrous Iran war suggests that Hegseth is not capable of the real work of a defense secretary, which was entirely predictable considering his only previous management experience was in running two non-profits into the ground. The fixation on appearances, especially on facile and exaggerated gender performance, is an obvious attempt at compensating for his own impotence in the job. 

But Hegseth isn’t alone in this. MAGA loves nothing more than a Potemkin village, and Trump has gotten as far as he has because he’s very good at using TV tricks to create the illusion of strength and competence, especially for those who aren’t looking very closely. The belief that reality doesn’t matter if the facade is showy enough reaches into every corner of modern right-wing culture, especially when it comes to gender. The pervasive plague of MAGA men hope to deflect attention from their myriad flaws with ostentatious but empty pantomimes of alleged manliness. From barbed wire tattoos to oversized pickup trucks to yelling “Michelle Obama is a man” at a UFC fight, there are millions of men like Pete Hegseth, hoping their theatrics will hide the anxious little boy inside them.

Not that any of them deserve pity. There is a way to get off this hamster wheel of trying and failing to prove you’re man enough, and it’s not through testosterone injections. It’s through growing the hell up already, and maybe even doing something as “feminine” as getting therapy. By chasing these silly ideas about manhood, MAGA men are ignoring the more realistic and worthwhile goal of being a functional adult, someone who garners love and respect by being decent to other people and handling their own responsibilities.

Granted, that’s also what mature womanhood looks like, but so what? Only insecure boys need women to be inferior to feel good about themselves anyway. Hegseth proves this every day. He wants you to believe he’s a big tough guy, when in fact he can’t even handle the idea that women, people of color, queer people and even “low T” men are just as capable as he ever was at being soldiers.

The post Pete Hegseth wants to measure your manhood appeared first on Salon.com.

While the hunger and labor strike at the Delaney Hall immigration detention facility in New Jersey ended weeks ago, conditions within the facility have not improved, and may be even worse than before the strike there. Now, policies are seemingly directed at obscuring conditions in the for-profit facility operated by The GEO Group.

In May of 2025, Delaney Hall, which operated as a holding facility for those picked up by Immigration and Customs Enforcement from 2011 to 2017, was recommissioned to support President Donald Trump’s mass deportation agenda. On May 22, detainees at Delaney Hall launched a hunger and labor strike at the facility, capturing national attention to what they described as inhumane conditions in the facility. In particular, detainees described unsanitary, moldy or spoiled food and mistreatment by guards. The strike led to significant protests outside the Newark, New Jersey, detention center, and high-profile clashes between protesters and the guards there as well as a frenzy of attention from the national press.

On June 22, advocates for detainees there said that the strike had ended, though not because conditions had improved, but rather because the facility and the Department of Homeland Security had adopted a tactic of frequently transferring detainees between facilities, which effectively broke the ability of detainees to organize themselves within the facility.

Volunteers at an aid tent maintained by local religious groups and organizers say that conditions at the facility have not improved, and may even be getting worse for some, based on conversations with released detainees and their families.

Haydee Colon Hernandez, a pastor at Saint John’s Lutheran Church in Summit, New Jersey, relayed one story in which guards seemingly retaliated against a man in a wheelchair following a conversation between the detainee and Sen. Andy Kim, D-N.J., in which she says guards told the man, “Do you think that just by talking to the senator you’re going to be released?”

“If you want to tell a guy that is in a wheelchair, ‘Stand up when I’m talking to you,’ that’s really abuse. He said, ‘I wasn’t able to get up. I’m in a wheelchair,’” Hernandez said.

Other complaints include persistently low-quality food, isolation within the facility, and frequent transfers between Delaney Hall and other facilities, which serve to prevent organizing in the detention center. One volunteer also described a new system adopted, in which new detainees, often there for shorter periods of time, are kept away from longer-term detainees. Those who are held for shorter periods of time also describe better conditions upon release than other detainees who are held for longer periods. Other volunteers said that the families of detainees have been intermittently encouraged not to discuss conditions in the facility after visits to their family members.

In response to a request for comment from Salon, an ICE spokesman denied any allegations of “subprime conditions or overcrowding” at Delaney Hall.

“All detainees are provided with proper meals, water, medical treatment, and have opportunities to communicate with their family members and lawyers. We offer everything a traditional ICE detention facility offers, including access to free legal services and a law library, a variety of reading materials detainees can borrow in our library, recreational space and religious accommodations. All detainees receive full due process,” the spokesperson said.

The frequent transfers between facilities is one of the most important developments since the strike, according to Sally Pillay, the director of the Mami Chelo Foundation, and one of the lead organizers at the aid tent, which provides assistance to both families visiting the facility and those released.

“ICE has really escalated in kidnapping people out in the community,” Pillay said. “So every day, hundreds and hundreds of people are being brought into the facility, and every day, hundreds and hundreds of people are being moved out.”

Pillay theorized that the frequent transfers, alongside preventing organizing within the facility, also make it harder for detainees to file habeas corpus petitions, which is a legal mechanism that allows detainees to challenge their detention in court.

Pillay, who has spoken with hundreds of detainees and their families, said that detainees are typically woken up around 1 a.m. for transfers, and that the transfer bus will leave anywhere between 4 a.m. and 10 a.m.

Gabriela Soto, the wife of Martin Soto, a leader of the hunger strike, recalled her experiences with ICE attempting to move her husband from Delaney Hall, which was ultimately successful.

“I saw my husband being thrown into a van from the ramp inside, going into the visiting chapel, two ICE agents grabbed my husband by his ankles and his wrists and threw him in the van. I just hate to see — or to understand why they will do these things,” Soto said in an interview with Salon.

Martin Soto was in Delaney Hall from February until late May, and according to Soto, he was transferred to the Elizabeth Detention Center in New Jersey around 2 a.m. on May 25.

Other volunteers said that it has been harder to gauge what is happening at the facility from the outside due to the disassembly of the so-called “First Amendment” area, which blocked off traffic in the lane of Doremus Ave. closest to Delaney Hall. Before the disassembly, they said they could often hear commotion and sometimes screams from inside the facility, potentially owing to alleged instances where guards pepper-sprayed and beat detainees with batons.

Delaney Hall is not the only detention facility plagued by allegations of abuse. A recent report from Human Rights Watch and the American Civil Liberties Union found that detainees at the Camp East Montana detention center were forced to endure filthy conditions, fed inedible meals and denied medical care. Detainees also described frequent beatings. DHS denies those allegations.

DHS, in response to a request for comment, also claimed that they provide comprehensive medical care to everyone in ICE custody and that ICE maintains a “zero-tolerance policy for all forms of assault involving individuals in ICE custody.”

“ICE takes every allegation of misconduct seriously and is committed to holding perpetrators fully accountable. Protecting the rights and safety of those in our care is a top priority. This includes safeguarding against abuse by staff, contractors, volunteers, or other detained individuals,” the DHS spokesperson said.

Kathy O’ Leary, a mainstay at the aid tent who works with Pax Cristi, spoke with Salon both during and after the strike and noted that visitation has been much more restricted since the strike began in May, and as tensions escalated throughout June.

For example, visitors were once allowed to wait in an indoor air-conditioned room and are now expected to wait for visitation in an outdoor seating area inside of a chain link fence near the gate of the facility. Inside the facility, there are other issues with heat. For example, during a dangerous heat wave in early July, air conditioning in one section of the facility also went down.

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O’Leary cited persistent issues with transparency at the privately owned for-profit detention center as well. If a legislator is visiting for an inspection, they are now required to present privacy waivers for each detainee they want to speak with, which must be signed by the detainee. However, visitors aren’t allowed to bring the papers with them when they visit family in detention, meaning that the only chance detainees have to sign the papers is during a weekly visit to a nearby law library. O’Leary said that the aid tent keeps these papers on hand, but even the volunteers and organizers there needed assistance from legislative aides to ensure they were filled out correctly, and that language barriers can prove a challenge for detainees and their families.

“They’re a little confusing. We have them here in the tent. They’re a little confusing for even for us to figure out. We’ve had to ask the legislative aides for help,” O’Leary said.

Separate from the aid tent, protests at the facility persist, with a grassroots group of activists maintaining a mutual aid table of their own near the detention center. One protester who goes by Basher, and has become a fixture of the protest efforts, said that even though the cameras have left, protests at the facility continue, with between 20 and 30 protesters showing up most nights. In recent days, however, owing to recent killings by ICE in Basher’s view, ICE and guards have been more reluctant to clash with protesters.

In recent weeks, immigration enforcement officers have shot and killed two people: Lorenzo Salgado Araujo in Texas and Johan Sebastian Guerrero in Maine. In Florida, another yet-to-be-identified man was killed after being struck by a semi-truck in Florida while fleeing ICE.

The post At Delaney Hall, the struggle persists after cameras left appeared first on Salon.com.