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    "Prophet's Prey"

    Meet Sam Brower: The man who helped nab polygamous prophet Warren Jeffs

    Ashlea Miller
    Oct 30, 2011 | 8:30 pm

    More than 30 years ago, Sam Brower was the best man in his friend’s wedding. Three months later, he was carrying that friend’s body in a casket. Killed in a home invasion in California, his friend was the impetus for Brower’s long career in criminal justice and private investigation.

    Today, Brower is best known as the man who cracked open the secretive world of the polygamous Fundamentalist Church of Latter Day Saints (FLDS). His work led to the arrest and conviction of prophet Warren Jeffs, who is currently serving a life sentence plus 20 years in a Texas prison for child sexual assault.

    Brower details the investigation in his new book, Prophet's Prey: My Seven-Year Investigation into Warren Jeffs and the Fundamentalist Church of Latter-Day Saints. CultureMap spoke to Brower in advance of his appearance at Austin's Texas Book Festival. Here’s a preview of what the Utah-based private eye reveals in his book:

    CM: How did you gain the trust of the FLDS community?

    SB: The community itself is very distrustful, very isolated, very insular. It literally took years, baby steps, little bits at a time, getting to know somebody and then them having a brother or some other contact that would slowly begin talking to me. It was a very cumbersome process.

    CM: The conviction of Warren Jeffs was a huge feat, but how much will it really change within the FLDS community?

    SB: Even though Warren’s in prison in Texas right now, [the FLDS] are still doing the same things. They have this network and support of this crime syndicate and the same things are still going on... Warren’s brother, Lyle Jeffs, has already taken over.

    CM: So it’s sort of like Al Qaeda or the Mafia in that respect?

    SB: It’s even more insidious than the Mafia. The Mafia threatens you with your life, but the FLDS threatens you with your family and your eternal salvation, and people that lose their family are without hope, and that’s worse than death.

    CM: The investigation must have been emotionally taxing on you. Did you ever want to give up?

    SB: It’s been an emotional roller coaster. I’ve been skewered by FLDS apologists, harassed by high-powered FLDS attorneys. I’ve had people try and run me off the road. I wanted to give up many times. By the same token, I’m glad I did get involved, and I’m glad I’m on the right side of the table and helped expose it.

    CM: Now that Jeffs is in prison will you continue to investigate the FLDS?

    SB: My personality is such that, the harder they push, the more I want to stay involved. So I am. I am staying involved, and I don’t know that I’ll ever be able to turn my back on it.

    CM: Was it difficult diving back into seven years of material for the book?

    SB: The hardest part was not trying to figure out what to put into the book but what to leave out of it. There’s so much that’s happened, there’s so much that can’t be said at this time because there are ongoing criminal investigations.

    CM: What do you want readers to take away from the book?

    SB: My motivation was to put this in the public face and make people aware of it. It’s catching on more in the West, but it seems like in the East it’s not their business as much. But in actuality, it’s everybody business. It’s child abuse, for crying out loud.

    CM: What shocked you most about the FLDS community during your investigation?

    SB: I’d heard of polygamy and what was happening to these young girls, but I had no idea how young they really were. His one victim in Texas was barely 12 years old. One of the things that was also a great revelation that came from everybody’s investigation was Warren’s priesthood journal that was found in Texas. It was voluminous. It probably had over 10,000 pages. And there were computers and hard disks and flash drives and external drives and all this evidence chronicling Warren Jeffs’ FLDS criminal activities. That was so implicating for me. I’ve talked to all these people, but here it is in Warren Jeffs’ own words. It was a private investigator’s dream come true.

    CM: You’re Mormon, which often gets confused with fundamentalist Mormonism. How did that affect your role in the investigation?

    SB: I get it from both sides, whatever the group’s agenda is. Warren Jeffs’ attorney says that because I’m LDS, I’m out to get Warren Jeffs and all Mormons hate the FLDS. And other activists say that because I’m Mormon, I’m out to cover up what FLDS does. The fact is, I’m just like anybody else. Anybody with a moral compass that reads this book and finds out what’s going on within the FLDS is going to reach the same conclusions as I have.

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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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