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Orbach was interested in exploring “the dynamic of a movement/cult: how people get in, how people perform once in them, how the people who are leading it rationalize the movement’s theories and beliefs to themselves and to the people they’re trying to persuade.” Make your Emmy predictions — CLICK HERE Win $500, top spot on our leaderboard & a place in next year’s Top 24 The lenser wanted to visually represent the divide between “the facade of this movement, which is very inviting and warm and organic and natural on the outside, and the very dark currents, both personal and thematic, on the inside.” As he explains, “On one hand, we’re going to shoot it in a very natural, inviting way, because that’s how the movement is projected to the world, and then on the other hand, there is this very dark layer underneath that you learn about as the season goes on.

We use that visually to bring that part of the story out.” Since a full 10-episode season was ordered as opposed to a pilot, “we could establish the look from frame one to the end.” Yet, he readily admits, “this was challenging because you know that everything has a meaning that will have to be sustained throughout the season.” He gives due credit to Mike Cahill, who helmed the first two episodes.

Was there any part of you that felt this is a part of this I actually enjoy, or was it just another part of this experiment?

JENNIFER: I'm not gonna lie, there were certainly a couple of times I would check myself out and like put on something and look in the mirror in a dorm room I didn't have a big mirror, so I'd do it in the camera, prance around the room.

But there was something magnetic about watching the Jennicam.