Norway's Princess Märtha Louise has defended her marriage to Durek Verrett, a celebrity shaman who has faced accusations of fraud and sexual misconduct. The couple's relationship is the subject of a new Netflix documentary, Rebel Royals: An Unlikely Love Story, which presents their story largely through their own accounts.
The princess, who divorced her first husband Ari Behn in 2017, went public with Verrett in 2019. Verrett, a Black American shaman based in Los Angeles, has worked with celebrities including Gwyneth Paltrow. The documentary shows the couple selling their wedding pictures to a glossy magazine and discussing their belief that they met in a past life.
Verrett describes himself as 'soul-sexual' and says he previously thought he would end up with a male partner. The film touches on the racism he faced in Norway, much of it from online trolls, and notes that his father-in-law, King Harald, was praised by Prince Harry for speaking out in his defence.
However, the documentary has been criticised for its shallow treatment of controversies surrounding Verrett. Royal expert Tove Taalesen suggests Verrett may be 'a scam artist', but this claim is not explored. Verrett denies being a fraud, calling criticism a smear campaign from a press that 'doesn't want a shaman who's Black and bisexual marrying their princess'.
The film also does not question Verrett about allegations of sexual misconduct towards a client, which he denies. A voice note from 2020 is played in which he says he 'crossed a line' in a healing session by engaging in a sex act, but he maintains it was consensual. Verrett's health issues are also covered: he is undergoing dialysis and needs a kidney transplant, but the documentary does not address his controversial views on modern medicine, including his suggestion that cancer patients 'wanted' their illness.
Directed by Rebecca Chaiklin, who also made Tiger King, the film relies heavily on talking heads from the couple themselves, leaving many questions unanswered. It presents a mix of gushing comments, alarmist tabloid headlines, and unanswered questions from the Norwegian media, resulting in a film that lacks editorial independence.
