Eminem documentary *Stans* clearly states: if you’re not a supporter, you can exit. The film, produced by Shady Films, showcases cultural commentators, celebrity friends, and music journalists, but primarily highlights dedicated fans to delve into Marshall Mathers’ journey and cultural significance. These enthusiasts have treasured every album, demo, and mixtape, traveled globally for shows, and even inked Eminem’s face 22 times on their skin.

In the film, these supporters embrace the title stans, marking their identity as “too much like Stan.” The term “stan” has transitioned from a somewhat negative connotation to a positive one, stemming from Eminem’s 2000 single “Stan,” in which he depicts an obsessive admirer. The iconic line states, “You’re just like me.”

Director Steven Leckart and producers Paul Rosenberg and Tony DiSanto adopt a compelling, unapologetically respectful method by chronicling an artist’s life and career through the insights and analyses of fans. It’s a tribute to the bond between artistic empathy and mental well-being, examining fandom and parasocial relationships, and, thanks to Eminem’s closing remarks, rejecting any criticism.

*Stans* ultimately defends itself against scrutiny. If it doesn’t resonate with you, it isn’t meant for you.

The genuine essence of *Stans*, beyond its renowned subject, lies in the array of Eminem supporters featured in the film. Each enthusiast introduces themselves saying, “My name is…” and recounts their journey of discovering and following Eminem’s artistry. Zolt Shady, a fan since 2001, stands out, guiding us through various Detroit locations significant to Eminem’s life. These followers celebrate his achievements, grieve alongside him, and desire his triumph. Each fan receives respect, hoping their idol will understand their reasons for being fans. Meeting Eminem is not the aim; they simply wish for him to know.

*Stans* articulates a definition of parasocial relationships, with each supporter talking about Eminem as if he were a friend. Eminem expresses discomfort regarding fans visiting locations like his destroyed childhood home, stating, “It’s cool that people care, but it’s strange because it’s me.” He reflects on his own inspirations like LL Cool J, who also makes an appearance in the documentary, describing parasocial relationships: “You’re like their best friend, and you don’t even know it.”

Despite the titular song addressing the matter, *Stans* shifts focus from the consequences of toxic fandoms when parasocial relationships misfire — a topic the Tegan and Sara documentary *Fanatical* handled with elegance. Discussion of detrimental celebrity worship and harassment is restricted to the song “Stan,” remarks from Eminem and his peers, a fan’s perspective on Stan in the social media era, and distressing fan letters demanding access.

Instead, the film emphasizes healthy fandom, illustrating how individuals connect with an artist’s creations and find comfort in shared experiences and “standom.”

*Stans* is an exhilarating exploration of Eminem’s career devoid of criticism. While adopting a different perspective, it remains a chronological music documentary, detailing Eminem’s upbringing in Detroit, his early mixtapes, discovery by Dr. Dre and Interscope Records’ Jimmy Iovine, his ascent to fame including the Oscar-winning film *8 Mile*. The film underscores Eminem’s influence on hip-hop and the music scene, showcasing mischievous antics. It evokes the feel of a lively YouTube binge — remember when Eminem did/said that? Fans certainly do.

The film traces Eminem’s discography through fan insights, with each linking their personal experiences to albums like *The Marshall Mathers LP*, *The Eminem Show*, *Relapse*, and *Recovery*. Eminem and his collaborators discuss the creation and production of his work, along with the emotional cost of being candid about experiences. Eminem states, “I was an open book, and sometimes you want to shut that book.”

The film primarily features fans reflecting on how each album affected them. It’s a fascinating approach, transferring critical insight to those who have closely examined each lyric, leading to heartfelt reflections on isolation and creative bond.

Through Eminem’s sentiments and fan commentary, *Stans* unravels the persona of Slim Shady and how “uncancellable” Eminem is. However, it fails to appropriately scrutinize his contentious remarks and homophobic and misogynistic lyrics. “Anyone with half a brain can discern when I’m joking and when I’m serious,” Eminem asserts. The documentary does not engage with critics; it is the Eminem documentary, produced by Eminem, centering him and his fans. The only music journalist is Anthony Bozza, author of *Whatever You Say I Am: The Life and Times of Eminem*, and the film somewhat condescends past write-ups from *New York Times* columnist Maureen Dowd.

The primary voices aside from fans include Eminem’s collaborators and admirers — Dr. Dre, Jimmy Iovine, Ed