Shaboozey’s Met Gala Look Sparks Debate: Katt Williams’ Humiliation Ritual Theory Reignited

The Met Gala, themed “Superfine: Tailoring Black Style,” became a lightning rod for controversy when rising country star Shaboozey debuted a bold turquoise-beaded ensemble. The Nigerian-American artist’s custom Robert Wun suit—featuring a cropped jacket, matching pants, draped turquoise and Swarovski crystal beads, and a wide-brimmed hat—ignited a firestorm online.

While some praised the look as a fearless nod to Black dandyism, others, citing comedian Katt Williams’ long-standing theories, labeled it a “humiliation ritual” orchestrated by Hollywood elites. Williams’ claims of occult symbolism and industry manipulation have resurfaced, fueling a heated debate about Shaboozey’s outfit and the deeper machinations of fame.

Williams, a vocal critic of Hollywood’s underbelly, has for years alleged that celebrities, particularly Black men, are coerced into symbolic acts of submission to secure success. In a 2024 Club Shay Shay interview with Shannon Sharpe, he described these acts as “humiliation rituals,” often involving emasculating wardrobe choices like dresses, which he claims serve as tests of loyalty to a secretive elite.

More recently, on Joe Rogan’s podcast, Williams expanded this theory, asserting that such rituals extend beyond clothing to staged controversies and even Baphomet worship, a nod to occult symbolism he links to transgenderism and industry control. His comments have polarized audiences, with some dismissing him as a conspiracy theorist and others hailing him as a prophet exposing systemic corruption.

Shaboozey’s Met Gala appearance, detailed in a Vanity Fair interview, was a deliberate blend of Westernwear and dandy-inspired flair, crafted with stylist Anastasia Walker. The outfit, adorned with 3,100 turquoise beads and David Yurman jewelry, aligned with the gala’s theme, which celebrated Black sartorial innovation.

Fans on X, like @BoozeyFanatic, praised its historical roots, noting, “This look isn’t just fashion-forward, it’s rooted in history, identity, and rebellion.” Others, however, saw red flags. Shaboozey’s visible discomfort while posing for photos, coupled with the outfit’s non-traditional masculine presentation, led to speculation on platforms like TikTok, where users commented, “I’m pretty convinced it’s a ritual inside there.”

The “humiliation ritual” narrative, popularized by Williams, posits that Hollywood gatekeepers use public displays to test and control rising stars. Historical examples include Dave Chappelle’s 2006 Oprah interview, where he recounted rejecting a dress for a film role with Martin Lawrence, sensing it was a deliberate test.

Chappelle noted a pattern of Black actors—Eddie Murphy in The Nutty Professor, Tyler Perry in Madea—donning dresses, framing it as less about humor and more about compliance. Kevin Hart, who wore a dress in a 2013 SNL skit as a female pope, initially denied facing such pressure but saw his career skyrocket post-skit, a point Williams cites as evidence of ritualistic reward.

Williams’ broader claims dive into esoteric territory. He alleges that Hollywood’s rituals are tied to Baphomet, a deity associated with occultism, and that terms like “transgender” and “GOAT” (Greatest of All Time) are coded references to this worship. He argues that the industry normalizes these symbols to desensitize the public, pointing to events like Sam Smith’s 2023 Grammy performance, which critics labeled satanic for its red-horned aesthetic. Online, figures like @MJTruthUltra have amplified Williams’ views, linking Shaboozey’s look to a “trans agenda” and elite manipulation.

Shaboozey’s case, however, isn’t a clear-cut dress scenario. His outfit, while unconventional, was a high-fashion statement tailored to the Met Gala’s theme. The Root reported that critics of the look overlooked its roots in Black dandyism, a style historically tied to rebellion and identity. Supporters argue that turquoise, symbolizing spiritual transformation, was a fitting choice for an artist blending hip-hop and country. X user @DandyDefender wrote, “Do y’all not know dandism? A style Black people created. Black men specifically.” Shaboozey himself told Vanity Fair he felt “amazing” in the look, emphasizing its durability and craftsmanship.

Yet, the internet’s reaction—mocking nicknames like “Shabbout” and “somebody’s auntie”—fed into Williams’ narrative of public shaming as ritual. Posts on X, like @TruthSeekerX, claimed, “The humiliation ritual is real AF and the Met Gala is ritualistic and all about symbolism. Souls for sale.” These sentiments echo Williams’ assertion that the industry thrives on obedience, not talent, and that viral moments are engineered. The backlash against Shaboozey, some argue, proves the ritual’s success: public ridicule reinforces the artist’s submission.

Critics of Williams’ theory, however, see it as overreach. GQ noted that the “humiliation ritual” catchphrase has become a paranoid lens for interpreting any celebrity oddity, from Kanye West’s controversies to John Cena’s 2024 Oscars stunt. Some accuse Williams of homophobia, particularly for framing dresses as inherently emasculating, a critique that surfaced on Reddit’s r/redscarepod. Others argue that Shaboozey’s discomfort could reflect the pressure of a Met Gala debut, not a sinister agenda. X user @StyleSavant posted, “It’s literally the Met Gala and he’s extremely on theme. What is he supposed to wear? A polo?”

The debate also touches on broader societal tensions. Fashion’s gender norms, especially for Black men, are heavily policed, and Shaboozey’s look challenged these expectations. The Root highlighted how such judgments reflect “heavily weighed expectations on gender roles,” noting that women and queer fans celebrated Shaboozey’s boldness. Conversely, conspiracy theorists see the Met Gala itself as a ritualistic stage, citing past controversies like the 2018 “Heavenly Bodies” theme, criticized for sacrilege. Williams’ reference to Baphomet, while fringe, taps into a history of “satanic panic” narratives, as seen in reactions to Sam Smith’s Grammy performance.

Ultimately, Shaboozey’s Met Gala moment underscores the clash between artistic expression and public perception in an era of heightened scrutiny. Williams’ theories, while compelling to some, lack concrete evidence and risk oversimplifying complex cultural dynamics. His focus on symbolism—turquoise, beads, or dresses—may obscure the more mundane realities of fame: pressure to stand out, navigate trends, and appease industry gatekeepers. Yet, the fervor around his claims, amplified by Shaboozey’s polarizing look, reveals a deeper truth: audiences are increasingly skeptical of Hollywood’s motives, seeing every outfit as a potential cipher for power plays.

Whether Shaboozey’s outfit was a ritual or a fashion statement, the discourse it sparked reflects a cultural moment where trust in institutions is shaky, and every celebrity move is dissected for hidden meanings. As Williams himself said, “That’s what makes information so powerful—you don’t care how people feel about the ritual. It’s about does following the ritual work.” For now, Shaboozey’s fans and detractors alike await his next move, wondering if he’ll defy or conform to the industry’s unwritten rules.