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In Apple TV+’s ‘Roar,’ stories of womanhood are satisfyingly weird

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Issa Rae in Roar.

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Issa Rae in Roar.

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The brand new anthology sequence Roar on Apple TV+ tells eight tales of girls in numerous emotional states. A number of the tales are extra comedian, some are extra dramatic. The sequence does not have a single, apparent thematic throughline the way in which, say, the tech-dreading Black Mirror does. What unifies the chapters, apart from that they’re about ladies in quite a lot of circumstances, is that they’re satisfyingly, pleasantly bizarre.

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Roar has led its promotion with its solid: Episodes are led by Cynthia Erivo, Nicole Kidman, Issa Rae, Merritt Wever, Fivel Stewart and Kara Hayward (Hayward performed Suzy in Moonrise Kingdom ten years in the past), Meera Syal, and GLOW veterans Alison Brie and Betty Gilpin – working once more with GLOW creators Liz Flahive and Carly Mensch, who tailored the sequence from Cecelia Ahern’s ebook of tales.

The installments include titles that reveal their reliance on stunning central conceits: “The Lady Who Was Put On The Shelf” (with Gilpin), “The Lady Who Ate Images” (with Kidman), “The Lady Who Discovered Chew Marks On Her Pores and skin” (with Erivo), and so forth. (A few the episodes haven’t got direct inspirations within the ebook however are extra within the fashion of the ebook’s tales.)

Betty Gilpin and Daniel Dae Kim in Roar.

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Betty Gilpin and Daniel Dae Kim in Roar.

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Take these titles actually, by the way in which: Kidman’s character eats images, Erivo’s finds chunk marks on her physique after she goes again to work following the delivery of her son, and Gilpin’s strikes in with a rich man (Daniel Dae Kim) whose thought of affection is to have her sit on a shelf within the grand front room of their dwelling so he can admire her.

A number of the tales that do come from the ebook have been modified significantly. That is true of “The Lady Who Was Fed By A Duck,” the episode that includes Wever, which is the one that the majority economically communicates how bizarre Roar is prepared to get. It is also true of “The Lady Who Slowly Disappeared,” starring Rae, which transfers the thought of disappearance into a totally completely different context from what Ahern wrote.

What Flahive and Mensch have completed is take these offbeat core concepts and spin them into tales that dig into one thing in regards to the lives of those ladies. It is a energy of this format that the majority of those episodes are within the neighborhood of a half-hour; it permits for a construction the place the interpretation from hook to emotional thought does not should be gradual, as a result of there’s solely sufficient time to current the thought, discover it with vividness, after which finish the story.

Cynthia Erivo and Jordyn Weitz in Roar.

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Cynthia Erivo and Jordyn Weitz in Roar.

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You are not meant to want time to slowly uncover what a narrative of a girl being positioned on a shelf by a wealthy man is meant to be about — in fact, it is in regards to the vacancy of being displayed moderately than beloved, as a result of that is actually what’s taking place. Rae’s character looks like she’s disappearing as a result of she is. And while you see Nicole Kidman stuff {a photograph} in her mouth in an effort to reside inside a reminiscence of her previous, there’s not a second the place it dawns on you, “Oh, this represents her need for the consolation of her recollections.” She simply ate an image, in spite of everything. It is *meant* to be bracing, extra like having water thrown in your face than like having an thought gently reveal itself.

Whereas Roar will get good performances from its actors, it has not been as assertive about selling this lineup of administrators — and that is too dangerous, as a result of that is largely a administrators’ venture. Rashida Jones directed Erivo’s horror-ish episode, which is stuffed with fascinating visuals, and Channing Godfrey Peoples (who wrote and directed Miss Juneteenth) directed Rae’s. Quyen Tran, who was the director of images for the creative (and realism-bending) romantic comedy Palm Springs, directed “The Lady Who Returned Her Husband,” and you’ll see her contact with the magical and the mundane in the way in which the episode assaults the thought of a big-box retailer the place they promote returned husbands at a reduction.

Not the whole lot works, however Roar is efficiently stunning and dedicated to creating the fantastical concepts it is enjoying with appear to be elements of odd life, putting them in dialogue with odd issues like grief and guilt.

The emotional heft behind these tales does not come from, typically, a Twilight Zone-style twist. It comes from the interpretation of the intangible into the tangible, the second when there isn’t any query that the factor you suppose is occurring is definitely taking place. We’re all accustomed to utilizing tough bodily equivalents to clarify emotions: I really feel invisible. I really feel like I have been placed on show. I really feel like this ache might completely eat me alive. Roar is in regards to the questions: What if you happen to actually had been, if you happen to actually had been, if it actually might?

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That is maybe too stylized a present to be everyone’s cup of tea, and anthologies are inherently uneven. (You’re both going to associate with the story of Wever and the duck, or you’re very very a lot not.) However these fairy tales that may be something from humorous to actually scary have their very own blunt and typically resonant reality, even when nothing that occurs right here might actually occur. Hopefully.

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Lifestyle

A member of the 'T-Shirt Swim Club' chronicles life as 'the funny fat kid'

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A member of the 'T-Shirt Swim Club' chronicles life as 'the funny fat kid'

“The first place I learned to be funny was on the schoolyard trying to defuse this weird tension around my body, says Ian Karmel. He won an Emmy Award in 2019 for his work on James Corden’s “Carpool Karaoke” special with Paul McCartney.

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Comedy writer Ian Karmel spent most of his life making fun of his weight, starting at a very young age.

“Being a kid is terrifying — and if you can be the funny fat kid, at least that’s a role,” Karmel says. “To me, that was better than being the fat kid who wasn’t funny, who’s being sad over in the corner, even if that was how I was actually feeling a lot of the time.”

For Karmel, the jokes and insults didn’t stop with adolescence. He says the humiliation he experienced as a kid navigating gym classes, and the relentless barrage of fat jokes from friends and strangers, fueled his comedy.

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For years, much of his stand-up comedy centered around his body; he was determined to make fun of himself first — before anyone else could do it. “At least if we’re destroying me, I will be participating in my own self-destruction so I can at least find a role for myself,” he says.

Karmel went on to write for The Late Late Show with James Corden. He has since lost more than 200 pounds, but he feels like he’ll have a lifelong relationship with fatness. He wrote his new memoir, T-Shirt Swim Club: Stories from Being Fat in a World of Thin People, along with his sister Alisa, who channeled her experience into a profession in nutrition counseling.

“Once we lost a bunch of weight … we realized we’d never had these conversations about it with each other,” Karmel says. “If this book affects even the way one person thinks about fat people, even if that fat person happens to be themselves, that would be this book succeeding in every way that I would hope for.”

Interview highlights

On using the word “fat”

There’s all these different terms. And, you know, early on when I was talking to Alisa about writing this book, we were like: “Are we going to say fat? I think we shouldn’t say fat.” And we had a conversation about it. We landed on the determination that it’s not the word’s fault that people treat fat people like garbage. And we tend to do this thing where we will bring in a new word, we will load that word up with all of the sin of our behavior, toss that word out, pull a new one in, and then all of a sudden, we let that word soak up all the sin, and we never really change the way we actually treat people. …

I’ve been called fat, overweight or obese, husky, big guy, chunky, any number of words, all of those words just loaded up with venom. … We decided we were going to say “fat” because that’s what we are. That’s what I think of myself as. And I’m going to take it back to basics.

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On the title of his memoir, T-Shirt Swim Club

T-Shirt Swim Club: Stories from Being Fat in a World of Thin People

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Thank God for learning about the damage that the sun does to our bodies, because now all sorts of people are wearing T-shirts in the pool. But when we were growing up, I don’t think that was happening. It’s absurd. We wear this T-shirt because we … want to protect ourselves from prying eyes — but I think what it really is is this internalized body shame where I’m like, “Hey, I know my body’s disgusting. I know I’m going to gross you out while you’re just trying to have a good time at the pool, so let me put this T-shirt on.” And it’s all the more ridiculous because it doesn’t change anything. It doesn’t actually cover you up, it hugs every curve!

On how bullying made him paranoid

You think like, if four or five people are saying this to my face, then there must be vast whisper campaigns. That must be what they’re huddled over. … Anytime somebody giggles in the corner and you are in that same room, you become paranoid. There’s a part of you that thinks like, they must be laughing at me.

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On how fat people are portrayed in pop culture

Fat people, I think, are still one of the groups that it’s definitely OK to make fun of. That’s absolutely true. … I’m part of this industry too, and I’ve done it to myself. … Maybe it’s less on the punch line 1719964293 and more on the pity. You know, you have Brendan Fraser playing the big fat guy in The Whale. And at least that’s somebody who is fat and who has dealt with those issues. Maybe not to the extent of like a 500- and 600-pound man, but still to some extent. And good for him. I mean, an amazing performance, but still one where it’s like, here’s this big, fat, pathetic person.

On judgment about weight loss drugs and surgery

It’s this ridiculous moral purity. What it comes down to for me is you [have] your loved ones, you have your friends. And whatever you can do to spend more time on earth with those people, that’s golden to me. That’s beautiful, because that is what life is truly all about. And the more you get to do that, the healthier and happier you are. So those people out there who are shaming Ozempic or Wegovy or any of that stuff, or bariatric surgery, those people can pound sand. And it’s so hard in a world that is built for people who are regular size, and in a world that is also simultaneously built to make you as fat as possible with the way we treat food. It’s like, yo, do the best you can!

Therese Madden and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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Christopher Reeve's Son Will Reeve to Cameo in James Gunn's 'Superman'

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Christopher Reeve's Son Will Reeve to Cameo in James Gunn's 'Superman'

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Dining out with a big group? Learn the social etiquette of splitting the check

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Dining out with a big group? Learn the social etiquette of splitting the check

Let’s say you’re at a restaurant with a group of friends. You ordered appetizers, maybe got a bottle of wine for the table, went all in for dessert … then the bill arrives.

No one is offering to cover the whole tab. So how do you handle the check? Do you split it evenly among everyone at the table? What if you only got a salad while your buddy got the surf and turf special?

Splitting the bill is a fine art. Whether you’re eating family-style at a Korean barbecue joint or having a three-course meal at a fancy restaurant, there should be “a sense of equality in how the check is divvied up” when the meal ends, says Kiki Aranita, a food editor at New York Magazine and the former co-chef and owner of Poi Dog, a Hawaiian restaurant in Philadelphia.

She goes over common scenarios you may encounter while dining out with a large group — and how to dial down the awkwardness by keeping things fair and square.

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Scenario 1: I arrived to dinner late. Everyone at the table already ordered drinks and appetizers and are about to order their entrees. What should I do?

When you’re ready to order, tell your server you want your food and drinks on a separate check, says Aranita. “It’s easier to deal with than having to split a check in complicated percentages at the end of the night.”

If you do choose separate checks, tell your server that at the start of the meal, not the end. That way they can make note of everyone’s individual orders. Not every establishment offers this option, but it doesn’t hurt to ask.

Scenario 2: Everyone ordered alcohol except me — and now they want to split the tab fair and square!

Speak up, says Aranita. “Just be like, ‘Hey guys — I didn’t drink.’ Usually, that’s enough for everyone to reconfigure the bill to make it fairer. The problems only arise when you don’t speak up.”

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If you are ordering round after round of $20 cocktail drinks, be conscious of the people in your party who didn’t order as much as you. When the bill arrives, “maybe pick up a larger portion of the tip” to make up for your drinks, says Aranita.

Scenario 3: We’re a party of six. Is it OK to ask the server to split the check six ways?

Many restaurants now have updated point-of-sale systems that make it easier for servers to split the check in myriad ways, says Aranita. But it doesn’t always mean you should ask them to do so.

Aranita, who has also been a bartender and server, recommends a maximum of two to four credit cards. Servers “have enough to deal with” when working with a large party, especially on a busy night. And running several cards with different tip percentages isn’t ideal.

“If you’re a party of six, just put down two credit cards” and Venmo each other what you owe, she says. This approach also works out great for that person in your group who’s obsessed with racking up credit card points. 

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Scenario 4: It’s my birthday. My friends should pay for my meal, right?

In American culture, it’s assumed that if your friends take you out to dinner for your birthday, they will cover your meal. But that’s not always the case, says Aranita.

If you set up your own birthday dinner, don’t expect to people to pay for you, she says. You picked the restaurant and invited your friends on your terms. So in this scenario, put down your card at the end of the meal. Your dining mates may pick up your tab, but if they don’t, “that’s perfectly fine. You’re saying: ‘I can celebrate me and also pay for me.’ ”

Scenario 5: It’s my friends’ first time at my favorite restaurant. I’m going to order an appetizer that I think everyone at the table will love. We’re all splitting the cost of that, right?

It can be easy to get swept away by the menu at a favorite restaurant, but don’t assume your dining partners share the same enthusiasm for the twice-fried onion rings. “You have to get their consent at the beginning of the meal. Say, ‘hey, is it cool if I order appetizers for the table?’ ” says Aranita. If you forgot to ask this question, assume that you will pay for the order.

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This episode was produced by Sylvie Douglis. The digital story was edited by Meghan Keane. The visual editor is Beck Harlan. We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.

Listen to Life Kit on Apple Podcasts and Spotify, and sign up for our newsletter.

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