Nicole Kidman & Cynthia Erivo on Dame Apple TV + Drama – The Hollywood Reporter

Apparently, this is what is at the heart of the Apple TV + Roar A series of essential facts about femininity today – or, at the very least, essential facts about femininity that are understood by a certain category of women (mostly straight, mostly middle class, mostly Americans). All half-hour chapters of the set are created by women and focus on female characters dealing with issues such as maternal guilt or misogyny or abusive relationships, elevating these everyday concerns to the realm of myth with a touch of magical reality.

Nevertheless, in an effort to globalize these intense personal experiences, Roar Loses most of the heart. It’s not that the series is lazy; Every installment seems to be carefully planned and polished, and even the worst has some unique moments of brilliance or beauty. That is what many are trying to say, Roar Less can be said.

Roar

Underline

Very humble, despite the terrible title.

Wind Date: Friday, April 15 (Apple TV +)
actors: Nicole Kidman, Isa Ray, Betty Gilpin, Cynthia Erivo, Merritt Weaver, Allison Brie, Mira Stall, Fival Stewart, Cara Howard
Creators: Carly Mensch, Liz Flyhive


Almost every story is compiled in the same way, with a title that suggests an old folk tale, a familiar dialogue with a strange twist, and a final dialogue that summarizes the themes of the story for those who have not yet understood it. From there, Roar Varies in style and tone – however the entire series was created by Liz Flyhive and Carly Mensch (GLOW) And based on Cecelia Ahern’s 2018 collection of short stories, each chapter is guided by a mix of different stars, writers and directors.

Most wonderful riches are derived from a common metaphor. At best, they help deepen the characters and stories we see. In “The Woman Who Returns Husband”, the most moving episode of the entire season, the wedding market – I mean a real aisle in a big box store – Anu (Mira Sayle) and Vic (Bernard White) to reconsider their 37-year relationship, and them We need to better understand the unrest that is divided.

Even less successful entries can bring moments of unarmed beauty or strangeness, like a dream set of memories that engulf the motel room as a mother (Nicole Kidman) swallows family photos while devouring family photos.

But often, Roar The metaphor does not add much to the already unspoken metaphor. It’s a brilliant idea to realize that the literary hotshot heroine of “The Woman Who Decapitated” is not Wanda (Issa Ray). Feel Invisible to white male executives modifying her latest bestseller, she said In fact Invisible to them. Or Ambia (Cynthia Erivo), the “woman who saw the bite marks on her skin”, finds out that her guilt about being a working mother leaves bloody wounds. Eyes). But the ideas go out before they can dial another climax, or humble themselves in unexpected ways.

At least it’s easy to see what those campuses are going for. “The Woman Who Was Food A Duck” would have been without the increasingly toxic direct play about love, or the fact that Alyssa (Merritt Weaver) is dating a Mallard duck (voiced by Justin Kirk). It is unknown at this time what he will do after leaving the post. Weaver (very well deserved) try to create a duck bedroom eyes.

What does Roar Very frustrating, it’s not all bad. In fact, considering the piece, the many choices it makes seem pretty good. The actors are innocent; Even the smallest characters are filled with famous and beloved artists like Daniel Day Kim, Jack Johnson and Jillian Bell, nothing can be said about its star fronts. Each story has a unique tone and aesthetic – it’s the cupcake pastels of the “woman on the shelf”, a fairy tale of a beauty (Betty Kilpin) placed on a pedestal or “The woman who solved her murder.” Se7enSQ Thriller starring Alison Bree. There are lines that make me mesmerized in recognition, and body humor drops that make me laugh out loud.

But the episodes feel less than the sum of their parts. The whole series, even more so. RoarAccess to globalization comes at a specific cost. Its characters are flat like paper dolls, revealing humorous little myths that reveal broad, profound expressions, rather than being worthy of caring about their own rights as three-dimensional individuals. I think this is just another of the female experiences involved: the frustration of looking at well-intentioned, thoughtfully designed, seemingly empowering media outlets, rather than seeing us as weird, reduces our stories to what they “mean”. We are truly complex unique individuals.

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