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“You’re nothing. You’re a ghost, a fat ghost,” says the critical inner voice of disillusioned housewife Sheila Rubin, who spends her days booking rooms in cheap motels to binge on fast food.

Beautiful, thin, privileged; on the outside, her life appears perfect. But inside, Sheila, played by Rose Byrne, is battling a complex eating disorder and plodding through a humdrum life in the shadow of her husband, a man who wants his wife to cook, clean, and have threesomes.

And then she discovers the shiny, spandex-wrapped world of aerobics. “Only you have the power to change you” becomes a new mantra.

Rory Scovel in Physical. Pic: Apple TV+
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Rory Scovel plays Danny Rubin, Sheila’s husband

Set against the backdrop of sun-soaked 1980s San Diego, Byrne’s new series Physical is a dark comedy about a woman’s rise from dutiful wife to lifestyle guru, all the time while fighting her inner demons; it explores the pressures on women – and the pressures women place on themselves – to look a certain way.

The actress, best known for her role as alpha bridesmaid Helen in Bridesmaids, says Sheila is “an extreme version of the duality” of many women.

“She obviously has a terrible illness, an addiction that she’s living with, and we meet her at a breaking point,” Byrne tells Sky News. “But there is that idea of appearance; on the outside, she looks perfect and she’s skinny and pretty and white and all these things but yet she’s completely self-destructive inside. She has all these privileges… but yet it doesn’t matter.

“I think that is uniquely female in a way, having that kind of inner-destruction. Often I see depictions of, you know, external, and this and that – drinking and that kind of destructive side of women. But I feel like it’s often an inside job that we do.”

Rose Byrne as Sheila Rubin in Physical. Pic: Apple TV+
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Rose Byrne stars as Sheila Rubin in Physical. All photos: Apple TV+

Physical shows that anyone can suffer from issues with their body image, no matter what they look like.

Created by Annie Weisman, known for her work on shows including Desperate Housewives, the story of Sheila’s eating disorder is based on the writer’s own experiences when she was younger.

“It’s uncomfortable and it’s not depicted [very often on screen],” says Byrne. “I don’t know, why it is that? I mean, it’s a hard thing to write about and it’s a hard thing to show. I don’t think it’s particularly something people gravitate toward. This is sort of an opportunity to start a conversation about it.”

Rose Byrne as Sheila Rubin in Physical. Pic: Apple TV+
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Byrne’s character appears perfect on the outside but is fighting inner demons

Sheila’s story shows the “seediness of the illness and that addictive quality that it has”, Byrne adds. “Like any addiction, you know, it’s always: ‘That was the last time. I just had to do it one more time, and then I’m good and I won’t do it again.’ And you just keep falling back into this very destructive pattern.”

At first, it’s the exercise part of the aerobics that Sheila craves, but real empowerment comes when she harnesses the burgeoning technology of videotape to revolutionise the industry. While on-screen workouts are everywhere now, whether it’s celebrity DVDs or Instagram lives with wellness gurus, it all stemmed from the trend that emerged in the 1980s.

“It was really hard,” Byrne tells Sky News, of channelling her inner Jane Fonda. “You know, I’m not co-ordinated, I’m not a dancer. I’m lazy, essentially. So I really was daunted by this task.”

Weisman says she wanted to use the typically female space of aerobics as a force for empowerment.

“Having struggled for decades with eating disorders and feeling really disconnected from my body, aerobics and exercise were a place where you could really embrace a kind of strength and power,” she tells Sky News. “And like so many things that are specifically female spaces, I think it gets easily dismissed.

“Whether or not women – or men – have that specific struggle with food, I think a lot of people relate to the idea of having a kind of shameful secret, an obsessive habit that allows them to contain some really difficult and unmanageable feelings.

“We’re not interested in exploitation or anything lurid, but really just emotional truth. So I don’t think you have to have had an eating disorder to relate. But, you know, eating disorders certainly are a persistent threat in in our culture today.”

Another issue the show explores is the power dynamics between men and women.

Sheila masks her problems and her desires and is seemingly a meek and mild wife, taking a backseat to her husband as he bids for state assembly – but while her character lives in the background (at first, at least), Byrne is very much the star of the show.

The issue of female-led films and TV series has been highlighted in recent years as diversity in front of and behind the camera slowly improves, but it seems there are lots of male stars who aren’t happy about playing second fiddle to a woman.

“Worth knowing that one of the big reasons so many female-centred projects weren’t being made for so long wasn’t because they weren’t being written and commissioned but because they couldn’t find a bankable male star who would agree to play second string,” Succession and I Hate Suzie writer Lucy Prebble tweeted earlier in June.

And in February, actress and director Olivia Wilde made headlines for praising her reported boyfriend Harry Styles for taking a supporting role in her female-led film, Don’t Worry Darling, saying that “the industry has raised [male actors] to believe it lessens their power (i.e financial value) to accept these roles, which is one of the reasons it’s so hard to get financing for movies focusing on female stories”.

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Comedian and actor Rory Scovel, who plays Sheila’s husband Danny Rubin, says he was more than happy to play a supporting role alongside Byrne.

“I like being employed, first and foremost,” he tells Sky News. “So I would do probably anything. I don’t relate to the sentiment of needing to be the lead or feel as though I won’t play a supporting character to a female lead. I do understand that that is something and I do understand that some people make their decisions and feel that way, but I truthfully just can’t relate to it.

“I don’t know that I’m so concerned where [a] character falls in the line-up or who the lead actually is. I think it’s just exciting to get to be a part of a show that is so well written, telling such an interesting story. It’s already fun that it’s set in the ’80s and we get to wear those clothes and have that look, but also, in quite the opposite sentiment, to get to follow someone like Rose and see her in action…

“I find it to be an education that I need as an artist. I would rather see someone like her showing me literally from the front row how she operates and what she brings to her roles so that I can, you know, hopefully try to educate myself in whatever that is, so that I can be better. So yeah, I feel quite the opposite. I feel very grateful that I got to be a part of the show.”

Apple Original series Physical, starring Rose Byrne, premieres on Apple TV+ on Friday 18 June

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Bands pull out from festival after group ‘cut off’ over Palestine flag

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Bands pull out from festival after group 'cut off' over Palestine flag

Several bands have pulled out from the Victorious music festival just hours before their scheduled performances, following claims by Irish folk group The Mary Wallopers that they were “cut off” for displaying a Palestinian flag.

The Last Dinner Party, Cliffords, and The Academic announced on Saturday that they would no longer be performing at the annual music festival in Portsmouth following Friday’s incident.

The organisers, who said the band’s set was cut short for using a “discriminatory” chant, have since apologised and promised to make “a substantial donation to humanitarian relief efforts for the Palestinian people”.

Rock band The Last Dinner Party said they are “outraged” by the incident and would boycott the festival.

“We are outraged by the decision made to silence The Mary Wallopers yesterday at Victorious. As a band we cannot cosign political censorship and will therefore be boycotting the festival today,” they said in a statement shared on their Instagram page.

“As Gazans are deliberately plunged into catastrophic famine after two years of escalating violence, it is urgent and obvious that artists use their platform to draw attention to the cause.

“To see an attempt to direct attention away from the genocide in order to maintain an apolitical image is immensely disappointing.”

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Abigail Morris, Emily Roberts, Georgia Davies, Lizzie Mayland and Aurora Nishevci of The Last Dinner Party. File pic: Reuters
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Abigail Morris, Emily Roberts, Georgia Davies, Lizzie Mayland and Aurora Nishevci of The Last Dinner Party. File pic: Reuters

The Last Dinner Party said that throughout the summer, they have used their performances to encourage their audiences to make donations to a medical charity supporting Palestinians and urged their fans “more than ever to do the same”.

The band said they are “devastated to be put in this position” and apologised to those who were hoping to see them perform.

Following The Mary Wallopers’ set, a spokesperson for Victorious said: “We spoke to the artist before the performance regarding the festival’s long-standing policy of not allowing flags of any kind at the event, but that we respect their right to express their views during the show.

“Although a flag was displayed on stage contrary to our policy, and this was raised with the artist’s crew, the show was not ended at this point, and it was the artist’s decision to stop the song.”

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The Mary Wallopers claimed the festival had released a “misleading statement to the press claiming they cut our sound because of a discriminatory chant, and not the band’s call to Free Palestine”.

The band said their video “clearly shows a Victorious crew member coming on stage, interfering with our show, removing the flag from the stage and then the sound being cut following a chant of ‘Free Palestine'”.

“The same crew member is later heard in the video saying ‘you aren’t playing until the flag is removed’,” the band added.

Rock band The Academic have also pulled out of the festival, saying they could not “in good conscience” perform at “a festival that silences free speech”, while Irish band Cliffords said they “refuse to play if we are to be censored for showing our support to the people of Palestine”.

After the bands’ announcements that they were pulling out of the festival, the organisers released another statement, saying that they did not handle “the explanation of our policies sensitively or far enough in advance to allow a sensible conclusion to be reached”, and issued an apology.

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Eva Victor: The ‘superstar’ who rose to fame creating viral videos on why comparisons are ‘unhelpful’ and new film Sorry, Baby

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Eva Victor: The 'superstar' who rose to fame creating viral videos on why comparisons are 'unhelpful' and new film Sorry, Baby

The creator of a new movie about the aftermath of sexual assault says comparisons with stars including Phoebe Waller-Bridge and Michaela Coel are flattering, but “aren’t ultimately helpful”.

Eva Victor, who rose to fame after creating viral comedy videos on X, wrote and directed their debut feature – Sorry, Baby – as well as playing the lead role.

They were encouraged to both write and then direct the movie by Oscar-winning filmmaker Barry Jenkins, after he saw Victor’s videos online.

Eva Victor, who first gained attention for their viral comedy videos, has released their first feature, Sorry, Baby. Pic: A24
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Eva Victor, who first gained attention for their viral comedy videos, has released their first feature, Sorry, Baby. Pic: A24

The film was warmly received at Sundance and Cannes, and its creator was hailed a “superstar”. But along with such accolades come inevitable comparisons.

Victor told Sky News: “The thing that that moved us so much about [Fleabag star Phoebe Waller-Bridge] and about Michaela Coel and about Greta Gerwig and those people is that it’s just a true voice.”

Phoebe Waller-Bridge in 2024. Pic: PA
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Phoebe Waller-Bridge in 2024. Pic: PA

They admit “that part of the comparison means everything”, but go on: “I’m non-binary, so I use ‘they’ and ‘she’ pronouns and I think it’s interesting that we feel pretty binary about comparisons.

“People are pretty interested in putting me in a category of women. I mean, Denzel Washington directed himself. Albert Brooks directed himself. Jodie Foster directed after acting.

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“It’s an interesting conversation, and I think maybe comparisons aren’t ultimately so helpful. But also, I’m very honoured because they’re people I desperately look up to. Overall, it’s a very, very fine comparison.

Pic: A24
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Pic: A24

‘The bad thing’ at the heart of the movie

A triple threat, Victor studied acting and playwriting at Northwestern University, Illinois, before moving to New York in 2016 where they worked on the feminist satirical website Reductress. They later landed a role in Showtime drama series Billions.

A black comedy, Sorry, Baby tells the story of Agnes, a twenty-something New England literature student – and later academic – who is sexually assaulted by her college tutor.

Dubbed “the bad thing” in the movie, the assault – which occurs off camera – is a catalyst for the movie’s storyline but never becomes its focus.

Victor has called the writing of the project, “my soul on the page” – without speaking directly about whether any real-life experience inspired it – telling Sky News: “The process you go through privately, you’re exercising something very soul-forward. It’s very exposing.”

The impact of sexual assault around the world is something Victor calls “a big, big societal tragedy”. One in four women in England and Wales experiences sexual assault in their lifetime, according to the Office for National Statistics.

Victor says: “The reason I made the film was to try to make a film about an attempt at healing and much less about a kind of violence.”

They explain: “As someone who wanted to explore the intimate feelings of recovery from something like this, the only way through for me was to really think about Agnes and what is truthful to her story.”

Pic: A24
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Pic: A24

‘Less about violence, and more about love’

Several instances in the film show the system failing to effectively deal with or even fully acknowledge the abuse – first a hospital, then a university – and those scenes are handled with a lightness of touch not always applied to trauma-based stories.

Victor says: “Humour in those scenes is used as a way for punching up people in power. And these institutions that create a really difficult, painful time for people.”

In the current climate, as convicted sex offender Harvey Weinstein faces his third trial, and music star P Diddy awaits sentencing – where does Victor think the MeToo movement stands now?

Despite the movie’s themes, Victor is reticent to become a mouthpiece for the movement.

Measuring their words carefully, Victor offers a note of optimism in their answer – much like the message of the movie – looking to the future with hope, albeit in an imperfect world.

“I think there’s rehabilitation that is necessary for everyone, and I’m less interested in violence and punishment and much more interested in finding love and trying to hold each other.”

Sorry, Baby is in UK cinemas now.

Anyone feeling emotionally distressed or suicidal can call Samaritans for help on 116 123 or email jo@samaritans.org in the UK. In the US, call the Samaritans branch in your area or 1 (800) 273-TALK.

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Bridgerton creator Shonda Rhimes reacts to claims of ‘woke’ casting – and why she’s considering moving to the UK

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Bridgerton creator Shonda Rhimes reacts to claims of 'woke' casting - and why she's considering moving to the UK

Bridgerton creator Shonda Rhimes says filming the drama and its spin-off Queen Charlotte in England has prompted her to consider relocating to the UK.

The US producer, who is behind some of the most popular TV dramas of the past two decades, told Sky News working in Britain had been a “really welcoming experience”, adding: “I’ve been spending a little bit more time over here and I’m going to try to spend even more if I can swap my kids into a British school.

“I’m trying to figure that part out, but I do really love being here and it’s always been such a great experience.”

Rege-Jean Page and Phoebe Dynevor as Simon Basset and Daphne Bridgerton in Bridgerton. Pic: Netflix
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Rege-Jean Page and Phoebe Dynevor as Simon Basset and Daphne Bridgerton in Bridgerton. Pic: Netflix

Rhimes’ vast contribution to television has been recognised at this year’s Edinburgh TV festival, where she was given its inaugural fellowship award for the global impact of her shows.

Her first huge hit was Grey’s Anatomy. The medical drama, which began in 2005, is now in its 22nd season.

Shonda Rhimes created Grey's Anatomy. Pic: ABC/Kobal/Shutterstock
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Shonda Rhimes created Grey’s Anatomy. Pic: ABC/Kobal/Shutterstock

But finding an abandoned novel in a hotel room would motivate her to write Bridgerton, the drama that has become the biggest show on Netflix.

While its steamier scenes are often what garner most attention, she says after reading the books, she came to see it as a “workplace drama”.

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“These are women in their workplace because, in a world in which they have no power, they have no ability to do anything else; their only value is who they marry and their only worth is focused into that,” she adds.

‘Bizarre’ criticism

Rhimes says she is thinking about moving to the UK
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Rhimes says she is thinking about moving to the UK

Rhimes agrees there is something inherently condescending about the way critics use terms like “guilty pleasure” to describe her dramas.

“There are certain people for whom the world of women will never be considered as serious or as complex or as interesting as the world of men,” she says.

Rhimes says she finds some of the reaction to her decision to reflect a diverse range of actors in Bridgerton’s cast “bizarre” after critics accused the show’s makers of “pandering to woke culture”.

Bridgerton has been one of Netflix's most popular shows. Pic: Netflix
Image:
Bridgerton has been one of Netflix’s most popular shows. Pic: Netflix

She said: “The idea that I am writing the show looking like I look, that it wouldn’t occur to me that there should be more people in the show who look like me, I feel like that’s an obvious point. Why would I write something that doesn’t include me in any way?”

Given the thousands of episodes of drama she’s written over the years, she’s all too aware that it’s likely artificial intelligence is probably being used to scrape her scripts.

“There’s a danger of AI learning from my episodes, maybe it will learn to be better at what it does, but, most importantly, I don’t think that there’s any substitute for that germ of creativity that comes from a human imagination, I really don’t.”

As for what she enjoys watching on TV, her eyes light up when I mention having heard she’s a massive fan of a certain British sci-fi classic.

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“Oh my God, I’ve loved Doctor Who forever! Forever!” she says, describing writer Russell T Davies’ work as “amazing”.

She adds: “For a while, people were like ‘what’s wrong with you?’ because they didn’t know the show. I fell in love with the David Tennant years, and I haven’t been able to let it go because of the writing.”

I ask if she’s ever considered a crossover episode.

She laughs: “I don’t know if there’s a Bridgerton meets Doctor Who…, but I would work with Russell at any time.”

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