Roar review – The Women Who Are Here to Be Heard

The beauty of an anthology, whether on the page or screen, is that even if one story doesn’t speak to you personally, there are others waiting in the set that may hit the satisfying spot.

And that’s pretty much the nature of Roar, Apple TV+’s new anthology series, which is wholly centred on women’s experience. Based on a short story collection by Chick Lit(!) novelist Cecelia Ahern, and created by Glow showrunners Liz Flahive and Carly Mensch, Roar Season 1 consists of eight darkly comic fables – all standalone, and all a very digestible 30-minutes long.

Roar sits in same wheelhouse as Black Mirror, or perhaps it’s more accurate to say that the series is tonally closer to the adult-orientated work of Roald Dahl. There’s a lot of weirdness treated with magic realist acceptance, but even at its most disturbing, Roar is never nihilistic. Its heroines are agents of change in their own lives, always active and ready to wrestle back control. Though sometimes bittersweet, there are no unhappy endings here.

What audiences will find instead in Roar are explorations of subjects such as victim shaming; the complex, emotionally-wrought feelings of working mothers; the danger of internalising the objectifying values that others put on you; and the pressure placed on women to put family responsibilities above their own wants and very identity.

Ignoring their universal technical polish and strong performances, not all episodes of Roar are created equal. Some are a bit too on the nose, like The Woman Who Solved Her Own Murder, with Alison Brie. However, when the episodes land their point, the insights hit hard, and will have you pondering them well after the credits roll.

That said, given how focused Roar is on delving into female experience, it may be inaccessible for male viewers. Even for women, certain episodes will likely have more relevance than others, based on their individual upbringing. For example, the Woman Who Was Kept on a Shelf (fronted by Betty Gilpin) speaks more to those celebrated for their physical attractiveness above all, while The Woman Who Disappeared (starring Issa Rae) centres on the inequalities, injustices and blood-boiling micro-aggressions that women of colour face on a daily basis.

So what episodes did stand out for us, personally?

The Woman Who Ate Photographs is already novel for featuring Nicole Kidman (a Roar Executive Producer), Judy Davis and Simon Baker all using their native Australian accents. However, this tale of a mother-daughter road trip is an emotional gut-punch, elevated by its nuanced performances, with its examination of dementia and women’s expected role as family custodians. What could easily have been a two-hour prestige movie has been distilled down to its potent essence.

The Woman Who Found Bite Marks on Her Skin is the body horror entry of the series. Yet, despite its gore, it’s also arguably the most subtle, tightly directed and raw in its reflection of reality. In this episode, Cynthia Erivo’s wife and mother returns to work after a near-fatal birth, only to break out in literal bites as she struggles to balance her maternal yearnings, professional aspirations in a male-dominated industry, and possible postpartum depression. Jake Johnson co-stars as a husband wrestling with his own complicated guilt and resentment.

Finally, The Woman Who Returned Her Husband is the most light-hearted and sweet of the episodes, with a woman (Meera Syal) returning her husband to the store after 30+ years of marriage. Refreshingly here, responsibility for the relationship breakdown isn’t put solely on the husband’s shoulders.

At this point, it’s worth mentioning the greatest criticism you can level at Roar: it’s relentlessly cishet nature. While different ethnicities are covered, Roar is devoid of LGBTQ+ themes and explorations. Which is disappointing. To be fair there is no judgement of queer existence, but it’s clear what is considered the norm in this universe – although perhaps that definition will be broadened in potential future seasons.

As it is, Roar is still worth watching. Women viewers, in particular, may uncover a gem or two that will become a treasured exploration of their own experiences. And given the compactness of the series, unearthing those jewels rarely feels like a chore.

You can stream Roar on Apple TV+ now. The series released in its entirety on 15 April.