‘World first weight-loss device to help fight the global obesity epidemic.’ Photo: Otago University
‘World first weight-loss device to help fight the global obesity epidemic.’ Photo: Otago University

SocietyJune 29, 2021

The jaw-dropping sight of the jaw-locking ‘DentalSlim Diet Control’

‘World first weight-loss device to help fight the global obesity epidemic.’ Photo: Otago University
‘World first weight-loss device to help fight the global obesity epidemic.’ Photo: Otago University

Even as someone who might understand the arguments for this device, I’m appalled by the implied endorsement of debunked ideas about obesity, writes Anna Rawhiti-Connell.

One of the most frightening scenes in the Handmaid’s Tale is when June goes to Washington DC and, in line with tradition in the delightfully dystopian capital of Gilead, is fitted with a mask. She is muzzled. It’s something you do to dogs and ideally not to people.

It’s rightfully horrifying on the show because the idea of our mouths being forcibly shut or restricted is the stuff of nightmares. To restrict what goes in and comes out of our mouths is to silence us, starve us, suffocate us, and potentially kill us. It calls to mind examples of historical instruments of torture, restriction and repression like the “pear of anguish” or the scold’s bridle.

It’s quite understandable then that when the University of Otago tweeted about a “world first weight-loss device to help fight the global obesity epidemic” accompanied by a picture of a set of teeth locked together by “an intra-oral device that restricts a person to a liquid diet”, Twitter went bananas.

Informed by a growing understanding about obesity and the daily judgement and prejudice fat people face, the tweet got slammed faster than it would take me to slam a cheeseburger after freeing my jaw from medieval wiring.

In the back of my mind though, as I watched the tweets roll in, labelling this yet another example of fat phobia and fat shaming, lurked the only edge case I could think of. The edge case I’ve experienced and the possible edge case the university buried in the original press release. They state, in the 10th paragraph of the release that: “The tool could be particularly helpful for those having to lose weight before they can undergo surgery.” They don’t specify which surgery in the release, there are any number that might require weight loss, but allude to one kind of surgery in a follow up paragraph:

“While bariatric surgery plays a major role in the management of morbid obesity, it cannot be relied upon to manage this ‘global epidemic’. It costs about $24,000 and patients ‘live with the consequences of that for life, which can be quite unpleasant’.”

I take issue with the comment about the “unpleasant consequences” because while there can be some, they are vastly outweighed by the benefits and the long-term reduction in cost to the health system. It’s a bit odd to be seemingly putting people off this surgery in a release about a so-called alternative.

I know about these consequences and benefits because I had bariatric surgery in February 2020. It actually could be relied on a bit more in this country if it were funded better. New Zealand’s overall rate of public funding for weight loss surgery is half the rate of the United Kingdom and Australia. New Zealand has the third highest adult obesity rate in the OECD.

I had the surgery because my health insurance covered it, I was a Type 2 diabetic, morbidly obese and had been trying to lose weight since I was a teenager. I have already written thousands of words on the mental gymnastics involved, but let’s just say I was staring down the barrel of some serious health problems and I have made my peace with my decision. It has changed my life and I will beat you in any debate on the subject.

Before undergoing surgery you are, in most instances, required to be on a liquid diet. It’s intended purpose is to shrink your liver. The surgery is performed laparoscopically so your liver has to be lifted out of the way to get to the stomach. It’s a big deal amongst the bariatric surgery community, we frequently bitch about the “Opti” (Optifast – the meal replacement drink most of us use) phase because it’s ghastly. To be crystal clear, I wouldn’t wish a liquid diet on anyone unless it’s required for bariatric surgery. Done without the surgery as the end goal, it’s an unsustainable way to lose weight.

It’s also very hard. You get headaches, light-headedness, nausea and your bowels get fucked up. I was a truly disgusting human being to be around for the three weeks I did it, and had to do something of an apology tour after.

Most people will lose weight doing it because in total, three shakes a day equates to an intake of 600-800 calories, so there is a kernel of truth to the idea the university has alluded to about the psychological benefits of a kickstart. I was allowed to supplement my shakes with two cups of vegetables. I tried to make a “Big Mac sauce” from courgettes to go on my burger made from roasted carrots. Desperate times.

During this time of desperation, most bariatric surgery patients are also contemplating a huge life change, the fear of the unknown, an irrational fear of dying on the operating table and attempting to peel back the layers of deep, entrenched shit that is melded with our bones. We have to begin to unpick years of body hatred, self-hatred, blame, shame, skewed eating habits and myriad bags of emotional and psychological luggage we carry around that weigh three times as much as our bodies.

Would I, given the choice, have opted to have my jaw clamped shut to ease at least one element of the psychological torture I felt I was going through? Perhaps removing the temptation of eating a whole pizza would free up my brain to freak out about something else? Could I have been the edge case that trumped the wave of anger about this barbaric jaw clamping device?

I stood in my kitchen one night during the “opti-phase” and cried as I wrestled with that exact temptation. I feared never being able to eat a pizza again. I didn’t want to eat another vegetable or sip down the sickly sweet shakes no matter how much I pretended it was a Frappuccino.

But it’s in contemplating this very battle with Satan’s pizza that the wheels come off this idea of what might be the university’s edge case.

You will not meet a bariatric surgery patient, pre or post, who doesn’t talk about “head stuff”, mindset or the surgery being a tool. These are the phrases that bounce around support groups. They are given to us by the health professionals we interact with before and after surgery. The underlying implication is that while the surgery is the very best tool we have for a reset and a second chance at developing a different relationship with our bodies and the world around us, there is work to be done. It is not a quick fix. It requires commitment and a big shift in the thinking that brought us to their doors in the first place. I saw and still see a psychologist, a counsellor, a dietician and my surgeon. I involved my family and friends. I have chosen to be open about it.

The physical restriction created by the surgery gave me a flying start for sure – I could only eat a quarter of a cup of food for three months – but in all my dealings with the army of people involved in my care, the name of the game has always been about bringing me back to a place where I enjoyed food and ridding me of the restrictive diet mentality. To free me from a binge, starve, binge cycle. To deliver me to a promised land where I could question and understand the forces that work to completely fuck up our relationship with our bodies and the food we put in it. To equip me to unpick this stuff for the rest of my life from a place of peace and strength. That is the work you have to do and very often, the first time you realise it, is in those first few weeks on your awful Opti diet.

Beyond the lack of longevity in this study to truly test whether this “kickstart” is really all you’ve been waiting for on your road to peace and strength and the fact it ignores the aforementioned “work” that it really takes, the idea that physically restricting someone to a liquid diet by clamping their jaw shut ignores so many of the causes of obesity, it’s not funny.

The press release cites compliance as the main barrier to “successful weight loss”. Never mind poverty, living conditions, working long hours in sedentary jobs or the freedom given to Big Food Inc to load supermarkets with yet another stupid food mash up or plant a McDonald’s on every corner.

Never mind the increasingly individual and isolated lives we lead, away from communities, tradition and communal food sources.

Never mind the several multibillion-dollar industries that are designed to warp every single thought we have about bodies and profit from the wreckage.

Never mind the complex metabolic and hormonal science that now underpins most thinking about weight gain and loss.

The thing is, they tried wiring jaws shut in the 1970s and 80s as a weight loss solution and most people gained the weight back.

Even as I attempt to muster up the most generous read of this device as someone who might understand the edge case for it, a short term way for people to lose weight ahead of surgery, bariatric or otherwise, its tone, announcing the device as a way to “help fight the global obesity epidemic” and the suggestion it may “obviate” the need for surgery, reveals a whole lot of wonky thinking that needs to be put to bed.

It fails the sniff test because it endorses and celebrates debunked ideas about obesity and takes us back to the unhelpful position of believing that willpower and restriction are all that’s required to lose weight.

Even if you successfully lose the 6.3kg in two weeks as the seven trial participants did (all women, all of European ethnicity) and even if that kick starts you on a journey to making habit changes, you’re going to need a whole lot more than restriction and willpower to stay on a road that makes you feel healthy and happy.

Just ask any bariatric surgery patient. We got the gold standard of kickstarts and most of us still need ongoing care and guidance to remain in a place that allows us to counter years of screwed up thinking, the obesogenic environment we all have to live in, and the attitudes perpetuated by this jaw-clamping device and its hubristic reappearance.

Thankfully I am not muzzled as June was, nor are the experts on this complex subject. Something tells me they may have more to say on this matter. The jaws are unwired and the floor is open.

Keep going!

SocietyJune 28, 2021

The Lion King in Auckland, reviewed by a stampede of critics

Twenty-four years and more than 100 million audience members since its Broadway premiere, the musical of the Disney film The Lion King opened on Saturday to a full house at Spark Arena. A pride of Spinoff people went along and here’s what we thought.

Alex Casey: It lives in me

First of all, a content warning to anyone who grew up having confusing feelings for adult Simba as a kid. Those forgotten feelings are going to come flooding back, they will have intensified, and they will be justified. In fact, basically everything I loved about the film as a kid is intensified by the musical – Zazu’s crack-up gags are even more crack-up, Pumbaa’s farts are even more thunderous, the juicy grubs weirdly look even more delicious made out of wood. Unfortunately, whereas the 88 minute film flew by, the second half of the musical does somewhat put the “drag” in “dress in drag and do the hula”.

Aside from the obvious spectacle of ‘Circle of Life’ which, of course, made me weep, gasp and cackle – often all at once – there were other stand-out numbers. ‘Be Prepared’ was a delightfully villainous stormer, sung from easily the most impressive elephant rib cage staircase I’ve seen this year. (Side note, do you think we will ever get a Scar origin film? Surely it’s not far off.) ‘He Lives in You’ was très emotional, cleverly pulling off a difficult-to-replicate image from the film. I did NOT care for the new song where Scar toyed with the idea of forcing Nala to be his child-lion bride.

Finally, a piece of advice. If you find yourself risking it all during intermission to go to the toilet AND buy a drink, lament not if you don’t make it back in time and they lock the doors. Instead of furiously berating the ushers, as several deeply unpleasant people chose to do in our session, give it a bit of ol’ hakuna matata. You are only going to miss a couple of minutes and, if you are lucky, you might even sneak a peek of some of the performers doing fun vocal warm-ups in the foyer before bouncing back into the arena. Which, as jaw-droppingly incredible as the stage show is, might have been my favourite part.

Leonie Hayden: A wondrous combo of costume and puppetry

I was very much a Jim Henson kid, so with very little nostalgia for the original film (or any Disney film) the highlights for me were everything that could only be found in a stage production. The wondrous combination of costuming and puppetry (and the symbiotic relationship between performer and costume) appealed to the Henson Head in me, specifically the menacing silhouette cast by Scar every time his hunched form, somehow elegant, insinuated itself onto the stage. Our little and big Simbas were sweet rays of light – I’m told on the night we went, our little Simba was a kura kaupapa kid which really put the pride in Pride Rock for me. The stand out was Futhi Mhlongo​ as Rafiki, the shaman mandrill. That she spoke mostly in Xhosa is a testament to a performance that transcends language – easily the most exciting singing I’ve ever heard in a musical, and a very funny performance to boot. It wasn’t lost on me that this will be perhaps the only musical I ever see with a pan-global, majority POC cast. I could see and hear the storytelling traditions of many different cultures, and while I didn’t understand them all, they were felt and appreciated.

Where the first half was stacked with the film’s hits and some of the most wow-moment set pieces, the second half dragged a little and the penultimate scenes contained all the tension of the waistband in an old pair of undies. But ultimately it’s all about spectacle, and I reckon it’s worth throwing down your expendable income if you or your small person love musical theatre.

The cast of The Lion King performing “Circle of Life”. (Photo: Matthew Murphy, Disney)

Madeleine Chapman: I’m still singing

According to my Screentime app, I have had music playing on Spotify for 87 minutes since Saturday morning and every single one of those minutes was spent playing ‘He Lives In You (Reprise)’ from the original Broadway cast recording of The Lion King. I’m listening to it as I write this. I’ll be listening to it in 10 minutes. I’ll likely be listening to it when you read this, no matter when that is. There’s something about a core song in a musical that sticks (‘I’m Here’ from The Color Purple, ‘She Used To Be Mine’ from Waitress etc) and presents a two-hour show within a four minute performance. Yes, the songs from the movie are omnipresent at this point and they were impressively executed on stage, but it’s ‘He Lives In You (Reprise)’, performed with inexplicably human dancers and a powerhouse Futhi Mhlongo as Rafiki that has planted itself in my brain for 72 hours.

Beyond the sound, it took me a second, as it always does, to remember that there are limits to what can be done on a stage and the creative decisions in puppets and shadow work aren’t a substitute for Disney animation but an entirely original interpretation. As an increasingly cynical adult, The Lion King served as a healthy exercise in suspending disbelief not just enough to love the show for what it was, but enough to cry twice: expectedly during The Sad Scene and unexpectedly during ‘I Just Can’t Wait To Be King’ because the kids are doing so well!

Now please excuse me, I have a song to listen to another 99 times.

Sam Brooks: Could it fill Spark Arena?

For the most part, you know what you’re getting with The Lion King. You’re getting a spectacular opening number. You’re getting a queer-coded villain vamping around the stage like a drag queen looking for her lashes in a darkened club. You’re getting sexual tension between apex predator felines. You’re getting Rafiki, a role that involves so much paint and makeup that it could keep the cosmetic dermatology industry afloat single-handedly.

My favourite thing about The Lion King and its success is how genuinely weird it is for a Broadway musical. There’s barely a naturalistic moment in the entire thing, and for the most part, we’re watching people play things that aren’t people, including but not limited to lions (duh), blades of grass, and at one point, what looks like the next slate of celebrities to join The Masked Singer. With the exception of Cats, it’s the closest that Broadway gets to experimental theatre, which should also serve as a warning: if you want to keep your child away from earning below a living wage waving a sheet around onstage, keep them away from The Lion King.

The one thing that did worry me about The Lion King was whether it could fill Spark Arena’s enormous space. It does, probably to the detriment of one of our local Spotlight stores. It’s a uniquely huge musical, though to be fair nobody else has really tried to recreate this level of spectacle since. If you think of the most popular musicals of the past two decades, with the asterisked exception of Hamilton, they’re pretty naturalistic and could easily work as films. While The Lion King has twice been depicted on film, this musical version is theatre, pure and simple.

As so often in musicals, the best moment comes when theatre meets the real world. At the top of the second act an usher next to me isn’t fast enough getting back to her post. Another usher yanks her out of the way of a row of performers marching past her, singing joyfully at the top of her lungs. For one terrifying moment, that usher was in The Lion King. You won’t get that kind of spontaneity on Disney+.

Mukelisiwe Goba as Rafiki. (Photo: Joan Marcus, Disney)

Jane Yee: A word from my six-year-old

The Lion King was a hell of a puppet show. It was an audiovisual feast, but also a truly grounding reminder of how completely void of talent I am. They sing! They dance! They act! They morph into animals! I still trip over my own feet every single day.

There was a weird moment when Scar tried to crack on with Nala and a few New Zealand specific gags wedged their way in, but aside from those don’t expect any major diversions from the movie script. If you’re wondering if it’s appropriate for kids, my six-year-old was enthralled throughout and hasn’t shut up about it since we left the arena. She wasn’t scared when the hyenas closed in on the little lions, nor was she upset when young Simba wept over the body of his father. In fact she was so nonplussed she announced to the silent arena, “He’s dead yo.”

Elisa Rivera: A goosebumps performance

I owned the original Lion King soundtrack as a child and knew every song and line by heart. I was so excited about heading to opening night I even contemplated wearing a lion costume. I resisted the temptation.

I was deeply disappointed by the 2019 live action remake of The Lion King (sorry Beyoncé!), so I had some trepidation about the stage version. But that quickly vanished when the curtains opened. You know the song. You know the opening line. Hearing ‘The Circle of Life’ live had me covered in goosebumps.

I loved seeing the beautiful talent of both the young and older Simba. It was such a sweet surprise. Hearing the Kiwi accents in an international stage show was a first for me and it was such a prideful moment. It was great to see a cast of colour as this is not something I often get to see on stage, and top marks for the incredible puppetry. There was something magical about getting lost in the choreography but also having a small understanding of how it worked.

Scar and Mufasa in The Lion King. (Photo: Joan Marcus, Disney)

Duncan Greive: It won over even this reptile

My main experience of musicals is falling asleep roughly 20-30 minutes into them, largely due to my own decaying body’s immune response to dark, warm rooms when I’ve already had dinner. But also because I think I fundamentally find musicals hard to engage with; the songs don’t sing to me and the story gets lost between them. The Lion King had me from the first moments, using the whole of Spark Arena as a stage, and with the sense of play evident in the puppetry. It felt like it threw back to a pre-digital age which demanded a different kind of formal creativity in its staging.

It also felt very small. Spark is designed for big arena shows, but this felt like a theatre show punched out to a too-big venue, with the screens too often the only way to really absorb the content. Fortunately between the puppetry and clutch of super-engaging performances, even this ancient, deeply musically-ambivalent consumer spent most of his time transported to an imagined Africa.

Sacha Judd: Nothing prepares you for the reality

I love musical theatre, and the only reason I’d never seen The Lion King is that every time I went to book a ticket to see it in New York there was another show I wanted to see a little more. So when the curtain went up and the performers took the stage at Spark Arena, I legit almost cried at how much I’d missed the experience.

The first international cast to return since Covid were clearly so excited to be there, and I was just as overwhelmed at being able to see them. The Lion King is more than two decades old as a stage show. I felt like I’d seen enough photos, clips, and award performances that it might have been underwhelming in person. But it turns out even if you know people wear giraffes on their head, it doesn’t prepare you for how cool it is in real life. The costume design is incredible, the international cast super-talented, and now I just want to sit down and watch Beyoncé’s Black is King on repeat.

Toby Manhire: Through the fourth wall with Philip K Dick

Almost by definition musicals are indifferent to the fourth wall: it’s pretty weird to stop mid-conversation and burst into song. But The Lion King busts through it, and I don’t just mean the talking animals. It’s a genuine marvel of puppetry, from delicate shadow-play to breathtaking giraffes on stilts. And there’s no real attempt to hide the people pulling the strings; it trusts the audience to go with it. They do.

What Spark Arena suffers by losing the enclosed splendour of a theatre, it makes up for in the spectacle of a big space. The menagerie spilling down the aisles, the giant birds wafting all the way up to the cheap seats. Wondrous big set-pieces like the stampede. And of course the greatest theatrical device yet created by humans: confetti cannons. The technical wizardry isn’t just used for astonishment, it’s also used for comedy. The split-second hula diversion by Timon the meerkat had my eight-year-old performing re-enactments all of the next day. Nick Mercer as Timon and Futhi Mhlongo as the shaman-mandrill Rafiki, for my money, were the most memorable of a superlative cast.

A final, useless fact I learned reading about the genesis of The Lion King story. The earliest treatment for the film was written by US science fiction writer and poet Thomas Disch. He pulled out because he didn’t like the direction of what he’d titled King of the Kalahari.

Disch, who shot himself dead in 2008, was fascinating for a number of reasons, including his strange clash with his friend, sci-fi superstar Philip K Dick. In 1972 Dick wrote to the FBI expressing concern that Disch’s novel Camp Concentration included coded messages about a “covert organisation which … may be Neo-Nazi”. After Dick’s death, Disch exacted literary revenge in a collection called The Word of God. It includes a novella with a character called Philip K Dick who reincarnates himself as a young Nazi in 1939, kills Disch’s fictional father, and paves the way for Hitler to win the war. What does any of this have to do with the Auckland production of The Lion King? Nothing. Hakuna matata.