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As they waited for the next scene, Beetz turned the conversation to marriage; she and her boyfriend had been talking about engagement rings. The series, shot almost entirely on location, shifts its setting and focus every episode, mapping the city in the fanciful manner of a medieval cartographer. At the outer edges, the overgrown parking lots and project blocks, the city is a few yards away from apocalypse, and if you slow down it could engulf you. Glover grew up just outside Atlanta, and he makes the city look both vast and confiningly tiny, as it might to an onlooker playing with a telescope.

Alfred, a rapper known as Paper Boi, who pays his bills by dealing drugs, is beginning to be a local success, and in a crabs-in-a-barrel city everyone wants to pull him back into the barrel. I need Malcolm. You too Martin.

You know what they did to him? They killed him. As a boy, he wanted to be a wedding planner. Slim but thick-chested and broad-shouldered, Glover has the rolling, slew-footed walk of a riverboat captain. In a group, he laughs as often as he makes others laugh, a trait rare among the occupationally funny. Acquaintances love to proclaim how warm or chill or dope he is, but none of that is exactly right, or exactly right for long.

He answers the phone warily, as if it were always 3 a. In Hollywood, Glover has become the model for how to succeed on your own terms. He has a house in Atlanta and a studio in Los Angeles, and often rents a place in Kauai, but he rarely settles in any of them. One night in January, he drove to Target to buy a blanket to make it cozier. Glover and Beetz tooled up and down Gun Club Road for hours, getting filmed from one side and then the other as they chatted about why they were going to Fastnacht.

Earn and Van are feeling floaty and relaxed, enjoying each other—a setup for quarrels to come.

None of us are equipped to survive for even two weeks. People want that right now. They just want to know how to survive when the world ends. As Beetz shook her head, laughing, Seimetz came over. Money, please? But he has a lot of ideas.

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When they broke for lunch, Glover and Beetz rode to base camp in a Chevy Suburban driven by his outsized bodyguard, Jason Cornelius. They started talking about trap music, a poundingly kinetic form of Atlanta rap that originated in the crack-and-weed dens known as trap houses.

You want some more metaphorical language, like Jay-Z. Play that fuck right now, if you got it. He never had a chance! Glover stared off. Beetz told me that she adored Glover without beginning to understand him. I am complicated, though. In the old days of television, when four networks dominated the industry, the survival standard was clear.

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A show thrived by attracting a huge audience, and it attracted a huge audience by being diverting yet comforting. To stay on the air, you had to sell reassurance, with every story being resolved before the last commercial. Everything had to be bigger than people actually are—you had to have the most surprising people fucking and blow shit up in a ball of fire. That creative breakthrough allowed shows to aim for smaller but more fervent audiences, to traffic not in quirky heroes but in flawed Everymen prone to depression and savagery.

It allowed adult drama, which was expiring as a film genre, to be reborn on television. Nowadays, as sixty-one cable networks and streaming services seek to distinguish their entries among the four hundred and eighty-seven scripted shows in production, verisimilitude matters, but only as much as attitude and mood.

Ambiguity has become a selling point, with nonlinear storytelling the new norm.

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Many dramas are designed to be solved or resolved online, where fans can collaborate to crack open the hidden Easter eggs. Maybe Season One is a circle. You just have to end after thirty minutes. They looked to make all our voices monolithic. Creative risk, for black sitcom creators, still felt unfairly risky. It had to be great. But to fail spectacularly he had to first get on the air. He wrote the pilot accordingly. There was a standard cold open: a flash-forward to Alfred played by Brian Tyree Henry shooting a guy in a beef outside a liquor store.

There was even some Twitter bait: a bow-tied guru who offered Earn a Nutella sandwich on the bus, and who, by TV logic, would inevitably return to guide him down some mildly surprising path. I was Trojan-horsing FX. But the C.

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So the weirdness commenced. In the metaphor, a thing that looks like a horse contains surprises for your enemies. He just watched and flinched and got yelled at to grow up. The biggest innovation was that the narrative never advanced: Earn and Alfred made no headway. The lone moment of arrival felt like a setback.

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As the season progressed, we realized that Earn secretly wanted one thing very badly: a place to stay. They believe such an attack includes the movement to "subvert the biblical model of the family, and redefine the very meaning of fatherhood and motherhood, masculinity, femininity, and the parent and child relationship.

Their view is that the male has God-given authority and mandate to direct "his" household in paths of obedience to God.

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Thus, William Einwechter refers to the traditional Complementarian view as "two-point Complementarianism" male leadership in the family and church , and regards the biblical patriarchy view as "three-point" or "full" complementarianism male leadership in family, church and society. The patriarchists teach that "the woman was created as a helper to her husband, as the bearer of children, and as a "keeper at home", concluding that the God-ordained and proper sphere of dominion for a wife is the household.

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Biblical patriarchists consider that "faithfulness to Christ requires that Biblical patriarchy be believed, taught, and lived". They claim that the "man is They teach that a wife is to be obedient to her "head" husband , based upon Old Testament teachings and models. Christians believe that marriage is considered in its ideal according to the purpose of God. At the heart of God's design for marriage is companionship and intimacy. The biblical picture of marriage expands into something much broader, with the husband and wife relationship illustrating the relationship between Christ and the church.

It is also considered in its actual occurrence, sometimes involving failure. Therefore, the Bible speaks on the subject of divorce. Salvation within Christianity is not dependent on the continuation of a biological lineage.

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Polygyny , or men having multiple wives at once, is one of the most common marital arrangements represented in the Old Testament, [53] yet scholars doubt that it was common among average Israelites because of the wealth needed to practice it. Betrothal erusin , which is merely a binding promise to get married, is distinct from marriage itself nissu'in , with the time between these events varying substantially.

Like the adjacent Arabic culture in the pre-Islamic period , [57] the act of marriage appears mainly to have consisted of the groom fetching the bride, although among the Israelites the procession was a festive occasion, accompanied by music, dancing, and lights. In Old Testament times, a wife was regarded as chattel , belonging to her husband. Since a wife was regarded as property, her husband was originally free to divorce her for any reason, at any time. The Bible clearly addresses marriage and divorce. Those in troubled marriages are encouraged to seek counseling and restoration because most divorces are neither necessary nor unavoidable.

Have you not read that at the beginning the Creator made them male and female, and said, "For this reason a man will leave his father and mother and be united to his wife, and the two will become one flesh"? So they are no longer two, but one.

Therefore, what God has joined together, let no one separate. In both Matthew and Mark, Jesus appealed to God's will in creation. He builds upon the narratives in where male and female are created together [Genesis ] and for one another. This corresponds closely with the position of the Pharisee school of thought led by Shammai , at the start of the first millennium, [59] [60] [61] with which Jesus would have been familiar.