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    Lizzo Embraces ‘Body Neutrality’ With New Yitty Swimwear Line

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    The singer Lizzo, who just released a new swim line, has moved on from “body positivity.”On the surface, Lizzo’s new shapewear-influenced swimwear line seems all about control.“These suits have a power to hold,” Lizzo, the Grammy-Award-winning singer and fashion entrepreneur, said in a video interview. “Let me tell you something: I have broken into a sweat trying to get some of these on.”That Lizzo, a trailblazer of fat acceptance, has had to squeeze into bathing suits she developed for her brand Yitty was a striking confession. But she has tailored the concept of body positivity — that popular movement that urges self-love no matter your shape or size — to fit the times.“The idea of body positivity, it’s moved away from the antiquated mainstream conception,” she said. “It’s evolved into body neutrality.”Yet to hear her tell it, she is anything but neutral. “I’m not going to lie and say I love my body every day,” Lizzo, 35, said. “The bottom line is, the way you feel about your body changes every single day.”She continued, “There are some days I adore my body, and others when I don’t feel completely positive.”“The idea of body positivity,” Lizzo said, has “evolved into body neutrality.” YittyWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Dancers Accuse Lizzo of Harassment and Hostile Work Environment in Lawsuit

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      In a lawsuit filed Tuesday, three dancers claim that touring with the Grammy winner meant working in an “overtly sexual atmosphere” that subjected them to harassment.Three of Lizzo’s former dancers filed a lawsuit against her on Tuesday in Los Angeles Superior Court, accusing the Grammy-winning singer and the captain of her dance team of creating a hostile work environment while performing concerts on her Special Tour this year.The lawsuit, a copy of which was provided to The New York Times by the plaintiffs’ law firm, said the dancers had been “exposed to an overtly sexual atmosphere that permeated their workplace,” which included “outings where nudity and sexuality were a focal point,” it said. The suit was first reported by NBC.The defendants include Lizzo, using her full name Melissa Jefferson instead of her stage name; her production company, Big Grrrl Big Touring Inc.; and Shirlene Quigley, the tour’s dance captain. It does not specify whether the singer was aware of the plaintiffs’ allegations linked to Ms. Quigley.The suit alleges that Lizzo and Ms. Quigley were involved in several episodes that lawyers for the three dancers said amounted to sexual and religious harassment and weight shaming, among other allegations.The suit alleges that Ms. Quigley “made it her mission to preach” Christianity to the dancers, and fixated on virginity, while Lizzo sexually harassed them.On one occasion while at a nightclub in Amsterdam, the lawsuit says, Lizzo began inviting employees to touch nude performers and handle dildos and bananas used in their performances.Out of fear of retaliation, a dancer eventually “acquiesced” to touching the breast of a nude female performer despite repeatedly expressing no interest in doing so, the suit says.Representatives for Lizzo and her production company did not immediately respond to requests for comment on Tuesday.Dancers on Lizzo’s “Watch Out for the Big Grrrls” reality show last year. Arianna Davis, bottom right, is one of the plaintiffs in the lawsuit.Michelle Groskopf for The New York TimesTwo of the plaintiffs, Arianna Davis and Crystal Williams, began performing with Lizzo after competing on her reality television show on Amazon Prime, “Watch Out for the Big Grrrls,” in 2021. The show was an opportunity to give plus-size dancers representation, Lizzo said at the time. Ms. Davis and Ms. Williams were fired in the spring of 2023, the lawsuit says.Separately, a third plaintiff, Noelle Rodriguez, was hired in May 2021 to perform in Lizzo’s “Rumors” music video and remained on as part of her dance team. According to the lawsuit, Ms. Rodriguez resigned shortly after Ms. Davis and Ms. Williams had been fired.Some of the allegations seemed to take aim at Lizzo’s reputation for championing body positivity and inclusivity.“The stunning nature of how Lizzo and her management team treated their performers seems to go against everything Lizzo stands for publicly,” a lawyer for the plaintiffs, Ron Zambrano, said in a statement on Monday. Privately, he said, Lizzo “weight-shames her dancers and demeans them in ways that are not only illegal but absolutely demoralizing.”Some of Lizzo’s statements to the dancers gave Ms. Davis, who was diagnosed with a binge eating disorder, the impression that she had to “explain her weight gain and disclose intimate personal details about her life in order to keep her job,” the suit says.Since her breakout hit “Truth Hurts” dominated charts in 2019, Lizzo has popularized “feel-good music” and self-love and has celebrated diversity in all forms by churning out empowerment anthems, introducing a size-inclusive shapewear line and racking up millions of views on social media.She won this year’s Grammy for record of the year for “About Damn Time.”Diana Reddy, an assistant professor at the School of Law at the University of California, Berkeley, said that allegations that fall outside legally protected categories could undermine Lizzo’s body-positive message and “could certainly encourage a settlement.”Proving a hostile work environment in the unconventional entertainment industry is difficult, she said, so the plaintiffs’ lawyers could be hoping for a settlement. “Employment discrimination plaintiffs don’t fare particularly well in court,” Ms. Reddy said. More

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      He Quit Singing Because of Body Shaming. Now He’s Making a Comeback.

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      The tenor Limmie Pulliam, who made his debut at Carnegie Hall on Friday, hopes to break barriers for larger artists.As a rising young tenor in the 1990s, Limmie Pulliam dreamed of a career that would take him to the world’s top stages. But Pulliam, who has struggled with excessive weight for much of his life, quit singing in his early 20s because of concerns about body shaming in the music industry, finding work instead as a debt collector and a security guard.Now, after spending much of the past decade rebuilding his voice and career, Pulliam, 47, is finally realizing his dream. He made his debut at Carnegie Hall on Friday with the Oberlin Orchestra, singing the title role in R. Nathaniel Dett’s “The Ordering of Moses.” And last month, he made his Metropolitan Opera debut in the role of Radamès in Verdi’s “Aida,” filling in for a tenor who had canceled his appearance — making Pulliam the first Black singer to perform that role in the Met’s history.His solemn performance received a warm ovation at Carnegie.“To hear Limmie succeed in this moment so beautifully, and at this point in his life, was personally satisfying for me,” said Timothy LeFebvre, the chair of the voice department at Oberlin. “We always cheer on our colleagues when they reach these notable achievements, but even more so when it is so hard fought.”In an interview, Pulliam reflected on his 12-year break from singing and the challenges facing larger artists, who once were common in the industry but have faced pressure in recent years to slim down. He also talked about how a chance to perform the national anthem while working as a field organizer in Missouri for Barack Obama’s 2008 presidential campaign allowed him to rediscover his voice. These are edited excerpts from the conversation.After you attended the Oberlin Conservatory of Music in Ohio, you seemed destined for a career in opera. Then you quit. What happened?There was a lot of pressure on artists in terms of appearance. The industry cared about things that really had nothing to do with the voice, but with physicality, and that made it difficult for singers of size. It made it easy for me to walk away. I made myself a promise that if it ever stopped being fun, I would do something else. And so I did.What was it like at the time for singers struggling with concerns about their weight?People within the industry were able to make comments regarding someone’s physical look with impunity. In other industries, that would not be accepted, but it was almost widely accepted within the classical music world. It felt like it was OK to make fun of people of size and that we weren’t worthy of careers. It was a very difficult time, and it’s still a very difficult time.What would people say to you?I’ve had general directors send me email messages complimenting me on my voice and then saying, “Well, when you lose 50 pounds, get in touch with me again, and I’ll give you a live audition.”How did it feel to hear those comments?I began to look at rejection in a different way. I used to get a bit down when I received a note like that or just a flat-out refusal about an audition. But I began to use that as fuel to make me want to work even harder — to be an even better vocalist. I thought, “They may not want me right now, but they will need me at some point.”During your break from classical music, you worked a variety of jobs, eventually starting your own security firm. Did you sing at all, even for your own pleasure — at home, in the shower, at church?Not really. I was deliberately making the decision not to sing. I just didn’t have the desire. I wasn’t singing that much in church, and I rarely listened to the radio in the car. There wasn’t much going on musically for me during that time. I was just concentrating on this new life that I was trying to build and trying to move forward.And then, in 2007, when you were 31 and working as a field organizer for the Obama campaign in Missouri, your home state, you got an unexpected chance to perform the national anthem.We had invited someone to sing the national anthem. And they got cold feet at the last minute and decided they didn’t want to do it. And it happened to be an event that I had invited my boss to attend. And he immediately said, “I remember seeing on your résumé that you used to be an opera singer. Why don’t you sing it?” And I said, “Well, you know, I haven’t sung for a number of years. And the national anthem is not an easy song to sing. I’m not sure I can pull it off.” It was terrifying; it was not something I had practiced or prepared. I did not know what was going to come out.But he convinced me to do it. And I sang at the event and ended up singing at several other events. And in doing so, I noticed some very interesting changes in my voice. It had taken on a more mature, burnished quality. And it had grown substantially in size. And it really piqued my interest as to the type of repertoire I could possibly sing with this new instrument.Your returned to the stage five years later, when you were 36, at the National Opera Association’s vocal competition. How did you prepare?I pulled out my old lesson tapes from the conservatory and began working with those lesson tapes and polishing things, just out of interest to see what the voice could do. And I eventually reached out to a voice teacher in Memphis, Tenn., and began working with her. We realized that we had something that was special — that there wasn’t anyone like me as an artist out there. We were working to rekindle the voice. That’s when I found the joy again in singing.Was it easy to get back into the business?It took a good three years or so before that first staged operatic engagement came, and it came because I was posting clips of my singing on YouTube and other platforms and just sharing wherever I could, and reaching out to friends who were still in the industry and letting them know I was back and basically trying to sing for anyone who would hear me.A friend saw a clip of me singing “Ch’ella mi creda libero e lontano” from Puccini’s “La Fanciulla del West” with my former high school choir director playing the piano. She shared it with her husband, who happened to be the music director of a small opera company in the Seattle area. They invited me to to sing the role of Canio in “Pagliacci.”You were the first Black singer to perform the role of Radamès at the Met. Do you feel that classical music is doing enough to address racial and ethnic disparities?As a Black man, I’m usually the only one who looks like me in a rehearsal setting. So there always is a sense of isolation, of not fitting in. You have to learn to work through that and do your job to the best of your ability.We always seem to have had celebrated Black female voices in the industry, like Jessye Norman, Kathleen Battle, Grace Bumbry and Shirley Verrett. But the list of Black men has always been quite short. There are some in the industry who have difficulty in seeing Black males in romantic leads. We’ve made progress, and we just have to keep pushing forward and breaking down some of these walls.How did it feel to make your debut at Carnegie Hall?It was very difficult for me to enjoy it fully. It has been a challenging year for me personally. On May 8, my father passed away. And the following week, after the funeral, I left to get on a plane to prepare for my debut with the Cleveland Orchestra singing the role of Otello. I arrived in New York on Nov. 10 to begin my cover contract with the Met for “Aida.” On Nov. 14, my eldest sister passed away.It has been an emotional roller coaster for me. One never knows how grief will manifest itself. And grief is a very sneaky thing. And it pops up on you at very odd times, and you never know what’s going to trigger it. I was able to make it through because of the strength of my faith and knowing that my loved ones were in complete support of me and my career and would have wanted me to be where I was.What did your family say to you after the performance?My mother walked up to me and gave me a hug and a kiss and said: “God bless you. I’m extremely proud of you.” My oldest brother, whenever I go to perform, he always reminds me to make the family proud. And his response on Friday night was, “That’s how you make us proud.” More

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      in Music

      ‘The Opposite of Airlines’: When Larger Audiences Require Fewer Seats

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      Yes, the comfy chair. The War Memorial Opera House in San Francisco put in roomier seats just in time to try to lure audiences back from the couches they got used to during the shutdown.SAN FRANCISCO — Wagner was the worst. Five hours — sometimes more — of squirming in 1932-era seats at the War Memorial Opera House here, sinking into lumpy, dusty cushions, suffering the bulge of the springs and the pinch of the wide armrests, craning for a glimpse of the stage around the head of the tall person one row ahead.“Particularly on a long opera — oh my God,” said Tapan Bhat, a tech executive and a season-ticket holder at the San Francisco Opera since 1996.When the San Francisco Opera opens Saturday, starting its scaled-back 99th season with Puccini’s “Tosca” after a shutdown of more than a year, those punishing seats will be gone. The opera has used its forced sabbatical to complete a long-planned $3.53 million project to replace all 3,128 seats with more comfortable, roomier ones. The opera used its forced sabbatical to complete a long-planned $3.53 million project to replace its 3,128 seats. Kelsey McClellan for The New York TimesAnd San Francisco is not alone. Theaters, concert halls and sports arenas around the country have been increasingly investing in comfort in recent years — with wider and plusher seats — to try to accommodate audiences that have grown in breadth, if not in numbers. In the early 1960s, when the War Memorial Opera House was only a few decades old, the average weight of adult men in the United States was 168 pounds, according to federal data; it is now 199.8 pounds.Since the pandemic struck, the owners of theaters and live venues have come to see such investments as more urgent than ever. As coronavirus restrictions are dropped, presenters face the challenge of luring back patrons who, during more than a year without theaters, have grown accustomed to consuming home entertainment from the sprawling comfort of their own couches and recliners.“The entire patron experience has really been under a lot of scrutiny,” said Gary F. Martinez, a partner with OTJ Architects, a Washington-based firm. “Venues are working diligently to improve that experience. We’ve never spent so much time on seats.”The Lyric Opera of Chicago put in wider seats in the summer of 2020, following the example of the Music Hall in Cincinnati and the Academy of Music in Philadelphia. On Broadway, where older theaters have been notorious for cramped quarters, the Hudson Theater added wider seats during a recent renovation. The seats in the new Yankee Stadium are wider than those in the old one, and venues including the Daytona Speedway and Oriole Park at Camden Yards in Baltimore added wider seats during recent renovations.The old seats were thick with faded cushioning and challenging to climb out of, and had wide armrests that made them feel narrower.Kelsey McClellan for The New York TimesEven before the shutdown, audience members of all sizes were growing accustomed to ever-larger, ever-sharper television screens with an ever-broader array of streaming options. And when people did go out, many had seen the what-could-be potential in movie theaters that had installed wide, comfortable stadium-style seats, which recline and have slots for drinks and, sometimes, trays for snacks. Why pay as much as 20 times the cost of a movie — tickets at the San Francisco Opera go for up to $398 a seat — to be scrunched up in a cramped holdover from the last century?“I think anything we can do to break down barriers and improve the experience we should be doing,” said Matthew Shilvock, the general director of the San Francisco Opera. “If someone is having an uncomfortable evening at the opera that is an experience they should not be having.”“The seats have historically been patrons’ No. 1 concern for the building,” he said. “Letters to me. Letters to the box office. Letters to the city. And with some justification. We had springs coming through some of the seats.”San Francisco put in its new seats just in time for the reopening of the opera and the San Francisco Ballet, which share the stage of the War Memorial. The new seats have wooden backs, which could improve the acoustics, and cup holders. (No clinky ice cubes will be allowed, though.)Kelsey McClellan for The New York TimesThe new, ergonomically tuned chairs are slightly higher, roomier and firmer than the old ones. There is 2.5 inches more leg room, and the chairs have been staggered to improve sightlines, giving even the shortest operagoers and balletomanes a better shot at seeing what is taking place onstage. The seat widths are about the same as before, ranging from 19 inches to 23 inches, but the new armrests are narrower, making seats feel roomier. And there are cup holders for those who want to bring a drink to their seat. (Ice, though, with all its clinking distractions, is not permitted).Comfort comes at a cost: This will mean a loss of 114 seats, and the revenue they bring.The situation in Chicago was not quite as dire as in San Francisco — its seats were at least renovated in 1993 — but they were decidedly in need of replacement. The widths of Lyric seats ranged from 18 to 22 inches before the renovation; now they range from 19 to 23 inches. The number of seats there was reduced from 2,564 to 2,274.“We are doing the opposite of airlines,” said Michael Smallwood, the technical director at the Lyric Opera, referring to the practice of cramming more narrow seats onto planes. “Now you can sit at home and watch Netflix. People want to be comfortable. Operas want to be long. People expect different things.”“To put it bluntly, it takes a lot more effort to sell a ticket these days,” Smallwood said. “You want it to be comfortable so they’ll be here again.”Many of the seats in the New York Philharmonic’s Lincoln Center home, David Geffen Hall, will be a bit wider as well when its current renovation is complete. While most of the seats in its old hall were 20 inches wide or less, more than three-quarters of the new seats will be 21 inches wide or wider.The San Francisco Opera will return to the opera house on Saturday with “Tosca.” Alfred Walker, left, and Michael Fabiano sang at a recent rehearsal.Cory WeaverThe seat backs in San Francisco were once covered with cushioning. The back of each seat is now wood; doing away with that cushioning means more leg room for those sitting behind. “I am 6-foot-1 without shoes,” said Danielle St. Germain-Gordon, the interim executive director of the San Francisco Ballet. “And I have very long legs. They were the type of seats that when I sat in them, my knees came up to my belly button.”The old seats at the War Memorial had become vintage relics, thick with faded cushioning and challenging to climb out of, a particular concern to the opera crowd, which tends to skew older.“Like those seats you saw when you went to your grandma’s,” said Jennifer E. Norris, the assistant managing director of the San Francisco War Memorial and Performing Arts Center, who oversaw the project. “You know, when your grandma had her favorite chair and it sits a little too low, and was a little too worn.”With uncushioned seat backs, the sound in the hall should be crisper. “Applause won’t die in the room, so you’ll have a great sense of enthusiasm around you,” Norris said. “It’s also possible the lady with the candy wrapper will annoy us more. I am hoping that peer pressure will remind her to unwrap her candy before the performance begins.”The renovation began in 2013 with replacement of seats on the box level, and it includes 12 bariatric seats, designed to hold weights of up to 300 pounds, that will be 28 inches wide, as well as 38 spaces for wheelchairs, an increase of six from before the renovation. The project was funded by a ticket fee ranging from $1 to $3.The new seats were designed by Ducharme Seating of Montreal, which also installed seats at the renovated David H. Koch Theater at Lincoln Center, as well as halls in Philadelphia, Cincinnati and Toronto. The historical nature of the Beaux-Arts building near San Francisco City Hall — it opened in 1932 — and the exacting demands of its high-end opera house and ballet made this project particularly complicated.“This is the most extensive design we have ever done on a seat,” said Eric Rocheleau, the president of Ducharme Seating. “The opera houses are always the most stringent customers.”Germain-Gordon said that theaters probably have little choice but to invest this kind of money as the world slowly returns to normal after the pandemic. “People can have in their home a beautiful media room,” she said. “Back in the olden days, if you wanted to see something you had to go see it. Nobody had TVs the size of movie screens, or La-Z-Boys. But people are investing in their comfort and they want to see it when they go out.”Bhat, the tech executive, said anything would be better than the seats he had suffered over 25 years of long nights at the opera.“They were creaky,” he said. “The upholstery would be fraying. So if you’re sitting in an opera in less than comfortable seats, something that’s going on for four and a half hours, or the first act of ‘Götterdämmerung,’ which is like 90 minutes long — it’s torture.” More

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      in Television

      Plane Crash Complicates HBO Max Documentary on Diet-Inspired Church

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      On May 29, a single-pilot jet plane crashed into a lake near Nashville, killing all seven people on board. Among them were Gwen Shamblin Lara, a weight-loss guru and the founder of the Remnant Fellowship Church of Brentwood, Tenn., and her husband, William Lara, who was known as Joe and had once portrayed Tarzan in both a television series and the movie “Tarzan in Manhattan.”The leader of a midsize congregation, Ms. Lara, 66, had for the past several years been the main subject of a documentary project that sought to get beyond the gilded veneer of the Remnant Fellowship and investigate its inner workings. Set to debut on HBO Max in the fall, the multi-episode project, “The Way Down,” details the church’s origin in Ms. Lara’s religious-based weight-loss program, the Weigh Down Workshop.The diet program brought Ms. Lara fame — through appearances on popular shows like “Larry King Live” — and fortune, thanks to best-selling books touting her strategies to lose weight. But it also made her a controversial figure, with critics saying Weigh Down focused more on unconventional theology than on healthy eating habits. The documentary examines those issues, along with allegations that the church shunned and even harassed members who wanted to leave and that it functions more as a cult than a traditional religious institution.Ms. Lara in 2011. Her church grew out of the Weigh Down Workshop, a religious-based diet program she started in 1986.Sanford Myers/The Tennessean, via ImagnAt the time of the crash, the finishing touches were being put on the series. Suddenly, the filmmakers were faced with a new set of questions. What was the extent of Mr. Lara’s flying experience (he was operating the aircraft), and were his medical records up to date? What would happen to the church now that its founder and leader was dead? (A day after the crash, the church released a statement saying Ms. Lara’s daughter and son “intend to continue the dream that Gwen Shamblin Lara had of helping people find a relationship with God.”)And what would happen in the bitter custody case, involving Mr. Lara’s daughter with his ex-wife, which formed a crucial story line in the documentary?The filmmakers also said that since the crash, they had found that more people were eager to speak to them — former congregants who said they had previously been unwilling to go against the church publicly because they still had family members who are affiliated, and relatives of those killed in the crash who were skeptical of the church and now felt compelled to share their stories.On May 29, a single-pilot jet plane crashed into a lake near Nashville, killing all seven people on board including Ms. Lara.George Walker IV/The Tennessean, via Imagn“Within 24 hours I had heard from every single source, and the first thing everyone said was ‘I don’t want to be disrespectful, but please tell me this doesn’t change anything,’” regarding the documentary, said the producer Nile Cappello, an investigative journalist who started researching Remnant Fellowship in 2018.Ms. Cappello added that for those who had already spoken out against the church, some at great personal sacrifice, what she heard most frequently was worry the documentary would be curtailed in some way, “that we have opened up these wounds for nothing.”Though archival footage of Ms. Lara preaching and making media appearances is shown in the documentary, neither she nor any representatives from Remnant Fellowship were interviewed on camera by the filmmakers.“I never thought she would give us an interview,” the series director, Marina Zenovich, said of Ms. Lara. “Never.”Remnant Fellowship did not return calls seeking comment about the series for this article.While the filmmakers scrambled to incorporate news of the crash and its aftermath into the documentary, HBO Max altered its plans too. Now, rather than release a four-part series at the end of September, the first three episodes of “The Way Down,” will become available on Sept. 30, concluding with a “To Be Continued” message. The final two episodes will debut in early 2022, giving the filmmakers time to deal with the new footage. The documentary now begins with local news coverage of the crash.Marina Zenovich directed “The Way Down,” which will conclude early next year with two episodes that can incorporate new footage.Coley Brown for The New York Times“There is a fuller story to be told,” said Lizzie Fox, senior vice president of nonfiction at HBO Max. “We just want to make sure that we can allow enough time for the story to progress and the investigation to pursue some answers and give us time to interview all the subjects. With a limited docu-series, if there’s ever a chance to have a second part, I think it’s something that people tend to get excited about.”Ms. Zenovich is a documentarian who has spent most of her career focusing on men like Roman Polanski, Lance Armstrong and Robin Williams. But the world of evangelical religion was new terrain, one she decided to embark on because of the compelling character at the story’s center.“It’s deeply upsetting,” she said. “But I decided to do it because I was fascinated by Gwen.”Ms. Lara, who trained as a dietitian, began her Weigh Down Workshop in 1986. It was a diet plan that set aside common health guidelines and instead focused on a reliance on God, urging members that in order to understand true hunger they should eat only when their stomach growled. By the mid-2000s, her advice had become very popular within religious communities, and Ms. Lara’s books sold millions of copies. She parlayed that success into Remnant Fellowship, a church she founded in 1999 with her husband at the time, David Shamblin, after splitting with the Church of Christ. The Weigh Down philosophies remained a central tenet of her new congregation.Nile Cappello, right, the producer of the documentary, started researching Remnant Fellowship in 2018.Coley Brown for The New York TimesAs ex-members describe it in the documentary, the church was less a place of worship and more an all-encompassing power that took over every aspect of their lives, from where they worked and how they dressed to whom they married. Body image and appearances were central components, and the documentary chronicles Ms. Lara’s own transformation, from a bubbly young dietitian with girl-next-door looks into a very thin, heavily made-up avatar whose hair seemed to grow in height in relation to her power.Ms. Lara’s broader popularity eventually began to wane in part because of her rejection of the Holy Trinity, views that prompted a Christian publisher to cancel her upcoming book and others to stop promoting her weight loss program.“Gwen’s whole control is using misogyny against other women,” Ms. Cappello said, adding that Ms. Lara was one of the few female religious leaders in the evangelical Christian movement but had an entirely male leadership team. Ms. Lara also demanded that her congregants adhere to traditional familial gender roles in order to maintain their standing in the church.Among the allegations raised in “The Way Down” are accusations that individuals unable to lose weight were marginalized by the church community and that members were encouraged by Remnant leadership to stop taking prescribed medication including birth control and psychiatric drugs.Now the filmmakers are scrambling to tell a more comprehensive story of the church, its founding and its impact on Brentwood.“It was never about not continuing,” said Ms. Zenovich, who is particularly compelled by the stories of those who left the church. “It’s about shifting how we were going to tell the story.” More