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Asif Ali and Saagar Shaikh admit they ‘never had the audacity to realize' a show like ‘Deli Boys' was possible

Asif Ali and Saagar Shaikh admit they ‘never had the audacity to realize' a show like ‘Deli Boys' was possible

Yahoo7 hours ago

Hollywood is full of strange casting stories, yet the one behind Hulu's Deli Boys takes the cake. Although it's now hard to imagine anyone other than Asif Ali and Saagar Shaikh in the roles of Pakistani-American brothers Mir and Raj Dar, their respective casting almost didn't come to be, since they both initially auditioned for the same role. "I was auditioning for Mir," Shaikh tells Gold Derby, "and Asif, in classic Asif form, got the job. He's really good at getting jobs."
Thankfully, it worked out for the best, and the two can now laugh about it (and Shaikh even got a Gotham nomination to boot). "I didn't realize that this was a little bit of a reputation that I've had," Ali responds. "I did not know about this until [Shaikh] told me," followed by a chorus of other South Asian actors who teased him about how many roles he won out over them. Although it's said in jest, it speaks to the fact that "in other instances, there would only be one South Asian person" on a film or TV series. "You can have two people of the same ethnicity on a show. It's not that big a deal. Other shows do it all the time, but for some reason, when it comes to minorities, you can only have one of this and one of this and one of this."
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Working on Deli Boys, which is composed of mostly South Asian actors, made Ali feel "bummed out in that the experience we had on this show, working with each other" with "the amount of specificity and authenticity you can bring to a project when you have people of the culture working on it," is not the norm. "Even though you push it in the back of your head when you're working, it is weird to just be that 'only person of that group' and feeling like the token ethnic hire on the show." The experience they had on Deli Boys was "something I would've loved to have had earlier on in my career" so that he could have "the opportunity to meet, work with, and build relationships with fellow creatives who didn't have to feel like they were solely outside of the business."
Having so many South Asians is front of the camera, not just for the main cast but for most of the supporting actors and day players as well, created "this immediate shorthand on set," Shaikh adds. "It just felt like this thing that we all already knew, and that thing was, how special is this? How rare is this show? These are people who we may or may not have met over the years, and we all get to be on a set together. Usually we see each other in an audition room, and we're gunning for the same job. We never had the audacity to realize that one day we might all be able to work together. How crazy is that, that just because we're apart of an ethnic group we didn't feel like the industry would allow us to work together, because there's always only a spot for one of us."
This feeling has its roots in "never having seen" the type of show like Deli Boys before, Ali adds. "A larger effect that this show hopefully will have on both creatives and the industry is" making them realize that they "don't have to meet some weird quota," where "it has to be a show led by a white person," and "it has to be told through that lens, otherwise people who aren't of that culture won't understand it and they won't get it." Deli Boys proves "if you just have a good story and an interesting show, people will watch it. It really is that simple."
It certainly helps that Deli Boys, which centers on a pair of brothers who learn that their multimillionaire father was a secret drug kingpin, is funny and action-packed. "We're not teaching a lesson," Shaikh explains. "We're not taking a stance on anything. We're just having fun, we're being silly, we're making this stupid show that we love so much." The mix of comedy and high stakes action "really piggy-back off of each other. It's easy to play funny when the stakes are so high, because it's almost like a reversal in genre in that moment. The audience isn't expecting the switch to be so immediate," and "the comedy cuts the tension" of the high stakes at play. At the same time, "the goriness, the drama, the drug aspect of it, really cuts the tension of the comedy. So they kind of work really well together."
Ali agrees that "it's a great combination. Even though this isn't the same genre that we operate in, I think the best example of that is horror. You have these insane stakes and tension, and then you subvert that by using comedy and levity." When it comes to Deli Boys, "the higher the stakes are," the harder the jokes hit, "because there is an authenticity to our freak-outs." Mir and Raj are "extremely stressed out" by the situation they suddenly find themselves in after their father dies and their Aunt Lucky (Recent Gotham Award winner Poorna Jagannathan) steps in. "They're at their limits and they're being pushed," and playing that for real "makes it more fun, because you get to play a full range."
Being able to show "the full three dimensions of the stress and the pressure and the stakes," then getting to "lift that through the comedy" is a rarity for Ali because of how "unfortunately, the way things have been" in this industry. "People that look like us would not have been able to have that experience, playing characters like that, with that much scope." Now, finally, they have.
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Real-life 'Slap Shot': Inside the unbridled chaos of Ice Wars, BKFC's push into organized hockey fights
Real-life 'Slap Shot': Inside the unbridled chaos of Ice Wars, BKFC's push into organized hockey fights

Yahoo

time15 minutes ago

  • Yahoo

Real-life 'Slap Shot': Inside the unbridled chaos of Ice Wars, BKFC's push into organized hockey fights

MT. PLEASANT, Mich. — The fictional hockey world had the Hanson brothers, a bespectacled trio who came to the Charlestown Chiefs from the North American Hockey League, where gooning it up was a way of life. The nonfictional Ice Wars, which came into existence with its first-ever event this past Saturday at the Soaring Eagle Resort and Casino in the middle of central Michigan, has the LaPorte brothers, Nick and Will, 6-foot-6 hockey specimens who throw hands more for simple pleasure. It was a wild scene in Mt. Pleasant for the inaugural event, which functioned as an arm of the Bare Knuckle Fighting Championship (BKFC). It had been dubbed Ice Wars: Battle of the Border. The center of the action was a miniature 800-square foot rink, known as the Ice Box, enclosed by pliable wooden boards. Along the side sat the VIPs, who were close enough to the action at times to whisper sweet nothings into the bleeding ears of the combatants. The ice lay like a sheet of porcelain, virginal in its whiteness, yet ominous too — as if quietly anticipating a crime scene. Advertisement In fact, if you looked closely, you'd see that it wasn't ice at all; it was 'synthetic ice,' which is an elegant way of saying plastic. The only thing frozen in the room were the daiquiris up top. Had a Zamboni come through it would have wrecked the whole rig. Each one of the 20 total fighters — half of them Canadians, the other half American — made the walk across a stage and through fountains of shooting sparks. They wore blade protectors on their skates, which they slipped out of as they pulled up ice-side, the way UFC fighters remove their shirts. The referees, sporting helmets and striped shirts just like you'd see in an NHL game, made the scene almost comical. All the familiarity of hockey with nary a puck or a stick in sight. Ice Wars super heavyweight Catlin Big Snake skates for his bout against Zach Hughes. (Photo via RGBTV Photography) The fighters wore gaudy yellow hockey jerseys, which could be spotted from the nosebleeds easy enough. Not that there were nosebleeds. The ballroom was intimate, with a seating capacity just over 2,000, and more than 1,800 of those seats filled with curious onlookers, many of whom delighted in the novel approach of taking the game of hockey out of the fighting. Advertisement 'I've had fights in MMA, and this is the most fun fighting I've ever had in my life,' the super heavyweight Zach Hughes told me perhaps 45 minutes after he got flattened by Catlin Big Snake, a.k.a. 'The Chief,' a slab of humanity from Alberta who not so long ago dressed for the Monroe Moccasins of the Western Professional Hockey League. 'All the guys here are great. Me and 'Chief' have already been sitting here bulls***ing after the fight.' The founder of Ice Wars, Charlie Nama, warned me that it's a different vibe than other combat sports. 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Thomas 'Hitman' Hearns — the 'Motor City Cobra' himself — sat up close to the action, watching a subgenre of the fight game find out if it has any legs. Advertisement What was the man who stood toe-to-toe with Marvin Hagler in one of the greatest boxing matches of our lifetimes thinking as jerseies were being pulled over heads? The only thing he'd offer was a gentle smile. And in the end, it was a fight between Bay City's own Ryan Snobeck and Alex Marchisell — or 'Marchy' as he's known up in the Great White North — that whipped the crowd into a frenzy. Snobeck had showed up in a patriotic speedo for the weigh-ins, so you knew he meant business. He and "Marchy" latched on and swung at range, mercilessly, absorbing whatever the other was willing to dish out. The entire crowd stood. The commentary team of former UFC fighters Ian Heinisch and Chris Camozzi provided the soundtrack, as their play-by-play boomed over the speakers for everyone to hear. 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New Barbara Walters documentary tells the story of my dear friend
New Barbara Walters documentary tells the story of my dear friend

New York Post

time33 minutes ago

  • New York Post

New Barbara Walters documentary tells the story of my dear friend

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‘War of the Worlds': A New Twist on an Old Classic
‘War of the Worlds': A New Twist on an Old Classic

Epoch Times

timean hour ago

  • Epoch Times

‘War of the Worlds': A New Twist on an Old Classic

CHICAGO—British writer H.G. Wells's (1866–1946) tale of an alien invasion in his novel 'War of the Worlds' has been a best seller since its publication in 1898. The science fiction thriller is still so popular that it has been adapted into films: one in 1953 and the 2005 Stephen Spielberg flick that starred Tom Cruise. But the most memorable and most well-known version of the futuristic story is that of the 1938 Orson Welles's radio program. Welles made the audio production sound like a newscast as he narrated a minute-by-minute account of an outer space attack on American streets. People who heard the broadcast believed that they were listening to real news and panicked.

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