Her beauty is luminescent, her conviction fierce. It’s a potent combination and why actress Logan Browning’s portrayal of student activist Sam White in the Netflix hit series Dear White People has struck a chord with younger audiences.
The series, based off the 2014 movie of the same name, also created by Justin Simien, seems custom made to address the uproarious intersection where President Donald Trump’s politics and Black Lives Matter collide. More importantly, beyond its pop culture relevance, is the show’s ability to humanize a people and their collective point-of-view to a larger population of viewers.
Logan plays a biracial Ivy League university student, Sam White, host of a popular, albeit controversial, campus radio show titled, Dear White People. Her character’s radio show within a television show is a platform for Sam’s grievances, her bottomless questions, and the racial and cultural issues that continue to surface on ethnically diverse college campuses around the world. It also serves as the show’s anchor point, introducing each episode’s message and plotline. And if you think the first season was binge-worthy, you haven’t seen anything yet!
As Logan and I discuss the second season of Dear White People, streaming May 4th on Netflix, we segue from her thoughts on acting and developing the character of Sam to social and political activism, the emotional triggers behind race and color, and some of the most pressing issues that our younger generations face in the age of social media and our relentless news cycle.
It becomes clear to me half way through our conversation that actress Logan Browning shares the values and concerns of her television alter ego, Sam White, but with a graceful confidence and ease of spirit that continues to allude Sam in the show’s second season.
TME: Typically, when I’m researching an actor, there’s a clear distinction between them and their character. With you, the unique challenge I faced is that I couldn’t clearly discern where your character, Sam White, ends and you begin.
Logan Browning: That’s an interesting observation. During season one, I was much further away from who Sam is. A lot of my portrayal of Sam was coming from a place of discovery and nervousness at taking on this role that Tessa Thompson originally played (in the 2014 movie, Dear White People).
In season two, part of me becoming comfortable with Sam, was to stop fighting the parts of her that I thought were so different from me, when really they’re not. There are similarities between the two of us. With most characters I’ve played, I find myself pushing back on any similarities because I don’t want people to think I’m not playing a character. I find joy in bringing someone to life who’s very different from me. But part of why I ended up getting the role of Sam is because I do fall into who she is very easily. Though her perspective on life is different from mine.
TME: How so?
Logan Browning: In terms of how she responds to the world, and some of her reasoning within her debates. I do believe that the longer you play a character, they naturally bleed into your real life. I’m not surprised that some of who Sam is may show up in who I am. I find myself saying some of the same quips that she does in my responses to things. I also find myself using what she says, like, “This has to be right, because Sam said it!”
TME: Has she brought out the activist in you?
Logan Browning: It’s made me more comfortable in being an activist. I’ve always been drawn to giving a voice and a face to people who aren’t seen or heard. I feel like that’s a part of what comes with being an entertainer and being in the public eye.
When people say that actors and musicians shouldn’t be policy adjacent, I think that perspective is ridiculous. They’re put in this position where they are in the public eye and people listen, so it makes sense that these two things go hand in hand. Because people are looking to my character, Sam, for that, they naturally look to me. It would be a huge disappointment to people if they saw that I was not speaking out on certain issues.
TME: Do you feel compelled to speak out because of the weight Dear White People holds with its audience?
Logan Browning: If you scroll through my Twitter, I’ve been vocal all the way back. You can even dig up my MySpace (laughs), way before this show, and you’ll see! I watched the film when it came out. I saw myself in Sam when I watched the film. Did seeing the character of Sam in the film influence me? Maybe it did. Playing Sam only aides in this burning desire I have to speak out. But I don’t feel compelled by it.
TME: You feel empowered by it…
Logan Browning: Yeah, I feel empowered by it, and I feel that being on a show like Dear White People makes me want to use my voice. I’m inspired by the people I’m surrounded by. I’m surrounded by so many young, influential artists who have great talent and great passion, and a desire to leave a mark that goes beyond their artistry. It’s a new kind of energy in comparison to when I first started acting at the age of fourteen.
TME: What are some of the hot topics you guys discuss on set when you’re all off camera?
Logan Browning: On set, honestly? We goof off. If you’re a person who knows what it’s like to live a life of trauma or a life of less than and difficulty, then you know that the best therapy is laughter. And that’s what we do, we laugh a lot. It’s a part of our culture. Black people together just have a good time. When you get black people together, they don’t want to have a depressing time.
Yes, heavy conversations can happen, and they do happen a lot. Sometimes they’ll happen in our group texts or once an issue comes up. More serious conversations will happen when people ask us about the show and we talk about those topics with other people. I may read something that one of my cast-mates said in an interview, and then I’ll talk to them about it and say, “Hey, I didn’t know you were affected in that way. Tell me about it…”
TME: Can you give me an example of an issue that’s come up?
Dear White People
Logan Browning: I’ve always felt I understood and was aware of my privilege as a light skinned person in this world, and in my industry. I was always aware of it, but I’ve realized that I was still missing the mark until I started to see some of what my fellow actors have said in interviews. I’ve realized that there’s a larger part of their experience than I was understanding. I want to make sure I’m not just being an ally to the black community, but also addressing these more specific issues that are even more nuanced than I’ve personally experienced.
TME: Let’s talk about the nuance of color within the black community. Being that you are light skinned and with green eyes, has there ever been a time in your life when you wished to have darker skin and dark eyes to fit in socially? Were there ever social consequences associated with your appearance?
Logan Browning: I’ve been grateful to have the parents that I had growing up, and I’ve never had any kind of self-loathing in terms of wishing to be something else. But I definitely grew up in a place where I wished people treated me the way I wanted them to. If they were treating me like I didn’t fit in, then I just wished to be treated differently, but I never wished I looked different.
TME: Were you treated as something “other”?
Logan Browning: In both ways, I was. I’m on a spectrum. From white people I was treated a certain way, sometimes good and sometimes bad. Same for the African American community. I was accepted sometimes, and sometimes I wasn’t. It’s a spectrum that I exist on. It’s part of my experience, just kind of being stuck in the middle.
As you get older it changes from wishing they would treat you differently to just trying to understand them, and not worrying as much about fitting in. You realize the reason you’re not fitting in is because you have a privilege that they don’t have. You have to understand their experience.
TME: Your character Sam has mixed emotions about having a caucasian father, and yet, she falls for a white guy on campus who has a similar energy to her father. She has mixed emotions towards both of those men in her life, and it’s an interesting parallel.
Dear White People
Logan Browning: Absolutely. She feels so comfortable with Gabe because he reminds her of what she has been around her whole life. She’s been around a white male energy her whole life. In the same breath, she’s also been around African American male energy because of her mom and her mom’s family. Sam does feel that pull towards Gabe, possibly because of her dad.
Yet, because she has also been exposed to the strength of a black man, she wants to be around that as well. It’s difficult for her to try to navigate that. Deeper than what Sam’s dad looks like, if you look at the characters of both Reggie and Gabe (both love interests), they both have an intelligence that is mirrored in her dad. The reason she leans more towards Gabe than Reggie is because Gabe challenges her like her dad challenged her.
Allison Kugel: What are your personal rules about dating your co-stars? Yay or nay?
Logan Browning: Naaayyy (laughs)! Number one, I’m more attracted to the opposite of myself. I’m attracted to more of an engineering mind. When you’re on a set, you’re falling for someone else’s character sometimes. I think [actors] forget that you’re in hair and makeup all day and you’re seeing people in their most glorified state, so it’s very easy to fall in love with anyone you’re around. I would never.
TME: I found an older quote from you that reads, “I don’t want people to know how I’m feeling, because it makes you more vulnerable.” Are you still that way?
Logan Browning: That was a part of something else I was saying, but I think that comes and goes with me. I know when it comes to being in a public space, I actually do like being really open with people. I feel like it’s my motive to educate the world that the people they see in the public eye are just like them, and they have issues just like them. I’m always trying to take celebrity off its pedestal.
Even though there is power in it, I sometimes find myself trying to knock myself off any kind of pedestal I would ever be put on, because I don’t feel that way. So, in that way I do make myself open and vulnerable, and I feel like it does connect me to other people. I’m way more open publicly than I am if someone is trying to get to know me. I put my guard up and guard my heart. But there are certain personal things I can be vulnerable with. I don’t mind telling the world I get depressed sometimes. I don’t mind telling the world that I don’t live in a huge house. I don’t mind telling the world things that make me relatable. But there is a whole other part of Logan that I keep to myself, and that’s just because I want to be safe.
TME: After the Parkland, FL, school shooting, some of the more outspoken students commented that the news media did not cover the diversity that exists at Stoneman Douglas High School. They focused their cameras on white students and white parents. What are your thoughts about this obvious exclusion?
Logan Browning: Every single act of gun violence is absolutely terrible, but it’s just so interesting that these young people’s voices are finally being heard now. It’s like, really? Now? In 2018? I’m not bitter at all about the fact that this movement is happening now because any kind of talk is good, and any type of move towards progress I’m on board with. But it is one of those obvious things where images that are more palatable are the things that people want to talk about. I think that’s why a show like Dear White People is so important. It puts these colored faces on the screen and forces the audience to begin to relate to these characters who possibly don’t look like them.
TME: What do you hope Dear White People does for 18–21 year olds who are watching you from their college dorm rooms?
Logan Browning: I hope that the show is comforting for that specific age group. I hope that it’s a love letter for them, so that they feel like their voices are heard and time-capsuled and represented. We’re not re-inventing the wheel. These kids already exist on college campuses, and they are being super active in terms of being activists.
I hope they feel seen and it further encourages them to do the great work that they already plan to do. I really hope and pray that older people will watch as well so they can understand what 18-21 year olds are experiencing, and what their world is now. It’s reminiscent of what their world might have been when they were younger, when the civil rights movement was happening.
TME: This new generation is experiencing everything on steroids because of our 24-hour news cycle. I think that is something the older generation needs to fully understand, if they don’t already.
Logan Browning: We all are experiencing so much trauma and it’s not being addressed in terms of our mental health, especially kids. When I was in middle school, I would learn about what was going on if I came home and my parents happened to have the news on, or maybe if they were talking about it at school. But I didn’t have a device that was constantly telling me about every shitty thing happening in the world, 24/7.
TME: I came of age in the 90s, which has been called our “break from history,” because tragedies seemed to be far and few between in mainstream America. However, they were not a rare occurrence in many urban communities. Looking back as a mature adult, I remember that acts of gun violence were happening on a regular basis in our urban communities. In my suburban community and in my own circles, I felt safe. So who really got that break from history?
Logan Browning: That’s a good observation.
TME: Now that acts of gun violence are happening in the “good neighborhoods,” suddenly it’s everybody’s problem. Connecting those dots is humbling.
Logan Browning: It’s along the same vein as the Parkland activists. It’s great that everyone’s aware of it now, but what about all those people we’ve forgotten for so long?
TME: Why do you think black men in our society are both feared and fetishized, simultaneously? This is a dynamic that’s depicted on your show, Dear White People.
Logan Browning: Slavery. That sounds like something Sam would say, but it’s our history. You take any people out of their homeland and you make them a hot commodity… you’re selling them up on how strong they are, how big they are, how hard they work. America created this. They created that dichotomy of what they imagine a black man to be.
TME: What storyline are you most excited for audiences to see in the second season?
Logan Browning: Oh man, in a general sense, I love all of the characters’ stories and all of the individual storylines because you are really getting to know these people. I do love Coco’s storyline. I think it’s a great conversation starter. Every episode in the second season is a conversation starter, which is more what I look forward to than any one storyline. I just know I’m excited about the issues that are covered this season.
TME: Finish this sentence: “Dear White People…”
Dear White People
Logan Browning: It’s so funny, the other day Justin [Simien, Creator of Dear White People] said, “Dear White People, You’re Welcome.” (Laughs). I think it’s “Dear White People… whiteness, blackness; all of it is a creation. It’s a human device that we’ve created, and one that white people in history created and it’s malarkey.” It’s a factory now, one that we all have to mill about in, but it’s a complete fabrication. We have different experiences, yes, but we are all the same. In order to get to the point where we all see each other as the same, we would have to first go back and dissect every life experience we’ve each had before we can wipe the slate clean and say, “Yup. We’re all the same. Back to square one.” Whiteness and blackness are malarkey, but to get to that place we would have to better understand each other.
Season two of “Dear White People” premieres May 4th on Netflix.
A gang of misfit kidnappers find their tiny target far more bloodthirsty than they bargained for!
So, unfortunately, the trailers gave it away and let’s be real that’s why most of us are here, the knowledge that the kidnap victim Abigail (Alisha Weir), codenamed by the would-be kidnappers appropriately as ‘tiny dancer’, is in fact, a vampire. Not a spoiler, point of fact, one of the film’s actual great selling points. And the reactions from the misfit club when faced with a real actual f*cking vampire, range hilariously from the blunt “no such thing as vampires” all the way to, “Are we talking True Blood or Twilight rules or what?” all while covered in buckets and buckets of blood.
Anyway, the gang manages to subdue and abscond with the aforementioned Abigail, in a pre-prepared duffle bag, like you do, and converge to a new location, a house oddly similar to the one she was just taken from. Welcomed and given codenames by a man who introduces himself as Lambert (Giancarlo Esposito), our misfit club is told to simply hold down the fort in this strange old house with the girl chained up in a room and one person to attend her, for twenty-four hours, and they’ll all get paid.
As inevitable as the tides, the dopey druggie Dean (Angus Cloud) is the first to die, and we’re going to give that death-style points for inspiring terror right off the bat. The very controlling Frank (Dan Stevens, holy crap yes that is the guy from FXs Legion) is also of course the most suspicious – of everyone around him, sure, but also he himself is totes sus. We don’t learn terribly much about the musclebound tank who gets dubbed Peter (Kevin Durand), he’s your pretty typical little-brains-heart-of-gold muscle-for-hire any proper gang needs, right down to the bottle problem. Sammy (Kathryn Newton), well, even for being a purported hacker-type, she has, like, reality issues. Rickles (William Catlett), he’s arguably the most dangerous among them, ex-military and yet somehow here and involved in kidnapping for a few mills. Joey (Melissa Barrera) is our Final Girl, and though she has the inevitable problems in her recent past, she seems more capable of doing the hard thing and still somehow empathizing at the end of the day. Must be her burning desire to get back with her son.
The fit hits the shan pretty quickly, and Abigail morphs from tiny dancer to tiny monster, though honestly, the way Abigail spoke the entire time in the film, if the ‘nappers had been paying close enough attention, would have been a solid clue. The performance from Alisha Weir as Abigail is incredible, as she literally dances a fine line between comedy, tragedy, and outright monstrosity. With a face full of makeup and the force of a tiny tornado to back it up, Weir brings to mind the great performances of the vampires in 30 Days of Night who saw the practicality in the need to trap their food, but also, play with it a bit first before feasting! Anything else would give away the absolute fun time that is Abigail, so you should go see it, out in theaters now!
Fans of the beloved medical comedy series Scrubs were recently treated to a thrilling surprise when John C. McGinley, who portrayed the iconic Dr. Perry Cox, dropped a photo on Twitter hinting at a potential reunion project. The image, showing McGinley alongside his former co-stars, sparked a wave of excitement and speculation among fans who have been longing for more adventures with the beloved Sacred Heart Hospital staff.
While details about the reunion project are still scarce, the mere possibility of seeing the gang back together again has sent waves of nostalgia through fans who fondly remember the show’s original run from 2001 to 2010. Scrubs was not just a sitcom; it was a heartfelt exploration of friendship, love, and the chaotic world of medicine, all wrapped up in a quirky and often hilarious package.
At the heart of the show was the bromance between JD (played by Zach Braff) and Turk (played by Donald Faison), whose antics and deep bond served as the emotional anchor for the series. Their dynamic, along with the sage wisdom (and relentless sarcasm) of Dr. Cox, provided viewers with memorable moments that have stood the test of time.
As we eagerly await more news about the Scrubs reunion project, one thing is for sure: it’s time to dust off those old DVDs, rewatch our favorite episodes, and get ready to welcome back our favorite gang of doctors, nurses, and janitors for what promises to be a memorable reunion.
But Scrubs was more than just its main characters. The supporting cast, including the eccentric Janitor (played by Neil Flynn), the neurotic Elliot (played by Sarah Chalke), and the wise-cracking nurse Carla (played by Judy Reyes), each brought their own unique flavor to the show, creating a rich tapestry of characters that fans grew to love.
While the photo shared by McGinley has fueled speculation about what the reunion project might entail, whether it’s a one-off special, a new season, or something else entirely, one thing is certain: fans are eagerly awaiting any opportunity to dive back into the world of Sacred Heart Hospital.
In an age where reboots and revivals are commonplace, Scrubs stands out as a series that has the potential to recapture the magic that made it a fan favorite in the first place. With its blend of humor, heart, and unforgettable characters, a reunion project has the opportunity to not only satisfy longtime fans but also introduce a new generation to the joys of life at Sacred Heart.
The story of the rise of Coriolanus Snow, from teenage Capital City pawn to rising Dictator of the Hunger Games!
Apparently no one out here in post-apocalyptic Panem has heard of irony and so they name their children things like Coriolanus (Tom Blyth), Tigress, and further off in Hunger Games lore, after swamp plants like Katniss. Corio’s father was a legendary general and that is pretty much the only reason young Snow and his meager family of grandmother called Grandma’am (Fionnula Flanagan) and sister Tigress (Hunter Schafer) are tolerated here in the Capital City at all.
Most of the snotty youngsters at the academy won’t let Snow forget how far his family has fallen, but he’s generally not concerned with them. What is concerning is the strong disapproval of the drugged-up Dean Casca Highbottom (Peter Dinklage) and the creepy attention of Dr. Volumnia Gaul (Viola Davis) as she lurks in the classroom sniffing out talent. The Dean feels very strongly the annual Hunger Games should end, while Gaul is violently adamant that not only do the Games continue, but that they get as much more attention as possible. And young Snow is stuck in the middle, when the yearly prize money normally awarded to the academy student with the best grades gets switched out for, you guessed it, the student that can make this years’ Hunger Games as entertaining as possible.
Whilst the students are protesting this sudden change, the annual Reaping is about to commence, and big shock and surprise, Corio’s candidate from District 12 Lucy Grey Baird (Rachel Zegler) is chosen as a Tribute. This is where the film begins to really take off on musical wings, for as it turns out, Lucy Grey can sing. Boy, can that gal sing! She can sing, she can play guitar, she can work a crowd, she can calm things down, she can fire ‘em up too! And Corio, being no dummy himself, instantly plots ways to use his Tributes amazing voice to draw attention to her, and admittedly his own, plight!
Though far too many people sneer at the idea, Corio takes his position as Mentor to his Tribute seriously enough to sneak onto the tram taking the Tributes to their habitat, which turns out to be a completely appropriate moniker, as this year the Tributes are held before the Hunger Games in a large zoo habitat so the weatherman ‘Lucky’ Flickerman (Jason Schwartzman), host of this years games, can MC the hell out of everything up close and personal!
What happens at this years Hunger Games and the subsequent consequences to both Corio and Lucy Grey is actually only half the story, and the movie. Coriolanus has always had to be opportunistic, but learning to be absolutely ruthless when necessary under the tutelage of Dr. Gaul, who basically thinks it’s always best to be merciless, is an eye-opening education indeed. Even after they’ve both been consigned to military service and his friend Sejanus Plinth (Josh Andres Rivera) decides to finally rebel, Corio and Sejanus continue to deceive each other and themselves, to accomplish their separate goals. Not even the love Corio swears he feels for Lucy Grey can save him, or them, from the adamant absolute necessity of the Hunger Games continuing. And after all that’s happened, Coriolanus Snow has gotten a terrific education in the best way to be the absolutely ruthless next Hunger Games advocate, and oh yeah, President of Panem.
The movie does itself no favors by trying to stuff not one but two major storylines and a bunch of side storylines sadly introduced and then ignored, into the film. It would have been entirely possible to turn Ballads of Songbirds and Snakes into two different movies, separated between feathers and scales if you like, and do justice to the major storylines in both. Blyth gives a fine performance as a young Coriolanus Snow, but the fact that President Snow is played by Donald Sutherland in all three of the Hunger Games films means Blyth has incredibly large shoes to fill. Rachel Zegler as Lucy Grey is absolute fire, and yes the actress did sing the songs in the film herself, including the Hunger Games franchise epic song, ‘The Hanging Tree’. Every time Lucy Grey opens her mouth and sheer soul-searing music comes out, it provides a distinct counterpoint to the soul-crushing ambition of Coriolanus Snow and further demonstrates the District and Caste separation Hunger Games is known for. And if, by the end of the film, Coriolanus Snow has come to agree that the Hunger Games must continue but perhaps under his own auspices, he has no one but himself to blame when another younger but still rebellious female blows it all up in his face!
Choose rebellion or conformity for yourself in The Hunger Games: The Ballad of Songbirds and Snakes!
‘Abigail’: Bite Me Harder Tiny Dancer
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‘The Hunger Games: The Ballad of Songbirds and Snakes’: Rebellion with a cause
Wondercon 2024 presents The Spiderwick Chronicles
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Scrubs Reunion: The Band Gets Back Together
‘Abigail’: Bite Me Harder Tiny Dancer
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‘The Hunger Games: The Ballad of Songbirds and Snakes’: Rebellion with a cause
Thatsmye Interviews: Les Weiler on Henchin’: the Series
Disney Legend Andreas Deja’s Hand-Drawn animated short MUSHKA premiere
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The Les Files With John C McGinley
