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Logan Browning Gets Candid About Netflix Series Dear White People

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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.

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Frogfathers lessons from the Normandy surf

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Frog Fathers: Lessons from the Normandy Surf” is a deeply moving documentary directed by Bob Whitney, narrated by John C McGinley, and presented by World of Warships and FORCE BLUE. It chronicles the journey of four Navy SEAL veterans revisiting the site of the D-Day landings to honor their forefathers and gain a deeper understanding of the sacrifices made during World War II.

The film’s strength lies in its raw emotional impact and historical significance. It blends personal narratives with archival footage, offering a poignant tribute to the bravery and resilience of those who fought on June 6, 1944. The veterans’ reflections and the cinematography effectively capture the solemnity and reverence of their pilgrimage.

While the documentary focuses primarily on the veterans’ experiences, it also serves as an educational tool, highlighting the strategic importance of the Normandy invasion and its pivotal role in shaping modern history. The film’s respectful approach and engaging storytelling make it a compelling watch for anyone interested in military history and the enduring legacy of the D-Day heroes.

Overall, “Frog Fathers” is a powerful and heartfelt documentary that honors the past while inspiring present and future generations to remember the sacrifices made for freedom 

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American Horror Story: Delicate

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As most of us are already aware, the 12th Season of AHS has been fraught with all kinds of differences to the previous seasons, mainly in that this is the first one to be based entirely off a novel, ‘Delicate Condition’ by Danielle Valentine. The first half of the season aired in October 2023 to mediocre reviews, while the SAG-AFTRA strike caused production and airing delays for the latter half of the season, and the episodes of Part 2 were all cut to less than an hour long apiece. And none of that is even getting into the disjointed attempt at storytelling for Season 12, so let’s dive into this! 

Meet Anna Victoria Alcott (Emma Roberts), former young ling star of Hollywood now struggling to recapture fame as an adult, who wants a baby, very very badly. Bad enough to drive herself and her husband Dex (Matt Czuchry) through multiple unsuccessful rounds of IVF (in-vitro fertilization), bad enough to keep trying no matter how crushing each failure turns out to be, bad enough to involve her purported best friend and bougie publicist Siobhan Corbyn (Kim Kardashian) in her struggles, and maybe, just maybe, bad enough to give up on a burgeoning resurgence of her career after interest in her comeback role for The Auteur begins garnering her Oscar-worthy attention. 

So, Anna and Dex are going to go through yet another round of IVF, likely one of their last attempts at it, from a different doctor, Dr. Andrew Hill (Denis O’Hare), and clinic based on Siobhan’s recommendation. And already, strange things are beginning to happen to Anna – her appointments that she set herself begin springing up incorrectly, a doom saying woman called Preacher (Julia White) shows up spouting warnings about trusting no one, dire warnings appear in unlikely places, and BTW, it seems as though long-suffering but good-nurtured Dex has a side-piece too. It doesn’t help that Dex’s new partner at his art gallery, Sonia Shawcross (Annabelle Dexter-Jones), bears a striking resemblance to his dead ex-wife Adeline, either. Those spiked emerald heels start appearing weirdly too, and it seems as though no one will listen to Anna as she grows more and more suspicious that some sort of sinister cult has designs on her as-yet-unborn baby. At the same time, Anna tries to live the life of a successful returning actress, attending parties and gallery openings while draping her rapidly-expanding middle in shimmering fabrics and actively ‘campaigning’ for that little golden statue that most actors covet. Competition is fierce, even among her co-stars of The Auteur, and while Anna wants to be supportive of her fellow entertainers, she clearly appears to be incapable of doing both at the same time – wanting the baby and the little gold award at the same time is too much to ask, apparently. 

Elsewhere, mostly in the past, various women in states of desperation formed from one situation or another are visited by sinister-looking women in prim black dresses, headgear reminiscent of – to me anyway – an odd cross betwixt birds and bunnies, my guess is an ostensive nod to fertility in general, and a general feeling of blood-bound witchery about them at critical moments of crossroad choices. 

Though the second half of the season moves a good deal faster than the first, the attempts at callbacks and reminder flashes to Part 1 hit with all the impact of a dropped bag of garbage onto their friends Talia’s (Julia Canfield) borrowed bougie kitchen floor – splat, into incomprehensible silence, from all parties, both characters and audience, concerned. Even the reminders that, in Part 1 of Delicate Dex’s mother Virginia Harding (Debra Monk) did indeed have perfectly valid memories of abuse at the hands of a black cult and Dex’s own father Dex Sr. (Reed Birney), the revelation pales and peels away in the face of Dex’s true parentage. 

Which brings us back around full circle kinda sorta, to the only real character worth a damn in this entire miserable season of strange feminism and aspirations of world domination through a kind of idiotic Rosemary’s Baby nightmare scenario, we should have known she’d steal the show when Kardashian was cast for it, Siobhan Corbyn, leader of the blood cult her high and mighty (old) self. Throughout the whole show her character has remained exactly the same, and it’s a wonder Anna can stare at her all stupefied while Siobhan does her villain speech at the end of the last episode. Siobhan never masked her ambition or greed, her mysterious protective vibe and even deep love for Anna, and can always be counted on to have secret plans of her own, already in motion, bitch. 

The idea that Anna herself was used as a surrogate for Siobhan and her incestuous eugenicist plans, plus the sweet little demon baby she just birthed, has an ironic the-world-is-tilting-the-wrong-way kind of witchy madness to it. Sure, Anna really can have it all, the baby and the golden statue, if only she joins the patriarchy-crushing cabal of blood witches with world domination plans, got it. 

I have questions, or I would have, but things are moving on and Anna is being saved by … Dex’s dead ex, Adaline the former member of the coven right okay her, she’s going to show back up and offer Anna a simple chant to Hestia her patron Goddess, and that is somehow enough to deal with Siobhan entirely – poof. And finally, after all that rigamarole, decades of planning and scheming and witchy plotting finally settled, Anna really can have it all as a White Witch of Hollywood, heaven help us, with her perfectly human baby and that damned little golden statue, clutched in an only slightly desperate grip. 

As with any season of AHS there are a great deal of statements that could be implied just under the skin of the season – the canker way of ambition, the millenia-old pain of a woman giving birth, the savagery and bloodshed that comes with bringing forth life, pushback against both the patriarchy and ultra-feminism, the absolute desperation of humans wanting to have a child, and perhaps strangest and most open to interpretation of all, what it means to be feminine. The worlds population of women who can’t or don’t or simply won’t have children, for any reason or none, are relegated to servants, expendable servants at that, for this new world order that Siobhan is proposing, and that is far too close a comfort to things like outright slavery. A dictator is a dictator, no matter how great she looks in those emerald spiked heels. 

It’s not the really beautiful grotesquerie that Ryan Murphy and his AHS gang are often known for, nor is it utterly terrible and should be burned at the stake. What Delicate should be, is put back together with missing and cut footage, an hour long per episode again come on folks, fleshed some more of Siobhan’s baby-stealing adventures in the past and given us an actual reason to like anything about the whiny Anna, at least the Part 2 we as longtime AHS fans deserve. Toss in some more spidery hijinks! Give us the actual origin of those weird feather bunny-ear headdresses! 

American Horror Story Delicate the whole season can be seen on FX! 

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Jurassic Park: Unraveling the Mystery in a World Gone Prehistoric!

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Hold onto your hats, dino fans! The highly anticipated sequel to the adrenaline-pumping Camp Cretaceous saga is here, and it’s taking us on a wild ride six years in the making. Following the harrowing events of Camp Cretaceous, our beloved “Nublar Six” are back, but they’re not out of the woods just yet. In fact, they’re about to plunge headfirst into a world where dinosaurs roam freely alongside dangerous humans, and trust us when we say, it’s a Jurassic jungle out there!

Picture this: a world where survival isn’t just about avoiding sharp-toothed predators but also navigating the treacherous waters of human greed and deceit. As our resilient heroes reunite in the aftermath of a heart-wrenching tragedy, they quickly realize that danger lurks around every corner, and trust is a luxury they can’t afford. 

But wait, there’s more! Prepare to embark on a globetrotting adventure like no other as the Nublar Six find themselves thrust into the heart of a conspiracy that threatens not only the fragile balance between dinosaurs and humanity but also their very existence. From the lush jungles of Isla Nublar to the bustling streets of bustling cities, buckle up for a rollercoaster ride of epic proportions as our intrepid group races against time to uncover the truth about one of their own and, ultimately, save both dinosaur and humankind from certain doom.

So, dear readers, if you thought you’d seen it all in Jurassic Park, think again! With heart-stopping action, pulse-pounding suspense, and jaw-dropping revelations, this latest installment promises to be a game-changer in the Jurassic universe. Get ready to roar with excitement because Jurassic Park: Unraveling the Mystery is about to take a bite out of your imagination and leave you hungry for more!

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