Actress and model Sana Serrai plays the role of Samantha in the new Netflix series “Brown Nation.” The comedy series that plays on the quirks of everyday Indian-American life was filmed a couple of years ago, but was only recently released globally on Netflix last month.
I had the pleasure to chat with Serrai to learn more about her background, her role, and what she’s planning on tackling in the near future. But first, a bit on her background.
Sana Serrai unexpectedly paved her way into the entertainment industry by participating in beauty pageants as a teenager. Those pageants led her into a modeling career and that’s how she realized how much she loved being on camera and set.
At first acting wasn’t the biggest priority. Not too long ago Serrai was juggling school, a full-time job, and acting all at once. She actually wanted to be a psychologist before she decided to work in the entertainment industry.
She says, “acting was something I was doing on the side, and you know how Indian families are, you need more of a serious career. I didn’t have that much support from friends and family at first.”
But what about now? Do you have support from friends and family?
“I think once they saw that I could actually act, and saw me on camera, they thought, ‘I think I’ll start taking her more seriously now.'”
The upcoming star also touched on the buzz around “Brown Nation.”
The actress “was quite the newbie” compared to the rest of the cast (which featured actor Omi Vaidya of “3 Idiots” fame) of “Brown Nation.” She explains that the series was one of her biggest breaks in the industry and it was what led her to focus on acting full-time.
[Serrai plays the role of Samantha in the Netflix series, “Brown Nation.” Photo via: Screenshot/Netflix.]
When we discuss her role in the show, the actress admits that the character of Samantha was perfect for her:
“[Samantha] is so bubbly and she has so many different quirks that I love and I felt like I could put so much of myself into her. She’s very aggressive but not in a way that’s intimidating—almost in a light way. She’s confident, she knows who she is, and what she wants.”
Did you think “Brown Nation” would be this big?
“I thought it would end up on some Indian channel. I thought my aunties in India would be saying ‘oh Sana, we see you on Zee TV.’ I had no idea it would reach such a wide audience.”
Serrai’s candor is comforting, as I can tell she didn’t come with a prepared script. Further down our conversation she even mentions that one of her biggest pet peeves in the industry is when people tell her “she’s pretty for an Indian girl. I mean what does that mean?” I totally get where she’s coming from!
But aside from that, what’s next for you in your career?
“I’m getting my modelling reel together and will blast it out to a bunch of agencies. Hopefully I’ll move to LA and get some work started there. That’s my goal for the next 3-4 months.”
My final question is one for us all:
Do you have any advice for BG readers on how to pursue their passions?
“You have to support yourself, love yourself, and believe in yourself because you can’t rely on other people to help you follow your dreams. If I had relied on others to help me achieve my dreams I would have never been where I am today.”
Akansha Agrawal is a writer, pilates instructor, and an Insights Analyst who lives in San Francisco, CA. She is also the creator of Citrus & Gold— a blog that focuses on wellness for the mind and body. Akansha loves to connect to like-minded individuals so feel free to say hi on Instagram or Twitter!
It’s always a flamboyant affair of colour, emotions and grandeur when Karan Johar directs a film, and his latest blockbuster “Rocky Aur Rani Ki Prem Kahani” is as K Jo as it gets. After recently being recognised at the British House of Parliament for 25 years as a filmmaker, Johar is back to doing what he does best — bringing together families and star-crossed lovers, but this time with a modern touch. He makes a decent attempt at showcasing progressive ideals and feminist issues while taking us on this family-friendly ride.
“Rocky Aur Rani Kii Prem Kahaani” is a larger-than-life film revolving around the love story of a boisterous Rocky (Ranveer Singh) from a wealthy Delhi family, and Rani (Alia Bhatt), a sharp journalist from a progressive Bengali household. And of course, despite belonging to completely different backgrounds and lives, our protagonists, in true Bollywood fashion, fall hopelessly in love through a string of slow-motion gazes, warm embraces and some truly breath-taking song sequences in Kashmir’s snowy mountains. They are then forced to face their opposing families which brings along the family drama in the second half of the film.
The plot is not the film’s strongest point — there’s no real surprise about what’s going to happen next, and yet the film doesn’t fail to keep audiences engaged and pack an emotional punch. This is down to its strong acting, witty dialogues and K Jo’s classic, beautiful cinematography.
Ranveer Singh sinks into the skin of his character with ease – not only does he make the hall burst into laughter with the help of perfectly-timed gags but he pulls off those dreamy gazes ,expected in K Jo’s heroes, to evoke that typical, fuzzy-feeling kind of Bollywood romance. Alia Bhatt’s intelligent and undefeated character is no less a pleasure to watch on screen — not only does she look breath-taking in every shot but her feminist dialogues earn claps and cheers from the audience as she brings a progressive touch to this family drama.
Albeit, while Bhatt’s dialogues do their best to steer this film to the reformist drama it hopes to be, some of Singh’s gags and monologues on cancel culture bring out bumps in the road. The film could have done better to reinforce its points on feminism and racism without using the groups it tries to support as the butt of jokes.
There is also a case to be made about how long these Punjabi and Bengali stereotypes can go on with often gawkish displays of Ranveer’s ‘dilwala-from-Delhi’ character among the overly-polished English from Rani’s Bengali family. But it is with the expertise of the supporting cast, that the film is able to get away with it. Jaya Bachchan in particular is as classy as ever on screen; the stern Dadi Ji holds her ground between the two lovers, while Dada Ji Dharmendra, and Thakuma Shabana Azmi, tug at our heartstrings showing that love truly is for all ages.
Saving the best to last, it is the film’s cinematography that makes the strongest case for audiences to flock to the cinema. The soul-stirring songs steal the show with their extravagant sets and powerful dance performances that treat the audiences to the much-awaited cinematic experience of a K Jo film. While audiences may already be familiar with the viral songs, “What Jhumka?” and “Tum Kya Mile“, it was the family-defying fight for love in “Dhindhora Baje Re” that really gave me goosebumps.
Overall, the film does exactly what it says on the tin and is a family entertainer with something for everyone. It will make you laugh, cry, and cringe at times, but nothing leaves you feeling as romantic as some old school Bollywood with a mix of new school humour, in true K Jo form.
“After so Long” is a poetry film created for Simha’s EP, which is streaming on Spotify, Apple Music and Amazon Music. The poem was collaboratively written by Simha, a U.S. native, and Jae, who is based in India, during the 2020 lockdown. “After so Long” was recited by Simha and their parents. In 2022, I directed and produced the film through my studio, Star Hopper. “After so Long” premiered on Nowness Asia in March 2022.
This film is a worldwide collaboration among trans and queer south-Asian artists from the United States, India and Canada. It was recorded, shot and filmed during the lockdown of 2020 and 2021.
Awake at 10 am but out of bed at noon,
I want to be here where I lose myself in these sheets
Glancing through half-shut eyes
At the gold pressing past my window
The glimmer remarks on the ledge of my bed
But the voices are so loud
Like dust collecting in the corner of my room
I am unaware to why I’m still here
With the chilling doubt of the breeze…
I’m swept into lucidity After so long
Mil rahi hoon mein aaj iske saang barso baad,
(Today, I’ll be meeting them after so long)
Koi paata nahi diya tune
(But with no destination sight,)
(What should I do?)
(Where should I go?)
Shayad agar mein chalne lagoon,
(Perhaps, if I keep walking)
Inn yaadon ki safar mein
(Down this road of memories)
Mujhe samajh mein ayega,
(I will find out)
Yeh rasta kahaan jayega,
(Where this road leads)
Inn aari tedhi pakadandiyon pe baarte hi jaana hai,
(Through the twists and turns of this winding roads, I must keep going on)
Mujhe mil na hain aaj uske saath,
(I wish to meet them today)
(After so long)
I feel like I’m retracing my footsteps
From these concrete stretches
To broken cement walls
Chips and cracks forge their way for new designs
I see the old abandoned buildings
That once held the warmth of bodies
Now just hold memories
Supporting the nature’s resilience
In vines and moss
After so long
Dhoondli shishe mein jaaga leli hai
(These isty mirrors have offered refuge)
Bikhri hui laatao ne,
(To these scattered vines)
Zameen pe uchi ghaas pe
(Amidst the tall grass stretching from the ground)
Lehrati kamsan kaliyaa
(The swaying little buds)
Bheeni bheeni khushboo bikhereti
(Spreading honeysuckle scent through the air)
Phir wahi mausam,
(I lose myself in reminiscing, the same season)
(The same heart)
(After so long)
Phir bhi mein chal rahi hoon aaj
(Still, I keep carrying on today)
Khudko khudse milane ke liye
(In the pursuit of my higher self)
Inn galiyo se guzarna hain aaj
(I must pass through these streets today)
Chaalte chaale jaana hai aaj
(I must keep going on today)
Kabhi hum milenge kisi mor paar
(Someday, we’ll meet again, somewhere on this road)
(After so long)
Kabhi hum milenge kisi mor pe
(Someday, we’ll meet again, somewhere on this road)
(After so long)
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“Don’t bully me with your kindness,” says Pi Patel (Hiran Abeysekera) to Lulu Chen (Kirstin Louie), from the Canadian embassy who is visiting Pi in his hospital room in Mexico. Pi was the sole survivor of a cargo ship traveling from Pondicherry, India, en route to Canada. His family and the animals from his zoo from back home all passed away, and Pi turned up after being stranded for 227 days at sea.
In this scene from the “Life of Pi,” that recently won in three categories at the Tony Awards, Pi’s sanity is being questioned as his account of what transpired at sea is too…fantastical. His vivid imagination and inspired attention to detail seem like a story a child would share. The character Lulu, from the embassy, is trying to gently nudge him into telling her the more ‘truthful’ account of what happened —one that doesn’t include a carnivorous tiger, a cannibalistic island, and a horrific Frenchman. Pi finally tells her to stop patronizing him. To stop bullying him with her perceived kindness. To actually listen to what he is saying.
It is this one line from the show that has become one of the most surprising and thoughtful lines I have encountered in all the art I have consumed in 2023 thus far. In fact, surprising and thoughtful are words that I would use to describe the overall musical itself. Directed by Max Webster, and adapted by the playwright Lolita Chakrabarti from Yann Martel’s Booker Prize-winning novel, “Life of Pi” is so enchanting, charming, and fantastical that with every beat of the show, I would hear gasps emanating from the crowd. The 24 cast members, many of whom were puppeteers, brought the different animals to life as we switched between the two timelines of Pi recounting his life at sea, in the hospital room, and Pi living out his life at sea.
Dreamlike to the audience and a nightmare to Pi, the scenes depicting his challenging, lonely, and magical time at sea beautifully depicted the magical realism of the novel. The choreography of the different cast members puppeteering the animals added a sense of whimsy and movement that lent itself to Pi’s childlike imagination. The lighting, the sound, the set, and the actors all came together to create a musical that is like almost being in a drug-induced trip — the set moves seamlessly from the hospital room to the boat, and back to the hospital room, and then the boat; sometimes both at the same time. You can feel the waves when Pi is on the water and see the little fish moving about. It’s as though you are with Pi throughout his journey — you feel scared when he is attacked, you feel inspired when he is in bliss, and you feel pain when he longs for his family.
The biggest marvel, though, is Richard Parker. The puppeteering behind this character is excellent — he is at once menacing, vulnerable, scared, and strong. The transformation of Parker is such that he starts out as such a grand animal and when we see him finally arrive on the island, he looks so frail and thin. You root for him as much as you root for Pi. And Pi himself is the heart of the musical. Abeysekera imbues Pi with so much confidence, playfulness, wit, and fear, that it makes you believe his stories and his relationship with the relentless tiger.
When Pi tells Lulu to not bully him with her kindness, he is telling her to not shatter his perception of the world he has lived; either it be real or constructed. Pi eventually shares with Lulu and Mr. Okamoto (Daisuke Tsuji), a representative from the Japanese Ministry of Transport, a version of events that is devoid of animals but one that is darker as it depicts human beings in their primal, selfish states. He then asks them, “Which story is better?” Lulu and Mr. Okamoto are speechless, as is the audience. In the end, it’s not about the story they believe but the one he believes. For the one he believes is the one he lived. And no one can bully him into thinking otherwise.