Created by Aseem Batra, the new NBC comedy series, “I Feel Bad,” is a promising start to a style and genre we all thought were monopolized by ABC (bravo, NBC!). In this new single-cam comedy, Emet (played by Sarayu Blue) is a concept artist in the video game industry. She is constantly juggling between building her own career and taking care of her husband (Paul Adelstein), demanding children, and intrusive parents without feeling “guilty” or “selfish.”

Here are some reasons why we’re feeling good about NBC’s “I Feel Bad”:

1) Finally, a show that doesn’t feel like a ‘token’.

Although it is the first of its kind on NBC, “I Feel Bad” doesn’t feel like a ‘token South Asian show.’ I sympathize with networks that try to make shows with people of color at its center because it’s challenging to know where to draw the line on how (in this case) “Indian” to make the character. Emet’s character isn’t rooted in her background, it’s rooted in her present and occasionally touches on how her heritage influences some of her decisions. She’s a mother, a wife, a daughter, and a career driven feminist who happens to be South Asian because, honestly, the notion of “female guilt” is cross cultural and not exclusive to first generation Indian-Americans.

Much like there are millions of all white television shows that are great because of their characters, “I Feel Bad” is a great launch pad for more stories from unique South Asian perspectives.

2) It touches on gender disparity in a “cool” work environment.

Emet is a video game artist and her team is all men (brilliantly cast by the way). At first, you expect the men, sorry the boys, to treat her poorly and not value her opinion. But this dynamic is different. Try as they might to make Emet’s opinion matter less, they can’t help but realize that at the end of the day, she’s always on to something. Because let’s be honest, women run the world. They need her, and they acknowledge that. I like that “I Feel Bad” highlights how productive we all could be if we got rid of our instinct to despise the opposite sex, or lower their status, and just work together.

3) Its structure is unique to single-cam comedies.

We rarely see single-cam comedies (such as this one) play back and forth from a work environment to a home environment. Either the show is about the female character’s struggle at work or the female’s character’s struggle as a mother. “I Feel Bad” makes the statement that try as we might, it’s hard to keep these two from bleeding into each other. I am the first to admit that my coworkers probably know more about my personal life than my own parents (sorry, Chelsea!)

4) Emet’s parents.

Played by Madhur Jaffrey and Brian George, this is an older Indian couple dynamic that has yet to be portrayed on TV, and I love them. People tend to assume that all South Asians have arranged marriages and you’re miserable your whole life — but that’s simply not true, and Emet’s parents are the perfect example. Madhur and Brian are the perfect juxtaposition of witty, overbearing, Indian and they are madly in love with each other.

What I hope to see on “I Feel Bad” as the season progresses:

• As much I love the focus on Emet, her co-workers are seriously hilarious. Aseem Batra has managed to portray every shade of the “dorky boy” perfectly, and I hope to see these characters continue to grow and function independently of Emet.
• I know I mentioned before that it’s okay that Emet’s Indian heritage isn’t the forefront of the show, and it is. That being said, I see this show as an incredible opportunity to introduce Americans to holidays, terms, sayings etc. without it being “exotic.” The show is already doing that to some degree. For example, Emet’s husband suggests putting her parents in a hotel when they need somewhere to stay and much like any South Asian, Emet strikes back explaining how offensive that would be to them.

[Read Related: ‘Ghoul’ Review: Netflix Delivers a Must-Watch with New Horror Series]

Much like it is naïve to judge a book by its cover, we can never judge a sitcom by its first few episodes (remember that “The Office” and “Parks and Recreation” had very mediocre first-season ratings and reception). And while the first few episodes of “I Feel Bad” didn’t leave me laughing out loud, they left me hopeful for the future of the series and South Asian representation on screen and off screen.

By Brown Girl Magazine

Brown Girl Magazine was created by and for South Asian womxn who believe in the power of storytelling as a … Read more ›

Born in the US and raised in New Zealand, actor Anya Banerjee made her television debut, this past Sunday, in season 10 of NBC’s “The Blacklist.” She is seen playing the character of Siya Malik, daughter of former task force member Meera Malik who met with an untimely death in season one.

[Read Related: Sri Rao and the Future of South Asian Diasporic Cinema]

An MI6 agent, Malik is hoping to learn more about her mother and the work she did with Raymond Reddington. Her character is a sharp, inventive, fearless spy with a knack for spotting what motivates others. Even though this is her first-ever television role, one can see how deeply involved Banerjee is in the character, pushing you to connect back the dots to the history her character comes with. In an interview with Brown Girl Magazine, Banerjee talks more about her journey into acting, what drew her to the role of Siya and what should the audience expect from the 10th and final season of the show:

People, in general, are very influenced by the content they consume. Was there a specific film, play, or television series that got you interested in acting?

As the first in my family to be raised in “the West,” just being in the world involved performing some kind of identity. Film and TV acted as a third parent in that regard. I’m the first actor in my family, but have wanted to do this since before I can remember. Watching “Bend It Like Beckham” when I was in primary school showed me there was a place for South Asian female leads in Hollywood. I’ve also always been drawn to media with some element of the fantastical. I loved Baz Lurhmann’s “Moulin Rouge” because it brought the theatricality of the stage to the screen in a spectacular way. I remember being tickled by the cultural fusion in the film. It reflected my own sense of being at the intersection of various cultures and the appeal of escaping into a made-up world.

Were you a part of any productions in school or in college that influenced you?

I did a lot of singing and dancing as a kid; Indian dance-dramas at Durga Puja and yearly ballet recitals. We did musicals and Shakespeare productions at secondary school and that’s also when I started working in Auckland’s professional theatre scene.

 

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What were some of your favorite roles while pursuing the acting program at Columbia University and how did they prepare you for your television debut?

Casting director James Calleri headed the acting MFA program at Columbia when I was there and his on-camera classes really set us up for success in TV. We also had the tremendous good fortune of being Ron Van Lieu’s first cohort at Columbia. The master acting teacher directed our thesis production of “Where Do We Live?” by Christopher Shinn. I played Lily, a British party girl who has to be physically and emotionally vulnerable in the play. With the help of movement coach Sita Mani and intimacy co-ordinator Alicia Rodis, I gained the confidence to take more risks in my acting. Now I’m playing a very different Brit with a totally different background and disposition but I’m using many of  the same tools I used as Lily to feel grounded as Siya.

How would you describe “The Blacklist” to people wanting to learn more about the show?

Action-packed, full of intrigue, and endlessly entertaining. There’s a reason this show has been killing it for a decade and that’s the high caliber of the cast and crew, as well as the inventive and topical writing that keeps fans coming back for more. Audience members who’ve watched from the beginning will appreciate the full circle moments that my character ushers in — I play the daughter of Meera Malik, late CIA agent from season one so my storyline is a bit of a throwback. But new viewers can use me as an access point into the world of “The Blacklist” as Siya uncovers it, bit by bit, as a newcomer herself.

How did you prepare for the role of Siya Malik and how similar are you in real life to the character you’re playing on screen?

Some of the first things I had to learn on the job were stunts and how to operate a firearm. You’ll be seeing a lot of Siya kicking butt. The gun stuff was entirely new for me but I took to it very quickly and my background as a dancer helped with the fight scenes. Something I identify with in Siya is her resilience. She’s turned the tragedy of her mother’s death into the fuel that led to her own career as an MI6 agent, overcoming obstacles and others’ underestimation of her. That’s the kind of fire inside that  I really admire and hope to practice in my own life.

 

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Are there certain roles you feel suit you better?

I love characters with complex inner worlds — ones who are deeply flawed and may even be outcast from society, but who rise above the odds to carve out space for themselves and the ones they love.

Do you feel South Asians are still pigeonholed into certain roles or has it gotten better?

I think things are a lot better than what I grew up seeing in the early 2000s. “Sound of Metal,” for example, is one of my favorite movies because Riz Ahmed’s riveting performance has little to do with him being South Asian and everything to do with his commitment to an expertly crafted role.

Is there a dream role you would want to play?

On stage, someone as volatile as Emma from Duncan Macmillian’s “People Places & Things.” On screen, someone as funny as Amina in “We Are Lady Parts” or as brave as the title character in “Kimi.”

You have worked with many talented individuals. Is there anyone still on your list you would want to work with in terms of directors, actors, actresses, and others?

Parminder Nagra, obviously! As a Kiwi, it would be a dream come true to work with Jane Campion or Taika Waititi. I’m most excited to form meaningful relationships with artists daring enough to challenge the status quo.

You describe yourself as a “Kiwi-Bengali in the Big City.” How have you felt as an Indian American, raised in New Zealand, coming into the acting world?

There’s been a lot of juggling aspects of my triangular identity. A lot of the times in this industry people want you to be just one thing, or maybe two, but three’s pushing it! The reality is that we live in a globalized world. We have to make room for cultural nuance in the media. So maybe I’ll lean into my American side today, turn up the Kiwi tomorrow, and speak Bengali with my Indian parents on the phone. All are valid, authentic expressions of myself and reflections of the real world.

[Read Related: Manish Dayal on ‘The Resident’ & Telling Stories During and About a Pandemic]

 

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What advice would you give to your younger self?

It’s okay to be a chameleon — in fact it’s a gift. Adapting aspects of your personality and identity to different circumstances is part of being a multicultural artist.

What is something not many people know about you?

I can be a little introverted and have struggled with social anxiety since I was a teenager. I had a bit of an emo phase then, but have since learned to take life less seriously and it’s made me a lot happier. My loved ones nurture and embrace the goofball in me. If you get to know me, I might let you see my inner clown!

Lastly, what do you hope individuals take away from this interview?

Take pride in your difference and embrace the outsider in you. It’s your superpower. There’s no one right way to be a Brown Girl so get out there and be whoever you want to be!

Photo Courtesy of Ted Ely

By Arun S.

Arun fell in love with music at a young age by way of his middle school music teacher Mr. D. … Read more ›

Photo Courtesy of Varsha Panikar

“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.

By Varsha Panikar

Varsha Panikar (they/he) is a filmmaker, writer and multi-disciplinary artist from India. They are the co-founder of Star Hopper, a … Read more ›

As a South Indian American, I am aware of how non-brown Americans view the Indian film industry. One word: Bollywood. Bollywood and the South Indian film industry has always been lumped into the same category as Bollywood, despite the diversity. For Indians, South India is obviously different from North India, but non-brown people assume it would all be the same. This extends beyond Indian cinema; feeding into assumptions regarding other aspects of culture like language, food, and so on. People tend to assume all Indians speak Hindi or eat tikka masala at home rather than trying to understand the diversity of Indian culture. With time, especially with the help of social media, there was more accessibility to understanding the differences among these cultures, yet nothing truly spread across the globe. Then came “RRR.”

[Read Related: On the Road to the Oscars: M.M. Keeravani and Chandrabose’s ‘Naatu Naatu’ Redefines the World’s View of Indian Music]

“RRR” is a Telugu film from Tollywood. This South Indian film has become a worldwide sensation with its incredible visual effects, captivating plot, and catchy music. I was blown away by the reception this film got in the United States, especially from American film critics who were all praise. What impressed me the most was how more Americans clarified it was not a Bollywood film, and differentiated it as a Tollywood film. The number of people taking the time to learn the difference between Tollywood and Bollywood might seem simple, yet meaningful, nonetheless. South Indian films are incredibly underrated and are finally getting the attention they deserved. It is incredible to see the celebration surrounding the film and what it represents and means to this community and how we get to share it with the world. The hype was real, and then the awards season began.

 

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The Golden Globes top the list of some of the major awards for television and film and it was amazing to hear that “RRR” had been nominated in two categories for this award. Funnily enough in my own world, it aired on my birthday. Then came the moment when Jenna Ortega said “Naatu Naatu, RRR” and the song played as M.M. Keeravani approached the stage to accept his award. This song became the first Asian, not only Indian, song to win the Golden Globe for Best Original Song. The 80th Golden Globes saw many wins for the Asian community with films like “Everything Everywhere All At Once” and “RRR.” There is something beautiful about being South Indian in America and watching a South Indian song win an award in America on one’s birthday. There is a joy in getting to tell my friends, both brown and non-brown, about it and share the song, “Naatu Naatu,” with them. Sure it is Indian, but it is just a bit closer to home, and that closeness stands with a beautiful meaning. When it came to the Critics’ Choice Awards, it was touching to hear about how S.S. Rajamouli grew up with the encouragement of creativity and storytelling. It honestly inspired me to continue my own projects; I hope to see them prosper as well. 

[Read Related: Sri Rao and the Future of South Asian Diasporic Cinema]

After the win at the Golden Globes, the Oscars became highly anticipated for the Indian community, especially when the nominations for Best Original Song were announced. Of course, when the familiar title appeared once again, a victory felt within grasp. “Naatu Naatu” had a couple of big moments at the Academy Awards ceremony: the performance and the win itself. The performance was introduced by the absolutely phenomenal actress, Deepika Padukone, who, too, is s South Indian. Her introduction of the song brought forward the context in which the tune takes place, that is during 1920 under the British colonization of India. She reminded all of us of how significant the song was along with its catchy beat. When it came to the announcement of who won Best Original Song, it was a first-of-its-kind victory given that it was the first time an Indian film won in this category. The speech made by M. M. Keeravani was beautiful as he sang to the tune of “Top of the World” with his own lyrics to take in the moment. It was certainly an extremely proud day to be Indian anywhere in the world, and especially to be a South Indian.

Seeing non-brown folks acknowledging the diversity of Indian culture has been beautiful to witness. The cultural pride of saying an Indian film, specifically a South Indian film, won the Oscar, a Golden Globe for Best Original Song and two Critics’ Choice Awards so far is an absolute joy. Seeing South Indian representation, especially during the awards season, is inspiring for brown creatives. This has been a time of great cultural pride in the South Indian community, and as a South Indian creative myself, I am honored to see it.

Photo Courtesy: Netflix

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By S. Kavi

S. Kavi is a South Indian American writer, poet, and artist. Her work involves the exploration of South Indian culture, … Read more ›