There is exactly one reason I wanted to watch the upcoming film “Baywatch,” a revival/tribute of sorts to the original television show of yesteryears: Priyanka Chopra. And if this, too, is your reason to watch the film, you’re probably one of the few who will like this film.
Starring Dwayne “The Rock” Johnson and Zac Efron, “Baywatch” follows the hilarious, yet ridiculously overqualified lifeguard Mitch Buchannon (Johnson) and an annoying new recruit/pompous Olympic swimmer a la Michael Phelps, Brody (Efron). The two, while circling the dynamics of their own personality differences and Mitch’s quest to prove that lifeguards do more than just swim, join the rest of the Baywatch team as they find an elaborate drug operation in the Bay. Enter Chopra as Victoria Leeds, a businesswoman whose mysterious past and rapid buying up of local bayside properties becomes the focus of the lifeguards’ investigation.
Complete with slow-motion running on the beach, the film feels like an ode to the original show, except with the modern twist of R-rated, humor. There’s more action and stunts, yes, but the film becomes a mediocre thriller wrapped in a comedy, rife with as many raunchy jokes and nudity as one would expect from a teen comedy.
“Obviously, there was a lot about the original show that worked,” Johnson, one of the film’s executive producers, said. “So we wanted to keep some of the core elements in place while raising the stakes for a feature film. The stunts are bigger, the action is more intense, but we’re not taking ourselves as seriously as the show. We worked hard to find the right balance. As badass as the action in this movie is, we’re all in on the joke. We’re all having fun. We’re laughing with ‘Baywatch,’ not at ‘Baywatch.”’
For better or for worse, the creative team apparently agreed on the film’s raunchy comedic tone right away too. “From the beginning, one of my main things was ‘It’s got to be rated ‘R,’” Johnson said. “Let’s swing for the fences.”
And swing for the fences they did. While the film’s initial witty banter caught my attention, it was this drift into the cringe-worthy (including far too much male genital humor) that literally had me looking away.
“When Dwayne and I started talking about ‘Baywatch,’ we made a pact that no matter what, we’d take full of advantage of our ‘R’ rating to break people’s expectations of the TV show,” said producer Beau Flynn. “The ‘R’ rating is a great canvas to be as edgy or irreverent as you want, so we really let it rip with the language and nudity, male and female. We’re proud of the risqué ‘wow’ moments we had to fight to keep in the movie.”
Johnson explained, “We wanted to raise the bar in terms of shocking humor. ‘Baywatch’ is ‘lights out, game over, we may have to cancel Christmas’ level filthy fun.’”
I don’t know that I would call it filthy fun, but one surely has to go into the film not expecting much, and it’s an odd comfort that the film doesn’t take itself too seriously. The decision to go the route of comedy kind of works for the film—basically, the lifeguards know they’re just lifeguards and their ensuing investigation isn’t some long, drawn out episode of “Law & Order.” The crimes, schemes and crime-solving techniques aren’t novel or even intricate, and if you’re looking for something more dramatic or suspenseful, you’ll be disappointed.
[Priyanka Chopra as Victoria Leeds and Jon Bass as Ronnie in “Baywatch.” | Photo Source: Paramount Pictures]The good news is that Chopra is perhaps the best part of the film, aside from the fact that that bar is pretty low. She has a phenomenal amount of screen time, and complete with a “global” (nearly perfect American) accent, she brings power and prowess to Leeds, portraying the villain that reminded me of her brilliant performance in “Aitraaz.” Chopra also seems keenly aware that Leeds is perhaps the most serious part of the film–able to make evil beautiful, Chopra isn’t as sexualized like most of “Baywatch’s” female lifeguards, while also being able to scoff at the very misogyny that places them there. For example, after a particularly harsh act, Brody insults Leeds, and her response is, “If I were a man, you’d just call me driven.” That is, in essence, what makes Chopra’s Leeds stand out from the rest of the cast.
There’s not much other good news. The Rock leaves a good impression, bringing finesse and perfect tone and timing to Mitch’s humor. Efron is bearable, mostly because Brody, as the butt of many of Mitch’s jokes, embodies a stereotypically dumb yet good looking man. It’s nice to also see familiar comedic faces in the film, like Oscar Nunez (“The Office”) and Hannibal Buress (“Broad City”), in smaller roles.
[Dwayne Johnson and Priyanka Chopra. | Photo Source: Paramount Pictures] Beyond the performances of Chopra and Johnson, the film teetered on the edge of being more serious at times—but with even emotional scenes cut with humor, it never quite gets there. Once you embrace that the filmmakers and cast are aware of the film’s own ridiculousness, “Baywatch” is actually watchable.
Overall, “Baywatch” is an average comedy. Because it doesn’t take itself too seriously, you shouldn’t either—but if you’re a PC fan, you won’t want to miss this. With strong performances from a couple of its leads, “Baywatch” is sure to at least tickle your funny bone—whether you’re laughing with “Baywatch” or at it.
“Baywatch” opens in theaters May 25. Brown Girl interviewed Chopra about the film, her portrayal of Leeds, and more — keep an eye out for the full interview!
Priya Arora is a queer-identified community activist, editor, writer and Netflix enthusiast. Born and raised in California, Priya has found a home in New York City, where she currently works as a Frontpage Editor at Yahoo. When she’s not working, Priya enjoys watching old school Bollywood movies, laboring over NYTimes crossword puzzles, reading books she never finishes, and eating way too much of her partner’s homemade Hyderabadi biryani.
In an age where algorithms dictate viewership, Nancy Jay uses her love of dance to propel herself onto TikTok’s “for you” pages. Jay is an Indo Guyanese, Bronx native who began dancing at the age of three. As an influencer and content creator, she amassed a social media following of more than 500,000. Versed in many styles of dancing including Caribbean, Bollywood, urban and Latin, Jay can be spotted in soca music videos such as Linky First’s “Rock and Come in” and “Jeune Femme,” Adrian Dutchin’s “Roll” and by soca king Machel Montano’s “Mami Lo Tiene.”
Many content creators are typecast into the niche but Jay has defied this norm and proclaims she is more than just a dancer.
“I dance, travel, post lifestyle and beauty content. I’m an Indo Caribbean woman who enjoys being myself and promoting my culture. I like showing viewers it is okay to be who they are and embrace what they look like, despite what they see on social media. I did not plan on being a TikToker. As I started posting videos, the love and support I received from viewers was amazing. I have never experienced anything like that before on Instagram, where I started my content journey,” Jay said.
In conversation with Jay, the following answers have been condensed for concision and clarity.
Why is it important for you to create content related to your Indo Caribbean roots?
Growing up, I never felt represented as an Indo Caribbean on television, in movies, social media or anywhere else. My goal as a content creator is to promote the Indo Caribbean culture through my content and be the representation the Indo Caribbean community needs.
Are there unspoken rules about being a content creator or an Indo Caribbean woman on the platform?
Being an Indo Caribbean woman on TikTok can be challenging when you are trying to find your identity and do not feel represented.
Jay explains her frustration with the lack of Caribbean representation and acknowledgment from platforms, as well as her goals as a content creator in this video.
Do you ever experience a block, similar to writer’s block, when it comes to creating content? How do you overcome that?
I have yet to experience a block. However, I do have days where I want to take a break and just relax instead of filming. As a content creator, it is important to take breaks and schedule days to just relax because being a full-time content creator is a 24/7 business. It can be draining and you may lose your sense of reality when you have the mindset that everything is content. I enjoy taking a day or half a day to cook, watch TV or go shopping with my partner without the worry of filming any of it.
How has your social media presence changed your daily life?
When I am in public, supporters approach me to express their love for my content and sometimes ask for a selfie. When I find people staring at me in public now, it’s most likely because they recognize me from social media and not because I look funny.
In May of 2021, I used my platform to reach out to brands and ask for their support in a project I named ‘Nancy Jay Gives Back.’ I put together care packages, using products donated by brands, and drove around the Bronx sharing them with people experiencing homelessness or those in need. Seeing the happiness on their faces upon receiving these bags was priceless. Additionally, I spread some extra joy through dance. I remember one lady telling me she’d never been to a club or party so I told her I’ve brought the party to her and we danced to her favorite genre of music right there on the street.
Jay plans on continuing this project as her social media presence has grown.
How has your family reacted to your social presence?
My family has always been supportive of my talents and the path I have chosen. My first public dance performance was at the age of 12. I performed a fusion of Bollywood and chutney music at middle school events. When I got to high school, I participated in our talent show to a fusion of Bollywood, chutney, soca and top 40. I won the talent show three or four times. I also performed for fundraisers organized by mandirs in Queens, the Bronx, weddings, sweet sixteens and other social events.
My family always came out to support me. They love seeing my content and always encourage me to film and create. My mom in particular tells everyone about my TikTok videos.
While enrolled at John Jay College, Jay founded the first West Indian student organization called “West Indies Massive.” She captained the dance team, taught dance classes and won the talent show multiple times while pursuing her Bachelor of Science degree in criminal justice with a minor in law and police studies.
Any advice for creators who may not have the support of family?
Do not let this discourage you. If content creation is something you truly want to do, stay consistent and eventually your family will support you for doing what you love. Social media is still new to some and the idea of it being someone’s career or business is new as well. I say be patient. Also, talk to them about your social media goals, as perhaps they do not understand the full picture.
What is your dream partnership and why?
My dream partnership would involve acting. I’ve always wanted to be an actress, preferably a Bollywood actress because I know I would kill those dance numbers (haha!). Also, I would love to partner with Sandals Resorts and bring that Caribbean flavor they should be promoting.
Jay has collaborated with major brands like Samsung Mobile, Norwegian Cruise Line, AC Hotels, Disney Music Group, and Dunkin which is paramount for the Indo Caribbean community.
“I am the first Indo Caribbean woman to work with Norwegian Cruise Line as a content creator. Cruise travel is a huge part of my content journey. I love cruising and creating unique experiences and content. While cruising, I connected with the crew while most people typically do not. I treat everyone with respect,” Jay said
“I started a fun series called ‘Cruise Dances with the Crew’ back in August of 2021. There’s a playlist on TikTok with all of the fun dances. Prior to my first video, I had not seen anyone dancing on cruise ships with the crew. I guess you could say I started that trend.”
Nancy intertwined this partnership with her content and further put herself on the map.
Another pivotal partnership for Jay occurred in March 2021 when Dunkin chose her as one of 10 from a nationwide competition to feature her signature drink on the local menu.
How has content creation changed in the past two years?
Within the past two years, my content and style has grown tremendously. My gear list has also grown tremendously. I’ve been a content creator full time for a little over a year now. I have had more time to focus on the presentation and editing of my content.
What else do you want your viewers to not know about you or your work?
I stay true to who I am. Supporters who I’ve met in person can attest that I am the same, in-person and online. I like to keep things relatable, fun and authentic. I am working with a lot of big brands. I try to incorporate dance in all my content to capture my passion, diversity and culture.
I started teaching Caribbean Dance Fitness classes and private dance lessons officially in 2016. Since Covid, I moved everything online. Not only have I helped many learn how to dance but I have also helped build their confidence through dance and expression.
Lastly, I love traveling and encouraging others to live their best life.
Jay is more than a dancer; she is unapologetically herself. She maximizes opportunities and is building a brand that highlights her Indo Caribbean roots – a culture often not highlighted in mainstream media.
You can stay updated on Jay and the community she’s created by following her on Instagram,TikTok andYouTube.
February 28, 2023March 5, 2023 5min readBy Arun S.
Anya Banerjee
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.
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.
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.
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.
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!
Over the past few weeks we’ve all seen Mindy Kaling shoulder the blame for misrepresenting the South Asian diaspora in her work. I want to expose us to the flip side. She’s not “Indian enough” for some in our communities and “not American enough” for mainstream television and media. But I don’t know a single South Asian living abroad who doesn’t feel this dissonance. We’re a generation born to parents who strived to stay connected to their homeland but knew they had to assimilate to survive. Many of us got lost in the mix. I definitely did. And from the looks of it, Kaling did too.
I feel like I’ve oscillated between these two extremes all my life. I’ve had moments of code-switching — performing as a white version of myself, melting into the groups around me. And moments of being a “coconut” (or an “oreo” depending on where you come from) — suddenly donning an accent as if Hindi was my first language. It wasn’t conscious. It also wasn’t fully unconscious.
It wasn’t until I watched Netflix’s“Never Have I Ever” as a 35-year-old mother of two that I realized what teenage Ambika was up against. Still wearing tank tops in secret, while girls my age had moved on to the midriff-baring trend of the early 2000s. Not thinking it was okay to explore my sexuality. Not seeing that sometimes I knew what was better for me than my parents did. Not understanding that it was okay to expand my romantic interests beyond the few Indian boys I knew. And then I rewatched “The Mindy Project” while on maternity leave with my second kid. And I ate it up.
I rewound dialogue as Dr. Lahiri got engaged, left a man who lost his drive, fell in love with the unexpectedly handsome curmudgeon, got pregnant, learned to mother, and found a new version of herself. She addressed her pregnant body insecurities on-screen (in “What to Expect When You’re Expanding — brilliant!). She grappled with her ambitions in the face of motherhood. She owned who she was when most of us were taught not to. She dated outside of her race. Her audacity and levity gave me so much oomph at a time when I needed it the most.
Art comes from lived experience. And when individuals reflect their life back to the masses through art, it’s a tenuous balance. Comedians in particular have to toe a fine line between hyperbole and reality, having the paradoxical job of speaking the truth (the dark truth, often), and simultaneously making people laugh.
Even though I didn’t speak Spanish — my parents don’t speak Spanish — early in my career when I would portray my parents in a bit, they would have an accent. They would speak in broken English. Any time I would talk about my mom, it was like, ‘ay, mija.’ My mom doesn’t call me ‘mija.’ My mom will leave me a voice message and be like, ‘hey, girl!’ She talks like me. You know what I mean?
This is the inherent paradox that exists in Velma as well. Kaling, as she often does, takes her own experiences as a young Indian girl growing up against the backdrop of white America, and amplifies them. And now, Kaling is a grown, Indian woman whose career is evolving against the backdrop of an America, too.
Critics across different racial groups frequently talk about “the representation trap.” Even if a minority group is represented in a piece of art, literature, film, or television, the manifestation of that group is still filtered through the white gaze. In Ismail Muhammed’s New York Times piece “Can Black Literature Escape the Representation Trap,” he says:
Our current problem isn’t an insufficient amount of Black representation in literature but a surfeit of it. And in many cases that means simply another marketing opportunity, a way to sell familiar images of Blackness to as broad an audience as possible.
The debate about whether minority artists properly represent their cohort is marred with capitalism and white supremacy. When so many industries are gate-kept by the typical, euro-centric, generationally rich man, is there really any way to be wholly true to our experience?
Let’s not forget that many of us (or maybe all of us?) came up in a society that devalues women, and horrifically devalues people of color. Let’s not forget that the majority of executives across every field still don’t look like us (if by chance you’ve forgotten, read this piece byRuchika Tulshyan). Let’s not forget that when people are introduced to something foreign and unknown to them, their default is to reject it (again, if you’ve forgotten, read about “the mere exposure effect” and racism).
I’m unsure how Kaling has inherited the immense responsibility of representing all of the South Asian American diaspora? And is then being criticized for her representation of it. Third-generation South Asians are very different from second-generation, who are very different from first-generation. Our identities and how we fit into American culture, mainstream media, and business, are still forming as we speak. We are not a monolith.
And plenty of men have done exactly what Kaling is being criticized for, without anywhere near the same level of criticism. All men I (hopefully, we) love.
Riz Ahmed has taken on roles in which his race isn’t the central focus. Hasan Minaj doesn’t get criticized when he uses stereotypical accents to represent South Asians or for using politics as a launch pad for his content. We don’t hate on Kumail Nanjiani when he suddenly gets a six-pack, even though he also once played a nerd. I loved when Aziz Ansari went to Italy to make pasta and didn’t make it Indian.
Why are we tearing down one of the only women in America who is working to showcase South Asian culture and people? Because she uses humor and caricature? Because she’s not putting herself in the mindset of the type of Indian person who has learned to thrive at the intersection of their upbringing and their environment? Newsflash: that person doesn’t exist!
It’s not on Kaling to represent every dimension of this diaspora. She’s done her job.
I’m a proud, second-generation, Indian American woman, married to an Indian American man, with two Indian American children. I was nerdy just like Kaling. I had arm hair just like Devi. I pined after white boys in my teen years just like Bela from the HBO Max’s “Sex Lives of College Girls,” too. And Kaling is an absolute inspiration to me.
I see a South Asian woman who chose to have children on her own. Whose career, post-children, skyrocketed. Who committed herself and her craft to tackle the most deep-rooted stigmas of South Asian culture — mental health, sex, and interracial relationships — while still honoring the way it manifested in her life.
It’s now our job to get out into the world and dimensionalize our cohort. Show the world what us supposed “ABCDs” have grown up and done; who we’ve become and what we’ve accomplished.
It’s what I’m trying to do. It’s what I’m trying to fight for when I’m told things like “maybe tone down the diversity angle in your writing, we don’t want publishers to think they’re just buying a diversity book.”
We still exist in a house of cards. Why are we kicking the building blocks of our own home?
I’ll leave you with this quote from Kaling herself:
People get scared when you try to do something, especially when it looks like you’re succeeding. People do not get scared when you’re failing. It calms them. But when you’re winning, it makes them feel like they’re losing or, worse yet, that maybe they should’ve tried to do something too, but now it’s too late. And since they didn’t, they want to stop you. You can’t let them.
I hope this woman never gets discouraged. We need her in more ways than one.
The opinions expressed by the writer of this piece, and those providing comments thereon (collectively, the “Writers”), are theirs alone and do not necessarily reflect the opinions of Brown Girl Magazine, Inc., or any of its employees, directors, officers, affiliates, or assigns (collectively, “BGM”). BGM is not responsible for the accuracy of any of the information supplied by the Writers. It is not the intention of Brown Girl Magazine to malign any religion, ethnic group, club, organization, company, or individual. If you have a complaint about this content, please email us at Staff@browngirlmagazine.com. This post is subject to our Terms of Use and Privacy Policy. If you’d like to submit a guest post, please follow the guidelines we’ve set forth here.
Priya Arora is a queer-identified community activist, editor, writer and Netflix enthusiast. Born and raised in California, Priya has found a home in New York City, where she currently works as a Frontpage Editor at Yahoo. When she’s not working, Priya enjoys watching old school Bollywood movies, laboring over NYTimes crossword puzzles, reading books she never finishes, and eating way too much of her partner’s homemade Hyderabadi biryani.
