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The Menu Composer Colin Stetson Talks About His Flavorful Score | Interview

‘The Menu’ is in theaters now.

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Original cinema lives! Despite three new wide releases (Strange World, Glass Onion, Devotion) coming out during the Thanksgiving weekend and Black Panther: Wakanda Forever still holding down the top spot, The Menu found a way to continue its strong box office run and coming in at fifth place during its second weekend open grossing $5.2 million. After opening to $9 million domestically a couple of weeks back, The Menu has gone on to gross $18 million domestically and $33 million worldwide. 

Sure, the film has the likes of Ralph Fiennes and Anya Taylor-Joy in its ensemble, but The Menu’s success feels like a win for all movie lovers who want a substitute — something you shouldn’t ask for in Fiennes’ restaurant in the film — to all of the IP galore that typically dominate the box office discussion. 

A still from The Menu. Photo courtesy of Searchlight Pictures.

And the film is just great. It’s certainly one of my favorites of the year and I just loved the way that it serves as a metaphor for the ideas of critics and artists. The Menu is like hardcore Chef (2014) — another film with John Leguizamo that is well worth a watch — and I can’t recommend it enough.

Colin Stetson’s an accomplished composer who has composed many haunting scores including this year’s Texas Chainsaw Massacre reboot/sequel and Ari Aster’s Hereditary. While it’s unfair to call The Menu a “horror” film, it’s certainly got thriller elements and Stetson finds the balance in his score. Coastal House Media spoke with Stetson about getting involved with The Menu, the instrumentation of his score and some unique objects used in the studio.


Coastal House Media: Congratulations on The Menu — I loved the film. It blew me away the first time I saw it. I wanna start at the beginning and just ask how you got attached to the project. Had you worked with the director before on any projects? 

Colin Stetson: I hadn’t, no. And so obviously this was going on without me, but what ended up bringing me into the orbit was that Mark [Mylod] and Chris [Tellefsen], the editor, had been working on the edit and as temp music was coming in, a few of my pieces got brought in on the temp and then a few more.

As that was feeling good, the idea of at least having a conversation with me about scoring [the film] got brought up. And at that point then, I was told and sent a script and I read that. If you’ve seen the movie then you can pretty much surmise that the script was excellent. It was really doing everything that it needed to do, It moves really freely and really, it does so in such a very lean and concise way — which is certainly not always the case with the script. And it was telling a story that I had not seen before.

So I got really excited, as I do when I read something that I haven’t seen a million times before. And, then we set up a meet[ing] and talked about what my initial reactions were to the film — oh, well, I mean, at that point, I hadn’t seen any footage; it was just a script there — which is a really fun moment for me just seeing what a director’s ideas are for the film already. You know, how my ideas then are feeling, for them, how those things work together and how open they are to what [I suggest]. I mean, ultimately it’s a pitch so [it comes down to] how open they are and how receptive they are to what it is that I’ve imagined based on that script and started to think up. So we had great initial talks and it just went well. 

CHM: Can I ask you what some of your initial pitch was? Because this movie is so unique and I can’t even imagine you just reading the script without being able to visualize it. So I’m just curious what your ideas and what your kind of mission was going in when you were pitching your score. 

Stetson: It’s really what the music ended up being. I mean, of course things get fleshed out as I start to really bring in more instrumentation, but the core of it was there. In the days after I’ve read a script, I do some deep-dive sits with the piano and with other instruments and just record all of that, I mean, it’s not improvising, but it’s improvising and grabbing hold of certain things and fleshing them out. 

And so those initial notes really ended up providing the basis for a lot of the music for the film. I wouldn’t say that the whole of it was intact entirely from those initial imaginings, but there was a lot there.

CHM: And I feel like your score kind of jumps a little bit between different sounds — I can’t really hit the nail on the head with what they are. So I’ll ask you, the expert on this score, would you be able to classify this score under a certain genre, or is it too diverse?

Stetson: I actively don’t classify things [by] genre. I’ll always walk that question right outta the room.

CHM: Fair enough, I like to put composers on the spot, and you might not be able to answer this, but would you be able to describe your score in three or fewer words? 

Stetson:  How about “delightful,” “driving” and, for lack of another “d” [word] — although I’ll probably think of it later — “triumph.” 

A still from The Menu. Photo courtesy of Searchlight Pictures.

CHM: And I wanna talk a little bit about the instrumentation within the score. Did you use any sort of unique instruments?

Stetson: The basis for much of the score is a kind of chamber strings, a bit of a chamber orchestra. There’s very little brass involved in it, but it’s mostly a string ensemble. A lot of Pizzicato strings, violins, violas, cellos, basses, a bit of mandolin. There is a lot of percussive, plucked piano strings. They’re bo a lot of bowed piano strings. Although not primarily [in] there, there are quite a bit of Tibetan bowls played with bows. There’s an enormous amount of saxophones throughout.

Additionally, there are a few odd elements, things like water glasses and pots and pans that were played in various ways to give like a pointillism to certain sections and certain cues. Some of the key driving and more abrasive kind of grotesque string stuff is playing an instrument called a Nyckelharpa, which is a keyed, stringed folk instrument from Scandinavia. There are a lot of different things in play but that pretty much gets to most of it.

CHM: And the instruments in the string section that you talked about, are they something that’s unique to this film in your work, or is that something that you’ve used before? I noticed you did the score for Hereditary — it’s been a while since I’ve seen the film — and I felt like it may have shared some similarities to your score for The Menu.

Stetson: I’ve used strings for sure. I didn’t use any strings on Hereditary [but] I used a ton of strings on scores like Color Out of Space, a show called Barkskins that I did for National Geographic,] a show called Among the Stars [and] there was a documentary about NASA that I did for Disney last year. A lot of strings in those, in those projects to varying degrees and other things. So yeah, it’s certainly not something that is unique to this project for me, no. 

I think that if there’s anything that sets this one apart, it’s [that] a lot of the rhythmic nature of it is different maybe than some of the things that I’ve done in the past. It’s just decidedly more rooted in the rhythmic and the polymetric. 

CHM: I love the way your score sounds during the little segues that you get in the film between courses, you know, and they show like a dish or something. I felt like the score really came through in those moments. Was there anything different about those scenes or is it just that I was noticing it more in those moments?

A still from The Menu. Photo courtesy of Searchlight Pictures.

Stetson: These are moments where there’s no dialogue and there are very little sound effects in terms of what’s going on on-screen and so I think at its most rudimentary, you’re probably noticing because those are the moments where the volume is up the most on the music and so throughout there the music is pushed [to the forefront]. 

This is just something that ultimately, I don’t have much say in but the mix that happens throughout the course of it, there are times when music is quite far back and other times when it is very, very far forward and those moments are some of those that the music is quite forward. 

CHM: Earlier, you mentioned that in the studio there were also some — what’d you say? — pots and pans present in the score and whatnot… were those used to replicate the sounds of a kitchen, or were they also being used as an instrument, if that makes sense? 

Stetson: Oh, no, no, no, no. We weren’t doing any Foley or anything like that. We were taking some of these elements — glass [and] metal — so to use a little bit of the DNA of that world, what was happening on-screen [and] use a little bit of the DNA of that in the sound world. But I kind of purposefully avoided doing anything that was either too on-the-nose — kind of pots and pans drumming or [that] emulated a kind of chaotic [sound or] something that could be construed as being part of the sound effects from the actual space on-screen.

So the majority of the things that were done with the pans and with the glasses were these more pointillistic, expansive, sort of shiny, shimmery walls of sound things that happen in several moments throughout the film. 

A still from The Menu. Photo courtesy of Searchlight Pictures.

CHM: My favorite track listening to the soundtrack again — and when I watched the film — was “The First Cheeseburger You Ever Ate.” Is that any different from the rest of the score? Cause that really felt the most poetic and I really love that track for some reason. Is there some reason I have some attachment to it? 

Stetson: Well, it’s louder [laughs]. It’s a moment where the music is very forward, the music is very vocal. There are several very vocal-forward, choral-forward moments throughout the second half of the film. I would say, although there are vocals throughout, it really starts to become more of a heavy element.

I wanted there to be a kind of reverent, almost like “church-y” sort of vibe that happened throughout the end. And that scene is a very loving, sincere scene and such care was taken in the shots of capturing the moment of crafting and so the instrumentation there is kind of a combination of what was used before the bed; this sort of bed of arpeggios [and] dreamy saxophone and then the choir all over the top of it singing the melody and the harmonies. And then woven throughout the mid-step of it [are] bowed piano strings [that are once] again, kind of doing this squeeze box-y rhythm that almost sounds a bit like a harpsichord, so it has a sense of the baroque in it, but it definitely sounds like worship music.

CHM: When talking to people about the film, how do you pitch it to them?

Stetson: Thankfully, my job is not pitching the movie. Like, I’m not advertising the movie. I don’t have to market it. I don’t have to be the person who tries to put it in a box to sell it. I get to talk about the music, which is fun, but I don’t have to do that. 

If I’m telling friends about it, I simply say, don’t watch trailers, don’t read anything about the film, just go and see it. It’s well worth the watch and it’s very fun. It’s great storytelling. It’s really clever but it’s also able to be very able to smuggle in a lot of very real human moments in[to] something that is a very odd and novel and very funny, almost absurdist film. 

It’s something that I’ve certainly never seen before. 


The Menu is playing in theaters now. 

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Andrew is an entertainment journalist and film "critic" who has written for the likes of Above the Line, Below the Line, Collider, Film Focus Online, /Film and The Hollywood Handle among others. Leader of the Kaitlyn Dever Fanclub.

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Charlie Michael Baker: Journey of Autism, Social Media and Working with Kylie Jenner (EXCLUSIVE)

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Charlie Michael Baker and Kylie Jenner

At just 17, Charlie Michael Baker is giving his all to change the world. Baker is a renowned author, entrepreneur, actor, and journalist and he is on a mission to help millions of people suffering from autism. Charlie Michael Baker previously told Costal House Media he raised over £400,000 to help people with autism. He faced many challenges since childhood but his determination and perseverance were the key to his success.

Baker is a Social Media sensation with over 1.2M followers on Instagram. Charlie Michael Baker is one of the many influencers being bullied on social media every day. He receives 300-500 rape and death threats daily!

Charlie Michael Baker

Charlie Michael Baker

We had the honor to connect with Charlie Michael Baker. You can read our conversation below.

Nikita Pahwa: Congratulations on launching your new book! What can you tell us about it?

Charlie Michael Baker: So my new book is about social media, specifically, the dangers of social media. All young kids now want to grow up and be ‘famous’ but don’t know the bad side of it all. I was one of those kids, I’d always wanted to be famous, it’s something I’d always dreamed of!

NP: How do you deal with death and rape threats?

CMB: The short answer is, I don’t, really. I stopped reading my DMs a few months back because of it all. I don’t deal with negativity and there’s too many trolls to block each and every one, so they all just get ignored.

Charlie Michael Baker Social Media and I

Charlie Michael Baker Social Media and I (Photo: @kaybeephotography2 on Instagram)

NP: What advice would you give to people in similar situations?

CMB: I’d say don’t listen to them, do what I do and just don’t read them. It’s better that way. What you don’t see can’t hurt you!

NP: If you could say one thing to people sending you threats, what would it be?

CMB: Without ruining my career *lol* I’d say just to be a bit kinder. If there’s something going on in your life that you’re not very happy with, ask someone for help. Speak to someone you trust rather than swaying to a life of being a keyboard warrior. It’s not nice!

NP: Is your new book related to Charlie Baker: Autism and Me?

CMB: It is! It will be written in the same – ish way BUT Charlie Michael Baker Social Media And I will be exclusively E – book sold on my website charliembaker.net.

NP: Are you currently working on a new venture with Kylie Jenner?

CMB: I am! We’re working with the same brand – glow beverages. We’re working alongside an NBA star too whose name I cannot remember for the life of me – oops lol.

Kylie Jenner and Charlie Michael Baker

Kylie Jenner and Charlie Michael Baker

NP: Are you planning to collaborate with more celebrities in the future?

CMB: I love working with celebrities. Mostly just to see what they’re like to be honest. Kylie is so nice though honestly I keep messaging her life updates!

NP: Last question, is it true that you’re working on the Charlie Baker: Autism and Me movie? Are we going to see it on the big screen?

CMB: Yes, it is! I’m filming something very very special this year with Creation Media 22 which should appear on Netflix and Prime Video which is so exciting! It will be my first time in front of an actual TV camera so it’s a bit different to daily vlogs!

You can get your Charlie Michael Baker Social Media And I E-copy on March, 1 for £0.01 (yes, a penny!). Get your Charlie Baker: Autism and Me copy on Amazon.

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Interviews

INTERVIEW | ‘The Tiger’s Apprentice’ Stars Brandon Soo Hoo and Leah Lewis Discuss Representation, Positivity, and the Power of Belief

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Tiger's Apprentice
Tiger's Apprentice (Paramount+)

Paramount’s latest animated flick ‘The Tiger’s Apprentice’ has finally been released and garnered positive response from everywhere. Adapted from Laurence Yep’s beloved children’s book series, ‘The Tiger’s Apprentice’ brings to life the thrilling journey of Chinese American teen Tom Lee (portrayed by Brandon Soo Hoo). He is suddenly thrust into a realm he once believed existed only in bedtime tales. After a tragedy strikes his family, the young man discovers his identity as a Guardian. Subsequently, he is mentored by the mystical Tiger Hu (played by Henry Golding) to confront the evil Loo (portrayed by Michelle Yeoh). In between all this chaos, he develops a special friendship with a girl named Rav (played by Leah Lewis) who helps him in defeating the villain and saving the world.

It is one of those films that you can enjoy with your family. It is tender, beautifully crafted, and encourages you to think about how traditions play a crucial role in everyone’s lives. In this exclusive interview, Brandon Soo Hoo and Leah Lewis share their perspectives on the film’s themes, the significance of Asian American and Pacific Islander (AAPI) representation in media, and the impact of portraying multi-dimensional characters. The actors delve into the importance of maintaining positivity in the face of adversity, believing in oneself, and breaking stereotypes in the entertainment industry. From challenging outdated narratives to normalizing cultural heritage, Brandon and Leah express their excitement for viewers to experience the film’s adventurous and tender journey of self-discovery.

Tiger's Apprentice

A still from ‘The Tiger’s Apprentice’ (Paramount+)

Aayush Sharma: ‘The Tiger’s Apprentice’ is a mixture of so many great things love, care, culture, and family. But for you guys, what was the one thing that made you relate to this story and made you proud? And why do you think that particular thing is so important for people to see?

Brandon Soo Hoo: One of the favorite things that I related with my character was Tom has uncanny ability to maintain a positive outlook when things get really tough. And so, you know, he’ll drop in a humorous little quip here and there in the face of adversity. I think that’s such a powerful way to confront anything challenging because life isn’t that serious. And, if you really lean into the negative, and if you really lean into the dark side, I feel like it can really corrupt and taint you. I believe maintaining that light and positivity around you is like the ultimate protection that you have, from the dark stuff when life kind of gets you down. Because if you let life get too dark, then you won’t let enough of your inner light kind of radiate outwards and do what it needs to do. So, you know, hold on to your light, hold on to the positivity. I feel like it’s contagious. It’s very, very healing.

Leah Lewis: I think, for me, one of my favorite things about this film that I would take away, is really learning how to believe in yourself. And I know that’s such a simple statement, but it’s a big loaded one for me. I really feel like when it comes down, to believing in yourself, it’s the things that you care about, the people you care about, where you came from, where you’re going. You see this character, Tom, struggle with believing in himself in any aspect. I think that’s really important too. And I think, when you can believe in yourself too and present yourself, honestly, and vulnerably, that’s also when you find other people who are right for you in your life. You see Tom eventually learns how to be himself, and because of it, he fits into this Zodiac and kind of ends up finding a community that he never would have expected. So, I think that aspect is important for me.

AS: So, you know, besides showing so many great things, this is also an Asian story. The characters, the cast, the makers, and most of the people involved in this project, have an Asian background. But you know when we see the entertainment industry, we still see a lot of talented Asian actors stuck in a kind of stereotype. And they are cast in one kind of role. For you guys, how does Asian representation in movies intersect with a broader discussion about diversity and inclusion in the entertainment industry?

BS: I mean, it’s 2024, we’re past the era of having Asian people playing just submissive roles or playing like the tech support. I think that right now is like a renaissance for Asian entertainers and Asian artists to showcase that we are multi-dimensional people, that we can be the hero, we can be the cool guy. It’s all that stuff is like, we’re really seeing Asians being at the forefront of stories like that. And it’s so important because growing up, if you don’t see all of those things represented in media, it’s kind of hard to feel like, you can see that in yourself. So, it’s almost like this conditioning that we received from a really young age. So right now, we’re trying to reverse engineer all of that by showing you can be the hero of your own story, you know, you can save the day. And you could be more than just like whatever aesthetic or face that people want to put on you. You can kind of step out of those boundaries and as a human being, you can do whatever the heck you want. So, I think that it’s so important for us to be able to share with you all.

Brandon Soo Hoo (@brandonsoohoo/Instagram)

LL: I agree, I think, we’re living in a day and age where we’re moving towards a place where representation isn’t such a flashy, flashy thing. It’s a necessary and needed thing that should already be kind of embedded into our society. So, it’s a huge win for the AAPI community any time there’s an API lead or like, especially something like this film where it’s completely eccentric. But I also think the more and more we start to see those projects, like, it’s important to be able to normalize the difference in all these characters. You know, when I also look at, the list of like, Caucasian actors, I can think of an actor for every kind of character. I’m like, oh, yeah, I know, this actor played that, and this and that. But you know, for Asian, that’s been a long time coming, where it’s like, oh, it’s only Michelle Yeoh, who plays that or like, you know, we have the designated person who plays the geek or the kind of hero or like the dark character. And what’s so cool about this film, too, is like, Tom is just, he’s a cool, regular guy who hails from Chinese American culture. This film shows heritage and culture in a way where it’s so normalized, and just so kind of nuanced. I feel like that sense of representation is so cool for the people at home who are like, hey, casually, I like this guy, or I know those kinds of traditions, and I love the way he builds in this theme because I feel that way. I don’t know, I just, I also wish I had something like this growing up too. But like, now is the best time to see people that look like you, speak like you, or act like you on screen. It really recovers that belief in yourself that things are possible for you. Like we all watch TV. We all care about these characters to feel seen and feel like you know, you have a voice out there somewhere. There’s nothing better than that feeling. So, I hope that this film does that for a lot of people to me.

AS: You guys are working with such huge stars. Michelle Yeoh, Lucy Liu, Henry Golding, and more. What was your reaction when you heard these guys will be in the movie?

BS: Man, I mean, the reaction was and still is just like, almost like a surreal disbelief. I was like, these are people that I watched growing up when I was little, I was like, dang, these are some huge Asian names. They are the biggest names in our community. So yeah, I told my parents immediately about, like, who’s going to be in the project, and we all just like giggled about it together. So, I think just immense pride. It’s such a celebration, and it’s such a win, not just for me and my career, but it’s such a celebration for the Asian community. It’s like, man, look at all of us, like, together just being badass Zodiac warriors.

LL: I felt the same way. I mean, honestly, I tend to do this thing to where if someone tells me like this person is who you’re working with. I’m just like, wait, what? And I’m still like that, you know, like when we were able to even see Sandra Oh, at the premiere of like, let’s go, oh, my God, like, that’s really freakin’ cool. It’s also just like, I think it’s a really proud moment to finally see all different generations of AAPI actors coming together on one screen and to be able to see that there is space for more than just one or two. This whole cast is like a chock filled with it. And everyone is so talented, it’s been an honor. I’m really proud to be a part of it.

Leah Lewis and Sandra Oh

Leah Lewis and Sandra Oh (@leahmlewis/Instagram)

AS: The film has finally been released and it has opened to great reviews. If anyone hasn’t seen the movie, what’s your advice to them? And why should they watch ‘The Tiger’s Apprentice’?

BS: What do you what are you waiting for? Get in there. Watch this movie. It’s special, it’s beautiful. There’s something in there for everybody. And yeah, I think you’re really missing out on something that’s, that’s really beautiful and important. So go check it out. I hope they get to watch it with your family because there are a lot of beautiful lessons in there to share. So, go go check it out. You have to.

LL: It’s like, it’s a cool, like, genuinely cool. It has Steelo to it. Adventurous, tender film about finding yourself and I know we all want to do that. So, you should totally watch it and I hope you find a bit of yourself in this cool tender film.

‘The Tiger’s Apprentice’ is currently streaming on Paramount+.

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INTERVIEW | Sarayu Blue Dives Deep into ‘EXPATS’ Journey with Cultural Authenticity and Emotional Depth

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Sarayu Blue stars as Hilary Starr in Lulu Wang's 'EXPATS' (@sarayublue/Instagram)

After taking the world by storm with ‘The Farewell,’ director Lulu Wang is back and this time, she has taken her storytelling prowess to the small screen. Her series, ‘EXPATS,’ is a story mainly about three women trying to overcome guilt and grief in the most authentic way possible. The very first frame of the series encourages viewers to take a remarkable journey into the lives of characters that are connected in one way or the other. Nicole Kidman portrays Margaret in the series while Ji-young Yoo plays Mercy. Both stars have given spectacular performances in the six-part series, but one actor who has managed to nab all the attention is none other than Sarayu Blue, who plays the role of Hilary.

At first, Hilary seems to be a no-nonsense woman who has moved to Hong Kong to make strides in her professional life. She does brilliantly professionally, but her personal life is in a bit of turmoil. Her marriage is not going well, her best friend seems to have lost almost everything, and she is overburdened with the pressure of becoming a mother. Wang knows how to extract a powerful performance from an actor and Sarayu is no different. Sarayu’s portrayal of the character is truly magnificent, capturing Hilary’s frustration and compassion with authenticity on screen. I sat down (virtually) with Sarayu Blue and discussed several aspects of her character in the Prime Video series. The actress opened up about how she learned Punjabi to make her character more authentic and also, how South Asian parents show love most uniquely.

Sarayu Blue in a still from ‘EXPATS’ (Prime Video)

Aayush Sharma: Congratulations on the series. It’s getting such beautiful reactions. Your character is written so beautifully, but Lulu Wang made some alterations to your character’s journey in the series, particularly regarding her approach to motherhood. So, how, as an actor, approached the shift in your character’s arc? And what kind of discussions have you had with Wong regarding these changes?

Sarayu Blue: Actually, the changes had already happened before I came. Because in the book, Hillary is not written South Asian. And so that was one of the changes. And so, when I auditioned, it was already South Asian, of course. I think when I got on board, I was able to read all the scripts, and I just devoured them. I mean, in one sitting, it was like, you know, I couldn’t get enough. It was such an exciting experience to see this South Asian woman who’s so human, she’s so layered and complicated, and messy, and real, and beautiful, and funny and vulnerable, and raw and hurting. And so, then it just became the biggest gift I could ever imagine.

AS: One of the best things about your character was her backstory, and showing the kind of Sikh family she was born into. But what was that one thing that you wanted viewers to see in your character to understand why Hillary sees the world in the way she does? Also, how challenging was it for you to learn the Punjabi language to make your character sound more authentic?

SB: I’m so thankful to our team and our wonderful consultant, Inder, who was like the most patient and kind human. I kept reciting it repeatedly, because somebody who speaks Telugu, and I’ve tried to teach people Telugu, pronunciation is everything. It’s everything, along with the accent, and every emphasis that matters so much. So, I was so thankful for that support. Also, Sudha (Brinder) speaks Punjabi, so I had Masters constantly working with me, and I was so thankful. Meanwhile, I think as far as the view that Hillary has, or what was important to me, it was important to see the hurt for both Brinder and Hilary. You know, what I love about the dynamic you see in Episode Four is you really see that they’re both hurting, and there’s aggression because that’s how we speak to each other. (laughs) I mean, that part is so universal, because my mother and I have a very contentious love. But, you know, that hurt underneath, and the vulnerability underneath is why it feels so real. And that representation of that specific dynamic was very important to me.

AS: Yeah, I mean, I can understand as an Indian, I know the kind of relationship that we share with our parents. I mean, they would just bash us, and then say that’s how we show our love for you. That’s, that’s our love. (laughs)

SB: I said to my dad, my dad was calling. I was FaceTiming with him, and he said, ‘So what are you doing? Are you doing anything interesting?’ I said, ‘I’m just doing a lot of press for this show. Remember that show? I did EXPATS? And he said, ‘I remember that.’ He added, ‘So nothing. You’re not doing anything.’ (laughs) But I get it.

Sarayu Blue with Sudha Bhuchar and Jennifer Beveridge (@sarayublue/Instagram)

AS: Your Punjabi was so amazing in that scene because I’m a Punjabi and when I was hearing that conversation, I had to pause the episode and go to the internet to see if you had any Punjabi roots because your accent was so authentic.

SB: Let me tell you how much that means to me because it’s the most important thing for me. Because Telugu is not easy to speak. It’s not, and I was raised by a Telugu professor and a Telugu short story writer. Also, I’ve tried to teach Telugu to somebody, and if it doesn’t sound right, it won’t feel good. That’s why it’s all I wanted to show. You must speak the language with the right pronunciation. That’s very important.

AS: Now that EXPATS has premiered three episodes on Prime Video and receiving so much love. But for those who haven’t started the series, what would like to tell them and why they should be watching this show?

SB: I am so honored to be in this show. I really am. I get goosebumps even talking to you right now, seeing you smile, and having this conversation. I want people to watch the show for everyone. There’s so much good talent in this show. You know, Sudha who plays Brinder is extraordinary. Kavi Raz, who plays my dad in Episode Six, is brilliant. You know, all these actors, Ruby Ruiz, Ji-young Yoo, Brian Tee, there’s so much brilliance that I hope people just watch and realize how many actors of color are getting to do amazing work. It feels like a dream. But, of course, there’s so much to see in this show, you know.

Cast of ‘Expats’ with director Lulu Wang at the premiere. (Getty Images)

The first three episode of ‘EXPATS’ are currently streaming exclusively on Prime Video.

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