Credit: RICK PROCTOR
10-Episode Series from Lionsgate Explores Race, Sex, Privilege and Power on a Fictional Ivy League Campus
Netflix, the world’s leading internet TV network, will bring exclusively to global members Dear White People, a comedy series based on writer/director/producer Justin Simien’s critically-acclaimed, Sundance award-winning satirical indie film. The series will be produced by Lionsgate, whose sister company Roadside Attractions released the original film in 2014. The 10-episode, 30-minute series will go into production later this year and will premiere on Netflix around the world in 2017.
Set among a diverse group of students of color as they navigate a predominantly white Ivy League college where racial tensions are often swept under the rug, Dear White People is a send up of “post-racial” America that also weaves a universal story about forging one’s own unique path.
The series will be written by Simien (Dear White People), who will also direct the first episode. Devon Shepard (House of Lies, Weeds), Stephanie Allain Bray (Hustle & Flow, Dear White People) and Julia Lebedev (The Dinner, Dear White People) serve as executive producers.
The original film first gained traction in 2012 with a concept trailer, underwritten by director Simien’s tax refund. By 2014, the crowd funded movie made a splash at film festivals, earning the U.S. Dramatic Special Jury Award for Breakthrough Talent at the 2014 Sundance Film Festival.
“Justin is a gifted storyteller whose bold, unique vision is perfectly suited to Netflix,” said Cindy Holland, Vice President of Original Content at Netflix. “His original film Dear White People announced the arrival of a fresh, creative voice that had everyone talking, and we’re excited to have Justin create this new series for our members worldwide.”
“We’re proud to expand our partnership with our friends at Netflix on a comedy that tackles racial themes with a combination of intelligence, honesty, irreverence and wit,” said Chris Selak, Executive Vice President, Television, Lionsgate Television. “Our original film with Roadside Attractions catapulted Dear White People into the national conversation about race, and Justin and the rest of the creative team have an opportunity to expand this world and bring its timely and universal themes to a global television audience.”
Writer/director/producer Simien said, “During the film’s release, I had the pleasure to speak with hundreds of students and faculty across a variety of college campuses dealing with these very issues in real time. I’m so grateful to have this platform – not only to give a voice to those too often unheard in our culture, but to also tell great stories from new points of views. From day one, Lionsgate has been remarkably supportive of the vision for the show, and working with Netflix is every bit as harmonious as I’d imagined it would be. Bringing this show to such a vibrant platform is an honor I don’t take lightly.”
Dear White People is Lionsgate’s second original series for Netflix. The critically-acclaimed global blockbuster Orange Is The New Black returns for its fourth season on June 17.
Almost entirely shot in the woods, our lead character Ann has only her vehicle and two small camps on a lake. Screenwriter David Ebeltoft’s immensely effective script, utilizes intermittent flashbacks to show us how Ann came to be on her own. Once traveling with her husband and infant daughter, the audience must allow themselves to be with Ann in the present in order to feel emotionally connected. She is smart and resilient. She has learned that practicality is the only way to survive. Her newly gained skills sometimes fumble, adding to the realism factor. The minute she allows her emotions to control her path, things are bound to go awry. When Ann stumbles upon Chris and his step-daughter Olivia, her motherly instinct may be her undoing. Two mindsets are at play; Stay put or keep moving. Which would you choose? Blackhurst’s use of nudity is never without purpose. There is no glamour factor here, which is much appreciated in the genre in general. Lucy Walters‘ lead performance is breathtaking. It’s not until the very end that we discover what happened to Ann’s daughter. That particular scene, which we know from the very beginning we’ve been building up to, is one of the most gut-wrenching I’ve seen on film. Maybe it’s the new Mommy hormones, maybe it’s Ebeltoft specifically crafted script, or maybe it’s the perfect storm of the two. I don’t think I have ever wept while watching a horror film until now. In a “what would you do?” scenario from hell, HERE ALONE tears your heart out and challenges how you think you’d react in a doomsday situation. When you’re down to your last bullet, it’s life or death.
Everyday, I have the urge to block friends on Facebook. The vitriolic political rhetoric being thrown around in both “article” and meme form is more over the top than it has ever been. Thank the internet gods for 
On the heels of his beautiful script for Nebraska, writer/director Bob Nelson brings heart and levity to what might otherwise seem to be a mundane scenario. The estrangement of an alcoholic father and his young son is nothing new, but by adding a religious element to the mix, it makes for a funny and honest look into the innocence of a child’s mind. Clive Owen‘s portrayal of Walt is raw and real. You empathize with his struggle to do right by his son. Speaking of Anthony, St. Vincent prodigy Jaeden Lieberher is, once again, a star. His purity in presence and intention glow as a young boy thrust into religion by his Mother. Caught in between parents of opposite end spectrum, he is an old soul, yet is constantly discovering when it is okay to push social boundaries. Owen and Lieberher are a perfect pairing. Nelson’s script allows both actors to take the reins as the story progresses. Each character has the opportunity to emotionally care for the other in a truly lovely dynamic.
The subtlety of the film is what makes it so successful. In an era of overblown CGI fare, Bob Nelson gives us an honest to goodness family story. The Confirmation is a joy.
Directed by and starring Robert Carlyle (The Full Monty, Trainspotting, 
Robert Carlyle is a real winner in his directorial debut. His portrayal of Barney is a wonderful mixture of neurotic, depressed, and pathetic Mama’s boy. A far cry from his Once Upon A Time role as Mr Gold. His skill as a director is plain to see. Barney Thomson has an upbeat and fun vibe. If you combined Baz Lurhmann‘s Strictly Ballroom, Richard Shepard’s Dom Hemingway, with a twist of Tarantino, you’ve got the eclectic style of Barney Thomson. Casting Emma Thompson as his mother, Cemolina, was pure genius. Their chemistry is unmatched. Wait until you see the prosthetics on Emma. The slightly overdone (and orange) nature of the makeup, creates the perfect backdrop for this larger than life character.
The dialogue from Richard Cowan and Colin McLaren is quippy and hilarious. Utilizing the a beautifully absurd storyline combined with rapid fire Scottish rhetoric makes for the perfect combination in style and comedy. The soundtrack is incredible and Fabian Wagner‘s cinematography is stunning. It’s clear that Carlyle knows his stuff and I, for one, look forward to any future endeavors. Barney Thomson is a hit.
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