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Darren Barnet is booked and (very) busy. Best known as Dr John Frost on primetime medical drama ‘Chicago Med’, Barnet has traded the Hollywood high school studio lot for a scalpel and scrubs in the Windy City.
Yet, for many, he’ll always be Paxton Hall-Yoshida, the heartthrob of Mindy Kaling’s ‘Never Have I Ever’, the first-generation Indian American coming-of-age series that made him a Gen Z celebrity overnight. His 3 million Instagram followers can attest to that.
But acting isn’t the only thing keeping the Los Angeles-born actor busy. Barnet is also making his mark in voice acting, with roles in Paramount+’s upcoming ‘Avatar: Seven Havens’, video games and Netflix’s ‘Blue Eye Samurai’.
The revenge tale follows a multiracial protagonist on a journey towards acceptance, a narrative that resonates with Barnet as a multiracial Japanese actor himself.
In an interview as packed as his schedule, Schön! talks with Barnet about adjusting to life in Chicago, the medical tips he’s picked up on set, the moment he found fame, his secret music and the life lessons he’s learned along the way.
trousers. Fendi shoes. Mark glasses. Dsquared2 bracelet. CELINE
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Season 12 of “Chicago Med” is launching soon. What can you share?
There’s a lot of high stakes this season. A lot of edge to the writing that I really enjoyed. But there’s obviously a lot that we trailed off with, with the finale last season. So, continuing developments on those storylines. I don’t know what I’m allowed to spoil.
What are some of the medical phrases or terminologies that live rent-free in your mind now that you’re like a “doctor”?
I learned so many of those a day that I kind of have to just let them go. I feel like once I learn them, there’s another one, and they all kind of just pass through my memory. Someone can be tachy, which means tachycardic. In the middle of aiding someone that’s in a medical emergency, you’re like, ‘he’s tachy’. But it’s spelt T-A-C-H-Y.
What’s it like going in for doctor’s visits now that you play one on TV?
Interesting if they know me from the show, because then they ask me questions that I’m not prepared to answer. And I’m like, ‘I’m nowhere near a medical professional.’ So, I don’t have much in common.
What kind of questions have you been asked by other doctors?
It’s mostly people asking me if I remember terminology, like what I’ve learned. I can say I have learned how to suture a wound.
They gave us all these silicone slabs of skin with lacerations in them, like different types, and a kit to learn how to suture each different type of wound. [I’m also] pretty efficient at CPR. I know random things to do.
If someone’s having a heart attack, if you’re just on the scene, you want to give them aspirin and keep them sitting upright. I don’t know, random things.
top. Paco Rabanne trousers. All Caps Studio necklace. Dalmata bracelet. CELINE opposite top. Paco Rabanne trousers. All Caps Studio boots. Frye necklace. Dalmata bracelet. CELINE
top. Paco Rabanne trousers. All Caps Studio boots. Frye necklace. Dalmata bracelet. CELINE Chris
In the past, you’ve mentioned moving to Chicago being somewhat of a culture shock. How often are you there, and what are some of the things you enjoy doing on your time off?
Chicago is a beautiful city with so much to do. If it’s warm out, you can take a boat out on Lake Michigan for a beautiful view of the city.
There are amazing restaurants here. They’re never-ending in terms of ones to try, and the sports games are electric.
You know, the Cubs games, Sox games, hockey games, all of them. I haven’t been to a Bulls game yet, but that’s something I want to do.
It’s endless. There’s so much vibrant energy here.
It’s a fun city to explore.
What can you share about ‘The Muse’? It seems like a stark contrast to the typical roles you get cast for. Is thriller a genre you want to explore further?
Yes, 100%. The artist in me and the reason I got into acting was to do meaningful and impactful films.
So, it’s definitely something I want to explore. ‘The Muse’ is a deep dive into a kind of psychosis, but it’s a wild movie.
There are very funny parts in it, in my opinion, and that’s because I’m too close to it. I also have a lot of animations coming out.
‘Avatar [Seven Havens]’. It’s going to be on Paramount+.
It’s like the next Avatar in the series. I’m keeping very busy with V.O.
A lot of stuff I can’t say right now, but it’s been good.
How do you prepare for those kinds of roles where you’re not acting on screen?
Honestly, I just show up and do the job. I get a sense of what the character is through the audition and what the director wants, and then I literally just kind of show up.
You get to read it. It’s right in front of you.
It’s not like you have to memorise things. I’m familiar enough with it that I know what the character is, so I kind of just show up and play.
It’s really, really fun, and I find there are a lot more options and ideas come through naturally when you work that way.
How did you get involved with Blue-Eyed Samurai? I watched a few episodes. I’m actually not really an anime fan myself, but I was really drawn to the story. I think I actually might finish the season.
Yeah, I love that show, and it’s done so well. I’m so proud of it. Crazy enough, that was, I think, my first or second voiceover audition, and I was doing it with my friend Tyler, who was supposed to be playing my wife. It’s this very intimate scene between a husband and wife. He’s doing the lines in the audition on the voiceover, and then I send it in.
That was when I learned the rule that in V.O. auditions you’re not supposed to have anybody reading lines with you. You’re basically just supposed to do your line.
Then wait a beat as if there was a response. Then go on to your next line past theirs.
Yeah, it was one of my second auditions, man. I’m stoked about it.
It’s so funny. I remember doing that audition in the middle of my little Santa Monica apartment.
It was crazy.
I read somewhere that your grandfather was a famous musician and that you also rap? How is that going?
I make my music so much in silence, in the background. It’s a very interesting art form.
It’s a lot more vulnerable. I think it’s a lot harder to expose.
It’s something I’m passionate about. I love to do it.
Whether it’s for therapy…I don’t know if I’d ever want to chase a career in it. It just seems like a wild life, you know, and I don’t know if I’m good for it, but I love doing it.
I think you’ll be hearing some stuff soon.
Oh, exciting. So, it’s more cathartic for you?
Yeah, it’s also just terrifying. It’s a terrifying process. When you’re acting, you’re given words by other people that you’re reciting and saying in a story. It’s like, if people don’t like it, it’s all right. I did my best to do justice to the character to make it real, but it’s not exactly my opinion.
I feel like with music, even sometimes when you write lyrics, even if you write something that’s not necessarily your opinion, people at face value just take it as that. Without looking into what the metaphor of that means within the song. It’s all, I don’t know, volatile in a way.
Do you have, like, a favourite song that you’ve written?
Yeah, I do. I’m not going to say anything about it, but maybe you’ll hear it soon.
trousers. Fendi glasses. Dsquared2 bracelet. CELINE
From past interviews, it seems like your childhood taught you two important lessons: loss and resilience. How have these two lessons informed the rest of your life?
Really attempting to understand and accept people for who they are, no matter what. I think there’s a lot of time wasted with people that you obviously love, but you waste time talking to them based on some conflict in the harmony of your relationship.
At the end of the day, I’ve found you’ll always think about how you should have listened more, understood someone. You know what I mean?
So being present, I think, is the greatest lesson. Present.
Accepting. Understanding.
These are three of the best things I’ve learned from loss.
Your mother seems to be your voice of reason and foundational in your acting career. What do you pull from her into your characters?
Oh, resilience. I think just holding the bar high and never giving up.
Speaking of characters, “Never Have I Ever” put you on the map. What’s your relationship with that character today, after the show has wrapped?
Boy, I sure get called Paxton a lot on the street. I’m going to be excited when more people call me my name. I get the full name sometimes, Paxton Hall-Yoshida. People come up, they’re like, ‘Are you Paxton Hall-Yoshida?’ I’m like, ‘I’m Darren, but yeah. Nice to meet you’.
What do you remember most about that time?
Just it really being a thing that we started right before COVID. Then all of a sudden, all that craziness happened.
Then we were doing it after and working in that environment. Still being so close, making art.
I remember it just blew up. A specific memory I remember is I was in my apartment.
It was April 26th, and it was about to be April 27th, which was my birthday. I was going to be at the premiere of season one.
I’m in my apartment, and I’m waiting until midnight on April 26th. I tried to watch the show, and my whole internet, my whole building, had a blackout.
I was like, ‘Okay, I guess I can’t watch it tonight. I’ll see it in the morning.’ In the morning, it was an influx of new followers.
People were talking about the show. I was like, ‘Oh, wow.
People like this.’ Not being able to watch it and then waking up to that was a wild moment.
Do you feel like your life changed overnight?
Yeah, but it was interesting. You couldn’t really feel it during COVID because we were still in lockdown when the show came out. So, yeah, it was interesting. But life changes all the time, right?
When you look back, what do you think you’ll remember most about this time in your life right now?
I think I would maybe tell myself to slow down a bit. You know? Take more moments to take it all in. We’re always trying to tell ourselves to push on for something we want. It’s always about what’s next, what’s next, what’s next?! Right now is pretty good. What’s next will come.
photography. Eliana Orly fashion. Rum Brady talent. Darren Barnet grooming. Jenn Lagron interview. Malcolm Thomas
From bickering with Johnathan Schey about film festival picks as jurors to starring in his directorial debut, ‘Everybody Wants to Fuck Me’, a decade later, Jessica Henwick has come full circle. Even though the director claims not to remember their vicious spat, Henwick is about 90% sure they’re cool.
Especially after the film’s premiere at TIFF (the Toronto International Film Festival) in September. For Henwick, the goal is to work with up-and-coming directors, women, and marginalized voices.
Ushering in new perspectives in an industry so saturated is important to her. It keeps things fresh, exciting, and most importantly: challenging.
After all, what’s the movie industry without taking risks on stories?
Signing on for this film was a no-brainer. Once she had read the script, she knew this was for her.
Working with the likes of Johnathan Schey, Taron Egerton, Mia McKenna-Bruce, and so many other talented actors was truly just the cherry on top. A staggeringly honest look at the modern-day dating world, ‘Everybody Wants to Fuck Me’ does not pull its punches.
Told through the lens of comedy, it highlights the dangers and pitfalls of falling for the ‘nice guy,’ and how we as a society view ‘dating’ as the literal pits of hell. This film couldn’t have come at a better time.
Chatting with Schön! during TIFF , Jessica Henwick discusses ‘Everybody Wants to Fuck Me,’ meeting with director Johnathan Schey for the first time since being film festival jurors, what she looks for in a role beyond the character itself, the horrors of dating today, and so much more.
I feel a little bit delusional. It was such a short trip, but it was nice to catch up with everyone. It’s quite grey here. Toronto’s still in that last little bit of summer, and that was really nice.
We’re clinging on to summer for as long as we can. In your latest Instagram post, you mentioned running away from a raccoon. What was it like encountering your first Toronto raccoon?
I have a long history with raccoons, but New York raccoons. They’re rough and nasty — nasty pieces of work.
When I was living there, I was filming a Marvel TV series, and that was the first time I’d ever seen a raccoon. We did a lot of night shoots, so I’d come home in the middle of the night.
I remember walking up the steps to my apartment building in Brooklyn and seeing these four red eyes in the darkness. I screamed, and they were nonplussed.
My scream had absolutely no effect on them. They weren’t scared at all, and they were the mangiest New York raccoons.
By comparison, the one in Toronto was quite friend-shaped. I obviously didn’t get close because it was the middle of the day.
I was kind of like, “Why is this raccoon out in the daytime?” I hope he’s okay. It was right in the middle of the city, too, which really surprised me.
Speaking of unexpected encounters, you recently recalled constantly bickering with Jonathan Schey when you were both film festival jurors. Do you remember which films you disagreed over?
Yes, I wanted ‘Wadjda’ to win. We were on the jury for Best Debut.
It’s fascinating how full circle life is, working with Jonathan on his directorial debut now. I wanted ‘Wadjda’ to win, and he wanted ‘Neighbouring Sounds’ to win.
I was the deciding vote, which really enraged him because he’d been arguing so hard and had managed to persuade half the jury to his side. I was just like, “Absolutely not.” If you know anything about the story behind ‘Wadjda’ and what that director had to go through, it’s a miracle that the film exists.
‘Neighbouring Sounds’ is a beautiful film, but I still think about ‘Wadjda’ regularly. It’s such a beautiful moment in time, and I was so glad we got to see it.
I don’t actually know how widely it was released in England. We would fight about every film.
Every. Film.
There wasn’t a single film we completely agreed on.
Did he have to give you an elevator pitch, or how did that conversation happen?
My agent basically said, “Look, there’s a script coming in at StudioCanal.” I’d just done ‘How to Make a Killing’ with them. They said, “They’re interested in you.
Just so you know, it’s a debut filmmaker, but they feel very strongly about him.” My agents know I’m really keen on working with debut filmmakers. I’ve been making a big point of working with first-time directors, female filmmakers, and filmmakers of colour.
I’m really interested in going a bit off the beaten path. I heard that and thought, “Great, can’t wait to read it.”
I got to the title page, and it said ‘Everybody Wants to Fuck Me’ by Jonathan Schey. I just went, “Jonathan Schey, Jonathan Schey, Jonathan Schey.” I immediately Googled him.
I thought, “Could it be the same Jonathan Schey from 15 years ago? No way.” I read it and loved it, irrespective of our connection.
I messaged my agent and said, “Please get me a Zoom with this guy.” I think I sent that message before I’d even finished reading it. We got on the call, and I said, “Do you remember me?” He went, “Do you remember me?” And we just started cackling.
Interestingly, Jonathan seems to have wiped our beef from his memory. He doesn’t remember it, but I spoke to another jury member I still keep in touch with and asked, “Do you remember that? Jonathan and I didn’t get along.” He was like, “Oh, 100 percent. Everyone noticed it.” So it definitely happened. But Jonathan claims he has no memory of it.
You’ve said you’re 90% sure he doesn’t hate you anymore. Can we bump that up to 100%? Is that last 10% still up in the air?
There’s no certainty in this life. I’m going to stick with my original figure.
The dating game and hookup culture are the trenches right now. This film speaks to the lengths people will go to for a quick hookup. What do you think it says about the state of dating today?
I said something at the premiere that I think everyone resonated with. I said, “The dating pool has pee in it.” I genuinely believe dating has probably never been worse than it is right now.
I’ve never known so many of my friends to be completely apathetic towards dating. I don’t know if that’s the right word, but they’re just not interested in engaging in any way, shape, or form.
I’m not sure whether the statistics reflect my own experience, but you read the news about hookup culture being down, birth rates being down, marriages being down. Technically, we’re more connected than ever, but we’re also more separate than ever.
It’s a bit worrying.
The film begins with Adam, Taron’s character, approaching a woman in a bar and saving her from being approached by another man. It’s a beautiful setup for the film.
While watching it, I was trying to think about the last time a man had approached me. It happened this summer when I was on a road trip, and it was kind of shocking because it’s very, very rare.
I think people are too self-conscious now. They’re afraid of the story getting spun or being cancelled.
Where’s the line with harassment? People are so afraid of being accused of something.
There’s also a level of respect that comes into play. Maybe we shouldn’t be approaching people at the gym to hit on them.
In some ways, that’s great. In other ways, it’s paralysing for people who want to approach a stranger.
It’s never been scarier. What if someone’s wearing Meta glasses? What if they’re recording the entire interaction to plaster all over the internet? You just don’t know.
It’s sad because it makes everyone reliant on dating apps. That’s something Sophia, my character, really digs Adam about in the film.
Apps are great in some ways. App culture exists because people are nervous about approaching someone in public.
But it’s so superficial that it’s almost impossible for anything good to come of it. I’m very lucky; I’ve had a good run of it.
But you hear horror stories. People make plans to go on dates through an app, and then one person simply doesn’t turn up.
They block the other person an hour before the date or whatever. It’s crazy behaviour.
You think, “Why are we doing this?”
Then we complain that there are no good people out there, but this is how we’re treating each other. We forget there are real people on the other side of the phone. Dating is so gamified that sometimes it doesn’t even feel like you’re conversing with a real person.
You once said that on smaller independent films, “a character lives or dies by you.” What did you mean by that?
It’s a lesson Vincent Cassel taught me when we worked on ‘Underwater’. Between takes, I remember going up to him while pacing and talking to myself.
He asked, “What’s wrong?” I said, “I just don’t know how to say this line. I really don’t know what to do.” He went, “You’re standing there looking for a mango, but you’re standing under a banana tree.” I was like, “What the fuck does that mean?” He explained, “You’re looking for something, but the film has already gifted it to you.
This film isn’t about you and me and anything that we say. The film is about the giant squid.” I think big-budget films are often about spectacle: big explosions, big plot twists, things you don’t necessarily have control over.
Obviously, you want to elevate your performance as much as you can.
But at the end of the day, those things are kind of outside your remit. I remember doing that film and looking at a green dot on the wall, thinking, “Well, I hope the CGI is good, because I have nothing to do with that.” The film lives or dies by whether the squid looks real.
With a smaller film that doesn’t have the budget for explosions or anything crazy, it’s often a character-based drama. If the character doesn’t sing or leap off the screen, the film is dead.
There’s more pressure on you in a small film. It’s a different kind of pressure on a big film.
If you lose, you’re losing a lot of money for a lot of important people.
You’ve spoken about wanting to work with more female directors and filmmakers of colour, as well as taking on smaller films. What appeals to you about those projects?
I think it’s exciting to be on a set with someone who has a fresh take that I haven’t experienced before. They’re going to keep me on my toes.
As soon as you relax and sit back in this industry, you’re kind of dead. You have to keep reinventing yourself.
I also think those voices tell stories that are less frequently heard. Of course, there’s going to be something fresh and exciting for the audience, as well as for me as an actor.
You’ve moved from sci-fi to fantasy to becoming a literal superhero, exploring so many different genres. Is there one you’d like to explore more, or one you haven’t touched on yet?
I definitely want to do more comedy. ‘Glass Onion’ was obviously a very comedic script, and I loved it.
I know I’m not a stand-up comedian. It has to be funny on the page for me to work with it.
I’m not going to be on set coming out with zingers off the cuff. I’m very, very jealous of actors who can do that.
I’d also love to do more romance. I just went to see ‘Sense and Sensibility’ the other day.
I talk about this a lot, but my original dream when I started acting was to do period drama romance. I grew up on that.
It was my bread and butter. I think England does it so well, but it’s hard.
Sometimes it’s hard trying to fit my face into those stories. Hopefully, it’ll happen one day, but it hasn’t come up yet.
Is there a particular period piece you’d love to be part of?
The door is open. The door is open to anything.
I’d love to do an original. I tried to get financing together for an original period drama romance that I was planning to direct.
It’s interesting because that genre is one of England’s greatest exports. You know, ‘Downton Abbey’ and all the Austen adaptations.
‘Sense and Sensibility’ is about to make a shit ton of money, so is ‘Pride and Prejudice’. It’s what we make the most money from in England.
Yet when you approach companies, the resistance to making a period drama is so intense, possibly because they’re bored of them and don’t want to keep commissioning them.
Those films cost a lot of money to make, even though we already have the buildings, the costumes, and the trained actors. It’s all here.
But the industry is being squeezed so tightly that we don’t really have the budgets to take a risk on a rookie director. If Joe Wright turns around and says he wants to adapt — a new ‘Jane Eyre’, for example — he’ll have the financing before lunch.
For someone new, it’s quite hard to secure.
Has that project been shelved for now, or are you still exploring the possibility?
It’s shelved for now. This was a long time ago. I started working on it probably eight or nine years ago. I got a company on board, but we stalled when it came to securing the full financing. Hopefully, one day I can return to it after I’ve made another film and proved myself.
When you’re considering a new project, what are you looking for? What ultimately gets you to sign on the dotted line?
It’s a very instinctive process. Do I like this character?
Is it saying something interesting? Have I seen this before?
Six or seven years ago, I made the decision never to work with an arsehole director again. That’s a big part of the process now: doing my due diligence.
I’ll find someone who’s worked with the director before and ask, “Are they professional?” There are so many things that go into it. Where is it filming?
How long is it filming? But it’s hard.
A lot of the time, it comes down to an instinctive reaction.
Finally, bringing it back to ‘Everybody Wants to Fuck Me’ , how would you describe the film in five words?
Sexy, funny, weird. And the last two words: Taron Egerton. He really carries the film on his shoulders. If you’re a fan of Taron and have enjoyed any of his films — which I’m sure most readers have — he’s just brilliant in this. I can’t wait for it to be released to a wider audience so people can see just how good he is.
photography. Mallory Turner talent. Jessica Henwick editor. Kelsey Barnes interview. Dana Reboe
North Carolina rapper J. Cole returned to London with ‘The Fall-Off,’ his first solo headline tour in five years. On the first of three shows at the O2 arena, Cole took fans back to his humble beginnings. The show opened with the rapper crouched in the middle of the crowd. He performed ‘39 Intro’ surrounded by screaming fans. It was an intimate introduction that immediately set the tone for the evening.
Tracks from his latest album like ‘Two Six’ and ‘Safety’ followed as Cole made his way through the 20,000-capacity venue, shaking hands and signing autographs along the way. On stage, fans were greeted by a familiar sight: a replica of the Honda Civic he owned during his early college days at St. John’s University. It’s the same car he once used to sell CDs from.
With just one man, one stage and an extensive catalogue of music to draw from, Cole’s set balanced nostalgia with self-reflection. Classics such as ‘Vile Mentality’ from ‘ 4 Your Eyez Only’ served as a reminder of the introspective storytelling that has long defined his artistry.
Throughout the performance, Cole reminisced about his upbringing in Fayetteville, North Carolina, with a sense of familiarity that made it feel as though little had changed over the past decade.
The transition between past and present was seamless. As Cole spoke about his personal growth, he effortlessly moved into fan favourites such as ‘Apparently,’ ‘G.O.M.D.’ and ‘Can’t Get Enough.’ Each track showed Cole’s evolution as an artist, his connection to his roots, and to his fans, as he put the spotlight on one fan rapping every word of ‘Work Out’ on screen.
Without a visible backing band, Cole demonstrates just how powerful a live performance can be when the focus remains on the music itself. With the emphasis placed firmly on the lyrics, delivery and sound, the ‘Fall-Off’ tour’s production felt less like a spectacle and more like a personal experience shared between artist and audience.
In classic J. Cole fashion, the evening drew to a close with ‘Love Yourz’ and ‘No Role Modelz’ before he performed ‘Quick Stop’ — a track he acknowledges was not a hit single but holds significant personal meaning.
It was a fitting conclusion to a show built around the stories, memories and experiences that have shaped his career. Through a carefully curated setlist, thoughtful production and genuine connection with his audience, he proves that the power of music lies not in how much is happening on stage, but in how deeply it resonates with those watching.
photography + words. Isha Shah music editor. Shama Nasinde
shirt. John Varvatos jeans + belt. Levi’s boots. Stetson necklace. Tilly Sveaas
In between shows is where we find Sam Braun . Fresh from press for ‘Crew Girl,’ Braun has thrown himself onto the stage, performing at the Vancouver Fringe Festival in the play ‘The Truth and Darers.’ A one-act play penned by Shanti Harris and directed by Arthi Chandra.
Thrilled to shed Josh Regis for a little while, Braun ran with the opportunity to slip into a vastly different character. While grateful to play Eagle Cove’s ‘best’ rower on ‘Crew Girl,’ there’s something about the live atmosphere of a theatre that excites him.
The anticipation, the energy, the audience participation, the sense of sharing this piece of art together for a night. And, more than anything, the ability to fully flex his acting chops, showing the range of what he could do.
With season two of ‘Crew Girl’ on the horizon and his newly announced role in the fourth and final season of ‘Yellowjackets’ as teenage Jeff Sadecki, his opportunities to flex are becoming more frequent. As Josh Regis, the audience is left to wonder if his character is merely one note, a foil to Teagan (Miku Martineau), and an all-around privileged douchebag.
But as the series progresses and through Braun’s performance, we see that there’s more just shimmering beneath the surface. And now that the Netflix series has been renewed, we’ll get to see more of what he has to offer.
Chatting with Schön! Sam Braun discusses finding dimension to Josh, what excites him about being an actor, whether we’ll be seeing more music from Sam the Seagull, and what he hopes for Josh’s future.
I was going through my notes from the first episode, and Josh says, “The new girl is making me look like an asshole.” I put in parentheses, “Maybe that’s because you are one.” [Sam laughs] He didn’t give the best first impression, but you do such a great job of bringing dimension to him later on. Can you talk about bringing that dimension to Josh?
I know you originally read for Cam, too, if I’m not mistaken. I’m curious how you see these two characters.
I think I’ve played quite a few characters like Josh before, which is why I was leaning towards Cam when I first got the callback. I thought, “Oh, I want to do something that’s a little different, something people don’t usually see me do.” But ultimately, I’m so, so grateful that they saw me as Josh.
I think they did a great job casting it. I’m better suited for him.
His character arc throughout the season is so interesting. I felt fortunate that I had the opportunity to experience that.
Vivian (Lin) told me my big secrets before we started filming, particularly with the heart condition. I was doing a lot of research into what that feels like physically.
I also considered the mental and emotional toll it takes on you. I was an athlete growing up.
For a lot of athletes, facing a health condition or an injury you can’t recover from can be devastating to your identity. Having to step away from rowing by the end of the show is a big identity shift for him.
We’ll see what happens next. I was really empathizing with that aspect as well.
I feel like that’s a universal thing for athletes when they have to retire. I’m thinking about my brother.
He plays a lot of hockey, and when you don’t make it all the way to the NHL in your early twenties, you’re trying to navigate life. You’re like, “Who am I now?”
He’s also dealing with a lot of family pressure. I was building out those storylines in my mind, keeping them buried underneath and holding onto those secrets. I was trying my hardest not to tell the cast about Josh’s heart condition. Then, by the time episode three came out, they’re like, “Oh, Josh has a heart condition!”
I have to wonder then, in your head, what does the future look like for Josh?
Personally, I would love to see who Josh is outside of his family’s legacy. I don’t think he even knows who that is. He’s been playing this character for so long. At the end of episode eight, he’s talking to Teagan (Miku Martineau) about creating a better Josh. I’m really excited to explore that.
We see Josh’s entire worldview being shaken up by Teagan, which I loved because who doesn’t like seeing entitled people taken down a peg or two? Why do you think he feels so threatened by her, and how much fun was it to play opposite Miku?
Miku is such a rockstar. She was hanging out with eight boys in a green room all the time, and that takes a special person.
That’s a lot of energy to deal with, and she handled it so well. She was really one of the boys during the shoot.
We just had such a good time. Honestly, it was great working with her, especially in some of the later scenes, like episode seven.
It was great having a scene partner to bounce off and feel comfortable going into those heavier places and getting worked up beforehand. She was totally on board.
I felt like we were able to tango, so to speak.
As for why he feels threatened, he’s been going through life on easy mode. He’s obviously very wealthy, and I don’t know how he and Britney (Sage Linder) got together, but I feel like there was definitely some influence from his parents and her parents.
The optics probably played into it. He’s the most popular guy in school; he’s in the stroke seat, and he’s never faced resistance or had things go against him.
When Teagan shows up, she just doesn’t put up with any of it. She sees right through his mask.
As intimidating as that is, it’s also exciting for Josh. It’s intriguing to him.
He’s literally like, “Who is this? How dare you?”
Coming from the richest family in Eagle’s Cove, Josh has a lot of legacy to live up to. That’s only amplified by the pressure put on him by his father (Niall Matter) and Ryder (Connor Patton), basically gunning for the stroke seat and Josh’s position in the family. What’s Josh feeling in those moments? How is he coping with that pressure?
Ryder’s always been his sidekick. I don’t think Josh has realized it, or even that Ryder has noticed.
It’s just the way it’s always been. When Teagan sees those dynamics in episode one and pushes Ryder to see he could actually have a shot at being stroke, there’s a paradigm shift for both of them.
It shifts their relationship. Suddenly, I think Ryder realizes that he’s been living in Josh’s shadow.
I don’t think Josh realizes it until episode eight. He’s like, “What are we doing?
We are living our lives for our family. We’re not doing anything for ourselves.
We used to be such good friends. I want to go back to that.
I don’t want to be puppets for our family. Let’s just go back to the cousins and friends that we were.” I’m hoping that’s something we see develop in season two.
You’ve been acting for screen for over a decade, and you’ve worked on the stage. What is it about both those things that fills your cup creatively?
I’m doing a play right now. I love acting in all its forms.
I think the notion that “Oh, you’re a theater actor or you’re a film and TV actor” can box you in. For me personally, I just don’t want any of those labels attached to me.
If people want to put that label on me, that’s their choice. My ethos is that acting is acting, whether that’s on stage or on screen.
It’s about knowing how to adjust yourself to the medium.
I’ll go on a bit of a tangent. A lot of people talk about finding an acting technique that works for you, but I think a better approach is to make every technique work for you, because every project is different.
Sometimes you’ll work with a director who wants a lot of improv, and you’re going to throw the text to the side and just play in the moment. Maybe you’re working with someone like Quentin Tarantino or Aaron Sorkin, where the text is very specific, and you want to be word-perfect and make that text work for your character.
Being malleable and exploring all these different approaches makes you a versatile actor.
Theatre is a different ball game from film and TV because you have to be so prepared. You’re on stage for an hour and a half or two hours, and it’s one take all the way through, with no calling for lines.
You also have to be mindful of your voice and its clarity, making sure it reaches the back of the room. You’re finding that balance.
It’s very rehearsed, but you’re also trying to find the spontaneity every single night and not let it get stale. I love that.
Film and TV almost feel like a sniper mission. On ‘Crew Girl,’ we haven’t had any very long, single-take scenes.
Your scenes might be a minute or two long, if that. Sometimes it’s just a 30-second shot, and you have to get yourself into the right state to deliver a line in a way that makes sense within the story.
What’s made it easier for me is thinking of film and TV as creating a really fancy music video.
For some reason, that approach has helped me a lot. I made a couple of music videos, and it’s the exact same thing.
You want to serve the other creators, too. I love talking with the DOP (Director of Photography) and the camera op and asking, “What kind of shot are we getting?
How can I help you out?” With the theatre production I’m doing, you’re coming up with your own costume and doing your own hair. I’m printing all the flyers and doing the sound design for it.
You’re invested in the work. I think you can bring that energy into film and TV by collaborating with the costume designers instead of being passive, and by having ideas about what your character will wear and how they’ll do their hair.
I tried pitching some of my own songs to Vivian. They didn’t make it into season one, but maybe they will in season two.
Having that integrity, being a good collaborator, and taking the work into your own hands feels so much more rewarding.
Currently you’re on stage with ‘Truth and Darers,’ and it looks like you’re having the best time!
I’m playing a totally different character from Josh. I think he’s different from any character I’ve played in film and TV.
That’s what really interested me about the role. Here’s the premise: it’s about six 13-year-olds who start a game of Truth or Dare, and it goes off the rails.
I describe it as childhood innocence meeting the darkness of the teenage mind. I love it.
It slowly unravels into something really heavy. You’re laughing at one moment, crying at the next, scared by the end of it.
My partner, Shanti (Harris), wrote the play, and I had to audition for the role. Shanti wasn’t going to give it to me.
None. There are six characters, four of them boys.
I wanted to go for the role of Eric. Shanti was like, “Are you sure about that?
I see you more as, like, a Stan, maybe even Copper.” I was like, “No, I want to do Eric.” He’s a little like the kid in ‘Adolescence,’ I would say—more of a recluse. He has an alcoholic father, and his mother overdosed on drugs last year.
He’s struggling to fit in with his friend group. It’s been really tough for him to navigate these tumultuous times.
They’re in a small town where everybody knows everything, and there are some rural mindsets. It’s maybe not as progressive as Vancouver.
There’s a lot of darkness and sadness to him. I felt really drawn to his character and thought his story was important.
I really wanted to do a good job. I auditioned, and Shanti was surprised, as was the director, Arthi Chandra.
Then I got the callback and got the part. It’s been good.
Jessica Young, Lindsay (MacAdam), and Norman (Buckley), some of the show’s producers and directors, have come to see it. We’ve been inviting theatre critics and casting directors, and it’s been getting really good reviews.
I’m excited for them to see Shanti’s writing and a different side of me.
shirt. John Varvatos jeans + belt. Levi’s boots. Stetson necklace. Tilly Sveaas opposite shirt. John Varvatos jeans + belt. Levi’s boots. Stetson necklace. Tilly Sveaas
In addition to being an actor, you’re a musician, too. Are we going to see more of Sam the Seagull in the future?
Yeah, for sure. When I was down in LA doing the press junket, Shanti and I filmed a music video for our song “Sonoma.” I think I’m going to put that out next Friday.
That was part of the master plan. Let ‘Crew Girl’ drop, let it reach some viewers, and then have the music video come out afterwards.
Returning to ‘Crew Girl,’ what are some core memories you have from set?
Rowing in Vancouver was really special. I knew 80% of the guys in the boat, and each day a new cast member would join the team.
I just kept getting more and more excited. I was like, “This is going to be the best time ever.
I’m working with my friends, and we’re going to be filming in Victoria.” I love Victoria. I just thought, “How lucky am I to get this?” Because you don’t really get that.
A lot of shows bring people in from LA, Toronto, or Atlanta, which is awesome. You make new friends, but having that built-in chemistry already was so special.
We would go on runs around Stanley Park after rowing training, then go to Cactus Club. We would sing a lot of karaoke.
I remember that, for the wrap party, we had the cast over beforehand for a little pregame. Nachos, margaritas.
I set up a makeshift karaoke station on a screen. It was so cute and wholesome.
Connor Patton and I went to Atomic Vaudeville, which is a theatre production in Victoria around Halloween. It was so special because it’s made up of all these actors in the community.
They put on a show twice a year, and it’s in a gymnasium at a school. Have you seen the movie ‘Hamnet’?
You gotta watch ‘Hamnet’ because it talks about the power of theatre and bringing people together. That was a special moment, getting to do that with Connor. We were like, “Man, only 100 people are seeing this. Everybody else around the world is not going to see this.” But we’re in this gymnasium together, just having this wonderful experience. That’s so special. That was a good time.
Now that filming is wrapped, the show is out in the world, and ‘Truth and Darers’ is coming to a close, what are you looking forward to about life going back to normal, so to speak?
I can’t say what, but I do have another show coming out pretty soon. (It was announced later in the week that Sam would be in the final season of ‘Yellowjackets.’) It’s a recurring role, and I’m really excited for people to watch that one.
That’ll be coming out around November. I’m going to be making some more music.
I’m hoping to drop an album on my birthday, which is November 23rd. And we’re getting into fall, so pumpkin spice lattes, walks on the seawall with Shanti, and hanging out with my cat, Ginkgo.
That’s such a great name! So, forgive me if this is out of left field, but I have to ask: what’s the thought behind your Instagram bio, ‘Just moist’? I need the story there.
[Sam laughs] Okay, let me tell you. One of my best friends from Victoria and his good buddies would always use slang.
“Moist” meant something that’s really cool, dope, or a good thing. You’d be like, “Oh, that’s moist.” Everybody hates it, but we just say it all the time.
There are levels to it, too. “Just moist” means “Everything’s okay.” It’s just a realization that, I don’t know, life’s going to be all right.
It’s just moist. You’re here.
It’s all good. We’re going to be all right.
Then there’s “TM.” There are abbreviations, too. We say “JM,” just moist, and “TM,” too moist.
That’s when it’s like, “Oh, dude, that was crazy. That was too moist.” And then there’s “VM,” which is very moist.
And you know what’s funny? None of my other friends use this slang.
It’s just me and these two buddies from Victoria. Even my other friends are like, “What are you saying?” I love the idea that people are looking at your Instagram and asking, “What does that mean?” And it only applies to two or three other people. Finishing off with ‘Crew Girl,’ if you had to put together your own crew—family, friends, whoever—who are you putting on the team?
I think Ginkgo is going to go in the cox seat because she’s got the vision. She’s chill, but she’ll demand things from you if she wants them, like food or for you to row faster.
I’d probably get Shanti in there. I’d probably have Miku in there, Kyle (Clark).
I’m about to name all the boys who have already been there. Maybe my brother, Nick.
He played hockey, and he’s so strong. He’s three years younger than me, and at some point during our teenage years, he suddenly became taller than me and had, like, 30 more pounds of muscle.
You’re like, “What? When did that happen?” He’s got a competitive edge, too.
When he gets into something, he wants to dominate at it.
I’d let him go in stroke, probably. Or maybe in bow. Those guys have got to be really strong, too. My buddy Aiden (Howard), who plays Liam in the show in episode one, and I hang out all the time. He’s also in ‘Truth and Darers,’ which is really fun. I’d have him in the bow. Oh, Robert Pattinson, maybe?
Just because I want to talk to him. He’s one of my biggest inspirations for acting because he doesn’t seem too pretentious, but he delivers so consistently. He’s another actor who doesn’t allow himself to get boxed in. He’s somebody I look up to, for sure.
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