By Jessica Herndon
Justin Simien’s Dear White People, a satire depicting the lives of a group of Black students at a predominantly white Ivy League University, premiered at the 2014 Sundance Film Festival, setting off a surge of further successes for the Black storytellers connected to the project. Not only did the first-time feature writer-director win the U.S. Dramatic Special Jury Award for Breakthrough Talent at the Fest, but his film, notably produced and executive produced by Black powerhouses Effie Brown and Stephanie Allain, respectively, was a breakout role for actor Tessa Thompson. It also introduced Lena Waithe as a producer, secured Tyler James Williams’ place in Hollywood as a dynamic actor capable of progressing from the child star of the TV show Everybody Hates Chris to a leading man, and spawned a Netflix show of the same name, which ran for four seasons between 2017 and 2021.
“The movies that I loved so much, things like Do the Right Thing and Hollywood Shuffle — those great social commentary, artistic, art house films with Black characters and Black narratives — I just didn’t see it in theaters, and I wanted to make a contribution to bringing that art form back,” Simien told us ahead of his film’s premiere. “And, why not?!”
Addressing racial tensions with a witty, righteous, and uncompromising lens, Dear White People focuses primarily on four Black millennial students — Samantha “Sam” White (Thompson), Lionel Higgins (Williams), Colandrea “Coco” Conners (Teyonah Parris), and Troy Fairbanks (Brandon P. Bell) — as they navigate the inherent bias and social hierarchy of campus life at a predominantly white school. White, who hosts an on-campus radio show also called Dear White People, tackles her frustrations through humor by dropping lines on-air like, “Dear white people, the minimum requirement of Black friends needed to not seem racist has just been raised to two. Sorry, but your weed man, Tyrone, does not count.” The movie has plenty more quips, truths, and powerful dialogue.
Since today marks the 10th anniversary of the film’s theatrical release, we’ve compiled 10 of the most memorable quotes from the project that unapologetically address identity, interracial dating, cultural appropriation, and more.
“Dear white people, knowing Lil’ Wayne lyrics no longer earns you an honorary Black card. It just reminds me of how often you say the word ‘nigga’ when no one Black is around…” — Sam White
Sam’s classic humor calls out this behavior as a shallow form of allyship, driving home the idea that consuming culture is not the same as understanding it.
“We can always do East/West hip-hop party. Get the honeys up in this piece, you know what I’m saying?” — Mitch
After Mitch (Keith Myers) utters this line, fellow white student Kurt quickly follows, saying, “‘The honeys?’ You’re from Vermont.” It’s a hilarious moment in which Mitch gets put on the spot for trying to be something he’s not. Cultural appropriation is precisely what’s behind the party idea. Though completely offensive, many of the white students would have likely argued that a party like this was harmless fun. At this point in the film, though, it’s just an idea. As the film progresses, the party becomes a reality where white kids mock Black culture. Seeing the idea — white students wearing fake afros and blackface — is incredibly offensive, ignorant, and surreal. That is until you find out that white college students at real schools, like the University of Florida, have thrown similar parties.
“Racism is over in America. The only people who are thinking about it are, I don’t know, Mexicans, probably.” — President Fletcher
The perplexed look on the face of Dean Fairbanks (Dennis Haysbert) when the university’s white president (Peter Syvertsen) utters this comment is priceless. President Fletcher’s obliviousness to the realities of racial politics is shocking and appalling. We feel for you, Dean Fairbanks, especially after it’s revealed you and President Fletcher went to the same school, only you graduated summa cum laude while he barely passed.
“I listen to Mumford & Sons and watch Robert Altman movies. Do you really think I’m Black enough for the union?” — Lionel Higgins
When Reggie, a Black Student Union member, asks Lionel why he never comes to BSU events, Lionel points out how his interests don’t align with what might be stereotypically expected of him as a Black man. He doesn’t know where he fits in and doesn’t think he can. The sentiment is reinforced when Reggie also asks Lionel what’s harder, being Black enough for the Black kids or Black enough for the white ones, to which he replies, “Being neither.”
“I’m sorry if I can’t be your Nubian prince on my black horse ready to take you back to fucking Zamunda!” — Gabe
Gabe (Justin Dobies), a white student, and Sam are romantically involved in secret. After all, militant Sam can’t be seen getting cozy with a white guy. While the pair is alone, Gabe says this line to Sam, humorously referencing Coming to America to highlight their relationship’s racial and cultural pressures and show his understanding of the expectations placed on her. .
“Your favorite director is Bergman, but you tell everyone it’s Spike Lee.” — Gabe
Gabe calls out Sam during an argument, pointing out how she conceals parts of her identity to fit into her activist image. “You’re more Banksy than Barack,” he says later. “But you’ve been co-opted as some sort of revolutionary leader.” He’s not attacking her, though. He’s letting her know that he sees her and the contrast between her true self and the persona she feels pressured to maintain, which makes this an incredibly romantic moment.
“I think you long for days when Blacks were hanging from trees and denied actual rights, that way you’d actually have something to actually fight against.” — President Fletcher
This moment between President Fletcher and Sam comes when Fletcher tries to accuse Sam of hacking the system and cheating to become Head of House of the all-Black residential hall Parker/Armstrong. He knows she’s an activist who will seemingly stop at nothing to make a point, and he tries to shake her up with this piercing comment. But the line is more than a device to get under Sam’s skin. It echoes his earlier comment, in which he said, “Racism is over in America.” America is far from being a post-racism society, but because Black folks live in more favorable circumstances than in the past, some feel the complaining should stop.
“The men who really run this world? You got no idea what they see when they see you. You are not going to be what they all think you are. You will not give them that satisfaction, you hear me?” — Dean Fairbanks
Here, Dean Fairbanks is talking to his son, Troy, who he discovered has been smoking weed. Troy smokes to numb the pressure he feels to excel and be perfect. But his father isn’t having it and is trying to prepare him for the future, in which systemic inequalities are inevitable, perfection is required, and hard work doesn’t always translate into equal reward for Black people in America.
“It’s like a black hole for white people’s fingers. They’re obsessed.” — Lionel Higgins
Lionel’s used to the white writer he works with at the school newspaper stroking his hair. But what he won’t say to her, Sam will on her show. “Dear white people, please stop touching my hair. Does this look like a petting zoo to you?”
“The fact that we can joke about this proves we’ve moved on, obviously, right? I mean, in this day and age, if you can’t take a joke… Shit, I’m just saying this is an attack on my freedom of speech. I’m the victim here.” — Mitch
Mitch’s comment, which comes after the East/West party has been broken up by the police, reveals a lack of awareness of his own privilege and the dangerous desire to overlook the disrespect those who participated in the event displayed. In a video project for class, where Sam documented the gathering, she asks, “Was the party an act of free speech or was it racism?” Though her inquiry was inserted ironically, it’s wild to think some might ask the question seriously.
