Queen Charlotte the Official Podcast is a production of Shondaland Audio in partnership with iHeartRadio. Welcome back to Queen Charlotte the Official Podcast, Your companion behind the scenes of Shondaaland's Bridgerton prequel on Netflix. I'm your host Gabby Collins, and today we're spending time with actors Michelle Fairley and Corey Milcrist. In today's episode, we're simply carving out some time to talk about the way these performers carried Young King George and Princess Augusta in their bones and how they felt when it was all done. We're excited to dive into Corey Millcrist and King George. We are inspired by what drives him and we're going to learn more about what he brings, you know, such authenticity to his performance. We're really still to talk to this cool gent not only because of his amazing acting chops, but also because of the complex character that he brought to life on screen. Young King George is troubled yet sweet, and he has captured the hearts of many Queen Charlotte bands. And we can't wait to hear from Corey about how he approaches the role and what it's been like to bring such a fascinating portrayal of a tortured king to life. Corey mill Grease, how are you doing today?

Queen Charlotte the Official Podcast is a production of Shondaland Audio in partnership with iHeartRadio. Welcome back to Queen Charlotte the Official Podcast, Your companion behind the scenes of Shondaaland's Bridgerton prequel on Netflix. I'm your host Gabby Collins, and today we're spending time with actors Michelle Fairley and Corey Milcrist. In today's episode, we're simply carving out some time to talk about the way these performers carried Young King George and Princess Augusta in their bones and how they felt when it was all done. We're excited to dive into Corey Millcrist and King George. We are inspired by what drives him and we're going to learn more about what he brings, you know, such authenticity to his performance. We're really still to talk to this cool gent not only because of his amazing acting chops, but also because of the complex character that he brought to life on screen. Young King George is troubled yet sweet, and he has captured the hearts of many Queen Charlotte bands. And we can't wait to hear from Corey about how he approaches the role and what it's been like to bring such a fascinating portrayal of a tortured king to life. Corey mill Grease, how are you doing today?

I'm okay, I'm feeling snazzy.

I'm okay, I'm feeling snazzy.

Yeah, feeling snazzy. I'm feeling snazzy too. Yeah, let's feel snazzy together. So Corey, of course we're here because of your remarkable performance in Queen Charlotte of Bridgerton story. If you could put it into one word, how did it make you feel?

Yeah, feeling snazzy. I'm feeling snazzy too. Yeah, let's feel snazzy together. So Corey, of course we're here because of your remarkable performance in Queen Charlotte of Bridgerton story. If you could put it into one word, how did it make you feel?

I guess the word that I would use, especially with the scene right at the end of episode six, which the seeing nostalgic, But I mean, that's just boring, right, So I would say otherworldly. It's so hard to see the story as it is without God, it's so weird to watch my fat right other worldly and nostalgic because your body keeps the score. I look at myself and I go, oh, yeah, I remember filming that, and then suddenly I'm going, oh my, that's what I felt on that day. So it's very hard to be objective about it. And then sometimes I go, oh my god, that was such a lovely day because we had such a great laugh about that. You know whatever, and we had a great conversation. It's so strange.

I guess the word that I would use, especially with the scene right at the end of episode six, which the seeing nostalgic, But I mean, that's just boring, right, So I would say otherworldly. It's so hard to see the story as it is without God, it's so weird to watch my fat right other worldly and nostalgic because your body keeps the score. I look at myself and I go, oh, yeah, I remember filming that, and then suddenly I'm going, oh my, that's what I felt on that day. So it's very hard to be objective about it. And then sometimes I go, oh my god, that was such a lovely day because we had such a great laugh about that. You know whatever, and we had a great conversation. It's so strange.

I think otherworldly is a really interesting and good word. Though.

I think otherworldly is a really interesting and good word. Though.

What was your word or do you have one?

What was your word or do you have one?

Ah Man? I think actually it's just Yes, there was so much that I saw that I needed to see. I also felt like ooh, because there were moments I felt like I shouldn't have been in the room. When there were any you and India together on screen were just I felt like I needed to step aside.

Ah Man? I think actually it's just Yes, there was so much that I saw that I needed to see. I also felt like ooh, because there were moments I felt like I shouldn't have been in the room. When there were any you and India together on screen were just I felt like I needed to step aside.

And did you.

And did you.

I had to pose it. I did pause it every once in a while. Yeah, what was it like working with India?

I had to pose it. I did pause it every once in a while. Yeah, what was it like working with India?

India is phenomenon. She worked so hard and her work is so truthful and lovely and subtle. She is the propeller of the entire narrative and does it expertly, and is also just one of the kindest people I've met.

India is phenomenon. She worked so hard and her work is so truthful and lovely and subtle. She is the propeller of the entire narrative and does it expertly, and is also just one of the kindest people I've met.

She's great in those moments where you're both together, in those really like heart wrenching scenes, or those those moments where you are pouring your heart out as the young King George, what was that like in the moment, Because as viewers, we've got all the sweeping music and the cuts and everything to kind of help amplify our emotion. But for you in the moment, what was that? Like, does the world fall away?

She's great in those moments where you're both together, in those really like heart wrenching scenes, or those those moments where you are pouring your heart out as the young King George, what was that like in the moment, Because as viewers, we've got all the sweeping music and the cuts and everything to kind of help amplify our emotion. But for you in the moment, what was that? Like, does the world fall away?

Yeah?

Yeah?

Sometimes tell me about your experience.

Sometimes tell me about your experience.

I mean it changes day to day. That's the thing about acting is you know, your instrument is is your being. You know, so like if someone's playing the cello, it's maybe slightly more I mean you stay your body and your mind and your heart and is still engage, but it's slightly more controlled. Whereas you know, I could turn up one day and I could be feeling a really certain type of way, and then the next day completely different. So you have to be able to accept that. You can't deny where you are as a person. There were times where, you know, in really emotional moments or like some stuff with the doctor and like the more yeah, the torture scenes. You know, there would be times where I remember, you know, the scene where Charlotte comes in and rescues George. Yes, so I remember doing a few takes of that and it was just so it's just so painful. Sometimes it's hard to like snap out of it. In the same way, sometimes it's hard to snap into it. You know. Sometimes if you have a really emotional scene, it's really it can be hard to you know, your heart is going, oh can I trust this moment, you know whatever, and to let go into it. And then sometimes once you have let go, it's hard to at the moment of cut go and I'm fine and I'm Corey and it's all good because you have your subconsciously and imaginatively you placed yourself in that place for a bit and it is just pretend. But like you know, you have to. That has to be a large section of you that does believe it. India was so brilliant and sometimes if we were in a similar state in the scene or whatever, if we felt a certain way about a scene, we'd both just sit and listen to the same music and try and get on the same sort of like vibration before going into a scene. Yeah, and also the writing is so brilliant. There's a scene where Charlotte comes in into the observatory and tries to get George to tell her that he loves her. This conversation isn't I cannot do this. I never wanted to Charlotte, please stop.

I mean it changes day to day. That's the thing about acting is you know, your instrument is is your being. You know, so like if someone's playing the cello, it's maybe slightly more I mean you stay your body and your mind and your heart and is still engage, but it's slightly more controlled. Whereas you know, I could turn up one day and I could be feeling a really certain type of way, and then the next day completely different. So you have to be able to accept that. You can't deny where you are as a person. There were times where, you know, in really emotional moments or like some stuff with the doctor and like the more yeah, the torture scenes. You know, there would be times where I remember, you know, the scene where Charlotte comes in and rescues George. Yes, so I remember doing a few takes of that and it was just so it's just so painful. Sometimes it's hard to like snap out of it. In the same way, sometimes it's hard to snap into it. You know. Sometimes if you have a really emotional scene, it's really it can be hard to you know, your heart is going, oh can I trust this moment, you know whatever, and to let go into it. And then sometimes once you have let go, it's hard to at the moment of cut go and I'm fine and I'm Corey and it's all good because you have your subconsciously and imaginatively you placed yourself in that place for a bit and it is just pretend. But like you know, you have to. That has to be a large section of you that does believe it. India was so brilliant and sometimes if we were in a similar state in the scene or whatever, if we felt a certain way about a scene, we'd both just sit and listen to the same music and try and get on the same sort of like vibration before going into a scene. Yeah, and also the writing is so brilliant. There's a scene where Charlotte comes in into the observatory and tries to get George to tell her that he loves her. This conversation isn't I cannot do this. I never wanted to Charlotte, please stop.

Is because you do not believe that I could love you.

Is because you do not believe that I could love you.

I do.

I do.

And I remember reading that and going right I'm not There's no way that I can say those words and not sort of like breakdown. So I remember texting Tom the director, going, man, please that, saying can we start my close up? Because if we start wide and then we get into close up like six hours later, I'm going to be dry because there's no way that I can I can't save it. Do you know what I mean? If I say those things, it's going to come out. And so it's a complete collaboration the whole time. You know.

And I remember reading that and going right I'm not There's no way that I can say those words and not sort of like breakdown. So I remember texting Tom the director, going, man, please that, saying can we start my close up? Because if we start wide and then we get into close up like six hours later, I'm going to be dry because there's no way that I can I can't save it. Do you know what I mean? If I say those things, it's going to come out. And so it's a complete collaboration the whole time. You know.

Wow, And that's really really interesting. I love what you said about being on the same vibration and listening to music, yeah, with your cast mates before getting into it.

Wow, And that's really really interesting. I love what you said about being on the same vibration and listening to music, yeah, with your cast mates before getting into it.

Yeah, I love it. I love it.

Yeah, I love it. I love it.

Yeah.

Yeah.

Speaking of music, I'm just curious, just curious if you play any instruments.

Speaking of music, I'm just curious, just curious if you play any instruments.

Yeah, what do you play? I've tried to play many. I tried the violin for a while. I tried the bassoon. It was probably the strangest one. I did the cello for a bit, but I started learning classical guitar and then got an electric guitar. And it's been a long time. So I feel very guilty saying this, but if I picked it up again, it would come back quickly, but a bit of piano and also drums.

Yeah, what do you play? I've tried to play many. I tried the violin for a while. I tried the bassoon. It was probably the strangest one. I did the cello for a bit, but I started learning classical guitar and then got an electric guitar. And it's been a long time. So I feel very guilty saying this, but if I picked it up again, it would come back quickly, but a bit of piano and also drums.

No woodwinds, It's okay, you have a thing against woodwinds, but it's fine. It's fine.

No woodwinds, It's okay, you have a thing against woodwinds, but it's fine. It's fine.

I mean, if we kind of recorder, if we're kind of the humble retorted, Oh no, we're in good company. Yeah.

I mean, if we kind of recorder, if we're kind of the humble retorted, Oh no, we're in good company. Yeah.

It's just your your your physicality, and and just hearing about your prep. It just sounds like music is such an intrinsic part of you and what you bring into your into your role.

It's just your your your physicality, and and just hearing about your prep. It just sounds like music is such an intrinsic part of you and what you bring into your into your role.

Well, my mom my mum is a My mum's a musician. Okay, she's a classical musician. So it's very beet rooted into how I think, and like.

Well, my mom my mum is a My mum's a musician. Okay, she's a classical musician. So it's very beet rooted into how I think, and like.

See, I sometimes wish I was one of those people that could see sound all the time, Like the synthesia. I think that's amazing.

See, I sometimes wish I was one of those people that could see sound all the time, Like the synthesia. I think that's amazing.

Yeah, yeah, that's for me what I'm most jealous of the number right.

Yeah, yeah, that's for me what I'm most jealous of the number right.

Yeah, yeah, yes, definitely. So let's talk about some of your moments behind the scenes, getting working with costume and and and and hair and makeup. Yeah, what about that experience other than really just feeling that fabric, feeling the weight of that those coats, and but also that the freeness of that white shirt you're wearing as farmer, George, can you tell me how that that impacted you in your preparation or just in the moment.

Yeah, yeah, yes, definitely. So let's talk about some of your moments behind the scenes, getting working with costume and and and and hair and makeup. Yeah, what about that experience other than really just feeling that fabric, feeling the weight of that those coats, and but also that the freeness of that white shirt you're wearing as farmer, George, can you tell me how that that impacted you in your preparation or just in the moment.

Yeah, I mean so, George is someone who you know, he has an incredibly conflict relationship with his role, with his duty, with the pressure, and of course when you're king, that comes with a certain uniform. The things that he wears are so intrinsically intertwined with his role. Even in more relaxed moments, what he's wearing, it's hard for him to not see the thing that is weighing him down constantly. And so for me, as Corey, when I put those things on, I go, well, this isn't as comfort as like trackies and a jumper. And I can feel that a lot of the time. You know, sometimes I'm embraces to support it all, but you know, it can be at times quite uncomfortable. And whenever I felt that, I was like, well, what a privilege to be feeling that, because I can use that because George his feeling of discomfort is almost identical. You know, it's not something that he wants to wear. And exactly as you said, in those scenes where he's farming, that's the freest and happiest that he is because he is you know, he's free of the constraint of yes, juicy, but also what the duty is resembled by, which is the layers of stuff that man having to have on his body the whole time. So it was it was a joy. And also Linn Paula, who is the head of costume, it's such an astonishing job and they are just such beautiful pieces of art.

Yeah, I mean so, George is someone who you know, he has an incredibly conflict relationship with his role, with his duty, with the pressure, and of course when you're king, that comes with a certain uniform. The things that he wears are so intrinsically intertwined with his role. Even in more relaxed moments, what he's wearing, it's hard for him to not see the thing that is weighing him down constantly. And so for me, as Corey, when I put those things on, I go, well, this isn't as comfort as like trackies and a jumper. And I can feel that a lot of the time. You know, sometimes I'm embraces to support it all, but you know, it can be at times quite uncomfortable. And whenever I felt that, I was like, well, what a privilege to be feeling that, because I can use that because George his feeling of discomfort is almost identical. You know, it's not something that he wants to wear. And exactly as you said, in those scenes where he's farming, that's the freest and happiest that he is because he is you know, he's free of the constraint of yes, juicy, but also what the duty is resembled by, which is the layers of stuff that man having to have on his body the whole time. So it was it was a joy. And also Linn Paula, who is the head of costume, it's such an astonishing job and they are just such beautiful pieces of art.

I have to ask about your necklace.

I have to ask about your necklace.

Oh god, yeah, my frodo necklace. So this ring is from my mum. Okay, I took all my rings off and I put them round this chain. I have really embarrassing hands, like they are very nobly at the knuckles.

Oh god, yeah, my frodo necklace. So this ring is from my mum. Okay, I took all my rings off and I put them round this chain. I have really embarrassing hands, like they are very nobly at the knuckles.

Oh, ring fitting must be terrible.

Oh, ring fitting must be terrible.

So like, once I get a ring on, it's like very hard to get off. So this is my way of wearing that ring without having to break my finger every time.

So like, once I get a ring on, it's like very hard to get off. So this is my way of wearing that ring without having to break my finger every time.

Hey, was there something special about the wedding ring that young King George wore?

Hey, was there something special about the wedding ring that young King George wore?

Do you know I actually have that?

Do you know I actually have that?

You do?

You do?

Yeah, that's the one thing that I took. That's all I put on the wedding ring for Charlotte and George never gets a wedding ring. He's just got this singer ring and I was like, why, and I think, let's go to the historical advisor, and they said, well, because he's married to the crown, he's the king. You know. It's almost like that that's beneath his role, you know, which is so sad, you know, because then again it's just this man who is shackled by this duty or not.

Yeah, that's the one thing that I took. That's all I put on the wedding ring for Charlotte and George never gets a wedding ring. He's just got this singer ring and I was like, why, and I think, let's go to the historical advisor, and they said, well, because he's married to the crown, he's the king. You know. It's almost like that that's beneath his role, you know, which is so sad, you know, because then again it's just this man who is shackled by this duty or not.

I wonder if anyone out there is like, let me be a king, that's a vibe with that. I wonder, you.

I wonder if anyone out there is like, let me be a king, that's a vibe with that. I wonder, you.

Know, imaginatively being a king is a lot cooler than the reality of being a king, especially if you are if you don't want it, and you've also got this affliction that George has, it's like, oh my god. You know, it's a bad concoction.

Know, imaginatively being a king is a lot cooler than the reality of being a king, especially if you are if you don't want it, and you've also got this affliction that George has, it's like, oh my god. You know, it's a bad concoction.

When we come back, we'll continue our conversation with actor Corey Milchriest. Before we jump back into our conversation with Corey, take a listen to what casting director Kelly Valentine Henry had to say about casting the well meaning, elusive lover young King George.

When we come back, we'll continue our conversation with actor Corey Milchriest. Before we jump back into our conversation with Corey, take a listen to what casting director Kelly Valentine Henry had to say about casting the well meaning, elusive lover young King George.

Corey and India.

Corey and India.

The scene where she's trying to get over the wall.

The scene where she's trying to get over the wall.

And he says to her, I'm George, and there was a softness.

And he says to her, I'm George, and there was a softness.

And a beauty and a claims.

And a beauty and a claims.

That Corey when he says, just George.

That Corey when he says, just George.

And again that was a moment I was like, you've just got the job or you know, yeah you are George Corey.

And again that was a moment I was like, you've just got the job or you know, yeah you are George Corey.

I heard that you had a really outstanding moment during the Danbury Ball Alicia Keys ringing the bells. Yes, WHOA. Well, I gotta say I fell in love with King George when you did that deep, deep bow to Queen the Young Queen Charlotte. Yeah, that was so that gave me chills. I found out right there.

I heard that you had a really outstanding moment during the Danbury Ball Alicia Keys ringing the bells. Yes, WHOA. Well, I gotta say I fell in love with King George when you did that deep, deep bow to Queen the Young Queen Charlotte. Yeah, that was so that gave me chills. I found out right there.

Yeah, that was beautiful. So that was my idea. And every time I was like, right, whatever India does, I'm just going to go lower than that.

Yeah, that was beautiful. So that was my idea. And every time I was like, right, whatever India does, I'm just going to go lower than that.

Oh so good.

Oh so good.

This is the genius of Jack Murphy the choreographer, because he taught me the etiquette and so once you know the language, then you can speak because the deeper the bow, the more respect do you know what I mean? And in that moment, George is completely honoring Charlotte and Lady Danbury, and I think it was really important. You know, again, it's just subtle writing from shonder, But George comes in, he's announced, and he comes in and he says Lord and Lady Danbury, thank you for having me. It's not you know, it's wonderful to be here, it's thank you. It's true for having me. I'm the king, that's right, and I'm thanking you for welcoming me into your home that technically I own, do you know? You know? But it's immediately going and paying reverence. Oh wow, you know you're in charge. George, I think completely understands what it is to be oppressed. He doesn't understand it in the same systemic way that Danbury and Charlotte understand, but he does understand oppression from a concept and feeling marginalized and like you have to fit into something. I think that's actually something that subconsciously attracts the two of them from the beginning. But in that conversation that we don't see before, George and Charlotte go to that ball, right, and I think that George was immediately like, I know that I am anxious in these circumstances, but I need to get over that to because I know what I can do. I know my privilege and I know how to use it. But a beautiful night and then when Alisia Keys came on, Oh, yeah, yeah, melted.

This is the genius of Jack Murphy the choreographer, because he taught me the etiquette and so once you know the language, then you can speak because the deeper the bow, the more respect do you know what I mean? And in that moment, George is completely honoring Charlotte and Lady Danbury, and I think it was really important. You know, again, it's just subtle writing from shonder, But George comes in, he's announced, and he comes in and he says Lord and Lady Danbury, thank you for having me. It's not you know, it's wonderful to be here, it's thank you. It's true for having me. I'm the king, that's right, and I'm thanking you for welcoming me into your home that technically I own, do you know? You know? But it's immediately going and paying reverence. Oh wow, you know you're in charge. George, I think completely understands what it is to be oppressed. He doesn't understand it in the same systemic way that Danbury and Charlotte understand, but he does understand oppression from a concept and feeling marginalized and like you have to fit into something. I think that's actually something that subconsciously attracts the two of them from the beginning. But in that conversation that we don't see before, George and Charlotte go to that ball, right, and I think that George was immediately like, I know that I am anxious in these circumstances, but I need to get over that to because I know what I can do. I know my privilege and I know how to use it. But a beautiful night and then when Alisia Keys came on, Oh, yeah, yeah, melted.

Is there any way that what you just said as a young King George is magnify that thinking in terms of what Queen Charlotte a Bridgeton story represents in the streaming landscape period, Is there some connectivity there?

Is there any way that what you just said as a young King George is magnify that thinking in terms of what Queen Charlotte a Bridgeton story represents in the streaming landscape period, Is there some connectivity there?

I think completely. I would actually go as far as to say, I think that's probably the only thing that is most applicable from story to real life. Representation is just like immensely powerful. There are going to be little girls that watch this show that go I can be that, and then it's our job to make those people real so that the people that watch it don't see a caricature that they see, they see positive human, natural, organic life behind that that representation.

I think completely. I would actually go as far as to say, I think that's probably the only thing that is most applicable from story to real life. Representation is just like immensely powerful. There are going to be little girls that watch this show that go I can be that, and then it's our job to make those people real so that the people that watch it don't see a caricature that they see, they see positive human, natural, organic life behind that that representation.

Something I would just wanted to go back to really quickly. You mentioned the conversation that we don't see, and you're talking about the pillow talk moment where Charlotte's like.

Something I would just wanted to go back to really quickly. You mentioned the conversation that we don't see, and you're talking about the pillow talk moment where Charlotte's like.

You are so good.

You are so good.

That is so impressive.

That is so impressive.

Thirty second scene.

Thirty second scene.

But I love that you say there's a conversation because I think you could take it either way. You could be like, Okay, Charlotte, Charlotte put it on them and it's going to get what she wants, or they had a conversation and have agreed to really be partners in this, which we see afterwards when young King George is and young Charlotte is talking after she's getting undressed.

But I love that you say there's a conversation because I think you could take it either way. You could be like, Okay, Charlotte, Charlotte put it on them and it's going to get what she wants, or they had a conversation and have agreed to really be partners in this, which we see afterwards when young King George is and young Charlotte is talking after she's getting undressed.

Right, yeah, exactly. Love that. Yeah, yeah, because I think if we if we didn't have that scene afterwards where he's going, you know, this is more change than I thought I could ever achieved in my lifetime, then I think that there would be a question, there'd be a conversation to be had. Is she doing this? Is she using the role of not in a malicious way, but is she using the role of George to positively change I don't think that she is. I think that she completely has the power to do that, but also George has the immense power and their understanding of life and of each other in love. Yeah, I think that's a dance that is mutual.

Right, yeah, exactly. Love that. Yeah, yeah, because I think if we if we didn't have that scene afterwards where he's going, you know, this is more change than I thought I could ever achieved in my lifetime, then I think that there would be a question, there'd be a conversation to be had. Is she doing this? Is she using the role of not in a malicious way, but is she using the role of George to positively change I don't think that she is. I think that she completely has the power to do that, but also George has the immense power and their understanding of life and of each other in love. Yeah, I think that's a dance that is mutual.

The dance.

The dance.

Yeah.

Yeah.

Yeah. So the scenes you have with the doctor are anything but funny, But were there moments behind the scenes that were full of laughter when it came to those How did you keep it light?

Yeah. So the scenes you have with the doctor are anything but funny, But were there moments behind the scenes that were full of laughter when it came to those How did you keep it light?

If you if you did it all, I didn't have that many funny moments on set. But what was great was because for me, like you know, I find it very hard to like snap in snap out, so I've got to like sort of stay in for me too of what's going on. But what was so great was because you know, Tom the director, Tom Erica has such a freaking wonderful ethos and vibe on set, and everyone is just you know, people were coming up to us that had been working and that you know, they were in the seventies and saying, this is the nicest set that you'll ever work on. These people are just phenomenal. So it was lovely on set. It wasn't necessarily like tons of laughter for me. Sometimes it was. I remember one time we were filming the scene where Charlotte is giving birth.

If you if you did it all, I didn't have that many funny moments on set. But what was great was because for me, like you know, I find it very hard to like snap in snap out, so I've got to like sort of stay in for me too of what's going on. But what was so great was because you know, Tom the director, Tom Erica has such a freaking wonderful ethos and vibe on set, and everyone is just you know, people were coming up to us that had been working and that you know, they were in the seventies and saying, this is the nicest set that you'll ever work on. These people are just phenomenal. So it was lovely on set. It wasn't necessarily like tons of laughter for me. Sometimes it was. I remember one time we were filming the scene where Charlotte is giving birth.

Oh yeah, I thought Brimsley was really funny in that scene.

Oh yeah, I thought Brimsley was really funny in that scene.

Yeah he is. He is so funny. Tom. I remember talking about golfing or something, and then for some reason, you know, when you're so tired, you don't really know what you're doing. And then I sort of came to and I was halfway through doing this mock golf swing in like my Tom Erica impression and American accent, and then I looked at him and I was like, I'm so sorry. I don't know, why have I just done that? Why have I done that? And he found But we had some great times. Right at the end of shooting me Sam who played Brimsley, Freddy who plays Reynolds on India, we rented an AIRBMB for two weeks rather than staying in a hotel, so just the four of us. Oh my god, that was so good. That was so lovely. And Freddy was so spooked. He because he got there first and it's in the middle of nowhere, maybe seventeenth century, really old, and he was like, guys, there's some really weird energy here, you know. And then I got in and he was like, did you guys feel that cold? He'd be like suddenly freezing, and then he'd see something, you know, whatever, and then we started to see stuff. And then at one point India comes screaming down the stairs, going, guys, I was just in my shower and all the lights went on and off and on and off and then just stayed off. She was panicking and Freddy was the worst. He was because he was so so scared, right and then and then one day he just comes down and he's so straight faced and he was like, guys, I've made the whole thing up, and it was me doing the lights and it was me opening the windows, and I was like, dude, what the hell, why would you?

Yeah he is. He is so funny. Tom. I remember talking about golfing or something, and then for some reason, you know, when you're so tired, you don't really know what you're doing. And then I sort of came to and I was halfway through doing this mock golf swing in like my Tom Erica impression and American accent, and then I looked at him and I was like, I'm so sorry. I don't know, why have I just done that? Why have I done that? And he found But we had some great times. Right at the end of shooting me Sam who played Brimsley, Freddy who plays Reynolds on India, we rented an AIRBMB for two weeks rather than staying in a hotel, so just the four of us. Oh my god, that was so good. That was so lovely. And Freddy was so spooked. He because he got there first and it's in the middle of nowhere, maybe seventeenth century, really old, and he was like, guys, there's some really weird energy here, you know. And then I got in and he was like, did you guys feel that cold? He'd be like suddenly freezing, and then he'd see something, you know, whatever, and then we started to see stuff. And then at one point India comes screaming down the stairs, going, guys, I was just in my shower and all the lights went on and off and on and off and then just stayed off. She was panicking and Freddy was the worst. He was because he was so so scared, right and then and then one day he just comes down and he's so straight faced and he was like, guys, I've made the whole thing up, and it was me doing the lights and it was me opening the windows, and I was like, dude, what the hell, why would you?

Yeah, that's crazy.

Yeah, that's crazy.

My theory is that he was actually just really scared and he wanted to make other people feel scared so that he.

My theory is that he was actually just really scared and he wanted to make other people feel scared so that he.

Have some fun, have some fun, keep it light, yeah, yeah, shake it off, yeah, because I mean, I mean, some of the scenes that you're in can be super heavy.

Have some fun, have some fun, keep it light, yeah, yeah, shake it off, yeah, because I mean, I mean, some of the scenes that you're in can be super heavy.

Yes, jeez.

Yes, jeez.

Do you have a favorite moment from episode four at all?

Do you have a favorite moment from episode four at all?

There's a lovely moment. I think it's Reynolds's moment. It's it's the moment where as a viewer, I went, Wow, this is the this is the power that this guy has. And it's the moment where I'm at the dinner table and I'm starting to crack and there are servants looking at me and I'm getting goosebumps thinking about it, and he just comes up and he just lays a hand on my shoulder and everything relaxes and he takes a breath, and then there's a change in the music. The music in that moment is genius. It hits as soon as George's hand hits the table and it just pans from Freddie's hand to his face and there's a swell in the music and you go, oh my god, this man is carrying everything. The reason that the King is the thing is because of this man. It's a good color on this wine, Realise, I shall let the kitchen know. You're my So this is the genius of Shondre right. So like she'd taken all the dialogue out and she just described the whole thing, and then right at the end she just wrote the line, good color on this wine, Reynolds, I should let the kitchen know. You might just think it sounds like nothing, but it's just genius, right, yes, because here's these two men that are crumbling and they are surviving by the skin of their teeth, and yet again they've won the battle, but the war is very far from over. And we're not going to speak about this. But I want to tell you that I love you and I can't do anything without you, but I can't say anything. So it's good color on this wine.

There's a lovely moment. I think it's Reynolds's moment. It's it's the moment where as a viewer, I went, Wow, this is the this is the power that this guy has. And it's the moment where I'm at the dinner table and I'm starting to crack and there are servants looking at me and I'm getting goosebumps thinking about it, and he just comes up and he just lays a hand on my shoulder and everything relaxes and he takes a breath, and then there's a change in the music. The music in that moment is genius. It hits as soon as George's hand hits the table and it just pans from Freddie's hand to his face and there's a swell in the music and you go, oh my god, this man is carrying everything. The reason that the King is the thing is because of this man. It's a good color on this wine, Realise, I shall let the kitchen know. You're my So this is the genius of Shondre right. So like she'd taken all the dialogue out and she just described the whole thing, and then right at the end she just wrote the line, good color on this wine, Reynolds, I should let the kitchen know. You might just think it sounds like nothing, but it's just genius, right, yes, because here's these two men that are crumbling and they are surviving by the skin of their teeth, and yet again they've won the battle, but the war is very far from over. And we're not going to speak about this. But I want to tell you that I love you and I can't do anything without you, but I can't say anything. So it's good color on this wine.

Oh my goodness, Corey, Yes, yeah, I love.

Oh my goodness, Corey, Yes, yeah, I love.

Actually mine and Freddy's first scene together really yeah, So that was my That was my third day of shooting, and that was Freddie's first day of shooting, So that moment I think is my favorite.

Actually mine and Freddy's first scene together really yeah, So that was my That was my third day of shooting, and that was Freddie's first day of shooting, So that moment I think is my favorite.

You know, I gotta say, though, you all being able to read between those lines is I have to commend you. I mean, it just made that pop because you got it, you understood the assignment.

You know, I gotta say, though, you all being able to read between those lines is I have to commend you. I mean, it just made that pop because you got it, you understood the assignment.

As they say, well, that's very kind, and it's a testament to Shamba's writing, Yeah, and to Tom's understanding of how to express an idea and how to communicate that to actors. And I think that's the genius of Tom's you know, because he has this buzzzt of you, the whole narrative. But also he's a fantastic actor in his own right, so he can talk to you as actors. He's just genius. And so that I think that's a testament to the team.

As they say, well, that's very kind, and it's a testament to Shamba's writing, Yeah, and to Tom's understanding of how to express an idea and how to communicate that to actors. And I think that's the genius of Tom's you know, because he has this buzzzt of you, the whole narrative. But also he's a fantastic actor in his own right, so he can talk to you as actors. He's just genius. And so that I think that's a testament to the team.

Yeah, is understanding those moments absolutely. There's also this moment in episode four and you're facing Michelle Fairley as Princess Augusta. She has just told you that your bride is on the way, and you collapse into her arms.

Yeah, is understanding those moments absolutely. There's also this moment in episode four and you're facing Michelle Fairley as Princess Augusta. She has just told you that your bride is on the way, and you collapse into her arms.

I was really really nervous for that scene because he has this argument with his mother and constantly and says, I don't think that I do need to manif the goold of the country and to rule George. Fear of intimacy and his abandonment trauma triggers this panic because suddenly there's this woman coming. Then he spirals and he starts to become less and less lucive, and he ends up on our heap in the floor. So you've got like an enormous beginning to end there. You know that you have to wanner as an actor. You know, you want to honor the truth of that anger at the beginning, and there's quite a bit of wits in his argument, and then we end with him crumpled on the floor shaking. So it's like, you know, I remember going, God, I don't know how to I've got a snap halfway through this scene, and I don't know how to do that. And Tom said, this brilliant thing. He comes up to me, and this is the genius of Tom again. He says, what about if you're starting to lose it? But there is a part of you that can hear yourself and knows that it doesn't make sense, and knows that there's a pep there's a line of very important people in front of you, And then is trying to overcome it by talking more and making sense of it to them to go, no, no, no, I am talking about what I'm meant to be talking about, and I do know what I'm saying. But in the doing of that, he hears himself again and it's just getting less and less sensical. And this is the brilliant thing, you know, because like acting is like, yeah, there's intention, but that has to be obstacle. And yeah, the obstacle there is that these things are coming out, but the need is to convince them that you are strong, that I'm not losing it, you know, And there's something so tragic about that. And it's just a genius note in the moment that he goes, oh, let's try this, and that's the take that we used.

I was really really nervous for that scene because he has this argument with his mother and constantly and says, I don't think that I do need to manif the goold of the country and to rule George. Fear of intimacy and his abandonment trauma triggers this panic because suddenly there's this woman coming. Then he spirals and he starts to become less and less lucive, and he ends up on our heap in the floor. So you've got like an enormous beginning to end there. You know that you have to wanner as an actor. You know, you want to honor the truth of that anger at the beginning, and there's quite a bit of wits in his argument, and then we end with him crumpled on the floor shaking. So it's like, you know, I remember going, God, I don't know how to I've got a snap halfway through this scene, and I don't know how to do that. And Tom said, this brilliant thing. He comes up to me, and this is the genius of Tom again. He says, what about if you're starting to lose it? But there is a part of you that can hear yourself and knows that it doesn't make sense, and knows that there's a pep there's a line of very important people in front of you, And then is trying to overcome it by talking more and making sense of it to them to go, no, no, no, I am talking about what I'm meant to be talking about, and I do know what I'm saying. But in the doing of that, he hears himself again and it's just getting less and less sensical. And this is the brilliant thing, you know, because like acting is like, yeah, there's intention, but that has to be obstacle. And yeah, the obstacle there is that these things are coming out, but the need is to convince them that you are strong, that I'm not losing it, you know, And there's something so tragic about that. And it's just a genius note in the moment that he goes, oh, let's try this, and that's the take that we used.

Wow, as you described that, it reminds me of how delicate mental health is and the thinking of someone who is ailing, just like that, of all of the things that the show talks about mental health, I think in a way that's not head on or making a decision or choice or opinion about it, but it is a part of the fabric of what is happening in this family and this life.

Wow, as you described that, it reminds me of how delicate mental health is and the thinking of someone who is ailing, just like that, of all of the things that the show talks about mental health, I think in a way that's not head on or making a decision or choice or opinion about it, but it is a part of the fabric of what is happening in this family and this life.

That's life, right, Yeah, exactly. I think more than anything, George, and his story isn't necessarily an exploration of mental health, but it is an exploration of a man's relationship to his own shame and to his own self hatred as a result of his affliction. Oh, you know, it's the moments where he comes out and has realized that he's lost himself and lost his dignity, or believes that he's lost his dignity. Those, for me are the most tragic moments, you know, because there's a man who is conscious and who is lucid, and who has believed that he has exposed a fundamentally unlovable part of himself.

That's life, right, Yeah, exactly. I think more than anything, George, and his story isn't necessarily an exploration of mental health, but it is an exploration of a man's relationship to his own shame and to his own self hatred as a result of his affliction. Oh, you know, it's the moments where he comes out and has realized that he's lost himself and lost his dignity, or believes that he's lost his dignity. Those, for me are the most tragic moments, you know, because there's a man who is conscious and who is lucid, and who has believed that he has exposed a fundamentally unlovable part of himself.

Definitely thought it was like a classic impostor syndrome moment when you are in uniform uniform right before you give the speech and your hand is shaking. I'm like, wow, he's really he's filling that suit out with impostor syndrome. And then you get into the back of the carriage and you're all curled up. I just remembered that. Oh my goodness.

Definitely thought it was like a classic impostor syndrome moment when you are in uniform uniform right before you give the speech and your hand is shaking. I'm like, wow, he's really he's filling that suit out with impostor syndrome. And then you get into the back of the carriage and you're all curled up. I just remembered that. Oh my goodness.

Yeah.

Yeah.

Yeah, So in the moment where you're in the carriage and you're curling under, cowering away from the task at hand, what were you tapping into.

Yeah, So in the moment where you're in the carriage and you're curling under, cowering away from the task at hand, what were you tapping into.

That moment in the carriage. That was the last take I shot, oh of the entire project.

That moment in the carriage. That was the last take I shot, oh of the entire project.

The entire, entire, entire, entire, panem entire thing.

The entire, entire, entire, entire, panem entire thing.

That was that shot of me collapsing in the carriage, not the one outside from when Reynolds sees George, but the one inside as it's as the carriage is moving. That was shot on an east Enders, which is a soap opera from from London, on an east Enders sound stage studio on the outskirts of London, on a green screen, and that was the That was the very last I think we maybe shot two three takes of it. It was very quick, and to be honest, I personally I don't think it's very healthy to use your own life directly, but in that moment it was very hard not to because most of what I was feeling was what the hell am I going to do after this? I don't want to say goodbye to this character. I don't want to say goodbye to working with these people. And I was feeling very emotional at the time anyway. So when something is so overwhelming like that and it fits so perfectly with what you're having to film on the day, is I think it's a bit of a cheat, and you know, it's not something that I'm proud of, but I did. I just completely allowed that to take over.

That was that shot of me collapsing in the carriage, not the one outside from when Reynolds sees George, but the one inside as it's as the carriage is moving. That was shot on an east Enders, which is a soap opera from from London, on an east Enders sound stage studio on the outskirts of London, on a green screen, and that was the That was the very last I think we maybe shot two three takes of it. It was very quick, and to be honest, I personally I don't think it's very healthy to use your own life directly, but in that moment it was very hard not to because most of what I was feeling was what the hell am I going to do after this? I don't want to say goodbye to this character. I don't want to say goodbye to working with these people. And I was feeling very emotional at the time anyway. So when something is so overwhelming like that and it fits so perfectly with what you're having to film on the day, is I think it's a bit of a cheat, and you know, it's not something that I'm proud of, but I did. I just completely allowed that to take over.

So after that scene, did you step out of the carriage and then what did you see?

So after that scene, did you step out of the carriage and then what did you see?

The entire room is just black walls, black floor, black ceiling, very very high roof, and yes, there's just this carriage and then like a three walls of green screen and Leo brilliant cameraman who was crouched down getting some footage with me, and India actually was there. She came to my last day. She wasn't shooting, she'd already wrapped the entire thing. Tom comes up to me and gives me a very big heart in my ugly For eight months, basically every day I tapped into that Matt right, and suddenly that was it that they was very very other worldly.

The entire room is just black walls, black floor, black ceiling, very very high roof, and yes, there's just this carriage and then like a three walls of green screen and Leo brilliant cameraman who was crouched down getting some footage with me, and India actually was there. She came to my last day. She wasn't shooting, she'd already wrapped the entire thing. Tom comes up to me and gives me a very big heart in my ugly For eight months, basically every day I tapped into that Matt right, and suddenly that was it that they was very very other worldly.

Yeah, Corey mill Christ, it has been such a pleasure to spend this time with you.

Yeah, Corey mill Christ, it has been such a pleasure to spend this time with you.

It has been Thank you so much. Yeah, yeah you are, Yeah, you're very very good at it, and those questions were yeah, so.

It has been Thank you so much. Yeah, yeah you are, Yeah, you're very very good at it, and those questions were yeah, so.

Thank you, thank you so much.

Thank you, thank you so much.

Yeah, it's absolute pleasure.

Yeah, it's absolute pleasure.

Don't go anywhere. There's more from behind the scenes of Queen Charlotte of Bridgeton Story right after this. With her impeccable flair for language, Michelle Fairly has earned numerous accolades and the adoration of fans worldwide. She has graced both stage and screen with her unforgettable performances. Is they live in our minds? Rent Free? Do they not? And now, as Princess Augusta and Queen Charlotte of Bridgerton Story, She's added yet another unforgettable role to her already impressive chest of characters. She's proven time and again that she's a force to be reckoned with Michelle Fairley. Welcome to Queen Charlotte the Official podcast. How are you doing today?

Don't go anywhere. There's more from behind the scenes of Queen Charlotte of Bridgeton Story right after this. With her impeccable flair for language, Michelle Fairly has earned numerous accolades and the adoration of fans worldwide. She has graced both stage and screen with her unforgettable performances. Is they live in our minds? Rent Free? Do they not? And now, as Princess Augusta and Queen Charlotte of Bridgerton Story, She's added yet another unforgettable role to her already impressive chest of characters. She's proven time and again that she's a force to be reckoned with Michelle Fairley. Welcome to Queen Charlotte the Official podcast. How are you doing today?

Hi, Gabriel, I'm very well, a little bit nervous, but.

Hi, Gabriel, I'm very well, a little bit nervous, but.

Yeah, oh yes, yeah, we're gonna jump right into it. We have to talk about Princess Augusta and the young King George, and there's just so much that happens in that episode. And I had an opportunity to speak with Tom Berica, and what I told him was we already fall in love with Princess Augusta as the person that is maybe not the one that you would first think of to fall in love with but we get to meet Mama Princess Augusta in episode four. I was wondering if you had any life experiences or perspectives on Princess Augusta's role as someone who is losing power with her adult child, losing power in the grand scheme of this new union. Could you tell us a little bit about your preparation and how you fuel that role with your own life.

Yeah, oh yes, yeah, we're gonna jump right into it. We have to talk about Princess Augusta and the young King George, and there's just so much that happens in that episode. And I had an opportunity to speak with Tom Berica, and what I told him was we already fall in love with Princess Augusta as the person that is maybe not the one that you would first think of to fall in love with but we get to meet Mama Princess Augusta in episode four. I was wondering if you had any life experiences or perspectives on Princess Augusta's role as someone who is losing power with her adult child, losing power in the grand scheme of this new union. Could you tell us a little bit about your preparation and how you fuel that role with your own life.

I think, you know, as one gets older, and particularly in this business, you know, we've all missed opportunities in our lives that we've wanted, that we would have wanted. So you just have to get on with it, and you lose things, and you just have to get over that grief. And I don't think you ever forget the grief. It's you know, it's a form of death. Really, you learn to live with it again. You know, you it does change you, but you keep going. You have to keep going. And I think for Augusta, she did not have the luxury of giving up. She had to fight for her position within the court. She had to protect her children so that they would ultimately be royal. She ate Humble Pie with her father in law to achieve King George the third position.

I think, you know, as one gets older, and particularly in this business, you know, we've all missed opportunities in our lives that we've wanted, that we would have wanted. So you just have to get on with it, and you lose things, and you just have to get over that grief. And I don't think you ever forget the grief. It's you know, it's a form of death. Really, you learn to live with it again. You know, you it does change you, but you keep going. You have to keep going. And I think for Augusta, she did not have the luxury of giving up. She had to fight for her position within the court. She had to protect her children so that they would ultimately be royal. She ate Humble Pie with her father in law to achieve King George the third position.

When Princess Augusta reveals her own turmoil in her own journey to young Lady Agatha Danbury, it gave me chills. It really gave me chills, And just your delivery of it was so I felt exactly what you were saying, that everybody experiences some level of loss and grief and you don't have to leave the exact same circumstances to understand that feeling. It just transcends.

When Princess Augusta reveals her own turmoil in her own journey to young Lady Agatha Danbury, it gave me chills. It really gave me chills, And just your delivery of it was so I felt exactly what you were saying, that everybody experiences some level of loss and grief and you don't have to leave the exact same circumstances to understand that feeling. It just transcends.

That seems brilliant. I love that you get to see another side of her, and you know the fact is that, you know, we just think that she's this hard nosed, driven woman, but actually she has created a persona around her. She has a web or an armor around her so that you actually can't get in there. But that doesn't mean that she doesn't feel things and that she doesn't have empathy and she doesn't understand what's going on in front of her. You know, she can read these people like they think they can read her, because she's been in that position. She's been in the position of vulnerability. You know, she had to secure not only her position, but her children's position and the rightful position as heirs to the throne. So she had to plot and scheme to keep her position there and basically, you know, befriend a man whom her husband detested and there was incredibly acrimonious relationship.

That seems brilliant. I love that you get to see another side of her, and you know the fact is that, you know, we just think that she's this hard nosed, driven woman, but actually she has created a persona around her. She has a web or an armor around her so that you actually can't get in there. But that doesn't mean that she doesn't feel things and that she doesn't have empathy and she doesn't understand what's going on in front of her. You know, she can read these people like they think they can read her, because she's been in that position. She's been in the position of vulnerability. You know, she had to secure not only her position, but her children's position and the rightful position as heirs to the throne. So she had to plot and scheme to keep her position there and basically, you know, befriend a man whom her husband detested and there was incredibly acrimonious relationship.

Wow.

Wow.

And so when Agatha Danbury comes to her crying her eyes, I'm feeling sorry for herself. I think, you know, Augusta goes. Okay, a life lesson for you, young lady. Pah Brandy, I have it shipped in from Germany. Now, drink and cease from crying this instant.

And so when Agatha Danbury comes to her crying her eyes, I'm feeling sorry for herself. I think, you know, Augusta goes. Okay, a life lesson for you, young lady. Pah Brandy, I have it shipped in from Germany. Now, drink and cease from crying this instant.

Please, I am sorry.

Please, I am sorry.

I no, I do not want to know your burdens or hear what problems plague your life.

I no, I do not want to know your burdens or hear what problems plague your life.

No do I care, Michelle. That is one of my absolute favorite moments in the entire series when you pull out the pear Brandy. Oh my goodness. I had to press pause and walk around because it was just so good. And the thing is, I kept asking myself after about seven times watching it, who is there for Agatha? Who is teaching Agatha how to navigate this society and her role as a woman. And it's Princess Augusta. I just literally just now realized the answer is it's Princess Augusta. She's there.

No do I care, Michelle. That is one of my absolute favorite moments in the entire series when you pull out the pear Brandy. Oh my goodness. I had to press pause and walk around because it was just so good. And the thing is, I kept asking myself after about seven times watching it, who is there for Agatha? Who is teaching Agatha how to navigate this society and her role as a woman. And it's Princess Augusta. I just literally just now realized the answer is it's Princess Augusta. She's there.

There are different generations for a start, that come from different countries. Their life experiences are completely different. But you know, they are still women and they're struggling, and they have struggled, and it's about how you're going to cope with the continual struggles that life is going to throw at it, do you know what I mean? You can't just cry all the time. You've just got to sort of like have a backbone, get on with it, take the blow and learn from it. But also as well, don't show your weakness. Don't show your weakness, particularly in court.

There are different generations for a start, that come from different countries. Their life experiences are completely different. But you know, they are still women and they're struggling, and they have struggled, and it's about how you're going to cope with the continual struggles that life is going to throw at it, do you know what I mean? You can't just cry all the time. You've just got to sort of like have a backbone, get on with it, take the blow and learn from it. But also as well, don't show your weakness. Don't show your weakness, particularly in court.

Yeah. I really hope that anyone who watched that scene is able to recognize someone in their life who is that a Princess Augusta for them?

Yeah. I really hope that anyone who watched that scene is able to recognize someone in their life who is that a Princess Augusta for them?

Yeah?

Yeah?

Absolutely. I mean it's like being cruel to be kind, you know, It's as simple as that, basically, do you know what I mean? And you know Augusta, you know, she has strict rules, but she's not a cruel person. She isn't cruel. She she genuinely has empathy for women. But she's a tough task master because she's had it tough. And I think that's just the way she is, that's the form that she has molded into through her own life experience. But she's an intelligent woman. She's you know, navigated her path pretty well so far. And I don't think she ever thought of herself as a as a sort of a particular sort of guide, because it doesn't happen with Charlotte. And it's two different types of thinker clashing threads, you know, and it should be this way. No, it's definitely this way because that's the way it's always been and that's it. But I'm the young one, I'm the new one. I want to change things. And you see both sides of the argument. But I think for her there is regret because she wasn't able to change it and have it her way, you know, but she had to toe the line. But she did that for her children.

Absolutely. I mean it's like being cruel to be kind, you know, It's as simple as that, basically, do you know what I mean? And you know Augusta, you know, she has strict rules, but she's not a cruel person. She isn't cruel. She she genuinely has empathy for women. But she's a tough task master because she's had it tough. And I think that's just the way she is, that's the form that she has molded into through her own life experience. But she's an intelligent woman. She's you know, navigated her path pretty well so far. And I don't think she ever thought of herself as a as a sort of a particular sort of guide, because it doesn't happen with Charlotte. And it's two different types of thinker clashing threads, you know, and it should be this way. No, it's definitely this way because that's the way it's always been and that's it. But I'm the young one, I'm the new one. I want to change things. And you see both sides of the argument. But I think for her there is regret because she wasn't able to change it and have it her way, you know, but she had to toe the line. But she did that for her children.

Yes, because of your illustrious career, I'm curious if you had a Princess Augusta or a Pear Brandy moment.

Yes, because of your illustrious career, I'm curious if you had a Princess Augusta or a Pear Brandy moment.

Oh I've had so many?

Oh I've had so many?

Oh got yeah.

Oh got yeah.

I mean we all have warbble lefs, you know what I mean, some of us more than others and some. I mean that's part of every job you do. You have a wobble you know, it's like, oh my god, how did I get here. What am I doing here? I'm an imposter? You know, I'm to get fired. You know, that's it. He constantly have that dialogue.

I mean we all have warbble lefs, you know what I mean, some of us more than others and some. I mean that's part of every job you do. You have a wobble you know, it's like, oh my god, how did I get here. What am I doing here? I'm an imposter? You know, I'm to get fired. You know, that's it. He constantly have that dialogue.

Is there a story you're willing to share with us about a pair brandy moment?

Is there a story you're willing to share with us about a pair brandy moment?

Oh god?

Oh god?

Oh well, I personally I don't drink brand, I mean, oh god, yeah, I mean there's so many. I did a play years ago. The brilliant Harold Pinter directed it, and it was and and I was terrified. Absolutely, it's a two hander, and I was absolutely terrified. Harold had a fridge in the rehearsal room, so he would go and open. There always be some lovely wine in there. And I was too terrified, didn't even have a glass of wine. But Harold Pinter got me through it, as been the brilliant Dennis Lawson as well, so you know, without them actually knowing it. But that's just fear of the unknown. And that's what I mean about everybody having a warble on every job that they do.

Oh well, I personally I don't drink brand, I mean, oh god, yeah, I mean there's so many. I did a play years ago. The brilliant Harold Pinter directed it, and it was and and I was terrified. Absolutely, it's a two hander, and I was absolutely terrified. Harold had a fridge in the rehearsal room, so he would go and open. There always be some lovely wine in there. And I was too terrified, didn't even have a glass of wine. But Harold Pinter got me through it, as been the brilliant Dennis Lawson as well, so you know, without them actually knowing it. But that's just fear of the unknown. And that's what I mean about everybody having a warble on every job that they do.

Well, I know I do.

Well, I know I do.

And then you realize just how lucky you are do you even have the job, and you should be so bloody grateful.

And then you realize just how lucky you are do you even have the job, and you should be so bloody grateful.

That's a really that's a great story, Michelle. I was wondering if you could help me understand a little bit about the Great Experiment. I feel like I'm unable to grasp why Princess Augusta cares so much. I mean, yes, she wants to ensure her line, but why does she care so much that these two so societies become the ton What is in it for her?

That's a really that's a great story, Michelle. I was wondering if you could help me understand a little bit about the Great Experiment. I feel like I'm unable to grasp why Princess Augusta cares so much. I mean, yes, she wants to ensure her line, but why does she care so much that these two so societies become the ton What is in it for her?

My taking of it, the Great Experiment was to show that they are an open society. I mean, it's a very arrogance of them, you know, but I know that's a tongue in cheek from a Shanders, you know, considering that that is an experiment. The great experiment is the marriage? You know, is the marriage going to work? You know, this has to work, This has to work for the line to you know, to continue.

My taking of it, the Great Experiment was to show that they are an open society. I mean, it's a very arrogance of them, you know, but I know that's a tongue in cheek from a Shanders, you know, considering that that is an experiment. The great experiment is the marriage? You know, is the marriage going to work? You know, this has to work, This has to work for the line to you know, to continue.

Maybe that's like the magic of it. Because I was always watching your performance like what is this woman up to? Why does she care? And yeah, you you absolutely kept us super curious in wanting to get into your head all the way to the end. The moment that you walk up to young Queen Charlotte played by India in the final episode and you kind of like pass on the torch mm hm, yes, yes, yes, I felt like may. Okay, maybe maybe she feels like her work is done, and maybe she is just this this I don't I don't know. I can't put my finger on it, but I think that is what makes me a little obsessive about Princess Augusta.

Maybe that's like the magic of it. Because I was always watching your performance like what is this woman up to? Why does she care? And yeah, you you absolutely kept us super curious in wanting to get into your head all the way to the end. The moment that you walk up to young Queen Charlotte played by India in the final episode and you kind of like pass on the torch mm hm, yes, yes, yes, I felt like may. Okay, maybe maybe she feels like her work is done, and maybe she is just this this I don't I don't know. I can't put my finger on it, but I think that is what makes me a little obsessive about Princess Augusta.

From my point of view, that was the moment when she's finally accepted Charlotte, I think, as you know, as an equal in terms of what she can do, you know, because I think Augusta's main love is her son is George, and trying to protect him throughout his entire life, and being mistrustful of Charlotte in the first place, and not allowing her the knowledge of George's Millard, and so seeing how Charlotte has developed with her and her acceptance of it, and not only the acceptance of it, but in terms of dealing with it, and and just watching this these two young people fall in love, have mutual respect for each other, and treat each other with respect in a way that Augusta hadn't experienced. So that moment basically a thank you to Charlotte.

From my point of view, that was the moment when she's finally accepted Charlotte, I think, as you know, as an equal in terms of what she can do, you know, because I think Augusta's main love is her son is George, and trying to protect him throughout his entire life, and being mistrustful of Charlotte in the first place, and not allowing her the knowledge of George's Millard, and so seeing how Charlotte has developed with her and her acceptance of it, and not only the acceptance of it, but in terms of dealing with it, and and just watching this these two young people fall in love, have mutual respect for each other, and treat each other with respect in a way that Augusta hadn't experienced. So that moment basically a thank you to Charlotte.

Wow, thank you wow. Okay. I also have a thing for how stately and large you can still remain within these huge spaces. Maybe it's your costume, maybe it's the timber of your voice, but you just fill the space. And I'm wondering if there was anything about the costume design that influenced your physicality. I saw you as almost like a chess piece, like you are moving a lot while you were making all of these like chess moves with your mind.

Wow, thank you wow. Okay. I also have a thing for how stately and large you can still remain within these huge spaces. Maybe it's your costume, maybe it's the timber of your voice, but you just fill the space. And I'm wondering if there was anything about the costume design that influenced your physicality. I saw you as almost like a chess piece, like you are moving a lot while you were making all of these like chess moves with your mind.

That's really kind.

That's really kind.

Thank you.

Thank you.

I think the costumes are extraordinary, and I think then Polo and her team were just it's incredible in what they achieved and how they constantly, you know, had delight and joy in creating costumes for Augusta because she's the elder states person there.

I think the costumes are extraordinary, and I think then Polo and her team were just it's incredible in what they achieved and how they constantly, you know, had delight and joy in creating costumes for Augusta because she's the elder states person there.

Do you know what I mean?

Do you know what I mean?

So she can have apart from the bridgeton Queen, not young Charlotte, because she she's the head woman. So there is definitely a contrast between the younger characters costumes and Augustus costumes because she's old school and yeah, so there was more pomp and ceremony there and more chance to be sort of ott as well. And it's also a chance for her to show off of her position and you know, you know, and she's to be respected. But I think as well, is that what lovely thing of sitting in state, you know, in her home.

So she can have apart from the bridgeton Queen, not young Charlotte, because she she's the head woman. So there is definitely a contrast between the younger characters costumes and Augustus costumes because she's old school and yeah, so there was more pomp and ceremony there and more chance to be sort of ott as well. And it's also a chance for her to show off of her position and you know, you know, and she's to be respected. But I think as well, is that what lovely thing of sitting in state, you know, in her home.

I was wondering, are you wearing a wig?

I was wondering, are you wearing a wig?

Me?

Me?

Yes, are you wearing?

Yes, are you wearing?

No? Oh? No, sorry?

No? Oh? No, sorry?

In the production Michelle, Yes, i am, actually I am. And it's the first time ever in my career I've worn a wig. I've had, yeah, I've had hair pieces and things like that, but never a full on wig. And when we were doing the camera tests, one was the one that I ended up having all the time, and the other was a white one, which I personally loved, but I think they the decision was made, no, you're not going to go with that one. We'll keep her with the dark hair. And they used to change it ever so slightly depending on the they sit. You you know, if they were going to a ball, or if it was just tea, or if it was just you know, a normal meeting, or if it was the wedding. You know, there'd be lots of little intripate. Once it was on, it was stayed in place. It was made for my head as well, and it was so comfortable and the real hair as well. So I was very very privileged position to have a wig made and also you know, to have the amazing hair and makeup team to sort of whip it into shape every time I was wearing it.