Tom Verica, director and Head of Creative Production at Shondaland returns as host Gabrielle Collins and Charithra Chandran (Edwina Sharma) unpack the wild ride of Episode 6, “The Choice.” Charithra describes Edwina’s character growth as she finds her voice, plus Tom explores behind-the-scenes extras from the set.
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Bridgerton The Official Podcast is a partnership between Shondaland Audio and iHeartRadio. Welcome to Bridgerton the Official Podcast, your exclusive peak behind the curtain of Shondaland's Bridgerton series. Before we dive into the conversation this week, here's a brief freecap of episode two, O six, The Choice. It's time for the wedding despite everything, but as Aduena notices a look between Anthony and Kate, she calls it off running away. Queen Charlotte pressures the families to continue with the wedding, and Duena finally tells Kate and Anthony how she feels about their deception. This week, host Gabrielle Collins is joined by Tom Verica, director and head of creative Production at Shondaland, and Sharithra Shandron, who plays Edwina Sharma. Tom Verica, thank you for these episodes. Thank you, Gabby. Great talking to weekend, jumping back in to season two, jumping back into the director's chair. There is so much story in season two that it's amazing you all packed it into the eight episodes. I mean, there's a lot of human stuff happening that's just packed in connection, romance, chemistry, all that, yes, love unfulfilled and you know, being a widow and being alone and all you have is yourself, all that just comes kind of like raining down on everything. I felt like that was really different from season one. Absolutely at the beginning of twenty twenty one, it was about keeping it light and whimsical and glittery, and we're in the midst of COVID and all this stuff. We need to provide an escape to people. And suddenly with this for season two, there's like cold water thrown on it. It's still beautiful, it's still amazing, but there's just this realness to it. Well, and I think there's I think there's layers. As you kind of learn and meet meet a group of characters, you identify with them, you enjoy the ride, and then as you slowly peel back those layers without maybe getting too heavy, you get a peek into If we succeed, they're not too dimensional. Even if a character serves a purpose as a catalyst for other characters, you want to be able to introduce and have moments where you see a slight peek or window into their past or what makes them tick or what resonates in a way that may not have been obvious on the surface. And that's that's really kind of thrilling as a director to be able to navigate and build kind of that foundation and that kind of creates this little explosion that has a ripple effect. So it's really how the discovery about these characters and these actors who are walking into a situation of what everyone knows now to be Bridgetin and finding their place. Oh my goodness. Well, Sharifa Chandran, welcome to Bridgeton the official podcast. Thank you for having me particularly for this episode. And Weena drives it right, you know, you see like a true growth that feels quite authentic. Hopefully I felt authenticity. That's why I was wondering, like, what did you pull from from your own experiences to pour into Edwina, into your performances with Simon Ashley. For me, the hardest episodes to film are one and two, because Edwina becomes more like what true threat is like in real life. Oh my god, maybe that comes across as like bost things, it's not it. She just become the more outspoken, right, a lot more full right, And so in many ways I could bring a lot more of myself to her progression. It was episode one and two where I was like, oh my god, this is a girl that is so different from me I probably would not be friends with if we met in real life. How do I give her the dignity and the respect that she deserves. How do I not make her saccharin? How do I not make her just overly sweet in one tone and give her news? So yeah, episode one and two were for sure like the hardest for me to kind of assimilate to. And then working with Simone, Oh my god, I mean it helps that, like, you know, we're both fummle, we're both from the same parts of India. Families are also both academic. We're the two actors or the creatives in our families. And I think that, you know, we really connected over those similarities. And yeah, it was It was a pleasure. I mean, I never ever thought that I would be in a pera jama never mind being in a periadrama with two other brown women, Like that's incredible. That was one of director Alex Palaize, like one of his greatest memories, he said, was looking into that carriage as you are approaching Aubrey Hall and just being like, what tell me a little bit more about that. Oh my god. It was again really emotional working with Alex because he is also sum He's also from the same part of India that Simone and I are from, which like kind of crazy, what a coincidence. And you know, there's a sense of like, I know that Alex has stake in the game too. I mean, everyone is obviously a one hundred percent committed to the show, but it's like you have even more steak in the game when you feel like, oh my god, that looks like my mom, that looks like my niece or whatever. And so it was just such an honor to work with Alex. I have to say, what a privilege that fifty percent of my directors on the show are people of color. And I think actually one of the really wonderful things about Bridgeton is for the most part working with Smone, Shelley Adua Golder so really normal. Like, of course, when I look back on it, I'm like, oh my god, what a privilege, What a privilege to work with so many wonderful women of color, But at that moment, we were all just like, yeah, we're human. Beings and we're here. I adore Adua and oh and I'm just like, oh, yes, a privilege. That's so awesome that you got to work with her. Yeah, that is so great. Behind the scenes, like the whole cast, we are genuinely like a family. Like I think it's easy to be really cynical and be like, oh my god, are they just pretending? Is it an act? But no, the whole cart we genuinely um like get a lot, We genuinely love each other. There's so much affection. Like if I were to call up Adu were and be like, A, I need your help with this, um, can you give me advice? Or if I was to call up Golder and go, goll then what do you think about this? Is this a good idea for my career or whatever? Like if I have an audition, Golder will come over to help me with it, do you know what I mean? Like Shelley is like one of my comfort people. I spoke to her this morning. Any problems I have, I'm on the friend of Shelley. So these relationships are really real, And especially with the bridget turns when they call cuts and behind the scenes, they're like that they're just like that. They're genuinely like siblings and it's oh, it's heartwell making sorry, hold on't It's okay, it's Golda messaging me queen. She is, I mean, Golder is really like I don't know, I still see her as the queen. I'm like, oh, my friend said the code with Golda. I think she is so gorgeous and she just completely fills these grand spaces. The opening scene when she's getting all the preparation and all the wedding things together and choosing very small details, She's standing by this staircase and it looks like um, black ballisters they maybe iron I don't know if that's historically accurate, but like iron ballisters or something. I just thought it was beautiful how you placed her in these grand spaces and she just filled it. You're absolutely right. Golda the actor is just in such command of her character and her presence. She just exudes and she walks into her room. She could be the smallest thing in camera in a big thing, but she takes up all that space and she owns it. And it's I just love watching her work. Every take. She just you know, she might make subtle little changes to explore certain things, but she owns every bit of it, and it's just such a pleasure working with her. Perhaps you might put forth false hums so that when whistle Down prints them, we will be able to trace the origins and Jamie's idea. Man, Yes, that is why I thought of it. The author thinks she has bested us all with her illicit spying and reporting. Well, no one has sharp eyes on the tongue than I. And how she can sway between being this, you know, very detail oriented person and then gets some snuff at the same time. Yeah, and that wasn't That wasn't scripted. That was also my uh. I added that as a little button too to the end of that, because for last season, I know it's it's you know, it was it was well known that Queen Charlotte liked her snuff historically, so it was written in the script last season that I had. It was one of the scenes that I had that she had that, and I just loved that. You know that she's just constantly finding ways to entertain herself and to keep herself in that thing kind of the culmination of all this preparation, and she's picking all these things and she just wants to end on that high. Yeah, right, and she took it and ran with it. And she again that was I threw that at her kind of in rehearsal, and she loved it, and she just she embodied it and made it and you know, just commanded it. I thought that was so good. I was like, was this in the script? Must ask Tom? That's so funny. It was so good. I remember last time you said I think she like needed assistance for some of her gowns and her head dresses. Did the way she wore at the weddings looked very large? Yes, did it take five people to seat her? And it is a it is an entire team to be able to do that, not only with her costumes, but with her hair as well. We did discover something that Gold was very thankful, and I part of me was like, I'm sorry we didn't think of this sooner, but I think there was so much happening season one that there was you know, we were all just kind of flying by the seat of her pants, just trying to discover what world we're in. But I noticed we had full day of scenes with her with these wigs on, and we wait to put her wig on she's requested, and we do that till last minute, so she can do rehearsal and everything without it, because it's quite a bit of weight on her. So I had our grip department rig something I said, and I kind of explained it. Is there anything you put in there where she could sit down and basically rest and take the take the pressure and wait off her head that she can maybe just slide into. And they built this brace that she so when she's actually filming, even though she'll still wait between takes or between scenes, she doesn't have to because we can't take the wig on and off obviously between setups, so she has to wear it for many hours. So they kind of crafted and created this little rig where she can kind of sit down and slide into and it just releases all the weight or her spine. And she's like, oh my gosh, this is amazing. She goes, why haven't we thought of this sooner? Oh my goodness, which team did that? That's amazing? Our grip department? Yeah? So they yeah, So they that's that's what they do. Is everything that has to be locked down or something, but it's part of it. It's in their wheelhouse. So wow, I kind of challenged them. They jumped right to and they I think they had it within the hour. It was crazy. We'll be back after the break, Welcome back director Tom Erica. One of his favorite scenes to film and to think through and to play with with camera angles and color and shadows and light was the holiday ceremony. It's an opportunity to see like a cultural mashup during a time where yes, these things were happening, but you may not they're not represented at least in American television the way it was in Bridgerton. What was your experience? It was such an honor to introduce something that is so known and important in my culture to a wider audience. And I love that scene because I think it like you said, it's truly a mashup because it's such a Bridgeton scene, but it's also unlike any other scene you've seen in Bridgeton before, Like it really does feel quite vividly different but still cohesive. And for me, like when I saw the beginning of episode six, I cried because of the song. The song that plays under it is like one of the most famous Hindi songs like in the world, and so When I heard it, I was like, this is crazy. What song? What I think? Do you know the name of it? Yeah, it's a kuby It's cut from Kaby Kushi Kabi Hum, which is like one of the most famous Hindi movies of all time. It's that song, and like, yeah, every Indian will know that song and so that like I just couldn't help it cry that's Matt. Why did you guys pick Alanis Morris sets? You ought to know? Yeah, at the end of five, Yeah, you ought to know. Yeah, I think that was something. We had a couple of different songs. You know, we always try We have covers of a number of things. We have a bunch of covers. Some some ore are ones that our team has put together as potential covers. Other ones are songs that Chris has thought about that he wants to hear. But Chris landed on that pretty early on. Well, we did an experimentation of a couple of different songs than that one just landed that one. We heard it, we were like, that's that's it. It's just fitting for where they're at at the end of that episode and the sacrifice that Kate is making and really begging Anthony to go along with this wedding even though it's against it's denying everything they're feeling about one another and being the other woman it. You know, it certainly has parallels, but you know, I think just totally it just fit perfectly. Yeah, speaking of once as an individual, there's this scene and about quarter of the way through episode six, Stephanie and Anthony are talking and she's, oh my gosh, and she's basically like, dude, like be real with yourself yep. And he cuts it short and it's like, you were born to marry out of this family, like, let's be real, and I was born to continue this our name, the Bridgerton name. That's exactly right, yep. And then we hear that tune that Chris Bowers composed that played every time Daphne had a moment of introspection or some connection to the Duke. And I don't know, Tom, I just there was something about hearing that song that put me back into this Well it does, I think it because it does kind of bring back there is that and this is the genius of Chris Bowers, is that that's scoring underneath that kind of taps into that private intimate moment. All of these decisions that you seem to make and then resent us for they do not make you worthy of your family's respect. They simply make us pity you nothing more. A wedding fit for a queen, You guys kind of stepped away from historical accuracy there a little bit. Daphane and Simon's wedding was more along the lines of what a wedding would have actually been like during the regency era. Small quaint, just family correct, immediate, like nucleus family. This time it was more like what you'd see today. I thought that was really interesting too. I guess it's because the queen was hosting. Is that the queen was hosting, and we were trying to strike that balance as to uh, you know, certain historical things but taking you know, making it a little bit more accessible in a way that most of us would understand. But you know, in doing you know, with our researcher, there were a lot of things that were spot on. I was wondering, you know, it may have been a little bit bigger, but it clearly was intention of the queen's entertainment to have the full ton for everyone to witness. And then she you know, had the front, front row seat into all this, and then there's certainly the theattrics that happened and explode not what she expected, but um but anything she creates as always a spectacle, So so it had to be a big event. It had to you know, it had to be a very public moment when you know, we have our runaway bride, who can't who has to get out of there? What has happened to my wedding ride seems to run away? That was the scariest scene to film because, um, like there were like, you know, hundreds of supporting artists there and it's sort of all happened in real time, so it felt really real. There was you know, a live string quartet playing and all these people standing staring, So like, how crazy is that to really feel like you're it was like this same It didn't even feel like Duena was getting married. It felt like truthful was Wow. Episode six is obviously my favorite episode. Um, and like all those memories are really meaningful to me. Yeah, I was so impressed with you just I felt like I was following you through episode six and just the looks you were giving and just all of your nonverbal communication actually throughout the entire season was really amazing. I felt like you told us so much story without any dialogue. Well, I think that is kind of what a Duena is like. She she's not a massive talker, she's not a massive extrovert. She feels things so deeply, and I think that at the beginning of the season she's like afraid to express them. So I think as the season progresses, I hope at least it does come across that way. You see her become more and more expressive about how she's feeling, both physically and burbly. Yes, that's why I think I love episode six so much, because you've snapped ed Weena went off, and like the crew would come up to me and say, you know, this is like an villain origin story, Like we can easily you know, the next episode if it was following, Adwena would literally be like how she became Jack the Ripper or something. Right, God, I mean it's trauma, Like to have what she goes through is just unbelievable trauma. Just I don't think I could not react like Adwena reacted. No, she was really calm and collected. And I'm wondering, so if if Sharifra were in this situation, how there'd be no prisoners, There'd be no honor, there'd be no dignity. Don't don't even like this is the thing playing Adwena and I also played Medeia in a play. It's like I played women that have been scorned by men, right, And at some point you know you can't help but sort of take on that traumy yourself as a person, which you know is a is not great for my dating life. But yeah, that's so funny. Throughout all of the scriptions that I've heard about what Edwina and Edwina and Kate go through, and Edwia and Anthony go through, drama and trauma are not the words I've heard you so far. And that is like the really human like part of what that character is going through, like all of the at different stages, right. So, Anthony's trauma is like seeing his dad die in front of his eyes and having to take on a whole host of ridiculous responsibilities at such a young age. Kate's trauma is her mom and dad dying and having to do the same take on all these difficult responsibilities. Edwina's trauma is the betrayal of everyone around her, right, Yes, And I think, you know, I've sort of seen some of the chatter online and people are really upset by the usage of the term love triangle or like they don't like the idea of these sisters fighting over a man. But yeah, that's not what's happening. I don't like for me, that's not what's happening. If you see, Edwina has a lot more vim for Kate then she does for Anthony because she loves Kate so much more. By the end of the episode, she's like, do you know what, Anthony, You're trash? Like, no, I'm better than you and I can do better. But with Kate, that's heartbreak. That's like a songmate betraying you. And so Edwina and Kate because they are songmates, because they love each other so much, is why there is so much pain there from both both sides. Yeah, I mean, I think that's and I think Chris, you know, Chris again beautifully writes those moments that that cut, that punish, that are vulnerable, that need to you know, needs that independence that yeah, and punishing in certain ways and really cutting very you know, as she did in the in the scene coming to the scene right after the wedding that she corrects her and says, half sister, you know those those are you know, little things that are very you know. It was kind of the the discovery or education of Edwina in this episode, and her needing to sort of grow up herself and find her voice and really kind of wake up as to what's been happening right underneath, right front of her all this time, and uh and taking back ownership and power of who she is. You do hurt the ones you love, and and she is at a moment where she's lashing out, and you know she'll have time perhaps, you know, to to come around, but in this moment, it's all about establishing boundaries. Okay, perhaps you might find that tea tea that I want. What I want is the truth. Oh suddenly, what's face Edwina? Kate, I'm not sure what is going to tell you? What is going on? Mamma, After a lifetime of filling my head with nonsense of all this talk of great Gallan knows the look between her you have feeling for him. You know, I would never want to sit here and make her come across as like this blameless person. I hope this comes across a little bit because she's a nuanced character in that Edmina can be a bit selfish. She's sort of kind of accepted Kate's sacrifices for her, and there are times where she questions it. She like encourages Kate to go for dorsing and all of this stuff. But for the most part, there's parts of Edwina that are selfish too. I never thought of Edwina as selfish in that regard a little bit. She's kind of taken on being a baby, and that's stifling as well, because she thought of we had to be submissive, but until she has to, you don't see much effort of her trying to take on any of the family burden. And again it's it's complicated because Kate hasn't been fully open with her. But it's not as simple as Edwina is this innocent baby that's totally good and everything's been done to her. That's yeah, and that's preferable actually, I think because I don't want to accept Edwina's Edwina as a victim. I don't want to, especially after seeing how she just unfurled in this particular episode in episode six, you know, like the way she communicated the things she said, how passionately you came through this character. You can't see her as a victim. You do see her as someone who has been betrayed, which is not necessarily victim. So she's been manipulated by everyone around her, the Queen, Anthony, Kate, Lady Danbrey like, so it would be really easy to perceive her that way. She's been hard done by. But I think you said it correctly. She's been betrayed. She has every right to be upset. It's not like a Dweena just suddenly becomes a whole new person, because again that's not realistic either. You sort of see the ramifications back and forth. I describe this season as full of moral ambiguity, Like no one can look at Kate and Anthony and go they're bad. That's too simplistic and it's not true. Under the circumstances, they made those decisions, and I want people to consider would they have acted any different? But it's how I think one responds to those situations that really determines one's character and one's identity. She will make a most excellent queen. Your majesty. I hear the two of you face many trials during your happy courtship, but today today will make all of it well worth it, will it not? Yes? And perhaps you might find your rest to your majesty, for you both rule this kingdom the kind of love, compassion and kindness, two of you, undoubted. Licia the scene where she's talking to King George and kind of brings him in, I'm one of those people who rewinds it three times, as we know now, ye could you clue us into what is happening there? When she does that, I think there's a recognition of the history of love between these two people who obviously the king, I think she's able to sort of see in that moment, going through what she's experienced in her own way without the awareness of her own dilemma in that situation, and seeing the connection between the King and the Queen and how fragile he is in that moment. And again, part of gaining her voice in that moment is stepping in just from a pure early instinctual way to take care of someone in calming that situation. And I think we just see if someone who has that in her and has that sort of ability to step up and be the adult with no objective and no other reason other than nobody else is stepping up, and she takes the baton, she takes the lead. She she just it's in who she is that that I think is a bit of a discovery for a lot of people when they see her do that, when they see her step up. She sees someone struggling, and she sees someone that she feared and respected, aid the Queen lost for words. And it's this drive to just make make someone in pain, the King and the Queen feel a little bit better. And you know, love and romance and marriage has been on her mind obviously because of everything that happens to the EPSO. And I think it's just a will to just be like to comfort someone in pain because I think she wishes she had that. Maybe Anthony Bridgeton was not worthy. I don't know. M well, maybe good discussion's good, good sort of good. Points to pontifice, the scene with the King and then the scene where the Queen is chatting to Adwena. I think I'm my favorite from the episode six because they're so like, they're so revealing about the psyche of different characters. But I think it's amazing. Every character makes decisions that they can very legitimately justify right, Like you cannot point to any character and go you are bad, you are good, this was wrong, this was right. And I think that's what's so exciting. All the viewers are going to react and sympathize with different characters in different ways, and there's going to be a lot of discourse, which I think is kind of like the best TV. That's it from Sharithra. But after the break, Tom Verica takes us even further behind the scenes with post production Lady Whistledown. In comparisons to the novel series Welcome Back, I saw you did A asked Tom on Twitter. It was an impromptu one. It was something I did. I discovered when I was doing Scandal because it was obviously a very heavy social media driven platform that was there was much more turnovers, so that was quite active. So I would do it ask Tom to kind of give a little bit more of a perspective or point of view from kind of the director's chair, uh, you know, introducing some of our viewers to some of our directors what we go through. Just to give a little bit another layer to the process. So it's I do it very few and far between because there's not many things I can talk about with bridget In. There's a there's a big clamp on me to not reveal too much or put too much out there. So yeah, I was waiting for you to slip up and say something. But you've read a good you did, They've they've trained me. Well, you all are so tight lipped. I can't even like, well I put there? Was like I think I put an emoji in there, and suddenly the projection of as to a character or an actor's been cast. I'm like, how do I get a lot of an emoji? Right? What made me laugh, literally laugh out loud was someone asked you how many episodes did you do for season two and you were like twenty, Yeah, And I thought that was so funny. That is definitely my sense of humor. And I think anyone who's followed me knows that I like to play in tease a bit. But yeah, you also mentioned being star struck by Julie Andrews. Yeah, how was it to have her back? Did you get to work with her? She's a legend. I mean, it's it's we met doing a number of our sessions. We did them virtually but kind of a zoom room with only a few of us, and it was, you know, just I've known everything about Julie Andrews for most of my life and she's an icon, and so it was a bit intimidating. There's not too many people that I'm sort of wow, that's so and so. But she she carries not only the presence, but you know, she's just a you know, just known throughout the world. And as we got on it was very quickly. She just has a tremendous sense of humor, she's she has fun with what we did. She played around with some of the things we asked and was very frank about opinions on certain things. That was really refreshing and quite enjoyable. Each time we had our you know, numerous sessions recording Lady whistledown, you know, talking a little bit about the scene and where we're at and what's happening. I was able to sort of give that insight based on what we shot. She was very interested in understanding kind of what it is we're looking for and what's happening in this moment. So it really was a testament to the pro that she is and wanting to really bring the most out of it. Did all of the directors get to work with Julie individually or was that something you were honored with specifically, Yes, none of the directors do. She basically comes in after we or as we're kind of going and cutting the episodes together, and because I'm the producer on the show, I tend to work with her. And this is mainly done in the post process. So the other three directors kind of come into their block and then they move on. So we're not even close to being able to record her sessions until the episodes are kind of locked and ready to go, and we started adding those post elements that they're usually long gone onto the next jobs. All of this really leads me to some of my favorite lines from Lady Whistledown and from episode two oh five and two oh six, And so I'm wondering how these resonate with you. It is a distinctly human act to marry and then follows up with marriage is the ultimate act of fools. What that evoked in me is that we are all fools, and we all play the full game of love as wonderful it is and as human instinctual as it is. When we think we have control of it, it gets the best of us, and it's something that is beyond our understanding and ultimately has the last word with all of it's kinson and ups and downs. While we have this romanticized notion about what true love is and do you achieve a moment of life is everything? If I just get this, there's nothing that's so clear cut. Everything is nuanced. There are gray areas and what that is and how do you embrace that as part of that love is an unrealistic image that we have of that situation, and reality will have the final word. Actually, she ends off with saying she asks why do we feel like we have to orchestrate what nature has already ordained? M M, what a way to wrap up those two episodes um to well to wrap up episode two h six. For sure, I was wondering if those those uh last few notes from Lady Whistledown for you and Chris and the actors Shonda Betsy was also a nod to um some of Julia's work, and I'm wondering if there are any other nods to her book, because there were so many departures from the book. Oh, I think there's always, yes, there are departures, a lot of departures. And it's not a it's not in defiance, it's not a need to you know, just go off the book because it is. I think it's just serving the needs of the world that it is, in the world we've created, uh, and really in this medium, the need to sort of use the blueprint of what Julia has laid out with these wonderful characters in this wonderful world. But is it is its own it is its own journey, so we'll be on the same track, but how we get there might be slightly different, and not a concerted effort to be different. I think it's just honoring kind of the world that we've created and how to tell this in not a full novel, but we have a certain you know, certain points that we have to hit within one episode and another episode, so there are built in there's a kind of a built in pattern that changes the rhythm of what a novel might have. I think it's all those elements that keeps the heart and tension of and hopefully captures the essence of the books and these characters with adjustments that are very specific to how this medium tells this story. Working with Shonda Rhimes and Betsy Beers and Chris van Deusen and being a creative director, just any big takeaway ways from this season, I just really hope that people enjoy the journey that this takes, which is as it's a different journey than the last season, it's still part of the same world. Being able to live with kind of the bridgeton is the kind of the center of our show. But the exploration of these stories allow yourself to get caught up on these these relationships as they progress in ways that really play with the line of the times that are also very identifiable in today's time. Relationships are ultimately universal and how we get there is conventional unconventional. But yeah, I think the takeaway is this has every bit of the fun and levity and sparkle of the world that we've created and I think sustained and built upon, as well as finding those new layers emotional torment in relationships. It's it's really kind of enjoyed the you know, slower burn, whereas in today's storytelling sometimes things happen much quicker between relationships and the earning of the journey is something that we relish and exploring and hope the audience relishous as well. Well. Thank you for these episodes. Well, thank you, Thank you for for for diving in and being very very specific and you know, identifying and enjoying and analyzing these things that it means a lot. I'd love to hear what your takeaways were, and it's it's great. It's great that that you picked up on a lot of these these these things that we work on. Thank you for joining us on this deep dive into the world of Bridgerton. Next week, Nicola Coughlin returns and is joined by Cheryl Dounier, director of episodes two of seven and two Elite. If you're enjoying this show, please subscribe, share with your friends, rate, or leave us a review. And if you haven't finished binging Bridgerton on Netflix, please go do that so you can enjoy all of the juicy spoilers with us. Bridgerton. The official podcast is executive produced by Sandy Bailey, Lauren Holman, Tyler Klang, and Gabrielle Collins. Our producer and editor is Vince de Johnny Bridgerton. The official podcast is a production of Shondaland Audio in partnership with iHeartRadio. For more podcasts from Shondaland Audio, visit the iHeartRadio app or anywhere you subscribe to your favorite shows.