June 8, 2023 • 55 mins
In this episode, we sit down with Corey Mylchreest and Michelle Fairley to explore their favorite moments from the series. We'll gain a deeper understanding of their characters King George and the Dowager Princess Augusta, and how they fit into the overarching story of Queen Charlotte, A Bridgerton Story. Michelle and Corey delve into their experiences working on the series, discussing the challenges they faced and the techniques they used to overcome them. Hear about Michelle’s costume and wig experience, how Corey worked tirelessly through the script, and what surprised both stars during filming. Plus: Corey describes his very last day of filming.
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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 Shonda
(02:15):
Land'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
(02:38):
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 stoked to talk to this cool gent not
only because of his amazing acting chops, but also because
(03:00):
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
(03:23):
mill Grease, how are you doing today?
Speaker 7 (03:26):
I'm okay, I'm feeling snazzy.
Speaker 6 (03:28):
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, A Bridgerton story. If
you could put it into one word, how did it
make you feel?
Speaker 8 (03:47):
I guess the word that I would use, especially with
the scene right at the end of episode six, which
is the last scene, nostalgic. But I mean, that's just boring,
so I would say otherworldly. It's so hard cool story
as it is without God, it's so weird to watch
my first right right, other worldly and nostalgic because your
body keeps the score. I look at myself and I go, oh, yeah,
(04:09):
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.
Speaker 7 (04:21):
It's so strange.
Speaker 6 (04:23):
I think otherworldly is a really interesting and good word though.
Speaker 7 (04:28):
What was your word or do you have one?
Speaker 6 (04:31):
Oh? 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 you and India together on screen were just
I felt like I needed to step aside.
Speaker 7 (04:52):
And did you watch?
Speaker 6 (04:53):
I had to pose it. I did pause it every
once in a while. Yeah, what was it like?
Speaker 7 (04:58):
Working with India is phenomenon.
Speaker 8 (05:01):
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.
Speaker 6 (05:19):
She's great in those moments where you're both together, in
those really like heart wrenching scenes, or 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
(05:41):
everything to kind of help amplify our emotion. But for you,
in the moment, what was that like? Does the world
fall away?
Speaker 7 (05:51):
Yeah?
Speaker 6 (05:52):
Sometimes, tell me about your experience I.
Speaker 8 (05:54):
Mean it changes day to day. That's the thing about
acting is you know your instrument is your being, you know,
so like if someone's playing the cello, it's maybe slightly
more I mean, you still your body and your mind
and your heart, and it's still engage, but it's slightly
more controlled with whereas you know, I could turn up
(06:15):
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 more the torture scenes.
You know, there would be times where I remember, you know,
(06:37):
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 as sometimes it's hard to snap into it.
Speaker 7 (06:57):
You know. Sometimes if you have a really emotion or scene,
it's really it can be it.
Speaker 8 (07:01):
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 You've subconsciously and imaginatively
you placed yourself in that place for a bit and
it is just pretend. But like you know, you have
(07:23):
to there 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
(07:44):
into the observatory and tries to get George to tell
her that he loves her.
Speaker 7 (07:50):
This conversation is, I cannot do this.
Speaker 8 (07:53):
I never want you to know, Charlotte, please stop.
Speaker 9 (07:56):
Is because you do not believe that I could love you.
Speaker 8 (08:00):
You 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 for that scene. 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
(08:21):
I can I can't save it, do you know what
I mean?
Speaker 7 (08:23):
If I say those things, it's going to come out.
And so it's a complete collaboration the whole time. You know.
Speaker 6 (08:29):
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 castmates before getting into it.
Speaker 7 (08:41):
Yeah, I love it. I love it.
Speaker 10 (08:43):
Yeah.
Speaker 6 (08:43):
Speaking of music, I'm just curious, just curious if you
play any instruments. Yeah, yeah, what do you play?
Speaker 8 (08:54):
I've tried to play many. I tried the violin for
a while. I tried the soon that 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.
Speaker 7 (09:16):
But a bit of piano and also drums.
Speaker 6 (09:21):
No woodwinds, It's okay, you have a thing against woodwinds.
But it's fine. It's fine.
Speaker 7 (09:26):
I mean, if we kind of recorder, if we kind
of the humble retorted.
Speaker 8 (09:31):
Oh no, they we're in good company.
Speaker 6 (09:34):
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.
Speaker 7 (09:46):
Well, my mom my mom is a My mum's a musician. Okay,
she's a classical musician. So it's very deep rooted into
how I think, and like see.
Speaker 6 (09:57):
I sometimes wish I was one of those people that
could see so doun all the time, like the synesthesia.
I think that's amazing.
Speaker 7 (10:05):
Yeah, yeah, that's for me what I'm most jealous of
number right.
Speaker 6 (10:08):
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
(10:32):
weight of that those coats, and but also that the
freeness of that white shirt you're wearing as farmer George,
can you, yes, exactly tell me how that that impacted
you in your preparation or just in the moment.
Speaker 7 (10:47):
Yeah.
Speaker 8 (10:47):
I mean, so George is someone who you know, he
has an incredibly conflicting 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
(11:11):
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 comfy 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
(11:31):
at times quite uncomfortable. And whenever I felt that, I
was like, well, what a privilege to be feeling there,
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, the juicy but also what
(11:54):
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.
Speaker 7 (12:07):
Paula, who is the head of costume, it's such an
astonishing job and they are just such beautiful pieces of art.
Speaker 6 (12:14):
I have to ask about your necklace.
Speaker 8 (12:16):
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.
Speaker 6 (12:28):
Oh, ring fitting must be terrible.
Speaker 7 (12:30):
So like once I get a ring on, it's like
very hard to get off.
Speaker 8 (12:34):
So this is my way of wearing that ring without
having to break my finger every time.
Speaker 6 (12:41):
Hey, was there something special about the wedding ring that
young King George wore?
Speaker 7 (12:45):
Do you know I actually have that?
Speaker 3 (12:48):
You do?
Speaker 8 (12:49):
Yeah, that's the one thing that I took that I
put on the wedding ring for Charlotte. And George never
gets a wedding ring. He's just got this signet 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
(13:12):
is so sad. Yeah, you know, because then again it's
just this man who is shackled by this duty.
Speaker 6 (13:19):
Or not. I wonder if anyone out there is like,
let me be a king. That's a vibe with that.
I wonder, you.
Speaker 8 (13:27):
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 its like, oh my god, it's
a bad concoction.
Speaker 6 (13:41):
When we come back, we'll continue our conversation with actor
Corey milchriest.
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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.
Speaker 14 (16:49):
Corey and India.
Speaker 15 (16:53):
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 a beauty and a colience that Corey
when he says just George again, that was a moment.
I was like, you've just got the job or you know, yeah,
(17:14):
you are George Corey.
Speaker 6 (17:16):
I heard that you had a really upstanding 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
(17:39):
Young Queen Charlotte. Yeah, that was so that gave me chills.
I found out right there.
Speaker 7 (17:46):
Yeah, that was beautiful. So that was my idea.
Speaker 8 (17:49):
And every time I was like, right, whatever India does,
I'm just going to go lower than that.
Speaker 6 (17:54):
H so good.
Speaker 8 (17:55):
This is the genius of Jack Murphy the Corey ographr
because he taught me the etiquette and so what 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,
(18:16):
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 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?
Speaker 7 (18:33):
You know? But it's immediately going and paying reverence.
Speaker 8 (18:37):
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
(18:58):
of them from the beginning. But in that conversation that
we don't see before George and Charlotte go to that ball,
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, melted.
Speaker 6 (19:22):
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?
Speaker 7 (19:38):
I think completely.
Speaker 8 (19:40):
I was 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. They see
(20:04):
they see positive human, natural organic life behind that that.
Speaker 6 (20:09):
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,
so this ball you are so good.
Speaker 5 (20:23):
That is.
Speaker 7 (20:26):
Like a thirty second scene.
Speaker 6 (20:28):
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's and young
Charlotte is talking after she's getting undressed.
Speaker 7 (20:50):
Right, yeah, exactly, love that.
Speaker 8 (20:52):
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 then 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.
Speaker 7 (21:05):
Is she doing this?
Speaker 8 (21:06):
Is she using the role of not in a malicious way,
but is she using the role of George to positively change?
Speaker 7 (21:13):
I don't think that she is.
Speaker 8 (21:14):
I think that she completely has the power to do that,
but also George has immense power and their understanding of
life and of.
Speaker 7 (21:21):
Each other in love. Yeah, I think that's a dance
that is mutual.
Speaker 6 (21:26):
Ah, the dance.
Speaker 5 (21:27):
Yeah.
Speaker 6 (21:27):
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.
Speaker 8 (21:44):
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 a
too of what was going on. What was so great
was because you know, Tom, the director, Tom Verica has
(22:05):
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
(22:27):
one time we were filming the scene where Charlotte is
giving birth.
Speaker 6 (22:34):
Oh yeah, I thought Brimsley was really funny and that scene.
Speaker 7 (22:39):
Yeah, he is so funny. Tom.
Speaker 8 (22:41):
I remember talking about golfing or something, and then for
some reason, you know, when you're.
Speaker 7 (22:46):
So tired, you don't really know what you're doing.
Speaker 8 (22:48):
And then I sort of came to and I was
halfway through doing this mock golf swing in like my
Tom Verica impression and American accent.
Speaker 7 (22:57):
And then I looked at him and I was like,
so sorry, I don't know what. Why have I just
done that? Why have I done that? And he found
But we had some great times.
Speaker 8 (23:08):
Right at the end of shooting me Sam who played Brimsley,
Freddy who plays Reynolds on India. We rented an airbnb
for two weeks rather than stay in the hotel, so
just the four of us.
Speaker 7 (23:20):
Oh my god, that was so good. That was so lovely.
And Freddy was so spooked.
Speaker 8 (23:25):
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 and
you know.
Speaker 7 (23:37):
And then I got in and he was like, did
you guys feel that cold?
Speaker 8 (23:40):
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 I was so scared,
(24:00):
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?
Speaker 7 (24:13):
Yeah.
Speaker 8 (24:16):
My theory is that he was actually just really scared
and he wanted to make other people feel scared so that.
Speaker 6 (24:21):
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. Yes, geez,
do you have a favorite moment from episode four at all?
Speaker 7 (24:38):
There's a lovely moment. I think it's Reynolds moment.
Speaker 8 (24:41):
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 my
shoulder and everything relaxes and he takes a breath, and
(25:04):
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.
Speaker 7 (25:19):
The reason that the king is the king is because
of this man.
Speaker 8 (25:23):
It's a good color on this wine, Reals, I shall
let the kitchen know, your majesty.
Speaker 7 (25:28):
So this is the genius of Shonda, right.
Speaker 8 (25:30):
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.
Speaker 6 (25:39):
You, Ma, just thin.
Speaker 8 (25:40):
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 it anything without you. But I
(26:01):
can't say anything. So it's good color on this wine.
Speaker 6 (26:04):
Oh my goodness, Corey, Yes, yeah, I.
Speaker 7 (26:07):
Actually mine and Freddy's first scene together.
Speaker 6 (26:09):
Really.
Speaker 8 (26:10):
Yeah, So that was my That was my third day
of shooting, and that was Freddie's first day of shooting.
Speaker 7 (26:15):
So that moment I think is my favorite.
Speaker 9 (26:17):
You know.
Speaker 6 (26:17):
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.
Speaker 8 (26:32):
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 big you know,
because he has this buds out of you, the whole narrative.
But also he's a fantastic actor in his own right,
(26:52):
so he can talk to you as actors. He's just genius.
And so that I think that's a testament to the
to the team.
Speaker 6 (27:00):
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.
Speaker 8 (27:18):
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 monifor the
good of the country and to rule George fear of
intimacy in 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
(27:39):
on our heap and 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
(27:59):
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 people. 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
(28:22):
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 an intention, but it has
to be obstacle and yeah, the obstacle varies that these
things are coming out, but the need is to convince
them that you are strong, that I'm not losing it,
(28:43):
you know, And and there was 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.
Speaker 6 (28:53):
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
(29:16):
or choice or opinion about it, but it is a
part of the fabric of what is happening in this family,
in this life, and that's life, right.
Speaker 7 (29:27):
Yeah, exactly.
Speaker 8 (29:28):
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.
You know, it's the moments where he comes out and
has realized that he's lost himself and lost his dignity,
(29:50):
or believes that he's lost his dignity. Those for me
are of the most tragic moments, you know, because there's
a man who is conscious and who is lucid, and
who is believed that he has exposed a fundamentally unlovable
part of himself.
Speaker 6 (30:05):
Definitely thought it was like a classic imposter 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 he's filling that suit out with with
impost syndrome and then you get into the back of
the carriage and you're all curled up. I just remembered that,
Oh my goodness.
Speaker 16 (30:26):
Yeah.
Speaker 6 (30:27):
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.
Speaker 8 (30:38):
That moment in the carriage? That was the last take
I shot, oh, of the entire project.
Speaker 6 (30:44):
The entire, entire, entire, entire Prime Hire thing.
Speaker 8 (30:49):
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 on an east Enders, which is a
soap opera from London, on an east Enders soundstage studio
on the outskirts of London, on a green screen, and
(31:13):
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
(31:34):
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.
Speaker 6 (31:55):
So after that scene, did you step out of the
carriage and then what did you see?
Speaker 8 (32:02):
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
(32:23):
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 hut and hugly. For eight months, basically
every day I tapped into that match and suddenly that
was it that they was very very otherworldly.
Speaker 6 (32:39):
Yeah, Corey Millchrist, it has been such a pleasure to
spend this time with you.
Speaker 7 (32:45):
It has been such a pleasure. Thank you so much.
Speaker 8 (32:47):
Yeah, yeah you are, Yeah, you're very very good at it.
And those questions were yeah, so thank you.
Speaker 6 (32:54):
Thank you so much.
Speaker 7 (32:55):
Yeah, it's absolute pleasure.
Speaker 6 (32:57):
Don't go anywhere. There's more from behind This means of
Queen Charlotte of Bridgeton story Right after this.
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Speaker 12 (34:40):
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Speaker 6 (35:46):
With her impeccable flair for language, Michelle Fairley has earned
numerous accolades and the adoration of fans worldwide. She has
graced both stage and screen with her unforgettable performances They
live in our minds rent free, do they not? And now,
as Princess Augusta and Queen Charlotte of Bridgerton Story, She's
(36:07):
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?
Speaker 16 (36:22):
Hi, Gabriel, I'm very well, a little bit nervous, but.
Speaker 6 (36:27):
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.
Speaker 10 (36:51):
That is.
Speaker 6 (36:53):
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,
(37:19):
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.
Speaker 9 (37:33):
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.
(37:53):
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, and
(38:15):
she ate humble Pie with her father in law to
achieve King George the third position.
Speaker 6 (38:23):
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
(38:43):
you don't have to leave the exact same circumstances to
understand that feeling. It just transcends.
Speaker 16 (38:50):
That seems brilliant.
Speaker 9 (38:51):
I love that you get to see another side of
her and 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
(39:13):
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.
(39:34):
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.
Speaker 6 (39:48):
Wow.
Speaker 9 (39:49):
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.
Speaker 16 (40:04):
Now drink.
Speaker 9 (40:06):
And cease from crying this instant.
Speaker 2 (40:08):
Please.
Speaker 6 (40:10):
I am sorry.
Speaker 9 (40:12):
I no, I do not want to know your burdens
or hear what problems plague your life.
Speaker 2 (40:18):
No do I care, Michelle.
Speaker 6 (40:22):
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,
(40:43):
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.
Speaker 10 (40:58):
She's there different generations for a start, they 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,
(41:19):
do you know what I mean?
Speaker 16 (41:20):
You can't just cry all the time.
Speaker 9 (41:21):
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.
Speaker 6 (41:30):
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?
Speaker 11 (41:43):
Yeah?
Speaker 9 (41:43):
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 genuinely has empathy for women. But
she's a tough task master because she's had it tough.
(42:06):
And I think that's just the way she is. That's
the form that she has molded into through her own
life experience.
Speaker 16 (42:16):
But she's an intelligent woman.
Speaker 9 (42:17):
She's you know, navigated her path pretty well so far.
And I don't think she ever thought of herself as
as a sort of a particular sort of guide because
it doesn't happen with Charlotte. And there'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
(42:38):
way it's always been.
Speaker 16 (42:39):
And that's it.
Speaker 9 (42:39):
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.
Speaker 6 (42:56):
Yes, because of your beautiful well, illustrious career. I'm curious
if you had a Princess Augusta or a pear brandy moment.
Speaker 16 (43:07):
Oh I've had so many? Oh got yeah.
Speaker 9 (43:13):
I mean we all have warble lefs, you know what
I mean, some of us more than others and some.
Speaker 16 (43:19):
I mean that's.
Speaker 9 (43:20):
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 going to get fired, you know, that's it.
He constantly have that dialogue.
Speaker 6 (43:32):
Is there a story you're willing to share with us
about a pair brandy moment?
Speaker 16 (43:37):
Oh god?
Speaker 9 (43:38):
Oh well, I personally I don't drink brand I mean,
oh god, yeah, I mean there's so many.
Speaker 16 (43:48):
I did a play years ago.
Speaker 9 (43:51):
The brilliant Harold Pinter directed it, and it was and
and I was terrified, absolutely it was a two hander,
and I was absolutely terrified.
Speaker 16 (44:02):
Harold had a fridge in the.
Speaker 9 (44:03):
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
(44:24):
I mean about everybody having a warble on every job
that they 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.
Speaker 6 (44:35):
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
(44:57):
care so much that these two societ dieties become the
ton what's in it for her?
Speaker 9 (45:04):
My taking of it, the great experiment, which 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 Shonder's, you know, considering
that that is an experiment.
Speaker 16 (45:20):
The great experiment is the marriage? You know, is the
marriage going to work?
Speaker 9 (45:24):
You know, this has to work, This has to work
for the line to you know, to continue.
Speaker 6 (45:31):
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 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
(45:55):
final episode and you kind of like pass on the torch. 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.
Speaker 9 (46:16):
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
(46:40):
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
(47:02):
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.
Speaker 6 (47:13):
Wow, but 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
(47:33):
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.
Speaker 16 (47:53):
That's really kind. Thank you.
Speaker 9 (47:55):
I think the costumes are extraordinary, and I think Lyn
Paolo and her team were just 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? So
she can have apart from the bridgeton Queen, not young Charlotte,
(48:18):
because she.
Speaker 16 (48:19):
She's the head woman.
Speaker 9 (48:21):
So there is definitely a contrast between the younger characters
costumes and Augustus costumes because she's a 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
(48:41):
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.
Speaker 6 (48:52):
I was wondering, are you wearing a wig?
Speaker 7 (48:55):
Me?
Speaker 6 (48:56):
Yes, are you wearing no?
Speaker 7 (48:57):
Oh?
Speaker 16 (48:58):
No, sorry? In the production.
Speaker 9 (49:01):
Michelle, Yes, I am, Actually are 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
(49:22):
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.
Speaker 16 (49:34):
We'll keep her with the dark hair.
Speaker 9 (49:37):
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 intricate Once it was on, it was
stayed in place. It was made for my head as well,
(49:58):
and it was so comfortable and the.
Speaker 16 (50:03):
Real hair as well.
Speaker 9 (50:05):
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.
Speaker 6 (50:18):
Oh yeah, there was an overhead shot of you in
episode four and we got to see all of these
coils and curls on your head and I was just like, wow,
that is in trick it. That's a lot. It was
really beautiful.
Speaker 9 (50:32):
Absolutely, And then they had these little you know, the
little ringlets that are the side of the ears. Right,
I think I went from sort of like two to
possibly fall depending on the occasion. You know, those were separate,
you know, that could be clicked in, you know, attached
to the wig and so, and then there was always
(50:54):
keeping them, you know, so that they don't become too droopy,
you know, as the day goes on. So if you
weren't you know, if you were on camera, you'd have
a massive, big sort of like behime or you know,
netting all over you to keep to keep the wig
in place and also to keep your ringlets from drooping.
Speaker 7 (51:12):
You know.
Speaker 9 (51:13):
So yes, Staggy old pair of nights. At the end
of the day, there's a lot of work that you
don't see. You know, been a massive team of people
to achieve that.
Speaker 6 (51:23):
Michelle FAIRLEI thank you so much for your time and
for your your artistry. We love seeing you on screen,
and I again thank you for Princess Augusta and all
of those moments that gave me chills. We are so
happy that you joined us today.
Speaker 16 (51:44):
Brill thank you so much.
Speaker 9 (51:45):
In Dan it's been a pleasure and a privilege to
talk to you, and thank you for the time and
for your questions.
Speaker 6 (51:53):
Michelle, you have once again left us in all it
was a privilege to speak with you today. And thanks
to the enchanting Corey milchriest again for Unearth and King
George and speaking from the heart. Make sure you come
back because on the next episode, Aja will end all
bequeaths the knowledge that deepens our understanding of the great
experiment and Lady Danbury's backstory.
Speaker 14 (52:15):
How do we survive on a pragmatic level, How do
we survive on a spiritual level? How do we survive
on a psychological level. We have to make relationship where
we can. Human beings are built to be in communion
with one another. You put a bunch of women on
tour together for long enough, we'll all have our periods.
Speaker 6 (52:34):
At the same time.
Speaker 14 (52:35):
You know, we're biologically made to be in communion. And
so when you are the only one, which, when you're
you know, which is an experience that many people of
color will have. You know in the West, you need
to make your alliances where you can, and you need
to be generous and open hearted and strategic because it's
(53:00):
your duty to get in a position and then you
help the next generation.
Speaker 6 (53:05):
I can't wait for you to hear her story, Queen Charlotte.
The official podcast is executive produced by Sandy Bailey, Lauren Homan,
alex Alja Tyler Klang, and me Gabrielle Collins. Our producer
and editor is Tarry Harrison. Subscribe to the podcast anywhere
you get your favorite shows, Get the book I'm a
(53:27):
Crispy Turn the page, smell the binding kind of queen.
But you can download it and you can find Queen Charlotte,
a Bridgeton story on Netflix. We'll see you next week,
Queen Charlotte. The Official podcast is a production of Shondaland
Audio in partnership with iHeartRadio. For more podcasts, visit the
(53:49):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows.
Speaker 1 (53:54):
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Speaker 6 (01:53):
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 Shonda
(02:15):
Land'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
(02:38):
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 stoked to talk to this cool gent not
only because of his amazing acting chops, but also because
(03:00):
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
(03:23):
mill Grease, how are you doing today?
Speaker 7 (03:26):
I'm okay, I'm feeling snazzy.
Speaker 6 (03:28):
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, A Bridgerton story. If
you could put it into one word, how did it
make you feel?
Speaker 8 (03:47):
I guess the word that I would use, especially with
the scene right at the end of episode six, which
is the last scene, nostalgic. But I mean, that's just boring,
so I would say otherworldly. It's so hard cool story
as it is without God, it's so weird to watch
my first right right, other worldly and nostalgic because your
body keeps the score. I look at myself and I go, oh, yeah,
(04:09):
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.
Speaker 7 (04:21):
It's so strange.
Speaker 6 (04:23):
I think otherworldly is a really interesting and good word though.
Speaker 7 (04:28):
What was your word or do you have one?
Speaker 6 (04:31):
Oh? 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 you and India together on screen were just
I felt like I needed to step aside.
Speaker 7 (04:52):
And did you watch?
Speaker 6 (04:53):
I had to pose it. I did pause it every
once in a while. Yeah, what was it like?
Speaker 7 (04:58):
Working with India is phenomenon.
Speaker 8 (05:01):
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.
Speaker 6 (05:19):
She's great in those moments where you're both together, in
those really like heart wrenching scenes, or 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
(05:41):
everything to kind of help amplify our emotion. But for you,
in the moment, what was that like? Does the world
fall away?
Speaker 7 (05:51):
Yeah?
Speaker 6 (05:52):
Sometimes, tell me about your experience I.
Speaker 8 (05:54):
Mean it changes day to day. That's the thing about
acting is you know your instrument is your being, you know,
so like if someone's playing the cello, it's maybe slightly
more I mean, you still your body and your mind
and your heart, and it's still engage, but it's slightly
more controlled with whereas you know, I could turn up
(06:15):
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 more the torture scenes.
You know, there would be times where I remember, you know,
(06:37):
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 as sometimes it's hard to snap into it.
Speaker 7 (06:57):
You know. Sometimes if you have a really emotion or scene,
it's really it can be it.
Speaker 8 (07:01):
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 You've subconsciously and imaginatively
you placed yourself in that place for a bit and
it is just pretend. But like you know, you have
(07:23):
to there 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
(07:44):
into the observatory and tries to get George to tell
her that he loves her.
Speaker 7 (07:50):
This conversation is, I cannot do this.
Speaker 8 (07:53):
I never want you to know, Charlotte, please stop.
Speaker 9 (07:56):
Is because you do not believe that I could love you.
Speaker 8 (08:00):
You 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 for that scene. 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
(08:21):
I can I can't save it, do you know what
I mean?
Speaker 7 (08:23):
If I say those things, it's going to come out.
And so it's a complete collaboration the whole time. You know.
Speaker 6 (08:29):
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 castmates before getting into it.
Speaker 7 (08:41):
Yeah, I love it. I love it.
Speaker 10 (08:43):
Yeah.
Speaker 6 (08:43):
Speaking of music, I'm just curious, just curious if you
play any instruments. Yeah, yeah, what do you play?
Speaker 8 (08:54):
I've tried to play many. I tried the violin for
a while. I tried the soon that 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.
Speaker 7 (09:16):
But a bit of piano and also drums.
Speaker 6 (09:21):
No woodwinds, It's okay, you have a thing against woodwinds.
But it's fine. It's fine.
Speaker 7 (09:26):
I mean, if we kind of recorder, if we kind
of the humble retorted.
Speaker 8 (09:31):
Oh no, they we're in good company.
Speaker 6 (09:34):
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.
Speaker 7 (09:46):
Well, my mom my mom is a My mum's a musician. Okay,
she's a classical musician. So it's very deep rooted into
how I think, and like see.
Speaker 6 (09:57):
I sometimes wish I was one of those people that
could see so doun all the time, like the synesthesia.
I think that's amazing.
Speaker 7 (10:05):
Yeah, yeah, that's for me what I'm most jealous of
number right.
Speaker 6 (10:08):
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
(10:32):
weight of that those coats, and but also that the
freeness of that white shirt you're wearing as farmer George,
can you, yes, exactly tell me how that that impacted
you in your preparation or just in the moment.
Speaker 7 (10:47):
Yeah.
Speaker 8 (10:47):
I mean, so George is someone who you know, he
has an incredibly conflicting 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
(11:11):
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 comfy 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
(11:31):
at times quite uncomfortable. And whenever I felt that, I
was like, well, what a privilege to be feeling there,
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, the juicy but also what
(11:54):
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.
Speaker 7 (12:07):
Paula, who is the head of costume, it's such an
astonishing job and they are just such beautiful pieces of art.
Speaker 6 (12:14):
I have to ask about your necklace.
Speaker 8 (12:16):
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.
Speaker 6 (12:28):
Oh, ring fitting must be terrible.
Speaker 7 (12:30):
So like once I get a ring on, it's like
very hard to get off.
Speaker 8 (12:34):
So this is my way of wearing that ring without
having to break my finger every time.
Speaker 6 (12:41):
Hey, was there something special about the wedding ring that
young King George wore?
Speaker 7 (12:45):
Do you know I actually have that?
Speaker 3 (12:48):
You do?
Speaker 8 (12:49):
Yeah, that's the one thing that I took that I
put on the wedding ring for Charlotte. And George never
gets a wedding ring. He's just got this signet 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
(13:12):
is so sad. Yeah, you know, because then again it's
just this man who is shackled by this duty.
Speaker 6 (13:19):
Or not. I wonder if anyone out there is like,
let me be a king. That's a vibe with that.
I wonder, you.
Speaker 8 (13:27):
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 its like, oh my god, it's
a bad concoction.
Speaker 6 (13:41):
When we come back, we'll continue our conversation with actor
Corey milchriest.
Speaker 2 (13:56):
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Do you deserve a moment to yourself every single day
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So as life continues to fly by, make the most
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Speaker 6 (16:36):
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.
Speaker 14 (16:49):
Corey and India.
Speaker 15 (16:53):
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 a beauty and a colience that Corey
when he says just George again, that was a moment.
I was like, you've just got the job or you know, yeah,
(17:14):
you are George Corey.
Speaker 6 (17:16):
I heard that you had a really upstanding 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
(17:39):
Young Queen Charlotte. Yeah, that was so that gave me chills.
I found out right there.
Speaker 7 (17:46):
Yeah, that was beautiful. So that was my idea.
Speaker 8 (17:49):
And every time I was like, right, whatever India does,
I'm just going to go lower than that.
Speaker 6 (17:54):
H so good.
Speaker 8 (17:55):
This is the genius of Jack Murphy the Corey ographr
because he taught me the etiquette and so what 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,
(18:16):
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 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?
Speaker 7 (18:33):
You know? But it's immediately going and paying reverence.
Speaker 8 (18:37):
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
(18:58):
of them from the beginning. But in that conversation that
we don't see before George and Charlotte go to that ball,
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, melted.
Speaker 6 (19:22):
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?
Speaker 7 (19:38):
I think completely.
Speaker 8 (19:40):
I was 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. They see
(20:04):
they see positive human, natural organic life behind that that.
Speaker 6 (20:09):
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,
so this ball you are so good.
Speaker 5 (20:23):
That is.
Speaker 7 (20:26):
Like a thirty second scene.
Speaker 6 (20:28):
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's and young
Charlotte is talking after she's getting undressed.
Speaker 7 (20:50):
Right, yeah, exactly, love that.
Speaker 8 (20:52):
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 then 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.
Speaker 7 (21:05):
Is she doing this?
Speaker 8 (21:06):
Is she using the role of not in a malicious way,
but is she using the role of George to positively change?
Speaker 7 (21:13):
I don't think that she is.
Speaker 8 (21:14):
I think that she completely has the power to do that,
but also George has immense power and their understanding of
life and of.
Speaker 7 (21:21):
Each other in love. Yeah, I think that's a dance
that is mutual.
Speaker 6 (21:26):
Ah, the dance.
Speaker 5 (21:27):
Yeah.
Speaker 6 (21:27):
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.
Speaker 8 (21:44):
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 a
too of what was going on. What was so great
was because you know, Tom, the director, Tom Verica has
(22:05):
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
(22:27):
one time we were filming the scene where Charlotte is
giving birth.
Speaker 6 (22:34):
Oh yeah, I thought Brimsley was really funny and that scene.
Speaker 7 (22:39):
Yeah, he is so funny. Tom.
Speaker 8 (22:41):
I remember talking about golfing or something, and then for
some reason, you know, when you're.
Speaker 7 (22:46):
So tired, you don't really know what you're doing.
Speaker 8 (22:48):
And then I sort of came to and I was
halfway through doing this mock golf swing in like my
Tom Verica impression and American accent.
Speaker 7 (22:57):
And then I looked at him and I was like,
so sorry, I don't know what. Why have I just
done that? Why have I done that? And he found
But we had some great times.
Speaker 8 (23:08):
Right at the end of shooting me Sam who played Brimsley,
Freddy who plays Reynolds on India. We rented an airbnb
for two weeks rather than stay in the hotel, so
just the four of us.
Speaker 7 (23:20):
Oh my god, that was so good. That was so lovely.
And Freddy was so spooked.
Speaker 8 (23:25):
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 and
you know.
Speaker 7 (23:37):
And then I got in and he was like, did
you guys feel that cold?
Speaker 8 (23:40):
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 I was so scared,
(24:00):
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?
Speaker 7 (24:13):
Yeah.
Speaker 8 (24:16):
My theory is that he was actually just really scared
and he wanted to make other people feel scared so that.
Speaker 6 (24:21):
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. Yes, geez,
do you have a favorite moment from episode four at all?
Speaker 7 (24:38):
There's a lovely moment. I think it's Reynolds moment.
Speaker 8 (24:41):
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 my
shoulder and everything relaxes and he takes a breath, and
(25:04):
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.
Speaker 7 (25:19):
The reason that the king is the king is because
of this man.
Speaker 8 (25:23):
It's a good color on this wine, Reals, I shall
let the kitchen know, your majesty.
Speaker 7 (25:28):
So this is the genius of Shonda, right.
Speaker 8 (25:30):
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.
Speaker 6 (25:39):
You, Ma, just thin.
Speaker 8 (25:40):
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 it anything without you. But I
(26:01):
can't say anything. So it's good color on this wine.
Speaker 6 (26:04):
Oh my goodness, Corey, Yes, yeah, I.
Speaker 7 (26:07):
Actually mine and Freddy's first scene together.
Speaker 6 (26:09):
Really.
Speaker 8 (26:10):
Yeah, So that was my That was my third day
of shooting, and that was Freddie's first day of shooting.
Speaker 7 (26:15):
So that moment I think is my favorite.
Speaker 9 (26:17):
You know.
Speaker 6 (26:17):
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.
Speaker 8 (26:32):
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 big you know,
because he has this buds out of you, the whole narrative.
But also he's a fantastic actor in his own right,
(26:52):
so he can talk to you as actors. He's just genius.
And so that I think that's a testament to the
to the team.
Speaker 6 (27:00):
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.
Speaker 8 (27:18):
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 monifor the
good of the country and to rule George fear of
intimacy in 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
(27:39):
on our heap and 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
(27:59):
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 people. 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
(28:22):
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 an intention, but it has
to be obstacle and yeah, the obstacle varies that these
things are coming out, but the need is to convince
them that you are strong, that I'm not losing it,
(28:43):
you know, And and there was 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.
Speaker 6 (28:53):
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
(29:16):
or choice or opinion about it, but it is a
part of the fabric of what is happening in this family,
in this life, and that's life, right.
Speaker 7 (29:27):
Yeah, exactly.
Speaker 8 (29:28):
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.
You know, it's the moments where he comes out and
has realized that he's lost himself and lost his dignity,
(29:50):
or believes that he's lost his dignity. Those for me
are of the most tragic moments, you know, because there's
a man who is conscious and who is lucid, and
who is believed that he has exposed a fundamentally unlovable
part of himself.
Speaker 6 (30:05):
Definitely thought it was like a classic imposter 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 he's filling that suit out with with
impost syndrome and then you get into the back of
the carriage and you're all curled up. I just remembered that,
Oh my goodness.
Speaker 16 (30:26):
Yeah.
Speaker 6 (30:27):
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.
Speaker 8 (30:38):
That moment in the carriage? That was the last take
I shot, oh, of the entire project.
Speaker 6 (30:44):
The entire, entire, entire, entire Prime Hire thing.
Speaker 8 (30:49):
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 on an east Enders, which is a
soap opera from London, on an east Enders soundstage studio
on the outskirts of London, on a green screen, and
(31:13):
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
(31:34):
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.
Speaker 6 (31:55):
So after that scene, did you step out of the
carriage and then what did you see?
Speaker 8 (32:02):
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
(32:23):
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 hut and hugly. For eight months, basically
every day I tapped into that match and suddenly that
was it that they was very very otherworldly.
Speaker 6 (32:39):
Yeah, Corey Millchrist, it has been such a pleasure to
spend this time with you.
Speaker 7 (32:45):
It has been such a pleasure. Thank you so much.
Speaker 8 (32:47):
Yeah, yeah you are, Yeah, you're very very good at it.
And those questions were yeah, so thank you.
Speaker 6 (32:54):
Thank you so much.
Speaker 7 (32:55):
Yeah, it's absolute pleasure.
Speaker 6 (32:57):
Don't go anywhere. There's more from behind This means of
Queen Charlotte of Bridgeton story Right after this.
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Speaker 6 (35:46):
With her impeccable flair for language, Michelle Fairley has earned
numerous accolades and the adoration of fans worldwide. She has
graced both stage and screen with her unforgettable performances They
live in our minds rent free, do they not? And now,
as Princess Augusta and Queen Charlotte of Bridgerton Story, She's
(36:07):
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?
Speaker 16 (36:22):
Hi, Gabriel, I'm very well, a little bit nervous, but.
Speaker 6 (36:27):
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.
Speaker 10 (36:51):
That is.
Speaker 6 (36:53):
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,
(37:19):
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.
Speaker 9 (37:33):
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.
(37:53):
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, and
(38:15):
she ate humble Pie with her father in law to
achieve King George the third position.
Speaker 6 (38:23):
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
(38:43):
you don't have to leave the exact same circumstances to
understand that feeling. It just transcends.
Speaker 16 (38:50):
That seems brilliant.
Speaker 9 (38:51):
I love that you get to see another side of
her and 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
(39:13):
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.
(39:34):
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.
Speaker 6 (39:48):
Wow.
Speaker 9 (39:49):
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.
Speaker 16 (40:04):
Now drink.
Speaker 9 (40:06):
And cease from crying this instant.
Speaker 2 (40:08):
Please.
Speaker 6 (40:10):
I am sorry.
Speaker 9 (40:12):
I no, I do not want to know your burdens
or hear what problems plague your life.
Speaker 2 (40:18):
No do I care, Michelle.
Speaker 6 (40:22):
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,
(40:43):
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.
Speaker 10 (40:58):
She's there different generations for a start, they 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,
(41:19):
do you know what I mean?
Speaker 16 (41:20):
You can't just cry all the time.
Speaker 9 (41:21):
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.
Speaker 6 (41:30):
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?
Speaker 11 (41:43):
Yeah?
Speaker 9 (41:43):
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 genuinely has empathy for women. But
she's a tough task master because she's had it tough.
(42:06):
And I think that's just the way she is. That's
the form that she has molded into through her own
life experience.
Speaker 16 (42:16):
But she's an intelligent woman.
Speaker 9 (42:17):
She's you know, navigated her path pretty well so far.
And I don't think she ever thought of herself as
as a sort of a particular sort of guide because
it doesn't happen with Charlotte. And there'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
(42:38):
way it's always been.
Speaker 16 (42:39):
And that's it.
Speaker 9 (42:39):
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.
Speaker 6 (42:56):
Yes, because of your beautiful well, illustrious career. I'm curious
if you had a Princess Augusta or a pear brandy moment.
Speaker 16 (43:07):
Oh I've had so many? Oh got yeah.
Speaker 9 (43:13):
I mean we all have warble lefs, you know what
I mean, some of us more than others and some.
Speaker 16 (43:19):
I mean that's.
Speaker 9 (43:20):
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 going to get fired, you know, that's it.
He constantly have that dialogue.
Speaker 6 (43:32):
Is there a story you're willing to share with us
about a pair brandy moment?
Speaker 16 (43:37):
Oh god?
Speaker 9 (43:38):
Oh well, I personally I don't drink brand I mean,
oh god, yeah, I mean there's so many.
Speaker 16 (43:48):
I did a play years ago.
Speaker 9 (43:51):
The brilliant Harold Pinter directed it, and it was and
and I was terrified, absolutely it was a two hander,
and I was absolutely terrified.
Speaker 16 (44:02):
Harold had a fridge in the.
Speaker 9 (44:03):
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
(44:24):
I mean about everybody having a warble on every job
that they 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.
Speaker 6 (44:35):
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
(44:57):
care so much that these two societ dieties become the
ton what's in it for her?
Speaker 9 (45:04):
My taking of it, the great experiment, which 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 Shonder's, you know, considering
that that is an experiment.
Speaker 16 (45:20):
The great experiment is the marriage? You know, is the
marriage going to work?
Speaker 9 (45:24):
You know, this has to work, This has to work
for the line to you know, to continue.
Speaker 6 (45:31):
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 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
(45:55):
final episode and you kind of like pass on the torch. 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.
Speaker 9 (46:16):
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
(46:40):
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
(47:02):
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.
Speaker 6 (47:13):
Wow, but 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
(47:33):
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.
Speaker 16 (47:53):
That's really kind. Thank you.
Speaker 9 (47:55):
I think the costumes are extraordinary, and I think Lyn
Paolo and her team were just 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? So
she can have apart from the bridgeton Queen, not young Charlotte,
(48:18):
because she.
Speaker 16 (48:19):
She's the head woman.
Speaker 9 (48:21):
So there is definitely a contrast between the younger characters
costumes and Augustus costumes because she's a 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
(48:41):
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.
Speaker 6 (48:52):
I was wondering, are you wearing a wig?
Speaker 7 (48:55):
Me?
Speaker 6 (48:56):
Yes, are you wearing no?
Speaker 7 (48:57):
Oh?
Speaker 16 (48:58):
No, sorry? In the production.
Speaker 9 (49:01):
Michelle, Yes, I am, Actually are 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
(49:22):
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.
Speaker 16 (49:34):
We'll keep her with the dark hair.
Speaker 9 (49:37):
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 intricate Once it was on, it was
stayed in place. It was made for my head as well,
(49:58):
and it was so comfortable and the.
Speaker 16 (50:03):
Real hair as well.
Speaker 9 (50:05):
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.
Speaker 6 (50:18):
Oh yeah, there was an overhead shot of you in
episode four and we got to see all of these
coils and curls on your head and I was just like, wow,
that is in trick it. That's a lot. It was
really beautiful.
Speaker 9 (50:32):
Absolutely, And then they had these little you know, the
little ringlets that are the side of the ears. Right,
I think I went from sort of like two to
possibly fall depending on the occasion. You know, those were separate,
you know, that could be clicked in, you know, attached
to the wig and so, and then there was always
(50:54):
keeping them, you know, so that they don't become too droopy,
you know, as the day goes on. So if you
weren't you know, if you were on camera, you'd have
a massive, big sort of like behime or you know,
netting all over you to keep to keep the wig
in place and also to keep your ringlets from drooping.
Speaker 7 (51:12):
You know.
Speaker 9 (51:13):
So yes, Staggy old pair of nights. At the end
of the day, there's a lot of work that you
don't see. You know, been a massive team of people
to achieve that.
Speaker 6 (51:23):
Michelle FAIRLEI thank you so much for your time and
for your your artistry. We love seeing you on screen,
and I again thank you for Princess Augusta and all
of those moments that gave me chills. We are so
happy that you joined us today.
Speaker 16 (51:44):
Brill thank you so much.
Speaker 9 (51:45):
In Dan it's been a pleasure and a privilege to
talk to you, and thank you for the time and
for your questions.
Speaker 6 (51:53):
Michelle, you have once again left us in all it
was a privilege to speak with you today. And thanks
to the enchanting Corey milchriest again for Unearth and King
George and speaking from the heart. Make sure you come
back because on the next episode, Aja will end all
bequeaths the knowledge that deepens our understanding of the great
experiment and Lady Danbury's backstory.
Speaker 14 (52:15):
How do we survive on a pragmatic level, How do
we survive on a spiritual level? How do we survive
on a psychological level. We have to make relationship where
we can. Human beings are built to be in communion
with one another. You put a bunch of women on
tour together for long enough, we'll all have our periods.
Speaker 6 (52:34):
At the same time.
Speaker 14 (52:35):
You know, we're biologically made to be in communion. And
so when you are the only one, which, when you're
you know, which is an experience that many people of
color will have. You know in the West, you need
to make your alliances where you can, and you need
to be generous and open hearted and strategic because it's
(53:00):
your duty to get in a position and then you
help the next generation.
Speaker 6 (53:05):
I can't wait for you to hear her story, Queen Charlotte.
The official podcast is executive produced by Sandy Bailey, Lauren Homan,
alex Alja Tyler Klang, and me Gabrielle Collins. Our producer
and editor is Tarry Harrison. Subscribe to the podcast anywhere
you get your favorite shows, Get the book I'm a
(53:27):
Crispy Turn the page, smell the binding kind of queen.
But you can download it and you can find Queen Charlotte,
a Bridgeton story on Netflix. We'll see you next week,
Queen Charlotte. The Official podcast is a production of Shondaland
Audio in partnership with iHeartRadio. For more podcasts, visit the
(53:49):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows.
Speaker 1 (53:54):
Discover new technology and endless comfort with Victoria's Secrets. Number
one collection Body by Victoria with over thirty five hundred
five star reviews. See what all the hype is about
when it comes to their best selling styles. Their latest
innovation features lightweight construction that provides support where you need
it without an ounce of padding, so it has that
barely there feel. It looks great under sweaters, dresses, t shirts.
(54:17):
Can say enough about it. It's available in cups A
through G and bands thirty to forty four. That's forty
three sizes and twenty two styles. Shop now at your
nearest Victoria's Secret store and online at Victoriassecret dot com.
Speaker 2 (54:29):
If you've always dreamed of exploring the world, Rhodes Scholar
welcomes you. Rhodes Scholar offers educational travel adventures for adults
fifty plus in more than one hundred countries and throughout
the United States. When you travel with Rhodes Scholar, you'll
be an active learner, not a passive tourist. Every day
is thoughtfully planned to open your eyes to new discoveries, ideas,
(54:51):
and people. You'll learn from local experts and meet others
who share your passions. Find your next adventure at Rhodescholar
dot org.
Speaker 11 (55:00):
Asking the right questions can greatly impact your future, especially
when it comes to your finances. So if you're looking
for a financial advisor you can trust. Certified financial planner
professionals are committed to acting in your best interest. That's
why it's got to be a CFP. Find your CFP
professional at Let's Make a plan dot org.
Speaker 13 (55:21):
You deserve a moment to yourself every single day, and
a delicious bite of a Keebler Sandy's can give you
that comforting pause. Don't forget to pack the melt in
your mouth magic of a Keebler Sandy's for a post
lunch pick me up. This magic is baked into simple
shortbread cookies by Ernie and the Keebler Elves. So as
(55:42):
life continues to fly by. Make the most of your
me moment, take a pause and enjoy a Keebler Sandy's
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