June 29, 2023 • 69 mins
In this episode of Queen Charlotte: A Bridgerton Story, the Official Podcast, we sit down with India Amarteifio and Golda Rosheuvel, the women who brought Queen Charlotte to life. The actresses take us behind the scenes, revealing the joys and surprises they encountered on set, and within.
As we explore their favorite memories working alongside their castmates, we discover the profound impact that portraying Queen Charlotte had on India and Golda. They discuss the responsibility they felt in portraying a historical figure and how they infused their own artistry to create an unforgettable fantasy.
Join us for these intimate chats as we celebrate the talent and dedication of the cast and crew and gain a deeper appreciation for the transformative power of Shondaland's storytelling.
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Speaker 6 (01:53):
Queen Charlotte. The official podcast is a production of Shondaland
Audio in partnership with iHeartRadio hellove and a warm, Warm,
Warm Welcome to Queen Charlotte, a British and Story the
(02:15):
official podcast. I'm your host, Gabby Collins, and on this episode,
I am thrilled to share two conversations with you. I
got to spend some time with the two remarkable queens
that brought to life one of the most captivating and
influential characters of the Bridge Reverse Queen Charlotte. It is
(02:35):
an absolute pleasure to delve into the world of these
talented actresses who have masterfully embodied this enigmatic you know,
leaving audiences spelled bound with their performance over the top
bodacious queen, Queen Charlotte. It's an honor to happen with us,
(02:56):
and we can't wait to hear their insight, their experiences,
and the shimmering brilliance that they bring to screen. So
let's just get right on in. Welcome India. How are
you doing today.
Speaker 7 (03:10):
I'm doing very well. Thank you so much for having me.
Speaker 6 (03:12):
It's really good to have you. I just wanted to
start off by saying you absolutely exude a swan like
essence of a young Queen Charlotte.
Speaker 7 (03:24):
Oh, thank you very much.
Speaker 6 (03:25):
Yeah, thank you.
Speaker 8 (03:27):
Probably ingrained in me for like another ten years or so.
But yeah, yeah, I'll take that as a compliment, thank you.
Speaker 9 (03:36):
Yeah.
Speaker 6 (03:36):
You know, so you had to walk into a room
for how many days as like the centerpiece and holding
up so much of the story and the scenes. How
does that inform you of yourself? Did you surprise yourself
in any way? Are you more brazen than you thought
(03:57):
you ever were?
Speaker 8 (03:59):
I think she she taught me a lot. She taught
me about just being okay with emotions and being okay
with not being okay and actually normalizing the fact that
not everyone feels one hundred percent all the time. And
you know, in those moments when she is dancing and
(04:21):
she's moving, it's it's incredibly surreal for her, I think,
and it's it's it's probably all very too much, which
ey as India can get very overwhelmed by large crowds
and large groups of people, especially when there's attention only
on you. But you know the fact that she kind
of defies those those feelings and pushes against it and
(04:44):
great outcomes come from that kind of taught me that, hey, okay,
you may be feeling uncomfortable and said situation, but pushed
through it and Yeah, you know, only greatness can come
from working outside of your comfort zone, which I'm notorious
for staying in because she's nice and safe and comfortable
and I like her. But yeah, I don't feel like
(05:08):
I've made significant changes to my life and just me
as a person from stepping outside of my comfort zone.
Speaker 7 (05:16):
And this job was one of them.
Speaker 8 (05:18):
I think there aren't many jobs that are as scary
to take on as this in all the spectrums, you know,
the most amazing feeling to the most terrifying feeling of
like taking on this massive role. So yeah, it just
showed me that I should continue to push outside of
my little circle of safety.
Speaker 6 (05:35):
Yeah, you said something that's interesting. You said that emotions
are okay. Yeah, do you mean by that?
Speaker 7 (05:44):
I don't know.
Speaker 8 (05:47):
I had a very weird feeling whenever I felt a
huge sense of any type of emotion, whether that's a
complete enjoyment, you know, terror, horror, being nervous, being afraid,
being scared. I always kind of masked that, and I
didn't really realize that I did that, And I guess
that influenced my acting because it meant that I wasn't
(06:10):
able to open up, I wasn't able to explore these
emotions to create another person, let alone, you know, reflect
on my own experiences feeling certain feelings. But with Charlotte
and with this job I was with her for six months,
I was creating a whole person. I had to know
exactly how she felt in all situations, what nerves felt
like to her, and how she displayed that, what elation
(06:31):
felt like to her, and how she displayed that. So
for me, I had to feel that as India and
go through that and really kind of recount on my
life in those moments where I've maybe masked how I
was feeling just because I don't know. I thought it
was a bit cringe to be vulnerable or to show
my emotions completely, because it does put you in a
(06:51):
scary position of you know, people judging.
Speaker 7 (06:55):
You or being able to use something against you.
Speaker 8 (06:59):
But she made me a lot more empathic, and she
made me discover that actually I am quite an emotional person.
Speaker 7 (07:05):
I never thought I was.
Speaker 8 (07:06):
I thought I was quite straight laced and you know,
I'll just get on with things and quite britt you know,
have that very British mentality of you know, just just
go and do your job, or just you just keep
pushing through things, but actually I'm highly sensitive and I
think it's actually been beautiful. It's opened my eyes to
(07:26):
the world. I've traveled more than I have, and I've
got to meet people and really understand people and really
getting to know what humans are like through through getting
to know her and getting to know emotions. So I
feel a lot of pride and a lot of gratitude
when I think about her and Chonda's writing and her work,
(07:47):
because it's yeah, it's not only helped me as an actor,
but as a as a human, which again is you know,
going to only help me in my job.
Speaker 7 (07:57):
Be a better and more honest and open person.
Speaker 6 (08:00):
There were scenes with you and Cory you in Arsama
where I felt like I wasn't supposed to be in
the room, which is I mean, what the mark of
a really good moment?
Speaker 8 (08:11):
Right?
Speaker 6 (08:13):
Tell me about that? And working with Corey working with Arsama,
the moments for you that felt the most freeing or
light or were you grey able to just get lost
in that moment.
Speaker 8 (08:26):
You sit with a character for six months, and I
think you do lose yourself in the best way and
sometimes in bad ways, because you leave a job and
you go what is my existence as India. But I felt,
you know, especially towards the end of filming, so easy
to access her and just to you know, completely delve
(08:47):
into this world. A lot of the scenes that I felt,
I was completely kind of engross and Shonda writes in
a way that is almost incredibly theatrical. She makes, you know,
ten minute scenes, six minute scenes which are so detailed,
so intricate, and you get them and you see them
on a page and you're like, right, I know this
is an important scene because of this, this and this.
(09:08):
We've just spoken about this, we've tackled this, we need
to get from here to here, and then by the
end of the scene were completely different places. And it's
about working together as a team, and especially with Corey. Actually,
we really really worked hard in the evenings after filming.
Speaker 7 (09:22):
You know, we'd sit for a couple hours and just
delve into the scenes that are coming.
Speaker 8 (09:27):
Up, and we'd make sure we were prepped and knew
why we were doing the scenes and making sure we
hit every important beat and kind of quizzing each other
on why the scenes.
Speaker 7 (09:36):
Are what they are.
Speaker 6 (09:37):
Oh, I live for that.
Speaker 7 (09:38):
Yeah, yeah, that's what a lot of I mean, that's
how we were trained.
Speaker 8 (09:41):
Corey was trained theatrically. I was trained theatrically. And that's
how you break down the script. You you know, you
annotate it, you give it a purpose, you put it
into perspective of both characters, and you workshop around it
and you find out ways and you come up with
ideas of how you could do it on the day.
But then also you know, leave it to the director's
interpretation and also the energy that both of you bring
(10:03):
on the day.
Speaker 7 (10:04):
But a lot of work goes into it.
Speaker 8 (10:06):
A lot a lot of work goes into it, and
it has to because a lot of it isn't spoken.
And I think that's what's great about Shamba's writing. A
lot of it is in the gestures, the eye contact,
the no speaking, the silences, the pauses, and those are
the bits that can often be missed but are incredibly
important and you know, tell a lot more about about
(10:27):
how someone's feeling in that situation than words can.
Speaker 7 (10:31):
And I think that's the beauty of it.
Speaker 8 (10:32):
And I think that's why this show just you know,
satisfies those taste buds, because it says what we're all
thinking and sometimes we're too afraid to say out loud.
Speaker 6 (10:40):
One of the things I'm not sure how to explain
out loud is the moment between you as Queen Charlotte
and Arsama as Young Agatha, young Lady Agatha Danbury at
this point, and she comes up to you and she's
basically making a case. She's basically making a case to
(11:00):
have the ball be thrown the first ball, and it's
a moment where she's teaching young Charlotte about her privilege
and what responsibility she has to act with it. What
was the conversation the two of you had to really
dig into that scene because it speaks volumes today, I.
Speaker 8 (11:26):
Don't think we actually did, you know. I know we
ran lines again, delved into its importance. But there's something
about the black woman's experience in every culture you know,
in Britain and America, that one doesn't even really need to.
Speaker 7 (11:46):
Say anything.
Speaker 8 (11:48):
It's just an understanding, an immediate sense of I understand
what this person's going through. And for some of the scenes,
especially like that, for me, I didn't work a lot
on them because I wanted that natural reaction to someone
actually saying it out loud.
Speaker 7 (12:07):
Sometimes that really works.
Speaker 8 (12:09):
There are there are a couple of scenes where I'm
like right, I'm gonna I'm going to just you know,
power my line, so I'm not thinking about the lines,
and most of the time, I'm just letting the other
actor affect my choices. And that was one of the
scenes I knew, you know what I was saying. My
objective was with George and what on earth he was doing,
and I was going to you know, the turn. The
(12:29):
head turn was when she starts talking to me about
the actual pressing topics. So I you know, I used that.
I use that sense of like, I don't actually know
what she's going to say. I'm not going to look
at what us M is saying that day. I'm going
to let her words inform my reaction. And it was
completely natural. You know, I am Charlotte, but I'm also
taking in what she's saying for the first time. There's
(12:51):
a lot of scenes like that where I'd read and
I was like, I don't want to read the other
person's like, I don't want to do that. I just
I just want to I just want to be I
want to go through that ride.
Speaker 7 (13:01):
In that journey and find where Charlotte sits in there.
Speaker 6 (13:04):
Oh that's really interesting. I'm wondering if One of those
scenes is in episode six, Young Charlotte's pregnant, she you know,
goes to young George and she's basically asking him, you know,
what is wrong with you? And it ends in a
you know, beautiful emotional moment, but he's hurling. He's hurling
(13:25):
at you. Is that one of those scenes that you yeah, yeah,
and you can tell.
Speaker 10 (13:34):
I do not want you.
Speaker 11 (13:35):
I want never to see you leave. Get out. I
order you.
Speaker 7 (13:43):
No, George Charlotte, you cannot force me away. I will
not go.
Speaker 4 (13:47):
I commanded girl.
Speaker 11 (13:48):
I will stay. I command it.
Speaker 8 (13:52):
There's a way of, you know, the first time you
hear something being said out loud, you really are in
intent and you're you're really kind of interested in because
of what they're saying.
Speaker 7 (14:01):
It's another one, well, I think.
Speaker 8 (14:02):
People people will will see now maybe if they go
and rewatch it, which hopefully they do. The scenes that
you can just really tell that both people are in
the room, they're present, and they're thinking, They're not thinking
what's my next line.
Speaker 7 (14:14):
It's like, no, my intention is to you and you only.
And that is perfect example.
Speaker 6 (14:20):
So let's talk about working with Tanji Tanchi, Cassim Yay,
your brother young Challo's brother Adarphus. I absolutely love the
character scene with the two of you.
Speaker 10 (14:35):
You give the appearance of a statue.
Speaker 12 (14:37):
Statues are workspart art is beautiful.
Speaker 11 (14:41):
Art can be beautiful to gaze upon.
Speaker 13 (14:43):
You are ridiculous to the eye.
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Is there a point you have not moved an inch
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Speaker 6 (15:17):
You are dancing with the with the script. Actually you're
more like a kitten with a fall of yarn with
the script. In that scene, it's someone used the words
you are still but just still really just effervescent with
(15:38):
with your delivery. And I am curious about the back
and forth between you and and Cassime. In preparation for
that scene, and and if we could also talk about
how you stand up for that character in episode six
when you confront our summer as.
Speaker 8 (16:00):
Yeah, I mean, Tunji is one of the best people
I've ever worked with. He is so experienced, so level headed,
you know, so ingrained in the work, but also up
for just having a laugh. And he's incredibly intelligent and
it was an absolute joy to spend time with him.
And I feel like I don't get to speak to
(16:22):
him enough and speak about him enough, actually, but he
was vital, vital in making that scene as impactful as
it is.
Speaker 7 (16:31):
But we tried.
Speaker 8 (16:33):
We did that scene all day. I think I had
a very short scene in the morning with Corey and
then yeah, we had a whole day dedicated to that
scene again because it's so important, and it almost as
important as the meet you. You know, you're discovering Charlotte
for the first time and who she is and her
relationship and that you know, the world that we're about
(16:54):
to start building again. It was another scene that we
just hammered the lines like we need them to front.
They were my audition scenes, so I'd known them for
you know, months and months and months, and it was
ingrained in my soul by then, so the lines weren't
a problem. It was more bringing something new and fresh
to each take, because you know, sometimes when you're saying
(17:15):
the same thing, you can get into a bit of
a rut and you have the same cadence of how
you're saying anything. And it was just about breaking that
mold and changing that. But that was you know, only
through Tunji's excellence and Tom's direction and everyone around us
kind of each take wanting a new, fresh, you know,
idea and spark, and we did so many different takes,
(17:36):
Tunji just going completely ham basically, and he's just like,
let's completely loose, and his anger and his frustration and
everything comes on to her and then she's left kind
of quite meekly in the corner, going sorry, like we
and then we did ones where he kept very level
headed and she was, you know, up here and she
held the upper hand and was very very interesting to
(17:57):
go through the day and go through different types of
you know, power and differences between the pair, and then
I think, you know, she realizes again a bit like
with Agafa, like there's only a certain amount of people
in society that will relate to her and her experiences
and one of her one of those people, is her brother,
and I think she really takes it to heart that,
(18:18):
you know, the whole thing with Lady Danbury doesn't work
out between him and her. But I think it's also
a moment where she uses her power and she realizes
her power in that instant.
Speaker 7 (18:30):
Lady Danbury has been telling her you, you know, you're
the first of your kind.
Speaker 8 (18:34):
You're this, you're that, and this is the first time
she's she's kind of openly expressing it to this person
who's asked her to step up to the plane.
Speaker 7 (18:41):
She's like, listen, you wanted me to be this way.
Speaker 8 (18:44):
You you were the person who wanted me to take
the stance and to be strong and to lead my people.
This is me leading my people and you're one of them.
Don't forget that. So I think it was just, you know,
a vessel almost in order for her to push that.
And she does love her and I think she is
probably quite grateful by the end.
Speaker 7 (19:05):
That everything kind of worked out.
Speaker 8 (19:08):
She is with the love of her life and it's
not the ending and it's not the life that she
maybe would wish for. However, she now is either figurehead
in society and she's part of all this change and
she's new, and yeah, I think there's a lot for
her to.
Speaker 7 (19:25):
Be grateful to him for.
Speaker 6 (19:28):
We'll be right back with mar chitchat with India Amartifia
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Speaker 6 (22:26):
You're listening to Queen Charlotte of British and Story, the
official podcast. Before we get back into our conversation with
India m R Tifio, let's just take a quick moment
to hear this note from the casting director Kelly Valentine Hendry.
Speaker 7 (22:40):
When India's tape landed.
Speaker 11 (22:42):
That was one of I'll never forget that.
Speaker 7 (22:44):
I mean, she is young Queen Charlotte, She is young Goulda.
Speaker 6 (22:49):
Since you love character deep dives, if we had to
choose a moment when young Charlotte comes into her own
in these six episodes, which I think we know like
she's going to grow more over the next few decades.
Right for me, it would be the moment she finds
young George in the garden and she just kind of
(23:11):
looks down and makes a choice right there. That's she's
choosing to stick with him and care for him. What
was that moment for.
Speaker 8 (23:19):
You two, that one for sure, because that is her
in that split second deciding Okay, I'm I'm all in
now I'm not if I wasn't before, I'm all in.
I care too much about this person to let this
affect my image of them, to let me not see
(23:39):
pass someone that is in need of help and that
I want to be that person for them. But also
the moment she she locks eyes with him at the
end of the altar and she she's only you know,
I think she's almost expecting someone that's someone to be
I don't know, intimidated, taken aback, you know, not up
(24:02):
for it anymore. But all she sees is just adoring
eyes and someone someone completely accepting her and accepting her
in the way that she wants to be presented, in
the way that she wants to be presented. And you know,
for him to be so open and to be so yeah,
inviting of someone who is bearing all I think for her,
(24:25):
She's like, Okay, this is someone that I can trust,
This is someone that can see me for me finally,
and it will accept me for me and that I
am enough as I am. Even if she is more,
then she's a lot more than I think anyone was expecting.
Well we know, especially her mother in law. But yeah,
those two moments I think just helps solidify their union.
Speaker 6 (24:47):
Yeah, you completely took my breath away in that moment.
I was just like, oh, Wow, this young person who's
supposed to be seventeen is just so completely aware of
marriage in being in a committed relationship. That was really amazing.
(25:10):
It was a really amazing moment.
Speaker 7 (25:13):
Yeah, it was amazing to film as well.
Speaker 6 (25:15):
Yeah was that outsider? Were you guys inside and all
it for that?
Speaker 7 (25:20):
We were inside and all it? Baby?
Speaker 14 (25:22):
Really Yeah.
Speaker 8 (25:24):
Yeah it was in Oxford. We filmed in in a
real church. It was absolutely sunning, and yeah, the lighting
and the cinematography just really came together. Wow, it was
a very magical moment. We have a load of essays
as well that day. It was like the most essays
we've ever had.
Speaker 6 (25:39):
WHOA is there anything about the last episode, episode six
that for you? Is like a full circle moment for
you as a performer, as a storyteller. Is there anything
that you take away from the final episode of the show.
Speaker 8 (26:00):
The last scene, right the last scene under the bed,
I think as an actor, as an audience member, as
Charlotte looking at George, there's just for me, it was
completely you know, full circle. I was like, Okay, this
is this is why we've done the job, this is
this is this is very very special. I think it
(26:25):
just showed it's incredibly bittersweet and like such an understatement.
Speaker 7 (26:30):
But you know, you've just seen, you.
Speaker 8 (26:33):
Know, more than seven hours worth of content showing that
these two people are destined to be together.
Speaker 7 (26:39):
Yet they are.
Speaker 8 (26:41):
In such different journeys, such different headspaces, such different paths,
such different places that it's it's it's heartbreaking because you
know they desperately want to be together, but there's something
in the way. And I feel like when there's that
object in the way, there's always it always makes things
more exciting because you're always wanting to know how to
get there. And you know, we start knowing that they
(27:03):
have a love a beautiful love story, and that he's
you know, incredibly challenged, but we don't get the backstory,
and then we see it in Queen Charlotte and then
you know, it brings it full circles. So I think
in that sense it gives it gives purpose and it shows. Yeah,
it gives the whole series purpose. It shows that this
(27:25):
love is one for the history books and is meant
to last. But also, you know, for me playing a
younger character, it's it's very it's not common to see
you're an older counterpart and then to see them portray
the same same scene. It felt like I was seeing
her future seeing my future, which was very very bizarre
(27:49):
and amazing as well, to show that, you know, their
love still does stand the test of time, and although
he continues to descend and she can still have those glimmers,
she still can have those memories in those moments with him,
and I think that's what she does it for. It's
those little, you know, those flickers of his presence still
(28:11):
being there.
Speaker 7 (28:12):
Very very important.
Speaker 8 (28:13):
Apart from it being incredibly sad and making everyone bloody,
including me, Yeah, it was.
Speaker 16 (28:19):
It was.
Speaker 8 (28:19):
It was great, It was amazing, and I got to
see it all happened as well, so it was it
was very special.
Speaker 6 (28:24):
Yeah, definitely a lesson in life. I really did. I
took away the same thing that you hold on to
those glimmers. But that choice, that choice to love and
that choice to stay and not go over the wall
is my biggest takeaway from this series. I think you
can apply that to so many different scenarios and work
(28:47):
in life.
Speaker 7 (28:48):
For sure.
Speaker 6 (28:49):
Is there a wall that you did go over in life,
in your in your short life, any walls that you said,
you know what, let me get over this one?
Speaker 7 (29:00):
Just skill? I don't think. I don't think so.
Speaker 8 (29:04):
I think I am quite meticulous. I'm a quite a
meticulous planner, and I don't usually do things I don't
want to do. That is one thing my mother gave me.
She didn't give me the looks. She gave me her stubborness.
I can be quite set in my ways. I don't
think so climbing over the walls like, no, No, I try.
(29:29):
I just try and tackle things. Problems come, I try,
and I try and figure out a way to work
with them rather than work against them.
Speaker 6 (29:37):
A true rare jewel, Thank you very much.
Speaker 4 (29:40):
Yeah.
Speaker 6 (29:41):
I keep forgetting about that really really important scene until
the end, which is just so powerful.
Speaker 5 (29:48):
Yeah.
Speaker 6 (29:49):
So is there any favorite off set rendezvous or fun
that you've had with your meads. I had a fun
talk with Sam Clement and Freddie Dennis. They told me
this wild story about cows. Oh god, what I missed
(30:11):
a big chunk of it. But it was so funny,
just because they were laughing so hard.
Speaker 8 (30:17):
Okay, I'm glad, I'm glad they found it funny.
Speaker 7 (30:20):
They decided.
Speaker 8 (30:21):
So we hired an airbnb, which like a verbo in
a vr bo for our last two weeks for filming,
and I decided it was a great idea to live
with the boys. And I what a decision I made.
That was Maybe that was maybe where I should have
run over the wall.
Speaker 7 (30:42):
It was. It was great. I think there was one.
Speaker 8 (30:44):
Evening we got back really late and we were all
cooking our separate dinners. Corey had made an abomination, that
is what it was.
Speaker 7 (30:55):
It was rice.
Speaker 8 (30:58):
Corn like you know, like vegetarian meat with veg in
tomato sauce. And then he got bran flakes, crushed up
bran flakes, sprinkled them on top and put it in
the microwave. So that was his dinner. My dinner was
My dinner was a potato salad. Sam had cooked a
(31:19):
beautiful like salmon, rice and vege and everything, and then
Freddy wasn't eating and I said, where is your dinner?
And he said, oh, I left it in the kitchen.
So I'd finished my dinner, and I took my plate
to the kitchen and I was trying to look for
his dinner. And I could smell pasta, but I couldn't
see it. And I went to go and wash my
(31:40):
hands in the sink and I looked at the sink
and he had just poured his pasta into the sink
and left it, just cooked pasta in the sink, and
I think he was going back to eat it, but
it was just left not in a bowl, just like
you know, in the plug hole with all the soap.
And I took a picture and it was fantastic. But
(32:01):
that was That was an interesting evening. I think we
were delirious. We've been filming night shoots. So I'll give him,
I'll give him a i'll give him a brief, you know,
I'll let him, I'll let him rest.
Speaker 7 (32:12):
But that was crazy. I do have to admit it was.
Speaker 6 (32:15):
That was nuts. It's really nice that you all had
time to just connect away from from it all for
a little bit.
Speaker 7 (32:22):
Yeah, for sure.
Speaker 6 (32:23):
For sure, to build a rapport. And yeah, I think
that the number one thing over the last few years
in hearing about life on set with Bridgerton and Queen
Charlotte is that it's always centered around food, like where
where are we going to get some food? And the
good times around a good meal. Did you have any
(32:45):
kinds of conversations that were very eye opening that you
were able to take back with you that have really
just stuck with you away from working on the show
during the show, just to.
Speaker 8 (32:58):
Enjoy it, enjoying to write, Yeah, which is you know,
a lot easier said than done when you've got you're traveling,
you've got to make certain deadlines, and you've got this
and that, and you're meeting people. But actually just to
take a breather and sit back and take it all
in and just go, wow, Okay, we really did something
really cool here, and yeah, to enjoy all the all
(33:19):
the pros that come with it, And yeah, I need
to remember to do that more often.
Speaker 7 (33:24):
Yeah, for sure.
Speaker 6 (33:26):
Do you have any last thoughts about working on the show,
working with your castmates?
Speaker 8 (33:32):
Not really, just that I I've had a really amazing time,
and I hope people continue to watch the show and
to love it as much as we did making it.
Speaker 6 (33:42):
We're all going to go binge it again. Yeah, thank
you India.
Speaker 7 (33:48):
Thank you so so much.
Speaker 6 (33:51):
I'm going to refresh my tea. You should do the same.
We're going to speak with golda Rochevel, So come right
back after this break, Hi, everybody.
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Speaker 6 (36:42):
We're back with Queen Charlotte A Bridgeton Story, the official podcast,
and we're talking to Golden Rochevelle, who's here today to
talk about reprising her role in Queen Charlotte A Bridgeton Story.
Hi girl, Hi, Hi, Hey, how are you?
Speaker 11 (36:58):
I'm good bye, very very good. Good to talk, good
to talk.
Speaker 6 (37:01):
It's so good, it's so good to talk with you.
I still revisit our last conversation for sustenance.
Speaker 11 (37:10):
Yeah yeah, yeah, oh yeah. And that one with addu
that was that was the last one was with Addie
wasn't it. Yeah cool, Yeah, a couple of years ago.
Speaker 6 (37:21):
Now it was a whole lot of life and work
has happened since then.
Speaker 11 (37:26):
That's true, true, true talk, true talk.
Speaker 6 (37:29):
Yeah, back then, I don't know if you knew that
there were big plans for your character, did you know?
Speaker 11 (37:40):
Did you have any I had no idea. I had
no idea. You know, I don't know, you just kind
of I don't know. My life has just been, you know,
chugging along doing the work and being really happy with that.
You know. I love to work, like you know, my profession.
(38:02):
I adore it. I adore the you know, the kind
of investigation of characters and humanity and how we are.
And I think, you know, maybe I've said this to
you before, but I've definitely said this in interviews before,
is that I really truly believe that an actor's superpower
is empathy, you know, So I really I love to
(38:26):
find that within my characters. So the work becomes really
something that I'm really passionate about and that I really
advocate for these characters. So Charlotte was no different for me.
You know, I worked on her, I developed her, I
really cherished our journey together in creation in bringing her
(38:50):
to life, in bringing you know, Shonda Rhime's Chris van Dusen,
you know, if we're talking about right at the beginning,
you know, their vision and even like Julia Quinn and
her world world and bringing that to life within this
character that had been placed into her world.
Speaker 7 (39:06):
You know.
Speaker 11 (39:07):
So cut to Shonda Rhimes going, yeah, we'd like to
do a spin off of your character. I mean that's
like when you put that amount of work in and
you really care about what you do and how you
want to do it, It's it's a real dream come true,
(39:29):
you know, and a real kind of validation of me
as an artist, you know, and what I dedicate to
do every single day I walk hand in hand with
these characters.
Speaker 6 (39:45):
Yeah. Yeah, when you when you say validation, I don't
think of like, oh, she's finally getting like her flowers,
because if you know, you know, if you know Golder,
you know Golder Like.
Speaker 11 (40:00):
Yeah, but I think there's always you know, ask any actor,
there's always wobbles and imposter syndrome and you know, am
I am I worthy of this?
Speaker 8 (40:12):
Is it?
Speaker 11 (40:13):
Right? That's that's it's part of being an actor that insecurity,
you know, So there's always that of going am I
doing it justice? Am I doing the writing justice? Am
I doing the character justice?
Speaker 17 (40:32):
You know?
Speaker 15 (40:32):
Right?
Speaker 11 (40:33):
So that's what I mean in terms of validation, It's like, yeah, Okay,
I've done I've done an okay job. I think, Yeah,
that's that. This seems really this seems as so it's
going really well.
Speaker 6 (40:44):
I was wondering if you found yourself exploring Charlotte any differently,
or if you thought of her any differently with this,
like you said, cut to you or doing a whole
deep dive. Did you have to reshuffle some thoughts you
had originally?
Speaker 11 (40:59):
No, so I didn't. If anything, it was the other
way round. It was really kind of collecting the information
that was then given to me, you know, because when
you work on a character and you don't have the
physical representations of that backstory, it's always there you work
on it. So you know, for Charlotte, she had in
(41:23):
my mind, she had her family, she had her children,
there was a life. There was stuff going on behind
the scenes of Bridgeton, of all the balls and the
presentations and the tea parties. There was stuff there. But
I kind of describe it as it's kind of in
the darkness you know, and Shonda Rhymes brought it all
(41:45):
into the light, you know, but it's always been there,
but now it's physicalized. The imagination has been physicalized through
Shonda's writing.
Speaker 6 (41:57):
It does feel like her writing sometimes and your performance
are just I mean, this sounds so like obvious, right,
but it's just like hand in But I wonder sometimes
if something that she kind of built into Charlotte was
inspired by maybe a way you twisted your mouth in
(42:19):
season two or something like that, you know, like that
made her think, oh, she's you know, she doesn't like
strawberries because George, Yeah.
Speaker 11 (42:27):
Yeah, exactly. I'm sure there's an element of that within
a writer, you know, because of the originator is still
there and still living and breathing the character. Schonder is
so good, as you say, joining me and the character
together and allowing us, through her writing, to be able
(42:50):
to walk hand in hand. You know, Charlotte's now become
an entity of on her own for real, you know,
she really is is established and in some ways leads
me the actress, you know, as well as I lead
her that I very much kind of wanted to create
(43:13):
that openness for her to do that, to be able
to stand and I think because of her character as well,
you know, and that's in the writing as well as
me playing that she is a stand alone, you know,
woman who knows exactly what she wants. She's unapologetic, et cetera,
et cetera, et cetera.
Speaker 6 (43:31):
You know, you seem to always just show up in
such a very like completely all their kind of way,
even if you know it can't touch you through the screen.
I was wondering if you had any if similarly you
worked with the costume.
Speaker 11 (43:49):
You know, in Bridgeton, I have a lot of collaboration
because we have time to work on the wigs and stuff,
and we have lots and lots of fittings. We had
that on Charlotte as well, and I'm very much involved
in in that kind of stuff and how how things
(44:09):
are put on my head and the weight of things
and or you know all of that. So, yes, there
is a collaboration there. Charlotte needs to be able to walk,
do you know what I mean? She has a certain
way of like, yeah, she's like going, so that you
need to be taken into consideration. Shoes are a big
thing to me. I like my shoes to be on
(44:30):
my feet. I don't like any kind of slippage or
anything like that if I feel like I'm unbalanced. I'm
unbalanced already with the wigs, and you know the size
of the costume, so my feet need to be in
those shoes like they need to be part of me.
So those are the only kind of things that I
collaborate on for the costume. But yeah, mainly the wigs
(44:52):
stuff is I find that really interesting, especially using like
dreadlocks and textured hair and plats and all of that.
Trying to get all of that stuff in is really
really important.
Speaker 6 (45:04):
You are a lot more black this time.
Speaker 11 (45:07):
Too, yeah, which I think is really interesting because Charlotte
is very much It's very personal, isn't it. The show
It's very intimate, and I think with that intimacy, the
color palette had to change, you know. Oh yes, yeah,
we drew the curtain over the windows a little bit
(45:28):
to kind of create that personal that private in the beginning,
she's grieving the death of her granddaughter. But there was
a conscious decision to change that palette, so it wasn't
as vibrant as Bridgeton. You know, we were seeing her
as a woman, as a mother, you know, we were
(45:50):
seeing her private life. So those curtains had to be
drawn a little bit just to take out that light.
Speaker 13 (45:57):
Wow.
Speaker 11 (45:58):
Yeah, yeah, I found not really interesting. But yet it
was still beautiful. It was still lush, and you know,
really it's still vibrant there. It's you know, but yet
the personal is it just tinged a little darker.
Speaker 6 (46:14):
It definitely did. And I was amazed at how in
your funeral gown it was. I was still able to
see so much detail, all the beating and the shimmery
and it was it was black, but there was nothing
that I couldn't see.
Speaker 11 (46:30):
It was amazing, beautiful, beautiful. Yeah, I'm very honored to
wear those.
Speaker 6 (46:37):
Wow, you know, it's so funny you brought up shoes.
Lynn Pawla was talking about how she absolutely loved working
on the shoes for this show, and it's it's too
bad we didn't get to see more. Yeah, did you
have any favorite pieces?
Speaker 11 (46:52):
Or My favorite pieces are my ug boots. When I'm
sitting down. Come fact, whenever the Queen is sitting down,
she's in ug boots. Let me reveal that right now,
any form of comfort Golden Roschavel can get while playing
this part, I will go there, don't know this world,
(47:15):
ug Boots.
Speaker 9 (47:16):
That is.
Speaker 11 (47:22):
Sweet. Yeah, true, it's true.
Speaker 6 (47:28):
Now I'm wondering if they're so okay. I'm trying to
think of, Oh, so that that scene where you are
having tea with Lady Danbury play.
Speaker 11 (47:39):
Ug Boots. I'm always like, when I'm sitting down, I'm
always like, can you see my feet? Can you see
my feet? Are you going down there? Where's the camera?
Speaker 13 (47:50):
Yeah?
Speaker 11 (47:51):
Maybe you got to You gotta get it where you
can get it.
Speaker 6 (47:53):
I'm telling you, I will now look at the tea
scene in the greenhouse completely the differently.
Speaker 11 (48:00):
Yeah, and one where my kids are telling me off downs.
Speaker 6 (48:07):
Oh, that reminds me Golda a little Birdie told me
that you and Hugh Sax have a very special relationship
on and offset And I've got to tell you, the
two of you on screen just mind blowing magical.
Speaker 11 (48:25):
Oh my god, you two he is.
Speaker 6 (48:32):
And and the and the both of you together there
are there are a few scenes where Mayan it really
stops everyone in their tracks. And so I'm really curious
about your perspective on some of these scenes and what
was going through the Queen's mind, and also what you
and Hugh, how you and Hugh work together. I think
(48:56):
listeners would love to hear how the sauce is made
because you're what, you are, so thoughtful.
Speaker 11 (49:02):
Yeah, so h and I you rightly say we are
best best mates on and off the screen. Like when
we we I knew him, we kind of knew of
each other so at like you know, events or theater
events or whatever. If I saw him, it would be like,
(49:23):
you know, a nice kind of polite nod and how
are you kind of thing. But then getting to work
with him was something really really special. He is just phenomenal,
and you know in Bridgeton, like he's one of our
biggest actors over here. But yet you know, he took
this part that had no words, no lines. But yet
(49:48):
you know in Bridgeton, we worked so hard on that relationship.
You know what, what is the silence between them? How
is the silence filled with the knowledge of these two people,
with the friendship of these two people, with the dedication
you know, she needs him as much as he needs her.
(50:11):
And how are we going to portray that in the silence?
You know? I mean, the most that he says in
Bridgeton is yes, your majesty, do you know what I mean?
Speaker 6 (50:22):
Yeah, but how would that face?
Speaker 11 (50:25):
Right, Yeah, yeah, exactly exactly, So how do you portray that,
you know, and then coming to Queen Charlotte and him
being able to speak for the first time, and the
scene where he tells me, you know, about my daughters
and them not getting married, and then I get upset
and tell him to go and stand over there and
(50:47):
look the other way. You are still his queen, forever, frozen,
forever waiting. Your daughters could not leave you here.
Speaker 6 (51:00):
App in time.
Speaker 11 (51:07):
Go and stand over there and stop talking. Look that way,
not of me, of course, your majesty. Yes, it's a
funny scene. We cried because that was the first time
that he had spoken more than yes, your majesty, and
(51:27):
it was so overwhelming for both of us. You know,
it was like we wanted this for so long, you know,
it kind of felt like the lead had been lifted
off this relationship, this emotion that was so deep and
(51:48):
so passionate for these two characters. And yeah, we just
started weeping, and he was so beautiful and he did
it so amazingly. Well, it was just like, oh my god,
you know when we held each other and yeah, really
really moving. I mean, we we are quite naughty as well.
(52:10):
On on set, we do we laugh a lot. Hugh
is very good at making up sketch shows. But yeah,
he has a conchance for sketch shows. So whenever we
are waiting for action or you know, he has me crying.
Speaker 6 (52:32):
Like the one man reacting.
Speaker 11 (52:35):
Yeah, yeah, he's like one man band man. He's one. Yeah. Absolutely.
But also you know he's been there for me. You know.
It was you know in the tough times at the
beginning when everything kind of blew up and we weren't
able to kind of reach out to people because we
were you know, the pandemic and so on, and we
were doing lots of kind of zoom things and it
(52:56):
was kind of the blow up of Bridgton was kind
of happening outside, you know, so it was kind of
it was quite lonely, and he was out of our
bubble because he was on his own, so he joined
our bubble. So it was really nice to kind of
have him there and you know, for the two of
us to kind of go through it together and we
would meet in a park and kind of discuss it all.
(53:18):
And because he just he literally lives up the road
for me. Oh yeah, so in those times. You know,
it was really he was. He was such a good,
good friend and he continues to be so. But yeah,
he's I'm so pleased he's getting his moment.
Speaker 15 (53:34):
You know.
Speaker 6 (53:36):
What I'm hearing you say is you know, you're able
to just be when you are around this person. Yeah,
And I feel like that is maybe what Queen Charlotte
is also able to do. She's able to just be
around Brimsley. Maybe to a fault because in that you
said it was funny. It was a little funny, in
(53:58):
a funny in the same way Sorrow's prayer sorrows this
buddy like Queen Charlotte, that's so mean.
Speaker 11 (54:05):
Yeah, yeah, exactly.
Speaker 6 (54:07):
But that scene was I felt sad for Queen Charlotte
in that moment. If you could just take us back
to that, just describe why is the mirror important in
that scene.
Speaker 11 (54:20):
That's a very interesting question. And I'm only coming at
it riffing on it now, but I think, but I
think what's interesting about the mirror is she goes off
about you know, they're not treating my fact, my children
aren't treating me good. They're not talking to me very nicely.
(54:40):
You know, I'm a good mother and I think the
I think what the audience is meant to see or
meant to feel is that reflection, you know, when people
reflect things back at you. I think it's a really
interesting way of her kind of not seeing herself the
(55:01):
truth of who she is, you know. Yeah, And also
I think it's really lovely that she's taking off jewelry,
you know, and and that kind of that kind of
coming back to self, taking off the facade, taking off
(55:21):
the layers, right, and kind of coming back to to
self in that moment where your soul is reflected at you,
but you're not seeing it. You choose not to see it.
Speaker 6 (55:36):
And that is perfect from my mind, because I feel
like in that moment also, Queen Charlotte was choosing not
to see the obvious answer to the question she asked
Brimsley in that moment, like you never fell in love,
you never got married, Like duh, Queen Charlotte, what do
you think is with you all the time? So that's
(55:58):
that makes.
Speaker 11 (55:59):
Sense to Yeah, I think there's something in that.
Speaker 13 (56:03):
Oh wow.
Speaker 6 (56:05):
Yeah, you also had really special moments with the King
George under the bed James. Yeah, you and India and
Corey and James Fleet. Do you have any special thoughts
or memories from that scene before.
Speaker 11 (56:24):
Oh my god, absolutely I have loads, loads and loads
and loads. But what I can tell you is, first
and foremost, that was a James and My scene with
kind of stage directions of flashing back. It was Tom
Vereker's vision to film it that way. The man is
(56:45):
a genius. It was his vision and only him, and
I remember him saying, you know, we're going to get
Corey and India to learn the lines and we're just
going to play. I was like, yeah, man, I'm down, brilliant. Absolutely, yeah,
I have no idea what you're going to do, but yes, yes, yes,
all of the yes is because I trust him complicitly.
(57:07):
So on the day it was really beautiful. And James
is one of these actors. I mean, he's been around
for many years. He's an absolute professional and he can
just lock in straight away. He knows exactly what to do.
So it's really nice to be a because we don't
see each other all that much, you know. So you
know when I come through the door and I say
(57:29):
George and I tell him and he turns to me
and I tell him about the kids.
Speaker 6 (57:35):
Yeah, ah, you're so excited too.
Speaker 11 (57:37):
Yeah, and I realize that he's not with me like James.
It was just just like so easy. It's lovely, it's great.
It's brilliant. You know, you can do your work when
the guy looks at you and is like so in
character but yet so joined with you as an actor.
(58:00):
It's brilliant. It's really good. And then you know, we
get under the bed and James is a very funny man.
He's also hilarious. So we'll be chat chat chat in
and we're under the bed and you know, how are you?
And he loves his motorbikes and stuff, and oh yes,
I rode my motorbike here today, and I'm like, oh
great Bill, the chat chat chat okay, and action in it.
(58:24):
He's in it. Just George Farmer, George.
Speaker 10 (58:39):
Come hide from the heavens with me, Charlotte, Why hello,
hello George.
Speaker 13 (58:58):
It is quiet here, George.
Speaker 11 (59:02):
We have succeeded our son, Edward.
Speaker 6 (59:06):
He has married and his wife is with child.
Speaker 10 (59:10):
Edward's going to be a father.
Speaker 11 (59:12):
Yes, your line will live.
Speaker 13 (59:16):
On our line, our line, Thank you, thank you.
Speaker 11 (59:40):
And that's so thrilling?
Speaker 6 (59:42):
Is it freeing?
Speaker 11 (59:43):
It's so freeing because I trust that actor will give
me what I want, but also that what he does
and how he works inspires me to give him what
he wants, you know. So yeah, that was it was
(01:00:05):
so great. And then you know, you get a Tom
was in the other room video village, and you get okay, Golder,
you come out, and let's get India in. So I
shuffle out of the bed underneath the bed.
Speaker 6 (01:00:19):
Is it a high bed? Like what are you doing this?
Speaker 11 (01:00:23):
No, I'm in full wig, full costume. It's it's hilarious.
I mean, they should have videoed it actually kind of
behind the scenes, you know, and I kind of you shuffle,
you wiggle, and the guys helped me up because it's
hard to get up, you know, with the wigs and everything.
And then India gets in and they do the scene
(01:00:44):
and then you know, Tom's like okay, James, you come out,
Corey you go in. And it was literally like that.
And I said to Tom, I said, I want to
be in the editing room, man, when you edit this scene,
because this is like what is going on. But it
was so beautiful and glorious to be in an environment
(01:01:08):
that is created by a director like Tom that you
can just play bingo.
Speaker 6 (01:01:15):
I thought it was a really interesting way to think
about love and loss because the loss there is you know,
George is not fully himself, so to say I'm saying
with quote marks. So there's like a sense of loss there.
(01:01:35):
I think of like people who have lost people to
dementia or Alzheimer's. It's like that similar kind of grief.
Someone is still with you, but you're still grieving them.
Speaker 11 (01:01:46):
Yeah.
Speaker 6 (01:01:46):
I felt that was a really special way to depict
loss in Queen Charlotte, and you know, it's just not
really seen often.
Speaker 18 (01:01:57):
Yeah, And I think there's a there's a weird, beautiful
scene that connects that, you know, which is the first
scene with India and Corey where Charlotte comes out into
the garden and she sees him mad for the first time,
but she decides she chooses to take him.
Speaker 11 (01:02:17):
In her arms. Yes, and cares for him. Yes, and
cares for him right up until the time I open
that door and go under the bed with him.
Speaker 2 (01:02:33):
Yes.
Speaker 17 (01:02:34):
That journey through my computer, absolutely, that journey from that
moment to the woman you see in Bridgington is all
of the understanding of that woman, do you know what
I mean?
Speaker 11 (01:02:45):
The audience and the fans, I hope make that connection
and go, oh my god, wow. From that moment that
India embraces him and chooses to become his care I
never really understood in sickness and in health till death
hast due part. I never understood it before until that moment.
(01:03:11):
And then you join the dots and the journey to
the end scene.
Speaker 6 (01:03:15):
Yeah, did you and India have any heart to hearts
about Queen Charlotte? Because it's in many many depictions of
a queen and opulence and opportunity, it can get lost.
It certainly isn't lost this time.
Speaker 11 (01:03:33):
I don't own this role. I really don't. Yes, I'm
the og, but I wanted to give her Charlotte and
for her to make Charlotte her own. You know, you
can't put anything on Charlotte. You know, you can't kind
(01:03:55):
of say, oh, you must do this, you must do that,
you must have this look, or you must have this
walk or or whatever Charlotte does. She won't allow that.
You need to be you need to take her and
make her your own, you know, because she stands firm
in who you are. She stands firm in how unapologetic.
(01:04:16):
You are. For me, it was all about supporting India
in her journey with this character. So in terms of
that chat, it didn't go that way. It didn't go
that way. I'm here for it. Yes, yeah, she made
it her own, you know, and I think that's it's
(01:04:39):
it's beautiful and somehow in that and I think that's why,
you know, people are saying, oh my god, it was
such such a good fit.
Speaker 19 (01:04:47):
You guys, you know you look the same. Actually, all
of that, I think that's why she will. You know,
we allowed her to take.
Speaker 11 (01:04:57):
It and run with it and make it her own
and celebrate her as an artist within this character.
Speaker 6 (01:05:03):
Yes, she tapped in, she clocked in. Yeah she did
found her essence. Yeah, yeah, that's what people are reacting
to that.
Speaker 11 (01:05:12):
Yeah, she found her essence.
Speaker 7 (01:05:14):
I like that.
Speaker 11 (01:05:15):
I'm gonna steal that.
Speaker 6 (01:05:16):
Yeah. Well, Golda, Golda, Golda Rochevelle. I can't say enough
to thank you for your time today, for their performance
you just left for us on screen. Thank you so much.
Speaker 11 (01:05:33):
You're most well, most welcome.
Speaker 6 (01:05:36):
And that concludes our episode with the incredible Golda and India,
the talented actresses behind the captivating Queen Charlotte. We are
very grateful for their presence and their artistry and for
charming us with their warmth and their grace. Queen Charlotte
absolutely resonates deeply with audiences worldwide, and it's no wonder
(01:05:59):
why after speaking with the two of them, they bring
an openness and a grace to the role that only
people of a special sort. Carrie, it's a light that
they carry that comes through that we're watching and we're
witnessing that these are actresses that have not only written
(01:06:20):
their own narratives, but have also enriched our lives through
this narrative Shonda Rhimes wrote, and they delivered that to us.
So we are forever grateful for this moment in time
where we can experience it. I wonder what people are
going to say in twenty years about their depiction of
(01:06:42):
Queen Charlotte. Anyway, again, a heartfelt, heartfelt thanks for their time.
On the next episode, now.
Speaker 20 (01:06:50):
There's this amazing moment for me when she asks as
an older Queen Charlotte, she asks Brimsley, why did you
never marry?
Speaker 6 (01:07:01):
Yep, Shonda Rhymes, come on back, 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 Crispy
(01:07:24):
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
(01:07:46):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows.
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Speaker 6 (01:53):
Queen Charlotte. The official podcast is a production of Shondaland
Audio in partnership with iHeartRadio hellove and a warm, Warm,
Warm Welcome to Queen Charlotte, a British and Story the
(02:15):
official podcast. I'm your host, Gabby Collins, and on this episode,
I am thrilled to share two conversations with you. I
got to spend some time with the two remarkable queens
that brought to life one of the most captivating and
influential characters of the Bridge Reverse Queen Charlotte. It is
(02:35):
an absolute pleasure to delve into the world of these
talented actresses who have masterfully embodied this enigmatic you know,
leaving audiences spelled bound with their performance over the top
bodacious queen, Queen Charlotte. It's an honor to happen with us,
(02:56):
and we can't wait to hear their insight, their experiences,
and the shimmering brilliance that they bring to screen. So
let's just get right on in. Welcome India. How are
you doing today.
Speaker 7 (03:10):
I'm doing very well. Thank you so much for having me.
Speaker 6 (03:12):
It's really good to have you. I just wanted to
start off by saying you absolutely exude a swan like
essence of a young Queen Charlotte.
Speaker 7 (03:24):
Oh, thank you very much.
Speaker 6 (03:25):
Yeah, thank you.
Speaker 8 (03:27):
Probably ingrained in me for like another ten years or so.
But yeah, yeah, I'll take that as a compliment, thank you.
Speaker 9 (03:36):
Yeah.
Speaker 6 (03:36):
You know, so you had to walk into a room
for how many days as like the centerpiece and holding
up so much of the story and the scenes. How
does that inform you of yourself? Did you surprise yourself
in any way? Are you more brazen than you thought
(03:57):
you ever were?
Speaker 8 (03:59):
I think she she taught me a lot. She taught
me about just being okay with emotions and being okay
with not being okay and actually normalizing the fact that
not everyone feels one hundred percent all the time. And
you know, in those moments when she is dancing and
(04:21):
she's moving, it's it's incredibly surreal for her, I think,
and it's it's it's probably all very too much, which
ey as India can get very overwhelmed by large crowds
and large groups of people, especially when there's attention only
on you. But you know the fact that she kind
of defies those those feelings and pushes against it and
(04:44):
great outcomes come from that kind of taught me that, hey, okay,
you may be feeling uncomfortable and said situation, but pushed
through it and Yeah, you know, only greatness can come
from working outside of your comfort zone, which I'm notorious
for staying in because she's nice and safe and comfortable
and I like her. But yeah, I don't feel like
(05:08):
I've made significant changes to my life and just me
as a person from stepping outside of my comfort zone.
Speaker 7 (05:16):
And this job was one of them.
Speaker 8 (05:18):
I think there aren't many jobs that are as scary
to take on as this in all the spectrums, you know,
the most amazing feeling to the most terrifying feeling of
like taking on this massive role. So yeah, it just
showed me that I should continue to push outside of
my little circle of safety.
Speaker 6 (05:35):
Yeah, you said something that's interesting. You said that emotions
are okay. Yeah, do you mean by that?
Speaker 7 (05:44):
I don't know.
Speaker 8 (05:47):
I had a very weird feeling whenever I felt a
huge sense of any type of emotion, whether that's a
complete enjoyment, you know, terror, horror, being nervous, being afraid,
being scared. I always kind of masked that, and I
didn't really realize that I did that, And I guess
that influenced my acting because it meant that I wasn't
(06:10):
able to open up, I wasn't able to explore these
emotions to create another person, let alone, you know, reflect
on my own experiences feeling certain feelings. But with Charlotte
and with this job I was with her for six months,
I was creating a whole person. I had to know
exactly how she felt in all situations, what nerves felt
like to her, and how she displayed that, what elation
(06:31):
felt like to her, and how she displayed that. So
for me, I had to feel that as India and
go through that and really kind of recount on my
life in those moments where I've maybe masked how I
was feeling just because I don't know. I thought it
was a bit cringe to be vulnerable or to show
my emotions completely, because it does put you in a
(06:51):
scary position of you know, people judging.
Speaker 7 (06:55):
You or being able to use something against you.
Speaker 8 (06:59):
But she made me a lot more empathic, and she
made me discover that actually I am quite an emotional person.
Speaker 7 (07:05):
I never thought I was.
Speaker 8 (07:06):
I thought I was quite straight laced and you know,
I'll just get on with things and quite britt you know,
have that very British mentality of you know, just just
go and do your job, or just you just keep
pushing through things, but actually I'm highly sensitive and I
think it's actually been beautiful. It's opened my eyes to
(07:26):
the world. I've traveled more than I have, and I've
got to meet people and really understand people and really
getting to know what humans are like through through getting
to know her and getting to know emotions. So I
feel a lot of pride and a lot of gratitude
when I think about her and Chonda's writing and her work,
(07:47):
because it's yeah, it's not only helped me as an actor,
but as a as a human, which again is you know,
going to only help me in my job.
Speaker 7 (07:57):
Be a better and more honest and open person.
Speaker 6 (08:00):
There were scenes with you and Cory you in Arsama
where I felt like I wasn't supposed to be in
the room, which is I mean, what the mark of
a really good moment?
Speaker 8 (08:11):
Right?
Speaker 6 (08:13):
Tell me about that? And working with Corey working with Arsama,
the moments for you that felt the most freeing or
light or were you grey able to just get lost
in that moment.
Speaker 8 (08:26):
You sit with a character for six months, and I
think you do lose yourself in the best way and
sometimes in bad ways, because you leave a job and
you go what is my existence as India. But I felt,
you know, especially towards the end of filming, so easy
to access her and just to you know, completely delve
(08:47):
into this world. A lot of the scenes that I felt,
I was completely kind of engross and Shonda writes in
a way that is almost incredibly theatrical. She makes, you know,
ten minute scenes, six minute scenes which are so detailed,
so intricate, and you get them and you see them
on a page and you're like, right, I know this
is an important scene because of this, this and this.
(09:08):
We've just spoken about this, we've tackled this, we need
to get from here to here, and then by the
end of the scene were completely different places. And it's
about working together as a team, and especially with Corey. Actually,
we really really worked hard in the evenings after filming.
Speaker 7 (09:22):
You know, we'd sit for a couple hours and just
delve into the scenes that are coming.
Speaker 8 (09:27):
Up, and we'd make sure we were prepped and knew
why we were doing the scenes and making sure we
hit every important beat and kind of quizzing each other
on why the scenes.
Speaker 7 (09:36):
Are what they are.
Speaker 6 (09:37):
Oh, I live for that.
Speaker 7 (09:38):
Yeah, yeah, that's what a lot of I mean, that's
how we were trained.
Speaker 8 (09:41):
Corey was trained theatrically. I was trained theatrically. And that's
how you break down the script. You you know, you
annotate it, you give it a purpose, you put it
into perspective of both characters, and you workshop around it
and you find out ways and you come up with
ideas of how you could do it on the day.
But then also you know, leave it to the director's
interpretation and also the energy that both of you bring
(10:03):
on the day.
Speaker 7 (10:04):
But a lot of work goes into it.
Speaker 8 (10:06):
A lot a lot of work goes into it, and
it has to because a lot of it isn't spoken.
And I think that's what's great about Shamba's writing. A
lot of it is in the gestures, the eye contact,
the no speaking, the silences, the pauses, and those are
the bits that can often be missed but are incredibly
important and you know, tell a lot more about about
(10:27):
how someone's feeling in that situation than words can.
Speaker 7 (10:31):
And I think that's the beauty of it.
Speaker 8 (10:32):
And I think that's why this show just you know,
satisfies those taste buds, because it says what we're all
thinking and sometimes we're too afraid to say out loud.
Speaker 6 (10:40):
One of the things I'm not sure how to explain
out loud is the moment between you as Queen Charlotte
and Arsama as Young Agatha, young Lady Agatha Danbury at
this point, and she comes up to you and she's
basically making a case. She's basically making a case to
(11:00):
have the ball be thrown the first ball, and it's
a moment where she's teaching young Charlotte about her privilege
and what responsibility she has to act with it. What
was the conversation the two of you had to really
dig into that scene because it speaks volumes today, I.
Speaker 8 (11:26):
Don't think we actually did, you know. I know we
ran lines again, delved into its importance. But there's something
about the black woman's experience in every culture you know,
in Britain and America, that one doesn't even really need to.
Speaker 7 (11:46):
Say anything.
Speaker 8 (11:48):
It's just an understanding, an immediate sense of I understand
what this person's going through. And for some of the scenes,
especially like that, for me, I didn't work a lot
on them because I wanted that natural reaction to someone
actually saying it out loud.
Speaker 7 (12:07):
Sometimes that really works.
Speaker 8 (12:09):
There are there are a couple of scenes where I'm
like right, I'm gonna I'm going to just you know,
power my line, so I'm not thinking about the lines,
and most of the time, I'm just letting the other
actor affect my choices. And that was one of the
scenes I knew, you know what I was saying. My
objective was with George and what on earth he was doing,
and I was going to you know, the turn. The
(12:29):
head turn was when she starts talking to me about
the actual pressing topics. So I you know, I used that.
I use that sense of like, I don't actually know
what she's going to say. I'm not going to look
at what us M is saying that day. I'm going
to let her words inform my reaction. And it was
completely natural. You know, I am Charlotte, but I'm also
taking in what she's saying for the first time. There's
(12:51):
a lot of scenes like that where I'd read and
I was like, I don't want to read the other
person's like, I don't want to do that. I just
I just want to I just want to be I
want to go through that ride.
Speaker 7 (13:01):
In that journey and find where Charlotte sits in there.
Speaker 6 (13:04):
Oh that's really interesting. I'm wondering if One of those
scenes is in episode six, Young Charlotte's pregnant, she you know,
goes to young George and she's basically asking him, you know,
what is wrong with you? And it ends in a
you know, beautiful emotional moment, but he's hurling. He's hurling
(13:25):
at you. Is that one of those scenes that you yeah, yeah,
and you can tell.
Speaker 10 (13:34):
I do not want you.
Speaker 11 (13:35):
I want never to see you leave. Get out. I
order you.
Speaker 7 (13:43):
No, George Charlotte, you cannot force me away. I will
not go.
Speaker 4 (13:47):
I commanded girl.
Speaker 11 (13:48):
I will stay. I command it.
Speaker 8 (13:52):
There's a way of, you know, the first time you
hear something being said out loud, you really are in
intent and you're you're really kind of interested in because
of what they're saying.
Speaker 7 (14:01):
It's another one, well, I think.
Speaker 8 (14:02):
People people will will see now maybe if they go
and rewatch it, which hopefully they do. The scenes that
you can just really tell that both people are in
the room, they're present, and they're thinking, They're not thinking
what's my next line.
Speaker 7 (14:14):
It's like, no, my intention is to you and you only.
And that is perfect example.
Speaker 6 (14:20):
So let's talk about working with Tanji Tanchi, Cassim Yay,
your brother young Challo's brother Adarphus. I absolutely love the
character scene with the two of you.
Speaker 10 (14:35):
You give the appearance of a statue.
Speaker 12 (14:37):
Statues are workspart art is beautiful.
Speaker 11 (14:41):
Art can be beautiful to gaze upon.
Speaker 13 (14:43):
You are ridiculous to the eye.
Speaker 4 (14:45):
Is there a point you have not moved an inch
in six hours?
Speaker 12 (14:49):
I'm wearing lionaise silk encrusted with Indian sapphires, working with
overlay of two hundred year old lace. Apparently too much
movement can cause the sapphires too shred the lace. If
that's not enough, the gown sits the top of bespoke
underpinning made of whalebone. Wh Yes, whalebone, brother, the bones
(15:10):
of whales. Whales died so I could look like this.
All the finest corsets are whalebone. You would know that
if you knew anything.
Speaker 6 (15:17):
You are dancing with the with the script. Actually you're
more like a kitten with a fall of yarn with
the script. In that scene, it's someone used the words
you are still but just still really just effervescent with
(15:38):
with your delivery. And I am curious about the back
and forth between you and and Cassime. In preparation for
that scene, and and if we could also talk about
how you stand up for that character in episode six
when you confront our summer as.
Speaker 8 (16:00):
Yeah, I mean, Tunji is one of the best people
I've ever worked with. He is so experienced, so level headed,
you know, so ingrained in the work, but also up
for just having a laugh. And he's incredibly intelligent and
it was an absolute joy to spend time with him.
And I feel like I don't get to speak to
(16:22):
him enough and speak about him enough, actually, but he
was vital, vital in making that scene as impactful as
it is.
Speaker 7 (16:31):
But we tried.
Speaker 8 (16:33):
We did that scene all day. I think I had
a very short scene in the morning with Corey and
then yeah, we had a whole day dedicated to that
scene again because it's so important, and it almost as
important as the meet you. You know, you're discovering Charlotte
for the first time and who she is and her
relationship and that you know, the world that we're about
(16:54):
to start building again. It was another scene that we
just hammered the lines like we need them to front.
They were my audition scenes, so I'd known them for
you know, months and months and months, and it was
ingrained in my soul by then, so the lines weren't
a problem. It was more bringing something new and fresh
to each take, because you know, sometimes when you're saying
(17:15):
the same thing, you can get into a bit of
a rut and you have the same cadence of how
you're saying anything. And it was just about breaking that
mold and changing that. But that was you know, only
through Tunji's excellence and Tom's direction and everyone around us
kind of each take wanting a new, fresh, you know,
idea and spark, and we did so many different takes,
(17:36):
Tunji just going completely ham basically, and he's just like,
let's completely loose, and his anger and his frustration and
everything comes on to her and then she's left kind
of quite meekly in the corner, going sorry, like we
and then we did ones where he kept very level
headed and she was, you know, up here and she
held the upper hand and was very very interesting to
(17:57):
go through the day and go through different types of
you know, power and differences between the pair, and then
I think, you know, she realizes again a bit like
with Agafa, like there's only a certain amount of people
in society that will relate to her and her experiences
and one of her one of those people, is her brother,
and I think she really takes it to heart that,
(18:18):
you know, the whole thing with Lady Danbury doesn't work
out between him and her. But I think it's also
a moment where she uses her power and she realizes
her power in that instant.
Speaker 7 (18:30):
Lady Danbury has been telling her you, you know, you're
the first of your kind.
Speaker 8 (18:34):
You're this, you're that, and this is the first time
she's she's kind of openly expressing it to this person
who's asked her to step up to the plane.
Speaker 7 (18:41):
She's like, listen, you wanted me to be this way.
Speaker 8 (18:44):
You you were the person who wanted me to take
the stance and to be strong and to lead my people.
This is me leading my people and you're one of them.
Don't forget that. So I think it was just, you know,
a vessel almost in order for her to push that.
And she does love her and I think she is
probably quite grateful by the end.
Speaker 7 (19:05):
That everything kind of worked out.
Speaker 8 (19:08):
She is with the love of her life and it's
not the ending and it's not the life that she
maybe would wish for. However, she now is either figurehead
in society and she's part of all this change and
she's new, and yeah, I think there's a lot for
her to.
Speaker 7 (19:25):
Be grateful to him for.
Speaker 6 (19:28):
We'll be right back with mar chitchat with India Amartifia
after this short break.
Speaker 1 (19:41):
Hi, everybody, Katie Low's here. 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.
(20:02):
I cannot stop wearing the Body by Victoria Invisible Lift Demibro.
It is my new every day pick me up bra.
It's lightweight, it's unlined design, so it has this like
barely there feel. Plus it's an invisible lift, which is
come on, it's what we all want. It actually lifts
me up, but it has a super lightweight, unline design,
(20:25):
so it feels like it's barely there and it is
so super comfortable. Plus it has this little dangling cute
heart in between the boobies that is just so stink
and cute. So Adam likes it too. Go get one
now Body by Victoria Invisible Lift Demibro. It's available in
cups A through G and bands thirty to forty four.
That's forty three sizes in twenty two styles. Shop now
(20:46):
at your nearest Victoria's Secret store and online at Victoriassecret
dot com.
Speaker 14 (20:50):
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 finance 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 6 (21:11):
Hi.
Speaker 15 (21:12):
I'm Cindy Crawford and I'm the founder of Meaningful Beauty.
When doctor Sabah and I decided to do a skincare
line together, he said to me, we are going to
give women meaningful beauty. And I said, that's exactly right.
We want to give women meaningful beauty, which means each
and every product is meaningful, It has a reason to exist,
(21:32):
it's efficacious, You're going to get results, and then you
just go out and live your life.
Speaker 9 (21:36):
Meaningful beauty.
Speaker 2 (21:38):
Confidence is beautiful.
Speaker 9 (21:40):
Learn more at meaningful beauty dot com.
Speaker 16 (21:45):
You deserve a moment to yourself every single day, and
a delicious bite of a Keepler Sandy's can give you
that comforting pause. Don't forget to pack the melt in
your mouth magic of a Keepler Sandy's for a post
life and pick me up. This magic is baked into
simple short red cookies by Ernie and the Keebler Elves.
(22:05):
So as life continues to fly by, make the most
of your me moment, take a pause and enjoy a
Keebler Sandy's.
Speaker 6 (22:26):
You're listening to Queen Charlotte of British and Story, the
official podcast. Before we get back into our conversation with
India m R Tifio, let's just take a quick moment
to hear this note from the casting director Kelly Valentine Hendry.
Speaker 7 (22:40):
When India's tape landed.
Speaker 11 (22:42):
That was one of I'll never forget that.
Speaker 7 (22:44):
I mean, she is young Queen Charlotte, She is young Goulda.
Speaker 6 (22:49):
Since you love character deep dives, if we had to
choose a moment when young Charlotte comes into her own
in these six episodes, which I think we know like
she's going to grow more over the next few decades.
Right for me, it would be the moment she finds
young George in the garden and she just kind of
(23:11):
looks down and makes a choice right there. That's she's
choosing to stick with him and care for him. What
was that moment for.
Speaker 8 (23:19):
You two, that one for sure, because that is her
in that split second deciding Okay, I'm I'm all in
now I'm not if I wasn't before, I'm all in.
I care too much about this person to let this
affect my image of them, to let me not see
(23:39):
pass someone that is in need of help and that
I want to be that person for them. But also
the moment she she locks eyes with him at the
end of the altar and she she's only you know,
I think she's almost expecting someone that's someone to be
I don't know, intimidated, taken aback, you know, not up
(24:02):
for it anymore. But all she sees is just adoring
eyes and someone someone completely accepting her and accepting her
in the way that she wants to be presented, in
the way that she wants to be presented. And you know,
for him to be so open and to be so yeah,
inviting of someone who is bearing all I think for her,
(24:25):
She's like, Okay, this is someone that I can trust,
This is someone that can see me for me finally,
and it will accept me for me and that I
am enough as I am. Even if she is more,
then she's a lot more than I think anyone was expecting.
Well we know, especially her mother in law. But yeah,
those two moments I think just helps solidify their union.
Speaker 6 (24:47):
Yeah, you completely took my breath away in that moment.
I was just like, oh, Wow, this young person who's
supposed to be seventeen is just so completely aware of
marriage in being in a committed relationship. That was really amazing.
(25:10):
It was a really amazing moment.
Speaker 7 (25:13):
Yeah, it was amazing to film as well.
Speaker 6 (25:15):
Yeah was that outsider? Were you guys inside and all
it for that?
Speaker 7 (25:20):
We were inside and all it? Baby?
Speaker 14 (25:22):
Really Yeah.
Speaker 8 (25:24):
Yeah it was in Oxford. We filmed in in a
real church. It was absolutely sunning, and yeah, the lighting
and the cinematography just really came together. Wow, it was
a very magical moment. We have a load of essays
as well that day. It was like the most essays
we've ever had.
Speaker 6 (25:39):
WHOA is there anything about the last episode, episode six
that for you? Is like a full circle moment for
you as a performer, as a storyteller. Is there anything
that you take away from the final episode of the show.
Speaker 8 (26:00):
The last scene, right the last scene under the bed,
I think as an actor, as an audience member, as
Charlotte looking at George, there's just for me, it was
completely you know, full circle. I was like, Okay, this
is this is why we've done the job, this is
this is this is very very special. I think it
(26:25):
just showed it's incredibly bittersweet and like such an understatement.
Speaker 7 (26:30):
But you know, you've just seen, you.
Speaker 8 (26:33):
Know, more than seven hours worth of content showing that
these two people are destined to be together.
Speaker 7 (26:39):
Yet they are.
Speaker 8 (26:41):
In such different journeys, such different headspaces, such different paths,
such different places that it's it's it's heartbreaking because you
know they desperately want to be together, but there's something
in the way. And I feel like when there's that
object in the way, there's always it always makes things
more exciting because you're always wanting to know how to
get there. And you know, we start knowing that they
(27:03):
have a love a beautiful love story, and that he's
you know, incredibly challenged, but we don't get the backstory,
and then we see it in Queen Charlotte and then
you know, it brings it full circles. So I think
in that sense it gives it gives purpose and it shows. Yeah,
it gives the whole series purpose. It shows that this
(27:25):
love is one for the history books and is meant
to last. But also, you know, for me playing a
younger character, it's it's very it's not common to see
you're an older counterpart and then to see them portray
the same same scene. It felt like I was seeing
her future seeing my future, which was very very bizarre
(27:49):
and amazing as well, to show that, you know, their
love still does stand the test of time, and although
he continues to descend and she can still have those glimmers,
she still can have those memories in those moments with him,
and I think that's what she does it for. It's
those little, you know, those flickers of his presence still
(28:11):
being there.
Speaker 7 (28:12):
Very very important.
Speaker 8 (28:13):
Apart from it being incredibly sad and making everyone bloody,
including me, Yeah, it was.
Speaker 16 (28:19):
It was.
Speaker 8 (28:19):
It was great, It was amazing, and I got to
see it all happened as well, so it was it
was very special.
Speaker 6 (28:24):
Yeah, definitely a lesson in life. I really did. I
took away the same thing that you hold on to
those glimmers. But that choice, that choice to love and
that choice to stay and not go over the wall
is my biggest takeaway from this series. I think you
can apply that to so many different scenarios and work
(28:47):
in life.
Speaker 7 (28:48):
For sure.
Speaker 6 (28:49):
Is there a wall that you did go over in life,
in your in your short life, any walls that you said,
you know what, let me get over this one?
Speaker 7 (29:00):
Just skill? I don't think. I don't think so.
Speaker 8 (29:04):
I think I am quite meticulous. I'm a quite a
meticulous planner, and I don't usually do things I don't
want to do. That is one thing my mother gave me.
She didn't give me the looks. She gave me her stubborness.
I can be quite set in my ways. I don't
think so climbing over the walls like, no, No, I try.
(29:29):
I just try and tackle things. Problems come, I try,
and I try and figure out a way to work
with them rather than work against them.
Speaker 6 (29:37):
A true rare jewel, Thank you very much.
Speaker 4 (29:40):
Yeah.
Speaker 6 (29:41):
I keep forgetting about that really really important scene until
the end, which is just so powerful.
Speaker 5 (29:48):
Yeah.
Speaker 6 (29:49):
So is there any favorite off set rendezvous or fun
that you've had with your meads. I had a fun
talk with Sam Clement and Freddie Dennis. They told me
this wild story about cows. Oh god, what I missed
(30:11):
a big chunk of it. But it was so funny,
just because they were laughing so hard.
Speaker 8 (30:17):
Okay, I'm glad, I'm glad they found it funny.
Speaker 7 (30:20):
They decided.
Speaker 8 (30:21):
So we hired an airbnb, which like a verbo in
a vr bo for our last two weeks for filming,
and I decided it was a great idea to live
with the boys. And I what a decision I made.
That was Maybe that was maybe where I should have
run over the wall.
Speaker 7 (30:42):
It was. It was great. I think there was one.
Speaker 8 (30:44):
Evening we got back really late and we were all
cooking our separate dinners. Corey had made an abomination, that
is what it was.
Speaker 7 (30:55):
It was rice.
Speaker 8 (30:58):
Corn like you know, like vegetarian meat with veg in
tomato sauce. And then he got bran flakes, crushed up
bran flakes, sprinkled them on top and put it in
the microwave. So that was his dinner. My dinner was
My dinner was a potato salad. Sam had cooked a
(31:19):
beautiful like salmon, rice and vege and everything, and then
Freddy wasn't eating and I said, where is your dinner?
And he said, oh, I left it in the kitchen.
So I'd finished my dinner, and I took my plate
to the kitchen and I was trying to look for
his dinner. And I could smell pasta, but I couldn't
see it. And I went to go and wash my
(31:40):
hands in the sink and I looked at the sink
and he had just poured his pasta into the sink
and left it, just cooked pasta in the sink, and
I think he was going back to eat it, but
it was just left not in a bowl, just like
you know, in the plug hole with all the soap.
And I took a picture and it was fantastic. But
(32:01):
that was That was an interesting evening. I think we
were delirious. We've been filming night shoots. So I'll give him,
I'll give him a i'll give him a brief, you know,
I'll let him, I'll let him rest.
Speaker 7 (32:12):
But that was crazy. I do have to admit it was.
Speaker 6 (32:15):
That was nuts. It's really nice that you all had
time to just connect away from from it all for
a little bit.
Speaker 7 (32:22):
Yeah, for sure.
Speaker 6 (32:23):
For sure, to build a rapport. And yeah, I think
that the number one thing over the last few years
in hearing about life on set with Bridgerton and Queen
Charlotte is that it's always centered around food, like where
where are we going to get some food? And the
good times around a good meal. Did you have any
(32:45):
kinds of conversations that were very eye opening that you
were able to take back with you that have really
just stuck with you away from working on the show
during the show, just to.
Speaker 8 (32:58):
Enjoy it, enjoying to write, Yeah, which is you know,
a lot easier said than done when you've got you're traveling,
you've got to make certain deadlines, and you've got this
and that, and you're meeting people. But actually just to
take a breather and sit back and take it all
in and just go, wow, Okay, we really did something
really cool here, and yeah, to enjoy all the all
(33:19):
the pros that come with it, And yeah, I need
to remember to do that more often.
Speaker 7 (33:24):
Yeah, for sure.
Speaker 6 (33:26):
Do you have any last thoughts about working on the show,
working with your castmates?
Speaker 8 (33:32):
Not really, just that I I've had a really amazing time,
and I hope people continue to watch the show and
to love it as much as we did making it.
Speaker 6 (33:42):
We're all going to go binge it again. Yeah, thank
you India.
Speaker 7 (33:48):
Thank you so so much.
Speaker 6 (33:51):
I'm going to refresh my tea. You should do the same.
We're going to speak with golda Rochevel, So come right
back after this break, Hi, everybody.
Speaker 1 (34:04):
Katie Low's here. 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. I cannot
(34:25):
stop wearing the Body by Victoria. Invisible Lift Demi bra.
It is my new every day pick me up bra.
It's lightweight, it's unlined design, so it has this like
barely there feel. Plus it's an invisible lift, which is
come on, It's what we all want. It actually lifts
me up, but it has a super lightweight unline design,
(34:47):
so it feels like it's barely there and it is
so super comfortable. Plus it has this little dangling cute
heart in between the boobies that is just so stink
and cute. So Adam likes it too. Go get one
now by by Victoria in Visible Lift Demi Broth. It's
available in cups A through G and bands thirty to
forty four. That's forty three sizes in twenty two styles.
(35:08):
Shop now at your nearest Victoria's Secret store and online
at Victoriassecret dot com.
Speaker 14 (35:13):
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 11 (35:34):
Hi.
Speaker 15 (35:34):
I'm Cindy Crawford and I'm the founder of Meaningful Beauty. Well,
I don't know about you, but like I never liked
being told, oh, wow, you look so good for your age,
Like why even bother saying that? Why don't you just
say you look great at any age, every age. That's
what Meaningful Beauty is all about. We create products that
make you feel confident in your skin at the age
(35:57):
you are now.
Speaker 9 (35:59):
Meaningful beauty beautiful skin at every age. Learn more at
meaningful Beauty dot com.
Speaker 16 (36:09):
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
(36:30):
life continues to fly by, make the most of your
me moment, take a pause and enjoy a Keebler Sandy's.
Speaker 6 (36:42):
We're back with Queen Charlotte A Bridgeton Story, the official podcast,
and we're talking to Golden Rochevelle, who's here today to
talk about reprising her role in Queen Charlotte A Bridgeton Story.
Hi girl, Hi, Hi, Hey, how are you?
Speaker 11 (36:58):
I'm good bye, very very good. Good to talk, good
to talk.
Speaker 6 (37:01):
It's so good, it's so good to talk with you.
I still revisit our last conversation for sustenance.
Speaker 11 (37:10):
Yeah yeah, yeah, oh yeah. And that one with addu
that was that was the last one was with Addie
wasn't it. Yeah cool, Yeah, a couple of years ago.
Speaker 6 (37:21):
Now it was a whole lot of life and work
has happened since then.
Speaker 11 (37:26):
That's true, true, true talk, true talk.
Speaker 6 (37:29):
Yeah, back then, I don't know if you knew that
there were big plans for your character, did you know?
Speaker 11 (37:40):
Did you have any I had no idea. I had
no idea. You know, I don't know, you just kind
of I don't know. My life has just been, you know,
chugging along doing the work and being really happy with that.
You know. I love to work, like you know, my profession.
(38:02):
I adore it. I adore the you know, the kind
of investigation of characters and humanity and how we are.
And I think, you know, maybe I've said this to
you before, but I've definitely said this in interviews before,
is that I really truly believe that an actor's superpower
is empathy, you know, So I really I love to
(38:26):
find that within my characters. So the work becomes really
something that I'm really passionate about and that I really
advocate for these characters. So Charlotte was no different for me.
You know, I worked on her, I developed her, I
really cherished our journey together in creation in bringing her
(38:50):
to life, in bringing you know, Shonda Rhime's Chris van Dusen,
you know, if we're talking about right at the beginning,
you know, their vision and even like Julia Quinn and
her world world and bringing that to life within this
character that had been placed into her world.
Speaker 7 (39:06):
You know.
Speaker 11 (39:07):
So cut to Shonda Rhimes going, yeah, we'd like to
do a spin off of your character. I mean that's
like when you put that amount of work in and
you really care about what you do and how you
want to do it, It's it's a real dream come true,
(39:29):
you know, and a real kind of validation of me
as an artist, you know, and what I dedicate to
do every single day I walk hand in hand with
these characters.
Speaker 6 (39:45):
Yeah. Yeah, when you when you say validation, I don't
think of like, oh, she's finally getting like her flowers,
because if you know, you know, if you know Golder,
you know Golder Like.
Speaker 11 (40:00):
Yeah, but I think there's always you know, ask any actor,
there's always wobbles and imposter syndrome and you know, am
I am I worthy of this?
Speaker 8 (40:12):
Is it?
Speaker 11 (40:13):
Right? That's that's it's part of being an actor that insecurity,
you know, So there's always that of going am I
doing it justice? Am I doing the writing justice? Am
I doing the character justice?
Speaker 17 (40:32):
You know?
Speaker 15 (40:32):
Right?
Speaker 11 (40:33):
So that's what I mean in terms of validation, It's like, yeah, Okay,
I've done I've done an okay job. I think, Yeah,
that's that. This seems really this seems as so it's
going really well.
Speaker 6 (40:44):
I was wondering if you found yourself exploring Charlotte any differently,
or if you thought of her any differently with this,
like you said, cut to you or doing a whole
deep dive. Did you have to reshuffle some thoughts you
had originally?
Speaker 11 (40:59):
No, so I didn't. If anything, it was the other
way round. It was really kind of collecting the information
that was then given to me, you know, because when
you work on a character and you don't have the
physical representations of that backstory, it's always there you work
on it. So you know, for Charlotte, she had in
(41:23):
my mind, she had her family, she had her children,
there was a life. There was stuff going on behind
the scenes of Bridgeton, of all the balls and the
presentations and the tea parties. There was stuff there. But
I kind of describe it as it's kind of in
the darkness you know, and Shonda Rhymes brought it all
(41:45):
into the light, you know, but it's always been there,
but now it's physicalized. The imagination has been physicalized through
Shonda's writing.
Speaker 6 (41:57):
It does feel like her writing sometimes and your performance
are just I mean, this sounds so like obvious, right,
but it's just like hand in But I wonder sometimes
if something that she kind of built into Charlotte was
inspired by maybe a way you twisted your mouth in
(42:19):
season two or something like that, you know, like that
made her think, oh, she's you know, she doesn't like
strawberries because George, Yeah.
Speaker 11 (42:27):
Yeah, exactly. I'm sure there's an element of that within
a writer, you know, because of the originator is still
there and still living and breathing the character. Schonder is
so good, as you say, joining me and the character
together and allowing us, through her writing, to be able
(42:50):
to walk hand in hand. You know, Charlotte's now become
an entity of on her own for real, you know,
she really is is established and in some ways leads
me the actress, you know, as well as I lead
her that I very much kind of wanted to create
(43:13):
that openness for her to do that, to be able
to stand and I think because of her character as well,
you know, and that's in the writing as well as
me playing that she is a stand alone, you know,
woman who knows exactly what she wants. She's unapologetic, et cetera,
et cetera, et cetera.
Speaker 6 (43:31):
You know, you seem to always just show up in
such a very like completely all their kind of way,
even if you know it can't touch you through the screen.
I was wondering if you had any if similarly you
worked with the costume.
Speaker 11 (43:49):
You know, in Bridgeton, I have a lot of collaboration
because we have time to work on the wigs and stuff,
and we have lots and lots of fittings. We had
that on Charlotte as well, and I'm very much involved
in in that kind of stuff and how how things
(44:09):
are put on my head and the weight of things
and or you know all of that. So, yes, there
is a collaboration there. Charlotte needs to be able to walk,
do you know what I mean? She has a certain
way of like, yeah, she's like going, so that you
need to be taken into consideration. Shoes are a big
thing to me. I like my shoes to be on
(44:30):
my feet. I don't like any kind of slippage or
anything like that if I feel like I'm unbalanced. I'm
unbalanced already with the wigs, and you know the size
of the costume, so my feet need to be in
those shoes like they need to be part of me.
So those are the only kind of things that I
collaborate on for the costume. But yeah, mainly the wigs
(44:52):
stuff is I find that really interesting, especially using like
dreadlocks and textured hair and plats and all of that.
Trying to get all of that stuff in is really
really important.
Speaker 6 (45:04):
You are a lot more black this time.
Speaker 11 (45:07):
Too, yeah, which I think is really interesting because Charlotte
is very much It's very personal, isn't it. The show
It's very intimate, and I think with that intimacy, the
color palette had to change, you know. Oh yes, yeah,
we drew the curtain over the windows a little bit
(45:28):
to kind of create that personal that private in the beginning,
she's grieving the death of her granddaughter. But there was
a conscious decision to change that palette, so it wasn't
as vibrant as Bridgeton. You know, we were seeing her
as a woman, as a mother, you know, we were
(45:50):
seeing her private life. So those curtains had to be
drawn a little bit just to take out that light.
Speaker 13 (45:57):
Wow.
Speaker 11 (45:58):
Yeah, yeah, I found not really interesting. But yet it
was still beautiful. It was still lush, and you know,
really it's still vibrant there. It's you know, but yet
the personal is it just tinged a little darker.
Speaker 6 (46:14):
It definitely did. And I was amazed at how in
your funeral gown it was. I was still able to
see so much detail, all the beating and the shimmery
and it was it was black, but there was nothing
that I couldn't see.
Speaker 11 (46:30):
It was amazing, beautiful, beautiful. Yeah, I'm very honored to
wear those.
Speaker 6 (46:37):
Wow, you know, it's so funny you brought up shoes.
Lynn Pawla was talking about how she absolutely loved working
on the shoes for this show, and it's it's too
bad we didn't get to see more. Yeah, did you
have any favorite pieces?
Speaker 11 (46:52):
Or My favorite pieces are my ug boots. When I'm
sitting down. Come fact, whenever the Queen is sitting down,
she's in ug boots. Let me reveal that right now,
any form of comfort Golden Roschavel can get while playing
this part, I will go there, don't know this world,
(47:15):
ug Boots.
Speaker 9 (47:16):
That is.
Speaker 11 (47:22):
Sweet. Yeah, true, it's true.
Speaker 6 (47:28):
Now I'm wondering if they're so okay. I'm trying to
think of, Oh, so that that scene where you are
having tea with Lady Danbury play.
Speaker 11 (47:39):
Ug Boots. I'm always like, when I'm sitting down, I'm
always like, can you see my feet? Can you see
my feet? Are you going down there? Where's the camera?
Speaker 13 (47:50):
Yeah?
Speaker 11 (47:51):
Maybe you got to You gotta get it where you
can get it.
Speaker 6 (47:53):
I'm telling you, I will now look at the tea
scene in the greenhouse completely the differently.
Speaker 11 (48:00):
Yeah, and one where my kids are telling me off downs.
Speaker 6 (48:07):
Oh, that reminds me Golda a little Birdie told me
that you and Hugh Sax have a very special relationship
on and offset And I've got to tell you, the
two of you on screen just mind blowing magical.
Speaker 11 (48:25):
Oh my god, you two he is.
Speaker 6 (48:32):
And and the and the both of you together there
are there are a few scenes where Mayan it really
stops everyone in their tracks. And so I'm really curious
about your perspective on some of these scenes and what
was going through the Queen's mind, and also what you
and Hugh, how you and Hugh work together. I think
(48:56):
listeners would love to hear how the sauce is made
because you're what, you are, so thoughtful.
Speaker 11 (49:02):
Yeah, so h and I you rightly say we are
best best mates on and off the screen. Like when
we we I knew him, we kind of knew of
each other so at like you know, events or theater
events or whatever. If I saw him, it would be like,
(49:23):
you know, a nice kind of polite nod and how
are you kind of thing. But then getting to work
with him was something really really special. He is just phenomenal,
and you know in Bridgeton, like he's one of our
biggest actors over here. But yet you know, he took
this part that had no words, no lines. But yet
(49:48):
you know in Bridgeton, we worked so hard on that relationship.
You know what, what is the silence between them? How
is the silence filled with the knowledge of these two people,
with the friendship of these two people, with the dedication
you know, she needs him as much as he needs her.
(50:11):
And how are we going to portray that in the silence?
You know? I mean, the most that he says in
Bridgeton is yes, your majesty, do you know what I mean?
Speaker 6 (50:22):
Yeah, but how would that face?
Speaker 11 (50:25):
Right, Yeah, yeah, exactly exactly, So how do you portray that,
you know, and then coming to Queen Charlotte and him
being able to speak for the first time, and the
scene where he tells me, you know, about my daughters
and them not getting married, and then I get upset
and tell him to go and stand over there and
(50:47):
look the other way. You are still his queen, forever, frozen,
forever waiting. Your daughters could not leave you here.
Speaker 6 (51:00):
App in time.
Speaker 11 (51:07):
Go and stand over there and stop talking. Look that way,
not of me, of course, your majesty. Yes, it's a
funny scene. We cried because that was the first time
that he had spoken more than yes, your majesty, and
(51:27):
it was so overwhelming for both of us. You know,
it was like we wanted this for so long, you know,
it kind of felt like the lead had been lifted
off this relationship, this emotion that was so deep and
(51:48):
so passionate for these two characters. And yeah, we just
started weeping, and he was so beautiful and he did
it so amazingly. Well, it was just like, oh my god,
you know when we held each other and yeah, really
really moving. I mean, we we are quite naughty as well.
(52:10):
On on set, we do we laugh a lot. Hugh
is very good at making up sketch shows. But yeah,
he has a conchance for sketch shows. So whenever we
are waiting for action or you know, he has me crying.
Speaker 6 (52:32):
Like the one man reacting.
Speaker 11 (52:35):
Yeah, yeah, he's like one man band man. He's one. Yeah. Absolutely.
But also you know he's been there for me. You know.
It was you know in the tough times at the
beginning when everything kind of blew up and we weren't
able to kind of reach out to people because we
were you know, the pandemic and so on, and we
were doing lots of kind of zoom things and it
(52:56):
was kind of the blow up of Bridgton was kind
of happening outside, you know, so it was kind of
it was quite lonely, and he was out of our
bubble because he was on his own, so he joined
our bubble. So it was really nice to kind of
have him there and you know, for the two of
us to kind of go through it together and we
would meet in a park and kind of discuss it all.
(53:18):
And because he just he literally lives up the road
for me. Oh yeah, so in those times. You know,
it was really he was. He was such a good,
good friend and he continues to be so. But yeah,
he's I'm so pleased he's getting his moment.
Speaker 15 (53:34):
You know.
Speaker 6 (53:36):
What I'm hearing you say is you know, you're able
to just be when you are around this person. Yeah,
And I feel like that is maybe what Queen Charlotte
is also able to do. She's able to just be
around Brimsley. Maybe to a fault because in that you
said it was funny. It was a little funny, in
(53:58):
a funny in the same way Sorrow's prayer sorrows this
buddy like Queen Charlotte, that's so mean.
Speaker 11 (54:05):
Yeah, yeah, exactly.
Speaker 6 (54:07):
But that scene was I felt sad for Queen Charlotte
in that moment. If you could just take us back
to that, just describe why is the mirror important in
that scene.
Speaker 11 (54:20):
That's a very interesting question. And I'm only coming at
it riffing on it now, but I think, but I
think what's interesting about the mirror is she goes off
about you know, they're not treating my fact, my children
aren't treating me good. They're not talking to me very nicely.
(54:40):
You know, I'm a good mother and I think the
I think what the audience is meant to see or
meant to feel is that reflection, you know, when people
reflect things back at you. I think it's a really
interesting way of her kind of not seeing herself the
(55:01):
truth of who she is, you know. Yeah, And also
I think it's really lovely that she's taking off jewelry,
you know, and and that kind of that kind of
coming back to self, taking off the facade, taking off
(55:21):
the layers, right, and kind of coming back to to
self in that moment where your soul is reflected at you,
but you're not seeing it. You choose not to see it.
Speaker 6 (55:36):
And that is perfect from my mind, because I feel
like in that moment also, Queen Charlotte was choosing not
to see the obvious answer to the question she asked
Brimsley in that moment, like you never fell in love,
you never got married, Like duh, Queen Charlotte, what do
you think is with you all the time? So that's
(55:58):
that makes.
Speaker 11 (55:59):
Sense to Yeah, I think there's something in that.
Speaker 13 (56:03):
Oh wow.
Speaker 6 (56:05):
Yeah, you also had really special moments with the King
George under the bed James. Yeah, you and India and
Corey and James Fleet. Do you have any special thoughts
or memories from that scene before.
Speaker 11 (56:24):
Oh my god, absolutely I have loads, loads and loads
and loads. But what I can tell you is, first
and foremost, that was a James and My scene with
kind of stage directions of flashing back. It was Tom
Vereker's vision to film it that way. The man is
(56:45):
a genius. It was his vision and only him, and
I remember him saying, you know, we're going to get
Corey and India to learn the lines and we're just
going to play. I was like, yeah, man, I'm down, brilliant. Absolutely, yeah,
I have no idea what you're going to do, but yes, yes, yes,
all of the yes is because I trust him complicitly.
(57:07):
So on the day it was really beautiful. And James
is one of these actors. I mean, he's been around
for many years. He's an absolute professional and he can
just lock in straight away. He knows exactly what to do.
So it's really nice to be a because we don't
see each other all that much, you know. So you
know when I come through the door and I say
(57:29):
George and I tell him and he turns to me
and I tell him about the kids.
Speaker 6 (57:35):
Yeah, ah, you're so excited too.
Speaker 11 (57:37):
Yeah, and I realize that he's not with me like James.
It was just just like so easy. It's lovely, it's great.
It's brilliant. You know, you can do your work when
the guy looks at you and is like so in
character but yet so joined with you as an actor.
(58:00):
It's brilliant. It's really good. And then you know, we
get under the bed and James is a very funny man.
He's also hilarious. So we'll be chat chat chat in
and we're under the bed and you know, how are you?
And he loves his motorbikes and stuff, and oh yes,
I rode my motorbike here today, and I'm like, oh
great Bill, the chat chat chat okay, and action in it.
(58:24):
He's in it. Just George Farmer, George.
Speaker 10 (58:39):
Come hide from the heavens with me, Charlotte, Why hello,
hello George.
Speaker 13 (58:58):
It is quiet here, George.
Speaker 11 (59:02):
We have succeeded our son, Edward.
Speaker 6 (59:06):
He has married and his wife is with child.
Speaker 10 (59:10):
Edward's going to be a father.
Speaker 11 (59:12):
Yes, your line will live.
Speaker 13 (59:16):
On our line, our line, Thank you, thank you.
Speaker 11 (59:40):
And that's so thrilling?
Speaker 6 (59:42):
Is it freeing?
Speaker 11 (59:43):
It's so freeing because I trust that actor will give
me what I want, but also that what he does
and how he works inspires me to give him what
he wants, you know. So yeah, that was it was
(01:00:05):
so great. And then you know, you get a Tom
was in the other room video village, and you get okay, Golder,
you come out, and let's get India in. So I
shuffle out of the bed underneath the bed.
Speaker 6 (01:00:19):
Is it a high bed? Like what are you doing this?
Speaker 11 (01:00:23):
No, I'm in full wig, full costume. It's it's hilarious.
I mean, they should have videoed it actually kind of
behind the scenes, you know, and I kind of you shuffle,
you wiggle, and the guys helped me up because it's
hard to get up, you know, with the wigs and everything.
And then India gets in and they do the scene
(01:00:44):
and then you know, Tom's like okay, James, you come out,
Corey you go in. And it was literally like that.
And I said to Tom, I said, I want to
be in the editing room, man, when you edit this scene,
because this is like what is going on. But it
was so beautiful and glorious to be in an environment
(01:01:08):
that is created by a director like Tom that you
can just play bingo.
Speaker 6 (01:01:15):
I thought it was a really interesting way to think
about love and loss because the loss there is you know,
George is not fully himself, so to say I'm saying
with quote marks. So there's like a sense of loss there.
(01:01:35):
I think of like people who have lost people to
dementia or Alzheimer's. It's like that similar kind of grief.
Someone is still with you, but you're still grieving them.
Speaker 11 (01:01:46):
Yeah.
Speaker 6 (01:01:46):
I felt that was a really special way to depict
loss in Queen Charlotte, and you know, it's just not
really seen often.
Speaker 18 (01:01:57):
Yeah, And I think there's a there's a weird, beautiful
scene that connects that, you know, which is the first
scene with India and Corey where Charlotte comes out into
the garden and she sees him mad for the first time,
but she decides she chooses to take him.
Speaker 11 (01:02:17):
In her arms. Yes, and cares for him. Yes, and
cares for him right up until the time I open
that door and go under the bed with him.
Speaker 2 (01:02:33):
Yes.
Speaker 17 (01:02:34):
That journey through my computer, absolutely, that journey from that
moment to the woman you see in Bridgington is all
of the understanding of that woman, do you know what
I mean?
Speaker 11 (01:02:45):
The audience and the fans, I hope make that connection
and go, oh my god, wow. From that moment that
India embraces him and chooses to become his care I
never really understood in sickness and in health till death
hast due part. I never understood it before until that moment.
(01:03:11):
And then you join the dots and the journey to
the end scene.
Speaker 6 (01:03:15):
Yeah, did you and India have any heart to hearts
about Queen Charlotte? Because it's in many many depictions of
a queen and opulence and opportunity, it can get lost.
It certainly isn't lost this time.
Speaker 11 (01:03:33):
I don't own this role. I really don't. Yes, I'm
the og, but I wanted to give her Charlotte and
for her to make Charlotte her own. You know, you
can't put anything on Charlotte. You know, you can't kind
(01:03:55):
of say, oh, you must do this, you must do that,
you must have this look, or you must have this
walk or or whatever Charlotte does. She won't allow that.
You need to be you need to take her and
make her your own, you know, because she stands firm
in who you are. She stands firm in how unapologetic.
(01:04:16):
You are. For me, it was all about supporting India
in her journey with this character. So in terms of
that chat, it didn't go that way. It didn't go
that way. I'm here for it. Yes, yeah, she made
it her own, you know, and I think that's it's
(01:04:39):
it's beautiful and somehow in that and I think that's why,
you know, people are saying, oh my god, it was
such such a good fit.
Speaker 19 (01:04:47):
You guys, you know you look the same. Actually, all
of that, I think that's why she will. You know,
we allowed her to take.
Speaker 11 (01:04:57):
It and run with it and make it her own
and celebrate her as an artist within this character.
Speaker 6 (01:05:03):
Yes, she tapped in, she clocked in. Yeah she did
found her essence. Yeah, yeah, that's what people are reacting
to that.
Speaker 11 (01:05:12):
Yeah, she found her essence.
Speaker 7 (01:05:14):
I like that.
Speaker 11 (01:05:15):
I'm gonna steal that.
Speaker 6 (01:05:16):
Yeah. Well, Golda, Golda, Golda Rochevelle. I can't say enough
to thank you for your time today, for their performance
you just left for us on screen. Thank you so much.
Speaker 11 (01:05:33):
You're most well, most welcome.
Speaker 6 (01:05:36):
And that concludes our episode with the incredible Golda and India,
the talented actresses behind the captivating Queen Charlotte. We are
very grateful for their presence and their artistry and for
charming us with their warmth and their grace. Queen Charlotte
absolutely resonates deeply with audiences worldwide, and it's no wonder
(01:05:59):
why after speaking with the two of them, they bring
an openness and a grace to the role that only
people of a special sort. Carrie, it's a light that
they carry that comes through that we're watching and we're
witnessing that these are actresses that have not only written
(01:06:20):
their own narratives, but have also enriched our lives through
this narrative Shonda Rhimes wrote, and they delivered that to us.
So we are forever grateful for this moment in time
where we can experience it. I wonder what people are
going to say in twenty years about their depiction of
(01:06:42):
Queen Charlotte. Anyway, again, a heartfelt, heartfelt thanks for their time.
On the next episode, now.
Speaker 20 (01:06:50):
There's this amazing moment for me when she asks as
an older Queen Charlotte, she asks Brimsley, why did you
never marry?
Speaker 6 (01:07:01):
Yep, Shonda Rhymes, come on back, 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 Crispy
(01:07:24):
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
(01:07:46):
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows.
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