A Season of Change: Hannah Dodd, Victor Alli, Showrunner Jess Brownell & Executive Producer Tom Verica

Yeah, yeah.

Yeah, because she wasn't, she wasn't crying.

I mean, I didn't know you were dead yet! Dear East gentle reader, welcome back to the Bridgetham podcast. Now I'm Lady Alice and Hammond, you're host for the event of the season. This is the podcast where I get to play Lady waiting, I'm not being with the stars of Bridgetham and Chinwagging,

with the talented individuals who bring this magical show to the screen. Quick spoiler warning, we are going to be chatting about events and stories from the entire season of Bridgetham. So, if you haven't watched every episode of season 4 of Bridgetham on Netflix, go and do that right now.

But make sure you got your hand keys ready because you're definitely going to shed a tear or two. Now, my guest list today is more impressive than one of Lady Violet Balls. I'll be joined by showrunner Jess Brown now, an executive producer Tom Verica, who will give all the details about taking the ton from script to screen.

But for season 4's most heartbreaking story, has to be the marriage of Francesca Angion. Hannah Dodden, Victor Alley, who played a tragic couple, are here to talk about their quiet but loving romance. John's on timely death, and exactly how much sky is too much sky

for a jigsaw puzzle. Hannah, so lovely to see you and Victor.

First time Bridgetham here at the podcast.

So lovely to see you. How are you? Yeah, really well. Thank you. It's so wonderful seeing you both together actually as actors.

Because like, I was in this relationship. Your relationship last season. It's a fun favour. Everyone absolutely loved it.

“That's why I was so invested in this couple.”

So, so very much. But yeah, this season. Things. Things are no more. And it's very, very sad actually.

I just feel for you as an actor. I mean, did you know it's coming? Did you read the books? I didn't know. I didn't read the books before I auditioned for it.

I actually found out when I was on the way to do the chemistry of Hannah that my character dies. I was like, oh, right. But yeah, and then I sort of started to sort of read more than material in the books and what happens.

But how do you both feel like your characters in the relationship have evolved in season four? They've evolved so much, which I think is what's almost even more devastating is that they've really fought to get themselves to the point that they were in and they were really comfortable

with each other and they were communicating. Yeah. What I really love about their relationship is just the deep respect in the relationship and that it wasn't this like massive moment where they fell in love.

Like a lot of the other couples. It was a little bit more grounded in reality, maybe, and maybe an experience that a lot more people have. Yeah. You know, they really, it wasn't that they got married.

And it was like tick done. They still had to work on their relationship throughout the marriage. They were never done. Right, I guess they are.

Yeah. Thanks. Thanks. Of the mind.

“Honestly, Johnny's such a lovely man in everything.”

Yeah, I mean, the difficulty with friend having to just can't conceive. And you're just so kind. Johnny's so beautiful. Yeah.

That speech in part one. I thought, I think I cried at half of one of those. So I cried in one of those days. Yeah. Like we all need that in our life, that love, unconditional love.

Yeah. It's just so beautiful. Yeah. It really has. It's just the best.

Yeah. Yeah. It's so weird being able to talk about it. We've literally like, we've held this boiler in for so long. It's so long.

It's so weird to know. I get in trouble by Hannah for saying it. Just kind of round and down. Public places. But now, yeah.

And also, like, back to sort of them, sort of evolving as a couple. And as humans, we started our sort of relationship quite sort of quiet. It was a quiet sort of slow burn. Quite love. And we weren't pressured into doing whatever now.

She's doing into society.

“I think we had our own sort of our own sort of map of what we wanted to do.”

Yeah. And that's the, you know, a lot of people, you know. And from Jessica's mom was like, what's going on? Didn't really understand it. But we again, we didn't allow this sort of pressure to sort of,

of the outside world to sort of dictate what we should sort of, the pace we should go. Which is, and then go and just got them was quite nice because we got to. I, again, John, he likes to sort of take risks and break rules. And he wanted to get to Scotland and be away from the Tarn and be away from the noise.

And the people want to say go into Scotland was, I think, his way of feeling like he was at home properly at home.

I don't think the Tarn never felt like home.

I was most good for you, I think. But yeah, it was nice to sort of have that time away.

We do get a little glimpse into John's work life. Yeah.

“Do you think that's what did it for him?”

Yeah. It's under a lot of pressure, wasn't he? I think his friend blamed herself. No, no, you're not to blame. I think it's, I think you know, you're, you know, you're honestly in the arm.

It's like John. I know. No, no, no, no, no, absolutely not. I think John working in Parliament, I think, was just, it's so intense, like being an MP and working by their MPs.

And there's debates and all the stuff that will just be, it's quite intense. And so coming home, that was like sort of, the place he can sort of unwind and be with his love. And it's interesting because every single time I leave Parliament and go home,

it was never sort of like a, I'm knackered.

I was going to go to bed. He would also give me, I'd like to think he gave. Frank, a lot of time and sort of never to show you down. He listened. He'd give me a lot of time.

Yeah. He listened. He was lovely. Did you feel like a sense of responsibility? Because fans were really invested in the whole,

uh, infertility story line. Did you feel a bit of a pressure there? Yeah. So deliver that correctly? Yeah, massively.

I didn't want it to be just sort of swept away. I really ate something that a lot of women go through. A lot of women would have gone through in that era. A lot of women go through now. I don't want it to be, yeah, belittled in any way.

And to not sort of show the pain of what that can be like. Um, I've had friends who have gone through it. And it's, I kind of imagine it really, it's something that isn't spoken about a lot even today. Yeah.

Obviously, we're a lot better. But I can imagine it being a really, really, like so much pressure being put on a women in that time. Oh, yeah. And massive sense of failure for her as well, which is awful.

And I would, I'd just, I'd never even like say it.

Cause I want to take it away from that straight away. Um, and something that she really blamed herself in.

“And I think it, she feels like it's a duty as a wife.”

So I really, yeah, I wanted, I wanted to make sure that we delivered that sort of, well, for people who are watching, you might have experienced anything like that. Yeah, episode six. The last dance, boring. Yeah.

Was that quite emotional when you were filming that for you, too? When we, when we're under the moon. Yes. Yeah. Yeah.

Yeah. The thing is about me and Victor is like, when things get a bit, but we get a bit. Do you know, like, she's just laughing, bro. Even the, the worst scene was the scene where she finds,

Oh, it's awful. That was a funny day. That, we, it was our best day. It was like, why are you just, I think, as humans, we just can't handle the awkwardness.

Yeah.

So we just get a bit of hyper, like, she said, that's best work.

She's like, Victor, that is some of the best death acting. I did nothing. I kept going up to him being like, do you want to run that? Don't worry about it. Really.

It was fun. But they were, there was a lot of, like, and your idea was like, can we have, like, sort of, respect silence on that. Yeah. And then, I mean, Victor came on, jump, literally,

I don't know, I don't know, I don't know. I don't like, it's, it doesn't, I don't want it to be. It's like, hand or that energy. I actually have fun. Yeah.

So you literally switch, switch the energy off. I love that. I mean, you don't want everyone to be depressed. Wait, when they say action, that's when the work starts. Yeah, it starts.

And then when they take cut and we go, that's being said. Yeah. Because she wasn't really dead. I'll definitely wasn't behind that camera. So I wasn't.

Get you on the ice. Yeah. She didn't think behind the camera. He was like, yeah. Yeah.

She wasn't, she wasn't crying. I mean, I didn't know you were dead yet. Yeah. But she wasn't crying. You said it at that.

You said it at that. You said it at that. And like, get the tears. Yeah. It sucks open.

And then, you know, but it's good. But it's good. You like the holiday. The holiday. It's like the holiday.

Can you not cry? Yeah. She didn't know. He was dead yet. There's plenty of crying coming.

I know. Now, all the other Bridgetons that quite sexual. Yeah. You know, they quite actively sexual. However, Fran, John.

I take in things a lot slower, aren't they? We do lots of this. I think John is being very respectful of Fran. Yeah. I think you actually say that.

Don't you? You've been reading her and you're not experimenting in any way because you're trying to be respectful of Fran. And Fran just doesn't have any information. And it's something that I think a lot of women in that era. Like men were allowed to have experience from men were allowed to go off and do all sorts women were not.

And unless they read about it in the-- Yes. or unless they were told by their female presence. They had no information. So I don't know how I genuinely really feel for her that she doesn't know.

And she's a very methodical person.

“- That's what he was saying. - He gave me exactly what I meant to be doing and feeling and then I will go do it.”

- Yeah. - I couldn't have thought bad saying to like, I've reached the pinnacle and that was a good idea. - And that's a reason that we actually we discussed those scenes quite a lot, didn't we? - We really didn't want it to seem like John was implying that like it was any fault of France. - Yeah. - So good. - Yeah. - And also pinnacles. We knew once for different people. - Very new people. - No different people. And something that a lot of women struggle with as well.

- I think that's what I love about this version of a love relationship and marriage in the show because everyone sort of like gets pinnacles and whatever, but like... - Smash it fast.

“- Yeah, yeah, first time, but I think it's nice to sort of show different versions of love and different versions of how two people sort of navigate sort of that sort of love. - And how important communication is.”

- And with it, like, in every relationship, like it's so nice to actually see people discussing their relationship as a whole. - So it's not like I actually, they're very healthy relationships. - Yeah, very healthy. - John is very different with Michaela to Harry's with Francesca, why do you think that is? - She knows me very well. And I'm not saying that, Fran doesn't, but she knows every, I mean, I think it's your context. - Yeah. - She knows everything. So she'd say a joke. That only her and I know, and it's like, we have those moments and she's not easily, she doesn't really care. And so I can sort of like, do whatever and say whatever.

And I think with Fran, I'm just sort of, this is a person I love and care about and I want to protect her and not sort of do or say anything that could sort of not that would ruin the relationship, but I don't want to utterly careful.

“And so, I think that might piss Fran off, understandably. But I think, yeah, I think it's just, yeah, different contexts of relationship.”

- Victor, from doing this, have you learnt anything about your own life? - I have, I have, yeah, yeah, I have. So tell you. - What do you think? - What do you learn? - What I've learned. I've learned how to absolutely sort of communicate, but also not take things seriously. - Even death. - Yeah. Just the moment you start to get quite emotional about certain things that are just sort of fleeting and you stop having fun and I think just enjoying life and having a joy of that. - What's that? - You would have thought, it's job would have brought so much knowledge, it's wonderful. - Right.

By the end of the wake, you view Michaela completely different. I did that come about.

“- I think grief can bond people. - What's also I think she's seen Michaela in a really vulnerable place as well, which I don't think she recognizes.”

I think she sees Michaela as this strong independent woman. She gets to do and say what she wants and friends, like, oh, she's so inhibited by so many rules. And expectations and everything like that. So I think a lot of what she dislikes is actually things that she is maybe a bit jealous of or she actually really admires in her and it's just really confronting for her.

So then when they go through this whole thing that, you know, I do think it really bonds them and they can sort of see themselves as just two humans in pain, first and foremost.

And the way that they look out for each other. And yeah, I think it's a really nice sort of journey to go on just to see how, how don can not be with them and still manage to bring them together. - Yeah. - His essence is still there. - Yeah. She doesn't want to get married there. She doesn't want to get married. - Yeah, she does. - She's had the love of her life. - Yeah. - Tip, the change. - Yeah. - It's done. Do you think you would have, John would have liked them, like, all that Scottish dancing?

- Yeah, I would sort of be sat in the corner and watch it go on. - Now you wouldn't be thrown in your feet. - And then we have my feet, yeah. - A few whiskey, yeah, you wouldn't be thrown in your feet. - There's a lovely moment where Benedict comps you through music, piano moment, what a sweet scene. How was it to be in that moment? - It's so gorgeous. I was so happy when we saw X-Men, Luke haven't got to work together that much. - Really? - Yeah, yeah, it's so interesting as siblings. Sometimes we're like, it will be in groups together that you don't get to see.

- No, I know, which is brilliant. - It's the last time. - I must have had some kind of scene. I remember, he sculpted me into a ball once and we milked that for all it was work. - But it was really nice as well because obviously Luke plays piano, so seeing him, that's so comfortable there. - Oh, that's really his hands. - Yeah, yeah, yeah, yeah. - It's really frustrating when you're the one you have to learn piano for the show. - And then you sit next to Luke, please.

- I love episode seven when you finally get to explode because she's so quite normally, she keeps everything. Even when you're grief, you're like, I'm fine. This is how I want to grieve. - Yeah.

- But then you do explode and seven was that nice to experiment with the character at that moment. - That scene was the scene that I was like, most scared of. - Right. - I'm excited for it. It's so beautiful. And they think it's such an important point for both Ruth and myself. And I think we were both quite nervous that day. So there was a lot of dialogue. Obviously you're doing quite a few takes and you want to make sure that you can get yourself to like quite an emotional point.

And I think, you know, when you've got characters really holding it together, there is the concern that people would be like, oh, she doesn't care.

- Yeah, yeah. - She doesn't care. I really wanted to like have that like absolute breaking point and especially with someone.

“Because you know with a mum sometimes it can be like, that all they can say is, are you okay? And that's all you'll cry. I think it's so important that it's her and it's so important that it's something that,”

she brings them together, but it also is one of the biggest differences in their situation is the fact that Violet has pieces of her husband and she didn't get to have that and that choice is also, so she's grieving like multiple things. And nobody actually fully knows what Francesca is feeling. - So interesting because it's not a jealousy of your mum. - Yeah, in that moment it's so interesting. - Yeah, I think grief works in really, really different ways. And you go through the different stages of like denial, which I think she, those definitely some point, I really like made sure I'd like wrote down all of the different stages of grief and made sure that each scene kind of like connected to one.

And that one is just like the anger. Like she had to have somewhere to put it and I think sometimes it is your mum's your safe zone. So like she knows that whatever she throws at her, she's still going to love her. But it was, it was a really fun scene to do, but it was, it's really heavy going. - So what do you have a little notebook that you put all your little, like side notes instead? - Yeah, I love that. - I like, I have a little character journal and but you shoot out of order. So like I do like a little cheat sheet for making sure that I know exactly what's happened up to that point.

- That's right, so you'd throw up. - Yeah, it's good to not do when you're doing a death story later. - Oh, why did it as well? - Well, we all go off to that little stationery shop. - A little journal. You've got to make sure it's obviously like, you know, we would shoot things where you were alive.

- Yeah, no, no, no, no, no, no, no, no. - I did a death scene and I'm never seeing the following day when I'm alive. - Oh my god, yeah, yeah, yeah.

- So you need to work out if you've got a favourite scene between your relationship that we'll always stay there, because obviously we're not going to see you very often now. - The thing is, I don't think people are going to like it, but that the deck we do to have a look on with the deck. - I would say that. - It's like iconic scenes, loads of videos that we have. - And because it could have been like the day I died, the character died and it's like really solemn and really sort of sad and just everyone sort of like in tears.

- I wonder if it would have been different if it was truly your last day. - Yeah, yeah.

“- Yeah. - I think the fact that he was going to hang around and still doing other scenes, I think that's why you probably did it. - Your last day was sad.”

- Yeah, but then I turned out to the funeral. - Do you know this? - No, it showed up to his own funeral. - No, you didn't.

- They shot the funeral. - Just for the day, and I wore like a captain, I'm just sort of like sort of hiding behind like one of the sort of screens and like Luke was saying the speech. - The speech. - Oh, that was so good. - Yeah, and all we heard was this one. - I mean, that was like, you right, guys. - You couldn't do this without me, could you? And every that one. - That was so funny. - That was kind of the last day, maybe. - So it was really close to the day. - You just tell all the producers I'm going to go with. - But they didn't say anything. I think I told one person, you didn't even know.

- No, you've mentioned it. - Really, you've been talking a lot about going to the funeral. - How was it seen your own funeral by? - Interesting. - It was all right. - It's all right. - People morning. - Yeah, sad. - Enough tears. - Enough tears. - She was so sad. - So I know that when I do die, when I ought to expect. - Yeah, you've been there, done that. - No, done that. - Yeah, it was quite sad, but it was nice to sort of see all the family and friends gathered, but yeah, it was nice. - Yeah, how do you feel about exploring? We don't hold in season five. - You're going to get some cats.

- Don't get so many cats. - You can be cat-laid. - I'm really sorry. - I don't really know. I'm really intrigued to see what the writers come up with. - She's so young. I thought she was pregnant because she seemed convinced that she was.

“- I know, I think it was that holding on to hope and that she wasn't ready to confront the day.”

- Yeah, yeah. - So that was a way of something else to focus on, and a positive, like shining light in it all, so I think she'd kind of convinced herself. - And the fact that they wanted to do in salmonation, I was like, "No, leave her alone." - I was so happy to see that you was having a baby. - How savage is that? - It's like they knew. - I know, I know, awful. That scene was actually quite... - Was it quite hard? - It was quite emotional to film actually, because obviously nothing's happening, but I was holding on to Claudia and Mum laying down.

- And you can't help but just feel... - But it's awful that that was ever so... - It's such an intrusion, especially for such an introvertic character. - It's horrible. It's horrible that she's grieving. She's also like begging for this fact to be true, and then it's the physical examination, which is just... It's awful.

- Yeah, I mean, she's holding it down. - She's holding it up. - Oh, I'm hoping to see some five she can have a little bit of a... - Yeah. - A respite. - I'd want a bit of a smile. - A smile. - A smile in episode might be too much. - Yes. - A smile in episode might be too much. - It feels like I've not smiled in a little while. - Maybe you're going to come back, because the guy lost.

- Maybe he'll come back as you guys. - He's never known. - He's not dead. We've got the wrong man.

- He did keep saying that when we were filming that jet scene, he was like, "I'm going to keep sitting up like diamonds." - Yes. - You can't get on me. - It was a hard thing. - Thank you for looking after these precious characters. You've done such an amazing job. It's been wonderful. - Thank you so much. - And yeah, good luck. - Thank you. - And we're so sorry to see you guys. We really are. - No, it's been fun. - Thank you. What forgive me? But are you two friends now? - Of course we are. - Obviously.

- I loved meeting Victor and Hannah. They're truly brilliant actors. And after all they've been through this series,

“I just wanted to give them both a massive cuddle. But if you want to truly understand the world of the town,”

you need to ask someone who sees everything. Now I'm not talking about Lady Whistledown. But two of the brilliant minds behind Bridgetown, showrunner Jess Brown now an executive producer Tom Verica. - I do not need an apology, Mrs. Bridgetown. I want gossip. - Tom Verica, Jess Brown now, I mean, this is the hottest ticket on the town.

As far as I'm concerned, Tom, you have shaped the look of how Bridgetown is always portrayed. How did you want season 4 to look visually?

- Well, we always approach each season trying to find something different and something new. And the script gave us some wonderful material this year with introducing the world of the staff. So I think diving into that world gave us a little bit of opportunity to sort of tell visually a little bit different world of contrast, what we've always known as Bridgetown and the properties of the upper world and then kind of the chaos that is the engine underneath the house. - So how have you kind of changed it this time round? I love the upstairs downstairs, by the way. That is just beautiful.

“- No, I think it's something we really loved about this season and approaching how we film it. And I think it's also great with the Sophie character as her being part of that downstairs world and how that parallels what's happening in her trajectory.”

- But we just got loose with the camera, we went ahead and held a little bit sometimes, not too crazy. We just wanted to sort of announce steadiness about sometimes. - I think on this show like nice, clean, beautiful shots work really well. But once a while, a little camera looseness is cool. - Just a little bit, thank you. - Do you feel like you're swimming underwater, no? - No, not that. - I didn't do film, okay? - You've seen those things, and that's not. We're very clear, but not going full on.

- Tommy, you do a very good job. You do a great job. Just to write a lot of loosens. - It's just loosens. Let me talk about these things. We check with you. - I'm writing him in a little bit. - He's recording me out. You know, he brings the party to Bridgerton, so I've got to watch that camera. - Okay, I'm going to bring the vibe right down. Let's talk about John's death and the funeral. - Oh, there we go. - What a surprise. - And see.

“- Let's talk about it because how do you approach something that is so emotional?”

- It was a tough one. We've never really had a death on the show. Obviously a lot. - A lot.

- Lord Featherington at the end of season one, but it was off camera and we didn't know him that well. So we talked a lot about really needing to honor that moment and live in that moment. And as you'll see with episode seven, while we still are interested in Benedict and Sophie's story, we do shift our focus a little bit to really hold space for the fact that a beloved character has departed. - I was so shocked when I was so shocked. What was it like on set time?

Because I was talking to Victor and he said he was quite funny, it was quite light. - You know, it gets emotional. It can't help but get to you because you feel like, you know, that is even invested so much in this relationship people love. And the actors do get attached to these characters and they can't help but feel that. And so that sort of that permeates throughout everyone and everyone gets a little bit sad.

Like, oh, this is Victor's last scene. - Yeah, you know, he's got to respect. - New from day one when we cast him. - Yeah. - That he was thinking. - That there was a-- - That he was going to die. So that helped, you know, we didn't have to have a different conversation about, sorry. - Tom, the cast absolutely adore you. You're like their coach, you're like their therapist, you're like their mentor.

I mean, what sort of cast did you talk through with Yareen and Luke?

How do you coach them through that? - It's important for me to really work with the actors, it's something I understand. It's working at the moment, exploring those moments. We did have the benefit, particularly with Luke and Yareen. As we do with each season, to have a couple weeks of rehearsal.

To kind of talk about the relationship and we sit in rehearsals as Jess and I and very few other people and just we answer all the questions about what they have. We explore, we try things. A lot of it is physical. For me, it's getting them up on their feet. Seeing how they interact with one another, seeing what it works.

And it's really getting them comfortable with one another. - Yeah. - So a lot of things-- - No, they don't.

No, they're finding each other for the first time.

And I remember we were rehearsing the meeting at the mass grade ball, the first meeting. And it's important for me because they were looking each other and everything was fine. And they saw each other's faces. But I set a note to a costume department and said, "Give me any mass that you have."

Temporary mass, because I wanted them to feel those masks on one another, so that they had that barrier before they really take each other and see each other.

“And I think it really helped in that rehearsal process.”

Because they were just so open and looking at one another. But when you put that mask on, it takes a lot of different things. The other thing you did, I thought was really smart. As we were rehearsing some of the My Cottage scenes, where they're supposed to be flying the kite and being a little playful.

And I remember you had them go for a jog around the set before they came into the space to do the scenes. So they were actually like out of breath from like giggling and jogging as they started the scenes really. And it just takes-- and because if they're thinking about anything, you quickly forget those things.

So if it just helps shake things up a little bit, it helps them shake out any energy and drops their guard a little bit more. But when we did the My Cottage stuff, it was early on in our filming. And there was a lot of real kind of falling for one another that they had that oftentimes that if you sometimes have to play that at the end of filming,

it's tough to sort of get that initial energy back. But they had that right up there. So do you work at the film schedule and you want certain scenes to be at the beginning? Yeah, we try. We strive to-- I'm very clear about what I can do.

What I try to do when we're doing certain scenes, if they're intimacy scenes, we try to push those later. So there is a method to when we do these scenes, if we can do it, we try to control that. So why do you do the intimate scenes later on?

Just because they know each other better.

“Well, I think it's natural with the scripts sort of are laid out”

that it does happen because there is a courtship that happens with each of our couples. But it is more comfortable with one another. And it is important for our actors, particularly when it gets into them. Some actors are much easier and much freer. And then other ones are much more hesitant towards doing that.

We're all talking to a professional, to be honest with you, because I have actually spoken to Jonathan Byley, and we have tried at some of the intimate moments with the ball between us. So what is it like? I know what it's like. It's a good idea. It's a good idea. It's a good lady ball.

It's just, it helps, right? It just had that barrier there and it gives... But I do love the heart. I mean, we spoke about it in part one, about the whole female gaze and stuff like that. I mean, that's part of Shondalans signature move, really, you know it like the back of your hand.

Give me some advice on the whole woman's gaze. What do I need to be doing with the women?

And I basically just go all over the right.

“No, I think it's just, you know, an interesting thing,”

because I've been working with Shondal for many years, and across a lot of different shows and done a lot of intimacy scenes. I mean, scandal. We did much more of this gain, and really pushed the envelope a lot of things there. But it's really about, it is very technical.

It's about understanding a lot of those things. And I think it's, you know, early on. It's flipping what has been, you know, history through the male gaze. It's flipping that on its head. And it's saying, you know, and it's simply,

I found myself in some of the earlier things that I directed. It's just just turning it around. And it was very, it's that simple to say, "Oh, what if it was, it was from this person's point of view?" So, you know, from a directing standpoint,

it's really just looking, from the point of view of that character, because everything is born out of that character. Someone who's watching it, you really notice it because, like,

before it's always from the male point of view.

When you see it from the ladies point of view, feel so much better as a woman. I had a funny moment with our script coordinator, our script supervisor, Amy, first season. And it was, I think it was with Simon when he was looking at the spoon.

And it was the slow moment. We're trying different things. And it happens now. It happens with Luke in the lake scene when he comes out of the lake.

I know what's needed to say. Go down, come up on his thing there. And I feel that someone looks at me and I, if you're to hear what I was saying. I'm working here.

You're working here. It is really, really. You're okay, spikes. Yeah. And everybody after it's like,

"Yeah, how about Arsenal?" That Chelsea game is great, wasn't it? Yeah. You know, as you say, Tom, you did something to Tom.

You know, the light scene, amazing.

Yes. Violet and Lord Anderson was such a lovely couple. Why did you take them away from that? Sorry. I love that couple.

Why did you take them away from that? Sorry. I love that couple. Why did you take them away?

“You know, I think it's, it's like violence.”

It would be like we're marrying the first guy right after her husband. I was the first guy she's dated. And however many years, you know, she got what she wanted. The ride back. I feel like she has more of a journey to go on.

You know, I think she's got to have like her era where she's, I'm trying not to use the word, but she's got to have her era where, you know, she gets around a little more. Yeah. First.

But before she, like, commits to find out. Yeah. And she's got some kids to see through, making sure that they get off on their way and debut before she's ready to, you know,

really do what she wants to really do. We'll get there. You know, we've got plenty of seasons we hope. And she had her great love with Edmund and to sort of just suddenly pair her up with someone else.

You know, you want to, you want to earn it if it is. I think so. Don't flesh it out a little bit. Have you got a five or a song? Breach it's in song.

The one that I really thought for was a sure DJ got us falling in love because it's, it's the me cute. And I just thought like the sort of cheekiness of that song as they're meeting while not a DJ, but a string quartet is playing. So good.

It felt like, you know, the Regency equivalent of a very modern thing where you kind of like develop a crush on the dance floor. Yeah. And who doesn't love a little usher? I love the usher about you, Tom.

“It's when Sophie gets out of the carriage for the first time”

at the Masquerade Paul. I just remember loving this song. It was a cold play, living in technical air. And it had an energy of a palpitation and excitement.

And I wouldn't have guessed that it's amazing how many songs that you put

to classical music instruments that bring it out in a different way. Do you know when the teenagers are dancing? They're all, yeah. Oh, yeah. That's one of my favorite songs.

I don't know what it is. It's as early as the X. Yeah. I love it. It's like a song.

Yeah. It's like a song. Yeah. It's like a song. Yeah.

It's like a song. It's like a song. Yeah. It's like a song. It's like a song.

Yeah. That is my favorite song. And the song is about like the apple. Not falling too far from the tree. Yeah.

Yeah. It just like thematically. I cried during that set. He's. I could watch this been off show just about the teenagers.

Yeah. They are like kind of coming of eight. You know what I mean? Do you know what you mean? Do you know what you mean?

Yeah. Yeah. It's so weird. That's one of my favorite moments. Yeah.

See in their little connections. It's so weird. And then walking down the stairs and the boys try to, you know. Return to junior. Let's go.

We're just in junior. There we go. Mel Bridgerton. And then my last song I loved. I lose.

Come on. I'm the bike you love. Oh yeah. So good. When you're that next to me.

But it's heard. It is a moment where it turns because it's like, some like score that's just happening in old sun. Because happens and that song kicks in. That's right.

That's right. We have to talk about another love story. Missy Spettington. I'm Barley. That is truly another love story.

That scheme is just iconic. Yeah. Don't guys. Thank you. We really fell in love with that.

Yeah. Over the last couple seasons. Yeah. Truly. I mean, I do think like two women over that many decades.

Like they've shared secrets. They know everything about each other. They've done crime together. I mean. And like for Lady Featherington to be able to say something sincere,

which she has to at the end of the season and order. So like, yeah, when Barley back was,

“I just think one, I think it's one of the most moving.”

Yeah, really.

And I remember the, when we filmed the break up scene when she basically says,

Well, I'm, you know, I'm leaving. And I remember on the day Lorraine, it's she says this is, I, I, this, you got to give me a moment. This is most dialogue I've ever learned.

Of course. And she, because she had the speech about, you don't, you know, you don't value me. No, you do. She, you don't want to cut it down.

Yeah. Go get Jesse. When she was fantastic. You know, she's, it, it really is. And at that moment of, if it's heartbreaking to see them suddenly,

are they really going to do this? And neither one of them are backing down. No. Lady Featherington's. He goes.

Yes. I think the most iconic moments of the season is actually when Lorraine carries out the giant dress box.

She just bent over it and carries it.

And I was going to die because we, when we picked out that box and Lorraine, she picked over the way she did it physically. It's one of those moments that you, you've got to, don't see it, but it happens. And the cameraman, everyone's like ready to call.

So we stop like, no, no, no, no. And see her walk again. And then the editor, because usually they want to pinch the end of scenes about it. I don't know, but like, put that in.

That stays all the way. She just did some periods of that, Lorraine. Oh, my gosh. And she's... Let me just go.

Oh, yeah. She's so funny. I'm so funny. We need to talk about Lady whistle down.

“Have you got any theories amongst the cast or anything?”

That was major, really, laugh at all? No. Because I've got a theory. Oh, you have a theory? I've got a theory, I've got a theory.

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