BuzzFeed: "Twin Peaks Co-Creator Mark Frost On The Series’ Return To Television"

Damn fine news: After 25 years, Twin Peaks is headed to Showtime with a nine-episode limited series. BuzzFeed News spoke to Frost about the revival and what fans can expect.

At BuzzFeed, you can read my latest feature, "Twin Peaks Co-Creator Mark Frost On The Series’ Return To Television," in which I talk to Twin Peaks co-creator Mark Frost about the series' resurrection as a limited series on Showtime in 2016.

Earlier this summer, deleted and extended scenes from the Twin Peaks follow-up film Fire Walk With Me were unearthed for the series’ complete Blu-ray release. But that was nothing compared to what happened on Oct. 6, as the impossible suddenly became a reality: Co-creators David Lynch and Mark Frost announced that Twin Peaks would be returning to television 25 years after it went off the air, its resolution as hazy and unclear as a fever dream.

Nine episodes of a Twin Peaks revival series will air on Showtime in 2016 as a limited series, one that promises a resolution of sorts for FBI Special Agent Dale Cooper (Kyle MacLachlan) and one that signals a reunion of Lynch and Frost, who will write every episode, with Lynch set to direct as well. For Frost, it’s a unique position to be in, one that has been three years in the making.

“It’s a very rich feeling, to finally be able to tell the world about it, because we’ve been living with it for three years,” Frost told BuzzFeed News shortly after the limited series announcement was made. “People’s reactions are so fantastic. The thought that something like this could make so many people excited and hopefully happy fills you with the kind of joy you don’t get most days. So it’s a wonderful opportunity to close the circle.”

Frost also talked about Showtime’s announcement, why there are exactly nine episodes planned for the resurrected Twin Peaks, whether composer Angelo Badalamenti will return with another iconic score, and what fans can expect from this most unlikely news. In the words of the Little Man From Another Place, let’s rock.

Very few artists ever get the opportunity to return to a work 25 years later, particularly those working in television. What does it feel like to have the chance to make this journey and specifically with David?

Well, you know, the heart of this whole experience, from the beginning, has been this friendship that we share. Everything that we’ve done has started and flowed from that. In a way, it’s a wonderful way to continue the friendship, and deepen the experience for both of us, as friends, as collaborators, and as people, working to tell a story together. Neither of us has ever collaborated with anybody else in this way, and it’s a very special relationship. I guess you can say it’s like the U.S. and Great Britain, in diplomatic terms. It’s the special relationship in my life, creatively, and I think in his in the same way. First and foremost, it’s a wonderful chance to work together with a very good, dear friend.

Given that this is the only collaboration that both of you have done, what is the process for co-writing these episodes, and how has your relationship with David changed in the more than two decades since you last worked together?

I think that the main thing is — you’re different people 20 years later. You’re older and hopefully wiser, and you’ve had a lot more life experience. You’re bringing all that to the table. That’s certainly been our experience; that’s what it feels like to me. We’re not just trying to bring back the show because we can bring back the show; we’re doing it because we feel there’s something more to say with it, and it’s the perfect vehicle for expressing those thoughts and feelings.

Why specifically is the revival nine episodes?

Well, if you think back about the first season, if you put the pilot together with the seven that we did, you get nine hours. It just felt like the right number. I’ve always felt the story should take as long as the story takes to tell. That’s what felt right to us.
There are still a lot of details that are coming together. In terms of the general thrust of this, is this being envisioned as a strict continuation of those plots that were left dangling when the show was canceled, or is it something altogether different?
It’s kind of all of those things. It’s different and yet the same. It’s reassuring, and yet, I hope, equally startling and unsettling. And, more than anything it does, Twin Peaks is kind of a way to look at the world. And this is a chance to refine that vision, so many years later. As you say, it’s a very unique opportunity.

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BuzzFeed: "18 Gasp-Worthy Secrets About Downton Abbey Season 5 From The Cast"

Michelle Dockery, Allen Leech, Laura Carmichael, and Joanne Froggatt share details about the new season with BuzzFeed. Warning: SPOILERS ahead if you haven’t finished Season 4.

At BuzzFeed, you can read my latest feature, "18 Gasp-Worthy Secrets About Downton Abbey Season 5 From The Cast," in which I interview the cast of Downton Abbey about what's coming up on the fifth season of the British costume drama.

1. Reinvention is very big this season.

Judging from how often word “reinvention” itself came up among the cast members.
“There’s big social change in this season,” Michelle Dockery, who plays Lady Mary, told BuzzFeed. “You can tell by the clothes, it’s very, very modern. And Mary really embraces those changes. Reinvention is a good word.”

That spirit of renewal is perhaps nowhere more apparent than within the character of Lady Mary herself. “It’s the new Mary,” she said. “Because she’s through the grief now and she’s moving on with her life and embracing a social life again, and exploring things romantically and also taking on more responsibility with the estate. She’s really kind of growing up and growing into a different person this time.”

2. But that doesn’t mean Lady Mary will be choosing a new husband any time soon.

Yes, that means that the love triangle is still in full force and both Charles Blake (Julian Ovenden) and Anthony Gillingham (Tom Cullen) are back in Season 5. “They are on the scene,” Dockery said. “Mary doesn’t settle with anyone any time soon; she was never going to. That’s important, not just for the story, but for the audience, because Matthew [Dan Stevens] was such a well-loved character, and Dan, of course, so you can’t really have Mary marry someone immediately. She’s just feeling her way through things, really. She’s still being very impulsive. I love that about her, that she doesn’t always think things through. She’ll make a decision and she goes with it, and then often, she’ll regret it afterwards or think, in hindsight, she could have dealt with it better. I love that about her. It’s a very human quality.”


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BuzzFeed: "Mad Men Creator Matthew Weiner On The Show’s Jet-Setting Final Season"

The mastermind behind AMC’s period drama tells BuzzFeed what to expect from the final go-around with the ad men and women before the April 13 premiere.

At BuzzFeed, you can read my latest feature, "Mad Men Creator Matthew Weiner On The Show’s Jet-Setting Final Season," in which I talk to Mad Men creator Matthew Weiner about the seventh and final season of the AMC period drama.

Over the course of its last six seasons, AMC’s period drama Mad Men has taken the audience into the inner lives of the damaged ad men and women who glide through the 1960s often on a volatile mix of booze, self-loathing, and bad behavior. In the hands of its creator, Matthew Weiner, the show has offered a window into the souls of these characters, offering up their flaws and their virtues, their successes and their losses.

With the show concluding next year, it does feel as if it’s the end of an era, both for its network AMC and for the television landscape as a whole, as well as Weiner, who will have spent 15 years of his life developing, writing, and bringing Mad Men to fruition. “I feel very lucky and I feel, at times, overwhelmed,” Weiner told BuzzFeed. “There’s so much work to do that it hasn’t really hit me, but I am overwhelmed by this sector of my life coming to a close. It’s pretty gigantic. I feel a lot of responsibility — no matter what the reaction is 24 hours afterward — that these 92 hours will fit together as a whole. It’s a big piece of work done by hundreds of people and I’m proud and surprised that I’ve gotten to this point. And also, I feel really lucky that I get to end it on my own, without having the plug suddenly pulled or something. What a luxury. I keep talking about what a responsibility it is, but it’s a luxury to be able to end the story how you want.”

As the Emmy Award-winning drama approaches its final season — with two seven-episode arcs set to air in April 2014 and April 2015 — Weiner spoke at length to BuzzFeed about Mad Men’s seventh season, wrapping up the show’s narrative, and what lies ahead for Don Draper (Jon Hamm), Peggy Olson (Elisabeth Moss), and the rest of Sterling Cooper & Partners. What follows is an edited transcript of the conversation.

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BuzzFeed: "25 Secrets About Downton Abbey Season 4"

The cast and crew spill some details about what’s coming for the Crawleys and their servants. Julian Fellowes’ British period drama returns to ITV in September in the U.K. and to PBS’ Masterpiece on Jan. 5 in the U.S. Warning: minor spoilers ahead!

At BuzzFeed, you can read my latest feature, "25 Secrets About Downton Abbey Season 4," in which I sit down with executive producer Gareth Neame and cast members Michelle Dockery, Laura Carmichael, Phyllis Logan, and Joanne Froggatt to glean some details about what's going on in Season 4 of Downton Abbey.

When Downton Abbey returns with its fourth season, it’s February 1922 and six months will have passed since the death of heir Matthew Crawley (Dan Stevens) — who perished after driving off the road shortly after the birth of his son, George — and the Crawley household is still in a state of mourning. But, fortunately, the mourning period won’t last all season, for life must go on for Lady Mary (Michelle Dockery) and the other members of her well-heeled aristocratic clan.
“Series 4 brings in humor, drama, grief, romance, backbiting between characters, and underhand happenings,” series star Joanne Froggatt — who plays lady’s maid Anna Bates — told BuzzFeed. “It’s got everything in there.”

Season 4 will also have to reassure the audience after the shocking deaths of not one, but two beloved characters, which came on the heels of the horrors of World War I and the Spanish flu in the second season. The show’s executive producer Gareth Neame said Season 4 contained the “spirit of rebirth,” both for the Crawleys and for the Julian Fellowes-created British period drama itself. “Clearly, there’s a change of direction,” said Neame, speaking to BuzzFeed earlier this week. “In Mary’s life particularly, because she is so much a central figure in the show and Mary and Matthew were so central. When we rejoin the show, several months have passed, just as several months have passed in real life for the audience.”

So what lies ahead in the fourth season of Downton Abbey? BuzzFeed spoke with Neame as well as cast members Michelle Dockery, Laura Carmichael, Joanne Froggatt, and Phyllis Logan to glean some secrets about what will happen in the halls of Downton.

1. When Season 4 begins, Lady Mary (Michelle Dockery) is in a fragile state.

“Since Matthew’s death, Mary is really in such a living death at this point,” Neame told BuzzFeed. “She has completely given up on life and one of the central thrusts of the new season is really the rebirth of Mary and the way that her family and all the staff encourage her to turn back to life and find a new reason to carry on… As a beautiful, highly eligible young widow and mother of a baby son, there is a huge amount of potential of new stories for her.”

It’s a sentiment that’s echoed by many cast members as well. “At the start of Series 4, Mary is in a place of trapped grief,” Froggatt said. “She can’t bring herself back into the present. She’s just very closed off in her own pain. And so Anna is walking a bit of a tightrope with Mary to start off, because she sees that but, for the sake of her son George, she needs to come back into the present and start interacting with her child and not closing herself off from the world. She has to start to move forward in a way. It’s very difficult for Anna because she can only really hint at that to Lady Mary; she’s still within the constraints of being her servant and not allowed to overstep the mark.”

Dockery herself sees Matthew’s death as regressing Mary in many ways. “She’s reverted to that very cold exterior that she had in Series 1 and she says at one point that she’s not sure who she’s most in mourning for: Matthew, or the person that she was when she was with him,” Dockery told BuzzFeed. “That saddens her even more because she’s lost who she was; he brought out that sensitive, vulnerable side to her, the much more caring and loving side, and now it’s shattered. She had everything at the end of Series 3: she finally got her man, she gave birth to a son, perfectly wrapped up the legacy of the Granthams, and then she didn’t even realize that… her life had been turned upside down.”

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BuzzFeed: "Broadchurch: Olivia Colman Is Britain’s 'Finest Export'"

The BAFTA-winning actress stars opposite David Tennant in BBC America’s spellbinding murder mystery Broadchurch. She talks about jumping from comedy to drama, Peep Show, working with David Tennant and Matt Smith, and more.

At BuzzFeed, you can read my latest feature, "Broadchurch: Olivia Colman Is Britain’s 'Finest Export,'" in which I interview the incomparable Olivia Colman, who stars in the sensational British murder mystery Broadchurch — which heads Stateside to BBC America on Wednesday evening — about Peep Show, David Tennant, ricocheting between comedy and drama, and more.

Olivia Colman is late to our interview.

A nervous publicist explains that the star of Broadchurch, which plunged the U.K. into a full-blown obsession when it aired earlier this year, is making her way on foot to our location, deep within the caverns of the Beverly Hilton Hotel in Beverly Hills. (Colman is slated to appear to next day on a panel for BBC America at the Television Critics Association summer press tour.) When Colman does turn up, she’s barefoot, clutching a pair of wickedly high-heeled Louboutins in her arms and apologizing for her tardiness.
Apparently, the BAFTA winner — who stars opposite David Tennant in BBC America’s murder mystery Broadchurch, which begins Wednesday, August 7 (it aired earlier this year to huge ratings on ITV in the U.K.), and can be seen in everything from Tyrannosaur to Peep Show — can do comedy and drama well, but finds walking in heels a real challenge. (It may be her rare flaw, in fact.) Hugs, however, are something she excels at. Colman and Doctor Who star Matt Smith embrace briefly as she passes by him, shoes in tow; she appeared in Smith’s very first Doctor Who episode (“The Eleventh Hour”).

“She’s amazing,” Smith tells me. “She’s great fun. Especially when you go and have a beer with her. She’s a riot.” And no one, I say, can cry like her. “Yeah, no one! And as a comedy actress as well, she’s incredible. She’s one of our finest exports.”

Colman is, in fact, a cottage industry unto herself, turning out highly nuanced performances from both ends of the comedy/drama divide. The Telegraph called her “the next Judi Dench.” Meryl Streep referred to her as “divinely gifted.” But Colman doesn’t wear those accolades comfortably. Bring them up and she laughs uneasily.

“It all seems a bit silly, doesn’t it? I did rewind the Meryl bit quite a few times,” Colman says, shifting in her chair. “That was amazing. I don’t know. It’s lovely and I’m aware that I’m lucky and there are many, many people who can do what I do. I’ve just been given an opportunity to do it, and I’m very grateful. It might all dry up. I’m making hay.”

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BuzzFeed: "The Doctor Is In: Matt Smith On Leaving Doctor Who, A Female Doctor, And More"

The 30-year-old actor will depart cult British sci-fi drama Doctor Who after this year’s Christmas Special. Here's what he told BuzzFeed about his decision to leave, the possibility of a female Doctor, stealing socks, and more.

At BuzzFeed, you can read my latest story, "The Doctor Is In: Matt Smith On Leaving Doctor Who, A Female Doctor, And More," in which I sit down with Doctor Who star Matt Smith to discuss his decision to leave the British science fiction drama, the possibility of a female Doctor, and what's next for him.

Matt Smith is wearing bright turquoise socks. The 30-year-old star of Doctor Who is lolling around on a leather couch deep within the cavernous confines of the Beverly Hilton Hotel in Los Angeles, a day before he’s set to appear on a panel celebrating the 50th anniversary of the British science fiction drama at the Television Critics Association summer press tour.

When I draw attention to his socks (they coincidentally match the shirt I’m wearing), Smith proudly draws up his trouser leg to take a closer look. “They’re a similar color to your shirt!” he says, enthusiastically in a fashion not unlike the Doctor himself. “I always steal a pair of socks on every photo shoot I do.” He pauses. “It’s my thing.”

Smith looks drastically different from his on-screen persona as the Doctor, having transformed himself to play a tough guy in Ryan Gosling’s directorial debut, How to Catch a Monster, which will be Smith’s first appearance after he wraps up his tenure on Doctor Who later this year. There’s the 50th anniversary special airing November 23rd (on BBC One in the U.K. and BBC America in the U.S.) and then the Christmas Special, where the Doctor will regenerate into… Well, who knows who he’ll become yet? Neither Smith nor executive producer Steven Moffat are giving us any clues about which actor (or actress?) might step into the role and play Number Twelve. What follows is an edited transcript of the conversation between Smith and BuzzFeed.

How liberating is it to leave behind that Doctor Who coif and the bowties?

MS: I’ve got to be honest, it is quite liberating. Although I’m putting Miracle-Gro on it because I need to get it back for September to go and shoot the regeneration [scene]. But it is freeing, shaving it off. Walking round at Comic-Con, people didn’t recognize me as much. Just generally, people recognize me much less, and that’s quite nice as well, because you can be more anonymous.

It helps when you’re walking around Comic-Con wearing a Bart Simpson mask. Was that surreal, walking around surrounded by some of your biggest fans?

MS: I went up to the BBC America booth and I tried to talk to people, but I put on an American accent. I was like, “Hey, how’s it going, man? I like your TARDIS thing,” and whatever and no one wanted to talk to me! There was one girl in particular who had a backpack on with Tom Baker-y straps like a scarf. And I was really trying to talk to her and she was just not interested.

At what point did you know that it was time to move on from Doctor Who?

MS: It’s something that I was considering for a while. It’s one of those jobs where there’s never a right time, because part of you just wants to do it forever. It’s such wonderful storytelling and it’s the most wonderful character and it’s the most wonderful cast and crew, and so much about it is right. I think you have to keep challenging yourself and keep challenging the show. For the show, it’s the right time and it will re-galvanize it. The show will get bigger and better, and I’ll become a fan and look back on my time and just go, “I’ve had the most wonderful journey.”
What was the conversation like that you had with Steven Moffat about your decision?
MS: To be honest with you, it’s, that’s something that I’d like to keep private, because it’s a private conversation and Steven is a dear friend of mine. It was something that we talked about a while ago as well, in rough terms. In my head I just knew that, after the 50th anniversary, I’d look at retiring the bow tie, as it were.

But Steven was supportive, I imagine.

MS: Yeah, yeah, he was. But obviously as well, it’s one of those things. It wasn’t easy for both of us because we’ve worked together for three years, and creatively and personally, we’re close. Part of me would have liked to have continued and finished the journey with him, but also, for me, I just felt like it was time for a change of lifestyle.

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The Daily Beast: "Mad Men Creator Matthew Weiner on the Season Finale"

The AMC series’ season ender offered upheaval in the lives of SC&P’s employees. I speak with Mad Men creator Matthew Weiner about the finale and what’s next. Warning: Spoilers ahead!

At The Daily Beast, you can read my latest feature, "Mad Men Creator Matthew Weiner on the Season Finale," in which I speak with Mad Men creator Matthew Weiner about the sixth season finale, going overboard, that look, California, and much more.

Not since the end of Season 3 has AMC’s Mad Men—created by Matthew Weiner—ended a season with as much physical, emotional, and psychological upheaval as it did in Sunday night’s episode (“In Care Of”), which closed out the period drama’s sixth and penultimate season.

Written by Weiner and Carly Wray, the final episode restructured some of the show’s key underpinnings: Don Draper (Jon Hamm) spilled the truth about his awful childhood in front of his partners and clients; Megan (Jessica Paré), Pete (Vincent Kartheiser), and Ted Chaough (Kevin Rahm) decamped to California; Don was told to take a break from the agency; Betty (January Jones) pondered the consequences of “a broken home” on her children; Joan (Christina Hendricks) allowed Roger (John Slattery) to form a relationship with their shared son; Peggy (Elisabeth Moss) sat in Don’s office, cleaning up his mess; and Don took Sally (Kiernan Shipka) and her brothers to see the house in which he grew up.

Alternately shocking and elegiac, it could have been a series finale, but instead set up compelling and invigorating new possibilities for Season 7 of Mad Men, the show’s final outing. There is a deep and tangible sense that the characters’ relationships (or lack thereof) with their children are hugely significant, as several storylines examine the ramifications of our actions upon our offspring and the cost of remaining silent. Given our workaholic contemporary society, there would seem to be enormous implications at play here for those who prioritize their professional lives ahead of their familial ones.

The Daily Beast spoke with Weiner about the season finale, Don’s unforeseen departure from SC&P, the murder of Pete’s mother, whether Megan and Pete will be back next season, and much more. What follows is an edited transcript of the conversation.

At the start of Season 6, you said that the opener was about “how [Don is] seen by the outside world, and how we all are seen by the outside world.” How does the finale complete that exploration?

Matthew Weiner: This season was about the identity crisis going on in the culture, the chaos that’s being brought on the United States, the revolution that’s underway, and the turning inwards that happens that, for Don, is hopefully the beginning of kind of a reconciliation with who he is. He says, “I don’t want to keep doing this,” and we see him acting impulsively, struggling through—with worse consequences than ever—his demons. And what I wanted to do was show, at the end of 1968, the revolution is stopped, mostly by force and by votes and people turning to what they hope is a gentler time. Which we know it isn’t. Don, Pete, Roger, and Peggy to some degree, all of them are facing what they can control in their life and what’s good in their life, which is their children. And the children were a big part of the season.

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The Daily Beast: "Oxford's No. 1 Sleuth: Inspector Lewis's Kevin Whately on Morse, John Thaw, and the End of the Series"

Kevin Whately has been playing gruff, sensible detective Robbie Lewis on Morse and Lewis for 26 years. I speak to him about the possible end of the Oxford copper.

At The Daily Beast, you can read my latest feature, "Oxford's No. 1 Sleuth: Inspector Lewis's Kevin Whately on Morse, John Thaw, and the End of the Series," in which I speak with Kevin Whately, star of Inspector Morse and Lewis (which returns to PBS' Masterpiece Mystery on Sunday) about playing Robbie Lewis for 26 years, whether this is the end for the Oxford-set drama, and what's next.

Inspector Lewis is due for a vacation.

After more than 20 years playing Detective Inspector Robert “Robbie” Lewis, actor Kevin Whately has earned a well-deserved break from investigating murders beneath the Oxford spires. Introduced in Inspector Morse’s first episode (“The Dead of Jericho”), Whately’s Robbie Lewis was the Geordie sidekick of the late John Thaw’s erudite and perpetually cranky Inspector Morse before becoming the lead of his own spinoff, Lewis.

While Whately has a slew of roles on his résumé—he also starred in British drama Peak Practice and comedy Auf Wiedersehen, Pet, as well as countless other projects, including The English Patient—Robbie Lewis is the role still most closely associated with the 62-year-old actor. He has played the gruff detective from 1987 to 2000 on Morse and from 2006 to the present on Inspector Lewis.

The much loved show returns for its sixth (or seventh, if you’re going by the ITV ordering), and possibly final, season on PBS’ Masterpiece Mystery on Sunday, a season that finds Lewis and his partner, Cambridge-educated Detective Sergeant James Hathaway (Laurence Fox), grappling with change, uncertainty, and possibly even a happy ending of sorts.

The Daily Beast caught up with Whately earlier this month during his protracted hiatus from Inspector Lewis to discuss the challenges of playing a role for more than two decades, the romance between Robbie Lewis and medical examiner Laura Hobson (Clare Holman), why he tried to turn down Lewis, and what’s next for the Oxford sleuth.

You've been extremely outspoken about your need for a potential hiatus from the series. What are the challenges of playing Robbie Lewis for 26 years?

Kevin Whately: Every now and then, you suddenly realize you've asked the same question probably 50 times before: “Where were you last night?” We have wonderful writers, but you can't think of a different way to do it, or a different corner to come out of, and you do need a break. I've just recently worked out that I haven't had a summer off for 31 years, which is half my life. So I want a year off for real. And it happened to coincide with Laurence [Fox] saying he wanted to come over and do pilot season over here, but he's actually doing a lot of fathering instead.

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The Daily Beast: "Meet Flynn McGarry: America's Next Great Chef is 14 Years Old"

McGarry and BierBeisl chef Bernard Meiringer. (Will McGarry)

The chef behind hit Beverly Hills pop-up restaurant Eureka is Flynn McGarry. I sit down for an elaborate 11-course meal and interviews the teenage prodigy.

At The Daily Beast, you can read my latest feature, "Meet Flynn McGarry: America's Next Great Chef is 14 Years Old," in which I sit down with 14-year-old culinary prodigy Flynn McGarry, whose $160 a head supper club and pop-up restaurant Eureka has become destination dining in Los Angeles.(Plus, see my Instagrams of my May 1st meal at McGarry's Eureka and read what McGarry has to say about several specific dishes from the menu.)

A recent 11-course tasting menu at Eureka, a monthly pop-up restaurant at Los Angeles’ BierBeisl, included a dish of fresh and dried English peas concealing a hidden parmesan and whey pudding, a live scallop under a cucumber foam, gnocchi made from ash, and an unctuous sous-vide egg yolk encircled by hedgehog mushrooms, pork skin snow, and a sauce made from preserved lemons and radish greens.

On an evening in early May, this was a meal that showed the precision, vision, and creativity of its gifted chef, one that soared on a deliberate rhythm and flow: plates arrived at just the right moment with an explanation of the dish’s ingredients, each showcasing the season to perfection. The chef, Flynn McGarry, moved in the kitchen with grace, charring ramps for a dish of sturgeon and tapioca with a charred onion sauce before spinning around to sauce a plate—on which quivered a single slice of blood-red dehydrated beet—with just the right amount of raspberry-black pepper vinaigrette.

Without seeing him, you would never know that the chef isn’t old enough to drive.

At 14, McGarry is already a commanding presence in the kitchen. His youth seems at odds with the perfection, skill, and beauty of the dazzling array of dishes that are sent out over the course of this evening in a style that McGarry refers to as “modern American progressive.” McGarry is already something of a culinary wunderkind in Los Angeles, charging $160 a head for Eureka, a monthly dinner that originated in his parents’ home in the San Fernando Valley and now resides at a high-end Austrian restaurant in the heart of Beverly Hills. Over the course of the evening, professional chefs wandered in to take a peek at food being prepared by the culinary prodigy, a term that McGarry himself doesn’t wear easily.

“I’ve come to terms with it,” said McGarry. “I’m not going around comparing myself to Mozart, but I do think that there is a little bit of natural talent… I’m sort of gifted in the way that my taste buds are aligned correctly, which is a really weird way to think. Like any other prodigy, I’ve worked ridiculously hard on this.”

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The Daily Beast: "The Good Wife: Creators Robert and Michelle King on the Season Finale, Alicia and Kalinda, and More"

The season finale of The Good Wife was full of dramatic bombshells. I talk to creators Robert and Michelle King about rebooting the show, the start of a ‘civil war,’ Alicia and Kalinda’s dynamic, and what’s next. WARNING: Spoilers galore.

Over at The Daily Beast, you can read my latest feature, "The Good Wife Creators Tell All," an exclusive Season 4 postmortem interview with The Good Wife husband-and-wife creators Robert and Michelle King, in which we discuss the Alicia (Julianna Margulies)/Kalinda (Archie Panjabi) dynamic (or lack thereof), what really happened between Kalinda and Nick (Marc Warren), the year of Cary (Matt Czuchry), Robyn Burdine (Jess Weixler), and much more. (Seriously, it's a long interview and I had to cut a lot for space.)

With two simple words (“I’m in”) the fantastic fourth season of CBS legal drama The Good Wife came to a staggering conclusion on Sunday evening with the revelation that Alicia Florrick (Julianna Margulies), Illinois’s newly minted first lady, would be leaving Lockhart/Gardner to join the startup firm captained by former rival Cary Agos (Matt Czuchry).

The move effectively reboots the show, which will return for a fifth season in the fall. What will Alicia’s decision mean for her star-crossed romance with Will Gardner (Josh Charles) once he gets wind of her betrayal? And what does it mean for The Good Wife that its main characters are being split up and established as potential adversaries?

The Daily Beast caught up with The Good Wife creators Robert and Michelle King to discuss the love triangle between Alicia, Will, and Peter; the shifting dynamic between Alicia and legal snoop Kalinda Sharma (Archie Panjabi); new investigator Robyn Burdine (Jess Weixler); whether Kalinda is a murderer; audience backlash to the Nick (Marc Warren) storyline; and much more. What follows is an edited transcript of the conversation.

The Good Wife has mined the pull between idealism and ambition throughout its run. How does Alicia's “I'm in” represent the outcome of that battle?

Robert King: Alicia could have fought her way to the top of Lockhart/Gardner, given that she had been made partner. To us, it was a little bit more of a personal decision, because of the feeling that she could not control her sexual attraction to Will; their proximity was a problem. Yes, there's an element of what Cary is saying, which is, “We could be the new Diane and Will,” and there is ambition there. But it's joined together with the fact that she feels the only way to stop from being adulterous would be to leave Lockhart/Gardner. That sweet spot for the show that we enjoy so much is where the personal and professional combine.

Should it matter that it's Colin Sweeney's involvement that sways her? Has she in some ways made a deal with the devil?

Robert King: I was about to say yes. I can see on Michelle's face she was about to say no.

Michelle King: Apparently, there's a difference of opinion in the King household. I don't think it's relevant. She would have done it either way. It didn't matter that Sweeney was pushing her to do it.

Robert King: In many ways, Alicia wants to feel that she can do Lockhart/Gardner right. And yet, when you start with Colin Sweeney and Bishop and Chum Hum as clients, you are already starting off with a step in the wrong direction.

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The Daily Beast: "Mad Men Season Premiere: Matthew Weiner on the ‘The Doorway,' and More"

Hawaii, hell, and heart attacks! Mad Men creator Matthew Weiner discusses Sunday’s sixth-season opener (‘The Doorway’), Don’s quest for paradise, Betty’s transformation, and more. Warning: spoilers abound!

Over at The Daily Beast, you can read my latest feature, "Mad Men Season Premiere: Matthew Weiner on the ‘The Doorway,' and More," in which I talk to Mad Men creator Matthew Weiner about the sixth season opener ("The Doorway") and some of the themes, questions, and characters within.

“Midway in our life’s journey, I went astray from the straight road and woke to find myself alone in a dark wood.”

Mad Men’s sixth season started with a bang, with the season opener (”The Doorway”) offering us a look into the psyche of Don Draper (Jon Hamm), flitting between a doorman’s near brush with death, the weight of mortality, and the bliss of paradise, in this case the hot, white light of Hawaii. Throughout the two-hour opener, a jumping-off point for issues of life and death, characters took on complex examinations of identity and perception in an installment that managed to be lyrical and darkly existential.

The Daily Beast spoke to Mad Men creator Matthew Weiner, who is currently directing the season finale, to discuss Don’s quest for peace and his relationship with Megan (Jessica Paré), the transformation of Betty Francis (January Jones), the new role of Peggy Olson (Elisabeth Moss), that bizarre rape joke, and more. What follows is an edited transcript of the conversation.

The episode begins with Jonesy (Ray Abruzzo) suffering a heart attack, then shifts to Hawaii, where Don doesn’t speak aloud for eight minutes. What was behind your decision to open the season this way?

The idea was that it opens up with this heart attack, and its point of view is that Don is dead and that he is in some kind of state of paradise or maybe hell, or wherever you go—limbo, purgatory. I wanted to show him experiencing life around him and trying to get the mood of what paradise is, what Hawaii is. The idea was that you don’t know what state he’s in. It’s not mystery for mystery’s sake. It’s supposed to create a mood, actually paying attention to the ocean and the people having the party, and Megan with all of her joy.

The whole point of the first episode—and I’m calling it the first episode, those two hours together—is a lot about is how he’s seen by the outside world, and how we all are seen by the outside world, but particularly him and Betty. You approach him from the outside, and you slowly get into his mindset as you watch him. But you’ve got to have someone like Jon Hamm, who can hold your attention when he’s not talking.

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The Daily Beast: "Joelle Carter's Ava Crowder: The Most Badass Woman on TV"

She’s wielded a skillet, a rifle, and—in last night’s episode of Justified—nearly ignited a man. Joelle Carter talks to me about the evolution of Ava Crowder, empowerment, and last night's explosive episode of the FX drama.

One choice quote: “We wanted to see them on top of a mountain before the fall,” said Carter.

Over at The Daily Beast, you can read my latest feature, "The Most Badass Woman on TV," in which I sit down with Joelle Carter to talk about playing Ava Crowder, empowerment, and more.

FX’s Justified, based on characters created by novelist Elmore Leonard, revolves around criminals and lawmen who collide in a never-ending bloody battle. Unfolding largely in the backwoods of modern-day Harlan County, Kentucky, the show is grounded in a rough-and-tumble man’s world, one containing a very specific code of honor among the hairy-chested set. It’s a show about how we often stumble upon the path of darkness, how violence defines our worldview, how a gun can represent the law or criminality.

But it’s also a show that features one of the strongest women on television in Ava Crowder, one-time battered wife-turned outlaw who has emerged as a force to be reckoned with over the course of the last four seasons. As magnificently played by Joelle Carter in a tightrope performance, she’s a character who engages the viewer’s sympathies while indulging in all sorts of bad behavior: whacking uppity men with skillets, slaying vicious pimps, punching whores, and in Tuesday’s episode of Justified (“Decoy”), nearly setting a man on fire with little more than a cigarette lighter and a snifter of high-proof booze.

Ava’s behavior here is, well, absolutely justified. Her very much NSFW scene is fueled by a desire, both on the part of Ava and the audience, to see Mike O’Malley’s Nicky Augustine pay for treating the Harlan businesswoman as nothing more than a common whore. As Ava uses her sexuality—just one of the many weapons in her deadly arsenal—to get closer to Nicky, the audience cheers her on, wanting Nicky go up in flames, to be punished for his awful misogyny, and for reducing Ava to a simple girl who turns tricks.

Carter, 40, said that the scene is intended to be a “slow burn,” a taut sequence where Ava waits to discover if Boyd (Walton Goggins) has been killed, only to turn her attentions on the man jeopardizing her lover. “Ava reacts before she thinks, sometimes,” she said, laughing.

In person, Carter barely resembles Ava Crowder. Perched on a chair in a corner of a Beverly Hills bar on an unseasonably dreary Los Angeles day, her blonde hair is cut short and her eyebrows dyed for a futuristic short film that she’s producing and starring in. Gone is Ava’s Kentucky drawl, replaced with a rounded accent that could be from Anywhere, U.S.A. (“It’s always in my repertoire,” she said. “When I get drunk or lazy or something, you’ll hear the twang.”)

Last night’s explosive scene displays Ava at a high-wattage intensity, a dangerous cocktail of boiling rage and violent, sometimes unpredictable, self-empowerment.

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The Daily Beast: "Gone Girl: Inside ‘Top of the Lake,’ Jane Campion’s Haunting New Thriller"

A missing girl. A shocking crime. A town full of secrets. Welcome to Top of the Lake, from creators Jane Campion and Gerard Lee.

At the Daily Beast, you can read my latest feature, "Gone Girl: Inside ‘Top of the Lake,’ Jane Campion’s Haunting New Thriller," for which I sit down with Jane Campion (The Piano), Elisabeth Moss (Mad Men), Holly Hunter (Saving Grace), and Gerard Lee (Sweetie) to discuss Top of the Lake, Campion's haunting and spellbinding new thriller, which launches on Monday evening on the Sundance Channel.

Jane Campion is missing.

The Oscar-nominated director of such films as The Piano and Bright Star is in Los Angeles for a quick stop before the Sundance Film Festival, where her seven-part mystery drama, Top of the Lake, will be screened in its entirety over one day. We’re scheduled to meet for a drink at the Polo Lounge in the historic Beverly Hills Hotel, but Campion has vanished from the hotel, and publicists can’t locate her.

Considering the subject matter of her gripping Sundance Channel limited series—a missing girl and the effort to locate her by a dogged female detective running from her own past—Campion’s disappearance seems almost too fitting. When the 58-year-old auteur does turn up, along with co-creator Gerard Lee, she’s full of heartfelt apologies, her unexpectedly cheerful nature creating an instant intimacy. We settle into a booth in a corner of the restaurant and order a round of gin and tonics, chatting as though we’ve been friends for years.

Top of the Lake, which begins March 18, revolves around the disappearance of Tui (Jacqueline Joe), a pregnant 12-year-old girl, in a remote area of New Zealand and the detective (Mad Men’s Elisabeth Moss) tasked with locating her and unmasking the man who impregnated her. It begins with Tui walking into a frigid lake, only to be found by a concerned teacher. After the authorities and her father, Matt Mitcham (Peter Mullan), a bloodthirsty local crime lord, discover that her odd behavior is due to the fact that she is pregnant, Tui vanishes. Moss’s Detective Robin Griffin, a local girl who escaped from Laketop to Sydney years ago, returns to care for her cancer-stricken mother, only to be roped into the investigation. Robin discovers that in trying to find Tui, she must delve deep into her own history: she too is running from something dark and dangerous.

“Robin’s history is kind of a crime scene,” says Campion. “She has to solve it for herself, and she has to become aware of it first. She’s in denial ... and Tui is triggering it, her disappearance mirroring something for her.” It’s a classic novel structure, argues Lee. “The character, by following the case, goes into herself and her own psyche and her own past,” he says. “They’ve got to solve that before they can solve this thing.”

As directed by Campion, Top of the Lake is an atmospheric and moody piece, both haunted and haunting, a gritty look at what lies beneath the surface of a seemingly idyllic lakeside town. As in many of Campion’s films, the inner lives of the characters are as rugged and wild as the landscape itself, and Top of the Lake is no exception. Numerous story strands—Robin’s dark past, the venomous Mitcham and his ne’er-do-well sons, a New Age women’s camp run by the mysterious guru GJ (Holly Hunter)—all coalesce into a taut and provocative thriller about damage, vengeance, and escape.

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The Daily Beast: "House of Cards: Inside Netflix's First Show"

Netflix is jumping into the original programming arena with a remake of the BBC miniseries ‘House of Cards,’ all 13 episodes of which will be available for streaming on Friday. I talk to David Fincher, Beau Willimon, and Kate Mara about the adaptation, Frank and Zoe’s twisted dynamic, television antiheroes, and more.

Over at The Daily Beast, you can read my latest feature, "House of Cards: Inside Netflix's First Show," in which I sit down with David Fincher, Beau Willimon, and Kate Mara (as well as Andrew Davies) to discuss Netflix's upcoming (and paradigm-shifting) original series, House of Cards, which launches Friday with all 13 episodes available same day on the streaming service.

The quest for power knows no nationality or political allegiance.

In House of Cards, the BBC’s seminal 1990 miniseries, based on the novel by Michael Dobbs, Ian Richardson’s Francis Urquhart is the Machiavellian chief whip of the Conservative Party in the days following Margaret Thatcher’s fall from grace. After being passed over yet again, the deceptively placid Urquhart schemes, manipulates, and plots his way over the bodies of his colleagues and former friends in a bid for that most elusive of goals: true power.

On Friday, Netflix will unveil its American remake of House of Cards, written by Beau Willimon (Farragut North) and directed by David Fincher (The Girl with the Dragon Tattoo). In a paradigm-shifting move, the streaming video giant Netflix will be releasing all 13 episodes of the show’s first season on the same day, a move that could sound a death knell for the traditional scheduling models of network television. Gone are time slots, episode run times, and any sense that the viewing experience is being dictated by anyone other than the consumer, who can choose to watch as few or as many episodes of House of Cards as he wishes.

“It’s fully in the audience’s hands to decide what their own experience is,” Willimon told The Daily Beast earlier this month. “The same way that you read a novel. You can read Anna Karenina in two days, or you can read it over a year. And I think that’s better because it personalizes the experience.”

Francis Urquhart, one can’t help but think, would surely appreciate this power grab.

In Willimon and Fincher’s version of House of Cards, Urquhart is reincarnated as Francis “Frank” Underhill (Kevin Spacey), a Democratic chief whip from South Carolina whose shark-like intelligence—and ruthless amorality—is depicted as a natural side effect of the American Dream. Here, the story is transplanted from Westminster to Washington, where the plot revolves around the dynamic between Underhill and the ambitious reporter Zoe Barnes (Kate Mara). Like Frank, Zoe is overlooked and undervalued, dismissed as a blogger and a “Twitter twat” at one point. Trading secrets and access, the two form a mutually beneficial alliance that could ultimately topple an entire presidential administration.

“She is not as dangerous as Frank is, but I would definitely say she’s unpredictable,” said Mara. “To him, she is dangerous. They’re dangerous to each other.”

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The Daily Beast: "Keri Russell On The Americans, Sleeper Agents, Motherhood & More"

On FX’s The Americans, which begins Wednesday, Keri Russell plays a Soviet sleeper agent in 1980s suburban D.C. I talk with the former Felicity star about Russian spies, secret lives, and being a mom.

At The Daily Beast, you can read my latest feature, "Keri Russell On The Americans, Sleeper Agents, Motherhood, and More," in which I sit down with Keri Russell to talk about FX Networks's new 1980s espionage drama The Americans (and why it's perhaps the anti-Felicity), motherhood, and more.

In the opening scene of The Americans, Joe Weisberg’s tense new 1980s spy drama, Soviet sleeper agent Elizabeth Jennings (Keri Russell) flirts with a middle-aged stranger in a Washington, D.C., bar.

Donning a blond Pretty Woman-style wig and a short dress, Russell is nearly unrecognizable, convincingly transformed into a barfly who pretends to be turned on by a G-man’s security clearance. Elizabeth and her mark head to a hotel room, where she proceeds to seduce him in order to elicit top-secret information, engaging in a range of sexual contact that’s all recorded and later listened to by Elizabeth’s husband, Phillip (Matthew Rhys).

In other words, this is the anti-Felicity.

“Oh, yeah, blow jobs and push-up bras and wigs,” says Russell, laughing. “It’s certainly a far cry.”

It’s January, and Russell sits demurely on a couch at the Langham Hotel in Pasadena. The 36-year-old actress is animated and excited, prone to waving her hands and pounding her fists emphatically on her knees while talking. It’s impossible to believe that it’s been more than 10 years since Russell played Felicity Porter on The WB’s beloved coming-of-age drama Felicity between 1998 and 2002. In the time since Felicity wrapped, Russell segued into a movie career, starring in the late Adrienne Shelly’s 2007 Sundance favorite Waitress, Mission: Impossible 3 (which reunited Russell with Felicity co-creator J.J. Abrams), and a slew of others. (A brief return to television, as the female lead opposite Will Arnett in Mitch Hurwitz’s 2010 Fox comedy Running Wilde, was short-lived.)

In person, Russell is warm and open, nothing like the character she plays on The Americans, which begins Wednesday night on FX. While she’s all high-waisted jeans and smiles on the surface—the perfect portrait of 1980s suburban motherhood who brings over home-baked brownies to her new neighbors—Elizabeth is, underneath, a brutal and unflinching killer who believes in the mission given to her and her “husband” by their Russian overseers.

It’s a bit ironic that Russell is now playing a spy. After Felicity, Abrams went on to create the Jennifer Garner-led ABC espionage thriller Alias, the idea for which grew out of a writers’ room discussion about what it would be like if Felicity became a spy. (Alias would make a star out of former Felicity guest star Garner and become an international hit.) But while Alias featured a spy who was one of the good guys, The Americans’ Elizabeth is anything but on the side of the angels.

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The Daily Beast: "Mad Men: Creator Matthew Weiner Shares 10 Facts About Season 6"

Mad Men returns on April 7! I talk with creator Matthew Weiner about what to expect from Season Six of the period drama, from a time jump to Don and Megan’s marriage.

Over at The Daily Beast, you can read my latest feature, "Mad Men: Creator Matthew Weiner Shares 10 Facts About Season 6," in which I talk to Mad Men creator Matthew Weiner about what lies ahead for Don Draper and the staffers of Sterling Cooper Draper Pryce in Season Six of AMC's Mad Men.

Hold on to your period-appropriate hats: AMC’s Mad Men will return for its sixth season on Sunday, April 7 at 9 p.m. with a two-hour premiere, the network announced today. (The Emmy Award-winning drama will settle into its regular time at 10 p.m. ET/PT the following week, with an episode directed by series star Jon Hamm.)

“To be able to continue exploring the stories of these characters for a sixth season is an amazing opportunity,” said series creator and executive producer Matthew Weiner in a statement. “We love mining this world and look forward to bringing the audience stories that we hope will continue to both surprise and entertain them.”

When we last saw Don Draper (Hamm) and his fellow partners at Sterling Cooper Draper Pryce, they were being tested by marital infidelity, objectification, and suicide, to name but a few of the crucibles Weiner and his writing staff put the characters through in Season 5. But the darkness that enveloped Don at the end of the season may not have dissipated just yet.

The Daily Beast caught up with Matthew Weiner yesterday to shed some light on what lies ahead for Don and Megan (Jessica Paré), newly independent Peggy (Elisabeth Moss), and our other favorites. Below are 10 facts, gleaned from The Daily Beast’s phone interview with Weiner, about Season 6.

This will be the second-to-last season of Mad Men.

Weiner, speaking to The Daily Beast yesterday, confirmed that Season 6 will most definitely be Mad Men’s penultimate season, with the show set to wrap after next season.

“I’m going to confirm that,” said Weiner, who added that having an end date helped shape the overall narrative of Season 6 quite a lot.

“I came in with my plan for the season,” he said. “I was like, ‘I want to save that for the last season, I want to save that; I want to wait on that’ and I was pulled aside by Maria and Andre Jacquemetton, my executive producers, who said, ‘Don’t do that. You’ve never done that before. Let’s just use all the story that we have and we’ll deal with it on the other side of it.’ It really helped. Because I don’t want to change—part of it is superstition and part of it is the only way I know how to do it.”

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The Daily Beast: "Downton Abbey Season 3: Julian Fellowes, Hugh Bonneville, Michelle Dockery, and More"

UPDATED: I talk to Downton Abbey creator Julian Fellowes, Gareth Neame and nine cast members (including Hugh Bonneville, Michelle Dockery, Thomas, Rob James-Collier, and many more) about Season 3 of Downton, which returns to PBS and Masterpiece on Sunday, January 6.

Over at The Daily Beast, you can read the updated feature, "Downton Abbey Season 3: Julian Fellowes, Hugh Bonneville, Michelle Dockery, and More," in which we talk broadly about Season 3 and break down some of the specific arcs from the third season, character by character. (Minor spoilers.)

Downton Abbey viewers are anxiously awaiting Season 3 of the addictive British costume drama—which arrives on Jan. 6 in the U.S., when it returns to PBS’s Masterpiece—searching for televised methadone to tide them over until Downton Abbey’s third season kicks off.

One problem: there isn’t really another show like Downton Abbey on television. Between the exquisite costumes and lavish sets (including real-life Highclere Castle), the now-familiar characters and turbulent plots, Downton Abbey has captured the imagination of a broad range of viewers on both sides of the Atlantic.

Season 3 of Downton Abbey will unfold over roughly two years, but unlike in previous years, Season 3 won’t be structured around historical events like the sinking of the Titanic, the start of World War I, or the Armistice.

“It’s not bookended in that way,” creator Julian Fellowes told The Daily Beast. “One of the reasons for starting with the Titanic is that it’s a piece of shorthand. If you start something with the Titanic going down, everyone in the world knows we’re just before the First World War. It’s symbolic, and you don’t have to waste any scenes on exactly where you are in history. But we don’t need that anymore. It’s really about the personal journeys, in a way, of the characters.”

Those journeys will reflect how the war changed the residents of Downton Abbey, both upstairs and below stairs, in palpable ways, picking up the action shortly after Matthew (Dan Stevens) proposed to Lady Mary (Michelle Dockery).

“We go back about three months later,” Fellowes said. “We’ve lost no time at all. They’re still trying to decide how much of their life will survive, how much will go back to normal, and how much has been changed forever. Within the family, there has been certain change. Sybil is married to an Irish rebel chauffeur and living in Dublin, and that’s never going to go back to the way it was.”

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The Daily Beast: "Downton Abbey: My Tea with Mrs. Patmore"

Sipping a cup of Earl Grey, Downton Abbey’s feisty cook spills on the upcoming third season, a potential romance for her character, posing for German Vogue, and more.

"Downton Abbey: My Tea with Mrs. Patmore," in which I sit down for tea with Downton Abbey star Lesley Nicol to discuss Season 3—which returns to PBS’ Masterpiece Classic on January 6—and a potential romance for Mrs. Patmore, posing for Bruce Weber, and the Mrs. Patmore doll.

No, Mrs. Patmore cannot cook. It’s a question that is frequently asked of Lesley Nicol, the 59-year-old actress who plays the uppity cook on PBS’s sumptuous costume drama Downton Abbey.

“There’s a thing in the U.K. called Celebrity MasterChef,” Nicol says, sipping a cup of Earl Grey tea at the London Hotel in West Hollywood. “I’ve been asked several times to go on that. I keep saying, ‘No, you have to be at a certain level before you even think about that, and I’m not there at all. When you look really hard, I’m doing a bit of seasoning, but I make sure I don’t do anything that will look really wrong.”

Over a lengthy afternoon tea service, she tells me a story of a disastrous dinner she cooked for her husband, to whom she has been married six years (“He came to me later on in life,” she says), an attempt to make a prawn risotto that backfired magnificently when she opted to substitute arborio for brown rice.

“This is where being a proper cook is an issue,” she says, laughing. “Before he was around, it was quite understood with my friends that if they came for dinner, they would probably have to finish cooking it because it wouldn’t be ready. I haven’t gotten any better.” Still, she says, “when it’s made with love, it tastes good, doesn’t it? The first meal my husband ever made me was a chicken curry. I have never tasted anything so delicious in my life.”

And Mrs. Patmore, it must be said, loves her job. “She cares very much,” says Nicol, perusing a tower of scones and finger sandwiches. “You don’t ever see the dishes very close up, but they are wild and wacky, some of them, particularly this last season because they’ve had a lady come in to create and design them. What they would taste like, I don’t know, but they look amazing.”

Nicol looks little like her character. On a cloudy Los Angeles afternoon, her hair cascades down to her shoulders, and there is not a single trace of the starched uniform of the stately home’s downstairs brigade, or of the corset she endures for hours at a time.

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The Daily Beast: "Denmark's Leading Export: Sofie Gråbøl, Star of Forbrydelsen"

Sofie Gråbøl may not be a household name in the U.S., but around the globe she’s now legendary for her performance as Sarah Lund in the Danish television drama Forbrydelsen. At The Daily Beast, I explore Lund’s appeal and the sensational third season of the original The Killing, which premieres on BBC Four in the U.K. on Saturday.

Over at The Daily Beast, you can read my latest feature, "Denmark's Leading Export: Sofie Gråbøl, Star of Forbrydelsen," in which I explore both Sofie Gråbøl and Sarah Lund’s appeal and the gripping tension of Forbrydelsen III.

It is tragic that American viewers have been denied the chance to become obsessed with Forbrydelsen and with the show’s magnetic star, Sofie Gråbøl. The Danish detective drama exemplifies the power of the provocative and globally significant Nordic noir genre, and the show's lead delivers one of television's most haunting performances of the past decade. Gråbøl, 44, has achieved cult status in Britain and abroad for her embodiment of Detective Inspector Sarah Lund, the grim-faced, Faroese sweater-clad cop with a penchant for solving impossible crimes while sacrificing everything else in the process.

Forbrydelsen (literally “The Crime,” but generally translated as The Killing) was the basis for AMC’s short-lived murder-mystery series, which may or may not be resurrected thanks to an assist from Netflix. Outside the United States, however, the original is still going strong, as the enthralling third and likely final season of Forbrydelsen premieres in the United Kingdom this Saturday on BBC Four.

Previous seasons have followed Lund through a devastating sequence of hardships, both personal and professional, the result of outside forces and her own intractable nature. Season 3, which takes place several years since we last saw her, finds the detective’s career on a more solid footing. She has put her past disgrace behind her, and she radiates an unsettling sense of complacency as she prepares to leave the Copenhagen police force for a cushy desk job. “If you lose everything you invest, can you just put everything on the table again the next time?” Gråbøl recently asked in a newspaper interview. “Like most of us when we get older, we tend to think, ‘Let somebody else save the world.’”

But then a young girl is kidnapped—an act of as yet unexplained vengeance—and corpses begin piling up in a grisly (and connected) murder spree. The kidnapping harkens back to the first season, recalling the murder of teenager Nanna Birk Larsen. This time, however, the victim is still alive, and Lund is forced to confront her past mistakes. If she can find the girl and stop the gruesome killings, there’s hope of redemption—or at least amends. An investigation of byzantine complexity leads Lund through the murky waters of the Danish financial sector to the corridors of power, entangling a billionaire financier and his family, an assortment of venal civil servants, and even the Danish prime minister in a web of murder and deceit.

Gråbøl’s Lund isn’t your typical female police detective. In fact, she isn’t a typical female TV character of any kind. She wastes little effort on irrelevancies like her appearance, usually pulling on a Faroe Islands jumper—now iconic thanks to the series—day after day, rather than worrying about her outfit. “It tells of a woman who has so much confidence in herself that she doesn’t have to use her sex to get what she wants,” Gabrol said in an interview last year. “She’s herself.” The knitted sweater is Lund’s uniform, her armor against the world.

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The Daily Beast: "Inside the High-End Fashion Sensibility on CBS’s The Good Wife"

Dior! Proenza Schouler! Vivienne Westwood! Prada! Jace Lacob talks to The Good Wife costume designer Daniel Lawson about how Alicia, Diane, and Kalinda’s evolving high-end styles showcase their character development. Plus, take a deep dive into a bonus gallery interview with Lawson in which
we discuss drawing inspiration from the set’s design elements, the show’s use of color, Jackie Florrick’s ‘Elizabethan’ styling, political iconography, Matt Czuchry’s Cary, menswear, and more.

Over at The Daily Beast, you can read my latest feature, "Inside the High-End Fashion Sensibility on CBS’s The Good Wife," in which I talk to The Good Wife costume designer Daniel Lawson about all of the above and much more. If you've ever wanted to see me get technical with peplum jackets, this story is for you. (And the bonus gallery can be found here.)

Within the cavernous warehouse that is home to the costumes for CBS’s sophisticated legal drama The Good Wife, there are apparently 600 women’s suits at any given time, waiting to be worn by Juliana Margulies’s Alicia Florrick and Christine Baranski’s Diane Lockhart.

“I probably have in the vicinity of 300, 350 for Alicia, and probably 250 suits for Diane,” said the show’s Emmy Award-nominated costume designer, Daniel Lawson.

Given The Good Wife’s setting—the white shoe Chicago law firm Lockhart/Gardner—it’s to be expected that there would be quite a few designer suits on the racks for the two lawyer characters. But that astronomical number points to Lawson’s meticulousness and passion about the show’s strong use of fashion, which includes such notable labels as Proenza Schouler (embodied by a gorgeous jade green jacket worn by Margulies’s Alicia in the fourth season opener), Christian Dior, Vivienne Westwood, Akris, L.K. Bennett, Ralph Lauren, Ferragamo, and others.

Lawson, who previously worked on HBO’s Bored to Death and NBC’s Kings, came on board The Good Wife after the show’s pilot and has been responsible for defining the clear styles of all of the characters through some fashion-forward pieces, explosive bursts of color, and tight looks for each of the ensemble cast, from the slick tailoring on male characters like Matt Czuchry’s Cary Agos to the juxtaposition of leather and chiffon on Archie Panjabi’s legal investigator, Kalinda Sharma.

Inspiration can come from a walk around Manhattan, runway shows, fashion magazines (“I looked through a lot of law magazines, and that was a bit of a snooze,” said Lawson), or even Facebook profiles. He also looks to the show’s production designer, Steven Hendrickson, the creators—husband and wife team Robert and Michelle King—and the actors themselves for inspiration. “If what I’m doing isn’t supporting what they’re doing, it’s for naught,” Lawson said. The actors were excited to learn how far Lawson wanted to take the show aesthetically, he recalled. “All of the actors were pleasantly surprised that the show went to a slightly elevated level of reality as far as the fashion,” he said. “It’s kind of rare that a lawyer show has started to become known for its wardrobe.”

With so many costume changes per episode, the wardrobe for the show continues to expand exponentially. “I’m constantly buying more,” said Lawson. “That’s something that I think is good for the show. We do repeat pieces from time to time, but we also have a healthy influx of new things to keep it looking fresh. New, new, new.”

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