Bob Odenkirk as Jimmy McGill in ‘Better Call Saul’ season 4 episode 2 (Photo Credit: Nicole Wilder/AMC/Sony Pictures Television)
AMC has set an August 6, 2018 premiere date for the fourth season of the critically acclaimed drama, Better Call Saul, starring Bob Odenkirk. Better Call Saul will air on Mondays at 9pm ET/PT followed by the new comedy series Lodge 49 with Wyatt Russell and Brent Jennings at 10pm ET/PT.
In addition to announcing the August premiere date, AMC also released two photos each from Better Call Saul and Lodge 49.
“Monday nights have become a destination for our character-driven dramas, and we loved the idea of pairing these two series, which are similar in their darkly comedic tone and led by two charming yet complicated characters facing huge life moments,” stated David Madden, president of original programming for AMC, SundanceTV and AMC Studios. “We’re excited to share the next chapter in Jimmy McGill’s journey towards Saul on one of television’s most celebrated shows, and to introduce viewers to the unfailingly optimistic underdog Dud, who’s looking for his place and his moral purpose in a cynical and confusing world.”
Better Call Saul has earned 23 Emmy Award nominations, three Critics’ Choice Awards, and a Peabody Award. The Breaking Bad spinoff was created by Vince Gilligan and Peter Gould. Gould, Gilligan, Mark Johnson, Melissa Bernstein, Thomas Schnauz and Gennifer Hutchison serve as executive producers. The cast is led by Bob Odenkirk and includes Jonathan Banks, Rhea Seehorn, Patrick Fabian, Michael Mando, and Giancarlo Esposito.
New series Lodge 49 was created by Middle Men‘s Jim Gavin who also writes and executive produces. Pushing Daisies‘ Peter Ocko is the season one showrunner and executive produces with Paul Giamatti, Dan Carey, and Jeff Freilich.
The Better Call Saul Season 4 Plot: In Better Call Saul’s fourth season, Chuck’s death catalyzes Jimmy McGill’s (Odenkirk) transformation into Saul Goodman. In the wake of his loss, Jimmy takes steps into the criminal world that will put his future as a lawyer – and his relationship with Kim (Rhea Seehorn) – in jeopardy. Chuck’s (Michael McKean) death deeply affects former colleagues Howard (Patrick Fabian) and Kim as well, putting the two of them once again on opposite sides of a battle sparked by the Brothers McGill.
Meanwhile, Mike Ehrmantraut takes a more active role as Madrigal Electromotive’s newest (and most thorough) security consultant. It’s a volatile time to be in Gus Fring’s employ, as Hector’s collapse sends shock waves throughout the Albuquerque underworld and throws the cartel into chaos — tearing apart both Gus and Nacho’s well-laid plans. While Gus changes course, Nacho finds himself in the crosshairs of deadly forces.
The Lodge 49 Plot:Lodge 49 is a light-hearted, endearing modern fable set in Long Beach, California about a disarmingly optimistic local ex-surfer, Dud (Russell), who’s drifting after the death of his father and collapse of the family business. Dud serendipitously finds himself on the doorstep of a rundown fraternal lodge, where a middle-aged plumbing salesman and “Luminous Knight” of the order, Ernie (Jennings), welcomes him into a world of cheap beer, easy camaraderie and the promise of Alchemical mysteries that may — or may not — put Dud on the path to recover the idyllic life he’s lost.
Michael Mando as Nacho Varga in ‘Better Call Saul’ season 4 episode 4 (Photo Credit: Nicole Wilder/AMC/Sony Pictures Television) Wyatt Russell as Sean “Dud” Dudley in ‘Lodge 49’ season 1 episode 1 (Photo Credit: Jackson Lee Davis/AMC)Brent Jennings as Ernie Fontaine and Wyatt Russell as Sean “Dud” Dudley in ‘Lodge 49’ (Photo Credit: Jackson Lee Davis/AMC)
STXfilms just debuted the official full trailer for the gritty action thriller Peppermint along with releasing the film’s theatrical poster. The action drama stars Jennifer Garner as a woman out for revenge after the brutal murders of her daughter and husband. Unable to obtain justice in court, she takes matters into her own hands and trains for the day when she can exact revenge.
“Corrupt judges, dirty cops… What do I want? I want justice,” declares Jennifer Garner as Riley North in the two and a half minute trailer. Told she’s outgunned and outmanned and asked what she plans to do next, Garner’s character replies, “I will kill every one of you and then I’ll pretty much wing it from there.”
In addition to Jennifer Garner (The Tribes of Palos Verdes), the cast of Peppermint includes John Ortiz (The Cloverfield Paradox, Kong: Skull Island), John Gallagher Jr. (The Newsroom), and Juan Pablo Raba (Agents of S.H.I.E.L.D., Narcos). Pierre Morel (From Paris with Love, Taken) directed from a script by Chad St. John. Tom Rosenberg, Gary Lucchesi, Eric Reid, and Richard Wright served as producers.
STXfilms is set to release Peppermint in theaters on September 7, 2018.
The Plot:Peppermint is an action thriller which tells the story of young mother Riley North (Garner) who awakens from a coma after her husband and daughter are killed in a brutal attack on the family. When the system frustratingly shields the murderers from justice, Riley sets out to transform herself from citizen to urban guerilla. Channeling her frustration into personal motivation, she spends years in hiding honing her mind, body and spirit to become an unstoppable force – eluding the underworld, the LAPD and the FBI – as she methodically delivers her personal brand of justice.
Poster for the action film, ‘Peppermint’ (Poster Courtesy of STXfilms)
Eugene, Rapunzel and Pascal in ‘Rapunzel’s Tangled Adventure’ (Disney Channel)
Ahead of the season two premiere of Disney Channel’s Tangled: The Series, the network’s given the series a third season order. Season two, which is set to debut on Sunday, June 24, 2018 at 8am ET/PT, is titled Rapunzel’s Tangled Adventure. The third season’s title hasn’t been announced.
Disney Channel confirmed the series’ voice cast attached to return in season three include Mandy Moore as Rapunzel, Zachary Levi as Eugene, Eden Espinosa as Cassandra, James Monroe-Iglehart as Lance, and Jeremy Jordan as Varian.
Tangled: The Series was developed by Chris Sonnenburg and Shane Prigmore. Sonnenburg executive produces and is the supervising director. Benjamin Balistreri is a co-executive producer, and Alan Bodner serves as the animated comedy’s art director. Claire Keane is the series’ visual development artist. Kevin Kliesch is Tangled: The Series‘ composer.
The first season ranked #1 among animated cable series for girls 9-14 years old. More than 40 million viewers tuned into check out Rapunzel and Eugene’s adventures in season one.
The Season 2 Plot: Season two finds Rapunzel venturing outside of the kingdom in search of where the mystical black rocks lead, after discovering she is somehow connected to them. Accompanying Rapunzel on her journey is her partner in life, Eugene; her best friend and confidante, Cassandra; her loyal chameleon sidekick, Pascal; no-nonsense and dutiful horse, Maximus; Eugene’s best friend, Lance and the Snuggly Duckling Pub Thugs. Together, they’ll discover new people and places and embark on an incredible new adventure far beyond Corona’s walls.
The season two guest voice cast includes Emmy Award winner and Academy Award nominee Carol Kane (Unbreakable Kimmy Schmidt) as the mystical traveler Madame Canardist; Lil Rel Howery (Get Out) as a fast-talking host named Goodberry; Yvonne Strahovski (The Handmaid’s Tale) as Eugene’s old love interest Stalyan; Bruce Campbell (Ash vs The Evil Dead) as the bizarrely charming King Edmund; Britt Robertson (For the People) as the whip-smart no nonsense teenager Vex; Timothy Dalton (License to Kill) as inventor and adventurer Demanitus; Katy Mixon (American Housewife) as the stunningly beautiful Seraphina; and Kathy Najimy (Hocus Pocus) as a sprightly and strange resident of the magical forest.
Netflix has announced filming will kick off on June 1, 2018 on the dramatic film, The King. Shooting will take place in the UK with David Michôd (War Machine, Animal Kingdom, The Rover) directing from a script he co-wrote with Joel Edgerton.
The film is inspired by William Shakespeare’s Henry VI and Henry V. The cast includes Timothée Chalamet (Call Me By Your Name, Lady Bird), Golden Globe nominee Joel Edgerton (Bright, Loving, The Great Gatsby), Sean Harris (Mission: Impossible – Rogue Nation, Macbeth), Golden Globe nominee Ben Mendelsohn (The Land of Steady Habits, Ready Player One, Bloodline), Robert Pattinson (Good Time, The Lost City of Z), Lily-Rose Depp (The Summoning, The Dancer), Tom Glynn-Carney (Dunkirk), and Thomasin Harcourt McKenzie (Leave No Trace).
Writer/director David Michôd, actor/writer Joel Edgerton, and actor Robert Pattinson previously worked together on 2014’s critically acclaimed action film, The Rover. Edgerton also starred in Michôd’s 2010 Oscar nominated independent film, Animal Kingdom. That film spawned the current television series of the same name starring Ellen Barkin, Shawn Hatosy, and Ben Robson.
The King is being produced by Joel Edgerton, David Michôd, Plan B, and Porchlight Films’ Liz Watts. Watts also produced Michôd’s Animal Kingdom and The Rover.
Netflix is targeting a 2019 release date.
The Plot: Inspired by elements of Shakespeare’s Henry IV and Henry V, a young, disgraced prince, Hal inherits the crown and must learn what it means to be a king, guided by his one true friend, Falstaff.
Joel Edgerton will be playing Falstaff; Timothée Chalamet will be playing Hal; Robert Pattinson will be playing The Dauphin; Ben Mendelsohn will be playing King Henry IV; Lily-Rose Depp will be playing Princess Catherine; Sean Harris will be playing William; Tom Glynn-Carney will be playing Hotspur; and Thomasin Harcourt McKenzie will be playing Philippa.
The cast of ‘The Rain’ season 1 (Photo Credit: Per Arnesen / Netflix)
The suspenseful thriller The Rain has picked up a second season order from Netflix. The Rain, the network’s first original Danish series, will begin production on the second season later in 2018. Netflix is targeting a 2019 premiere.
“We’re so thankful for the success of the show and the overwhelmingly positive response from audiences. We’re really excited to be able to do a second season of The Rain. We still have a lot of stories to tell about our characters and much more to explore in our universe, and can’t wait for everyone to be able to see it,”said series co-creator and head writer Jannik Tai Mosholt.
Esben Toft Jacobsen (The Great Bear, Beyond Beyond) and Christian Potalivo (Dicte, The New Tenants, Long Story Short) also co-created the series. Alba August (Reliance), Mikkel Boe Følsgaard (A Royal Affair), Lucas Lynggaard Tønnesen (Department Q: The Keeper of Lost Causes), Lars Simonsen (The Bridge), Sonny Lindberg (The Legacy), Jessica Dinnage (The Guilty), Lukas Løkken (One-Two-Three Now!) and Johannes Kuhnke (Force Majeure) starred in season one which debuted on May 4, 2018.
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Commenting on the renewal, Netflix Vice President of International Originals Kelly Luegenbiehl said, “We’re really excited to team up with the talented cast and our team of amazing creators for another season. The Rain has a relatable and human story at its core and touches on universal themes everyone can identify with. The fact that season 1 reached audiences all over the world, proves once again that strong stories can transcend borders.”
The Season 1 Plot: The world as we know it has ended. Six years after a brutal virus carried by the rain wipes out almost all humans in Scandinavia, two Danish siblings emerge from the safety of their bunker to find all remnants of civilization gone. Soon they join a group of young survivors and together set out on a danger-filled quest through an abandoned Scandinavia, searching for any sign of life.
Set free from their collective past and societal rules, the group has the freedom to be who they want to be. In their struggle for survival, they discover that even in a post-apocalyptic world there’s still love, jealousy, and many of the coming of age dilemmas they thought they’d left behind with the disappearance of the world they once knew.
Matthew Rhys as Philip Jennings and Keri Russell as Elizabeth Jennings in ‘The Americans’ season 6 episode 10 (Photo by Jeffrey Neira / FX)
FX’s The Americans closed out its six-season run with one of the series’ best episodes. Season six episode 10 airing on May 30, 2018 did an exceptional job of wrapping up multiple storylines while leaving just a few characters’ fates undetermined. Elizabeth and Philip Jennings ultimately paid a huge price, but the punishment of having to leave their children behind was well deserved.
The series finale picks up immediately after Philip (Matthew Rhys) advised Elizabeth (Keri Russell) they were in trouble, which led Elizabeth to quickly pack a bag of crucial items. The couple meet up in an empty building as Stan Beeman (Noah Emmerich) and the other FBI agents arrive at various garages throughout the city for stake-out duty. Stan places a call to the travel agency and of course, neither Philip nor Elizabeth are there. No one answers at the Jennings residence, either.
Philip lets Elizabeth in on what happened, telling her the FBI are onto Father Andrei. Elizabeth’s immediate response is to want to collect Paige and Henry and then head to Canada. However, Philip believes they should leave Henry behind for his own good. He’s innocent and they need to think about what’s best for their son.
Back at FBI headquarters, Agent Dennis Aderholt (Brandon J Dirden) interrogates Father Andrei (Konstantin Lavysh). Initially, he claims not to know anything important. Dennis attempts to convince him the KGB aren’t his friends and then warns the Russian Orthodox Church in America would be ruined if he makes public Father Andrei’s involvement with Russian spies. Father Andrei gives in and provides details on Philip and Elizabeth, although he doesn’t know their American names. However, he saw them once without their disguises.
Elizabeth and Philip hotwire a car and head over to pick up Paige from college.
Elsewhere, Stan and his partner for the evening keep watch on one of the garages on the list. Stan is antsy and asks his partner to watch over things for a few hours, not explaining why he needs to leave.
While they’re driving, Elizabeth talks about the KGB officer she left to die in the street. Philip reminds her she didn’t have any other option.
In Russia, Oleg’s father’s given the devastating news that Oleg has been arrested. He’s also told Oleg will likely be charged with espionage. More importantly, Russia can’t trade for him because he wasn’t there doing KGB business.
Stan’s watching Paige’s place from across the street. He spots Elizabeth and Philip entering the building.
Elizabeth and Philip inform Paige the FBI is onto them, and she needs to pack a bag of essential items. They need to return home (meaning Russia) immediately. Philip then delivers the news they won’t be bringing Henry with them since his life’s here. Paige is upset, asking what’s to become of her brother without anyone from their family there for support.
Stan continues to watch as the Jennings family heads into the parking garage. He surprises them with his sudden appearance and for a brief period of time Philip, Elizabeth, and Paige act innocent. Paige claims to be heading home because she has a stomach ache, but Stan’s having none of it. When Philip advances toward him, talking, Stan pulls his gun, calls Philip a “lying piece of sh*t,” and demands they lie down on the ground.
They refuse and then, after a moment of silence, Philip says, calmly, “We had a job to do.” Stan seems stunned he’s admitting to being a spy and hurt that Philip was his best friend. Philip calls Stan his only friend and reveals he believes his life has been a joke. Stan needs to know if Paige got close to his son, Matthew, to get information. Paige admits she’s known about her parents since she was 16 but did not use Matthew. She genuinely liked him.
Stan then asks about Henry and he appears to take them at their word that Henry knows nothing. “All of this time I would have done anything for you, Philip – for all of you,” says Stan. (This is a truly heart-breaking scene and all the actors are exceptional.)
Stan believes they killed Sofia and Gennadi. He’s right, but Philip and Elizabeth claim they don’t kill people. Elizabeth says Philip’s not even in the spy business anymore; he’s just a travel agent.
Stan continues to order them to lie down, but they don’t respond to his order. Philip says he did what needed to do for his country, but then figured out he just couldn’t do that anymore. “It was all just screwing people…I don’t even know for what. So, I quit,” says Philip.
Calling himself a failing travel agent, Philip continues to try and play on his relationship with Stan to get the FBI agent to allow them to leave. There is definitely genuine friendship there, but Stan’s eyes make it clear how deeply he feels he’s been betrayed. Philip then tells Stan they’re abandoning Henry, leaving him in the US while they head back to Russia.
Philip confesses that after years of watching and recruiting Americans, the crucial information they’ve just obtained has nothing to do with American citizens. He reveals it’s Russians – his own people – who are attempting to take down Gorbachev. Elizabeth explains her bosses were going to fake her reports to show Gorbachev was trading away Russian secrets.
Stan asks if they know Oleg Burov, and of course, Philip feigns innocence. Stan knows he’s lying and reveals Oleg’s been arrested while holding a secret message. Stan says Oleg was telling the same story about Gorbachev’s enemies within the KGB and was adamant that message needed to get to Russia. Philip and Elizabeth are equally adamant the message needs to be delivered.
Philip explains if the message doesn’t wind up in the right hands, Russia could be thrown into chaos. That could ultimately impact peace in the rest of the world. It’s critical Philip and Elizabeth return to Russia to turn over what they’ve learned now that the dead drop message didn’t go through.
Philip tells Stan they’re going to get in that car and drive away. He hopes Stan doesn’t shoot them, but no matter what they are going to attempt to leave. “You have to take care of Henry,” says Paige. Philip reminds Stan that Henry loves him. He wants Stan to tell Henry the truth.
With that, Philip, Paige, and Elizabeth slowly and quietly turn to get into their stolen car. Before Philip reaches the car door, he offers Stan a warning. “I don’t know how to say this, but I think there’s a chance Renee might be one of us. I’m not sure.”
Stan doesn’t react. He stands and stares, then moves out of the way to let their car leave the garage. Even after they’ve left, Stan simply stands still in the garage, alone.
In the car, Paige wonders if they can trust Stan and Philip believes they can. They have passports and will need to change their appearances, and they’ll need to pick up a different car. Paige thinks they need to see Henry one final time, but Elizabeth and Philip know they can’t. Elizabeth suggests calling him, but Philip’s hesitant. He explains that right now Henry appears innocent, but if they call him, the FBI might believe that’s a signal and jump on him.
Elizabeth wants the opportunity to talk to their son one last time, and Philip finally gives in. However, they have to be quick and they have to act completely normal.
Stan returns to his stake-out partner and takes up his position at a window. He doesn’t say where he’s been or what he’s been doing.
Philip, Elizabeth, and Paige stop in the middle of nowhere and bury their old IDs and other personal items. Elizabeth also gets rid of the necklace containing the cyanide capsule.
Stan’s called back to FBI headquarters.
Keidrich Sellati as Henry Jennings in ‘The Americans’ season 6 episode 10 (Photo by Jeffrey Neira / FX)
Philip, Elizabeth, and Paige have assumed their new appearances as they make the call to Henry on a payphone. Henry picks up and Philip says they were just out having dinner and wanted to call him. Philip wants to ensure Henry knows how much they love him and that they’re proud of him. Henry, in typical teenage fashion, asks, “Have you been drinking tonight, dad?”
Philip laughs it off, saying he had a little wine. He tells Henry to just be himself and then hands the phone to Elizabeth. Elizabeth asks what he’s doing and Henry says he’s hanging out with friends. She gets choked up as she tells her son she feels the same way as his dad. After telling him she loves him, she attempts to pass the phone to Paige. Paige simply can’t handle talking to her brother for what could be the last time.
Dennis signals Stan to come into the conference room. As they enter, the other agents get up and leave. Dennis and Stan take their seats and then Dennis slides the drawings of the two spies Father Andrei met with across the table. Stan looks at them and there’s no doubt the drawings depict Elizabeth and Philip Jennings.
Stan shakes his head and says, “I said it, but I didn’t really…” Dennis regrets not listening when Stan voiced his suspicions. Stan lies and says he went by Paige’s apartment earlier, just in case, and no one was there. He then adds, “I’m going to kill him.”
Dennis confirms agents are watching the house, the travel agency, Paige’s apartment, and Henry at school. He then leaves Stan alone with the drawings after briefly patting his shoulder.
Elizabeth, Philip, and Paige arrive at a McDonald’s. Paige heads in and Philip and Elizabeth, still in the car, discuss the possibility of Philip remaining in the United States for a year or two. He would try and see Henry every so often. Elizabeth is okay with that and admits she’d stay too if they all could.
Stan returns home, now uncertain about Renee after Philip’s warning. He enters the bedroom and stares down at a sleeping Renee. He then pulls the covers up and takes a seat in a chair next to the bed, continuing to look at his slumbering girlfriend who might possibly be a Russian spy.
Back in the car after picking up dinner, the Jennings family heads to the train station.
The next morning a full FBI team is at the Jennings’ house collecting evidence. Renee walks outside and Stan crosses the street. They hug, but it appears Stan’s not quite as responsive as he would have been even 24 hours earlier. Renee watches as he walks back to the Jennings place. She then watches the agents taking boxes out of the Jennings place before walking back inside Stan’s home.
Paige, Elizabeth, and Philip take seats in different train sections. Their passports are checked against FBI Wanted flyers with their faces. The Border Patrol agents don’t find anything suspicious about their identifications.
The train begins to move again as it’s announced the next stop is Montreal. Suddenly, Elizabeth reacts in shock at something outside the train’s window. She sees Paige standing on the platform as the train begins to pull away.
Philip is seated further back in the train. He also reacts in shock as they pass by Paige. He immediately gets out of his seat and walks toward the front of the train.
Paige stands still, apparently making sure both Elizabeth and Philip see her as the train picks up speed. She then takes a seat on the platform, perhaps plotting out her next move.
Philip takes the seat right next to Elizabeth and they both look absolutely devastated.
Meanwhile, Stan shows up at Henry’s hockey practice. He signals for Henry and they sit together in the stands. There’s no one nearby as Stan tells Henry about his family. He lays a hand on Henry’s knee, attempting to offer comfort as he delivers the news. We can’t hear what he’s saying but Henry looks grief-stricken.
Elizabeth has a dream in which she’s in bed with Gregory Thomas (Derek Luke). They snuggle and smoke, and Gregory places his hand on Elizabeth’s stomach. She says, “I don’t want a kid anyway.”
She looks around the room and sees the drawing done by Erica that Glenn gave her in appreciation of caring for Erica as she passed away. She then sees a smaller drawing in Erica’s style depicting Henry and Paige.
Elizabeth wakes up and now she’s on a plane. Philip’s no longer sitting next to her but instead is across the aisle in a window seat. They each stare out the windows, lost in thought.
Paige returns to Claudia’s now empty apartment. She grabs a bottle of vodka out of the freezer and sits down at the dining room table. She pours herself a shot and drinks it. She stares straight ahead, a concerned look on her face.
Elizabeth drives as she and Philip approach a Russian border checkpoint. They pause 100 or so feet back, exchange looks, and then pull up to the guard station. Elizabeth says something which we can’t hear and the guard makes a phone call. The Jennings are motioned through without any further questioning and without showing identification.
They drive for quite a while in silence. They finally pull over as morning breaks and get into the car driven by Arkady Ivanovich (Lev Gorn). They fall asleep in the backseat as Arkady continues to drive all day and into the night. Philip finally wakes up and asks Arkady to pull over as he sees the city lights.
Philip and Elizabeth exit the car and stare out over the city. It’s quiet and there’s snow on the ground. Philip recalls being told all those years ago that this would be a hard life if he accepted the assignment in America. He remembers telling his superior he wasn’t afraid of that. Elizabeth shakes her head and says, “Who knows what would have happened here? I probably would have worked in a factory, managed a factory – you might have.” She adds, “Maybe we would have met on a bus.”
She thinks Paige and Henry will be okay. “They’ll remember us,” says Philip. “We raised them.” Elizabeth agrees, and Philip admits it feels strange to be home.
Elizabeth looks at him and responds in Russian, “We’ll get used to it.” Philip glances at her but doesn’t reply.
Matthew Rhys and Keri Russell star in ‘The Americans’ (Photo by Eric Liebowitz / FX)
FX hosted conference calls with the stars of The Americans, Keri Russell and Matthew Rhys, in support of the series finale airing May 30, 2018. The Americans finished up its incredible six-year run with an episode that brought closure to the story of Russian spies Elizabeth and Philip Jennings while leaving the fate of their children dangling. The season six finale provided enough twists and surprises to satisfy any fan of the critically acclaimed series while giving Elizabeth and Philip an ending that, while perhaps not completely justified, at least made sense within the characters’ story arcs.
Discussing the series finale, Keri Russell said she hopes the people who’ve supported The Americans come away feeling the same way as she did when she read the scripts. “I hope they have the same feeling I got, which is a thrilling emotional journey and then an ending,” said Russell. “I hope they’re satisfied.”
Keri Russell The Americans Series Finale Interview:
When you received the finale’s script, what elements surprised you the most?
Keri Russell: “All of it surprised me. I had no idea that they would take such an emotional route of devastation with the kids. I think the kids…I did not see the Henry aspect coming at all, and that was just devastating to me.”
Was the scene in which Elizabeth sees Paige outside the train an emotional one to film?
Keri Russell: “Well, it’s funny because we were talking to Tommy Schlamme about it – one of our directors – and he was saying, because the guys Joe (Weisberg) and Joel (Fields) let him read it pretty early on and I thought he said this thing that made so much sense which is you’re watching this couple go through this series and you’re rooting for them, but you want them to pay in some way for what they’ve done. And they chose the most painful way for them to pay. They took their kids away. It’s something I could not have seen coming at all.
I just think it was so devastating. And what’s great about with Paige is they’ve already lost Henry, she can’t imagine they would take Paige too. She chooses to stay behind and it was just like, ‘Whoa!’ As a parent, as a mother, it was just like too much. Too much!”
Did you expect Elizabeth to survive to the end of the show after she killed so many people?
Keri Russell: “You know, I had no idea. The thing that I really enjoyed about this project, this series, is I’ve been continually surprised in a good way. I’ve always been surprised with the turns and the twists. I’ve never been bored by them. I had no idea what was in store. The way the season was going, by the third or fourth episode, I thought they were setting her up to die because she’s so unlikable. She’ll never redeem herself. But, I had no idea.
I was ready, I was on board for whatever they wanted because I’d liked it so far. So, I had no idea. I’ve kind of grown accustomed to just trusting them and not guessing because I’ve always been so far off. I didn’t know how it was going to go at all.”
Do you think she deserved to live?
Keri Russell: “Well, I mean, of course. (Laughing). My investment I feel like in the relationship and the marriage is always my focus of the show. In my own mind, selfishly, that’s something I want to see through.
I haven’t seen the show. I actually haven’t watched the show in many, many years, but I plan on watching it in LA with an audience, so I think that will be really fun. I don’t know exactly how it turned out. I mean I lived it when we did it. So, I’m really curious to see it.”
How do you feel about Elizabeth’s arc over the course of the series?
Keri Russell: “I love it. To get a chance to play what feels to me as a woman this true character and see out the full arc and the full story of it, when a lot of times the female part is the dotting wife or the comforting wife… It feels incredibly satisfying to begin this process six years ago where we did and then for it to end here. I just relished it. It was a real treat to get to do this job.”
What do you see as the key turning points for Elizabeth?
Keri Russell: “There’s been so many in six years. But talking recently about the marriage and we were discussing the idea that […] Elizabeth sort of leaving the system and going rogue and going off on her own was her in a way choosing Philip and the relationship. I would argue that they were inching along toward that path the whole way. They were always sort of taking steps away from The Centre – getting married in private and telling each other secrets they weren’t supposed to tell. That bond was getting much stronger and the level of intimacy much more than just average operational relationship.
What are huge arcs? There have been so many. That’s what I loved about getting the chance to play this character is she started somewhere so specific. I really had a chance to maintain a lot of that integrity – read that however you want to read it. But, Elizabeth got to stay Elizabeth for such a long time. She didn’t have to be good, she didn’t have to fit in, or she didn’t have to get soft. She did have a reckoning of some sort in herself, but I loved that she stayed the way that she was for so long.”
Looking back, what was your most challenging scene?
Keri Russell: “I don’t know. The scenes I really loved the most tended to be the emotional people scenes. Some big fight with Philip, I always really enjoyed those because Matthew is such a great scene partner. He’s fun to get in with. It feels fun; it doesn’t feel like work. And then as the Paige story developed, I really enjoyed some of those Elizabeth/Paige scenes because I love the unraveling a teenager can bring a parent to.”
What do you imagine for the future of Philip and Elizabeth’s marriage?
Keri Russell: “I don’t think those are going to be an easy couple of years in Moscow. It’s pretty devastating what the loss of children would do to a marriage. Interestingly, Joe and Joel when we were talking about those scenes, those end moments, I think what they wanted to convey which was hard at times was no matter what we’re going to have each other. We’ve come this far together and we’re going to get each other through this. I think that’s what they really wanted.
Ultimately it was this story of this marriage, this relationship. So, I think that is their hope that they will pull each other through this moment. And then we obviously know that in today’s age the Berlin Wall does fall and Communism doesn’t win the West. The hope is that in a couple of years they’ll go back and try to repair and find the kids and try and figure out whether they want to or not. That’s the only saving grace I have as a parent, as a fan of the show, is to go, ‘It’s all going to change in a couple of years and they can go back and find them!’
I think those will be a couple of pretty bleak years.”
Can you talk about watching the young actors grow up around you and in particular how Holly Taylor developed as Paige throughout the seasons?
Keri Russell: “It’s crazy. They were like 10 when we started and now they’re full-fledged teenagers, and Holly’s in college! I mean, it’s wild. It’s such a strange thing. They became a little bit more and more involved as the years went by. But it’s crazy. I mean, they’ve become sort of like the little brother and sister of the set in a way. I think they handled it well. They’re both really good kids, and Holly’s very graceful. I think this business is pretty creepy for kids, to be totally honest. But, I think they handled it very well and with grace. I think it was a cool job for them to be a part of.”
Besides the kids, is there anything you think Elizabeth will miss about America?
Keri Russell: “Yeah, of course. I think it’s that thing that you…I mean, yes, she definitely has massive ideals, right, but I think there’s so many in my life like this. They’re from far away and they’re always bemoaning how it was back there and it’s so nice there. I’m like, ‘Then go live there because the truth is you don’t want to live there. You’re here now.’ So, of course.
I think there was something in the first few seasons…I remember a line that Philip said to Elizabeth because I’m supposed to be this character who doesn’t have materialistic things. He’s like, ‘Don’t you like all those shoes you have?’ because Elizabeth always dressed really well which made me laugh. I’m sure she loves those shoes. I think moving back there will be a lot of things she’ll miss.”
Keri Russell as Elizabeth Jennings in ‘The Americans’ (Photo by Eric Liebowitz / FX)
Do you think the ending was fair to Philip and Elizabeth? Were they punished too much or not enough?
Keri Russell: “I mean, because I think the story we’re telling is always, to me, kind of an emotional story. I think they chose such an emotional way to make them pay. Yes, one could have died or one could have gone to prison or something. But to take your kids away is pretty hardcore. You could argue a million things, right? Like, ‘Well, they didn’t take very good care of them. They never paid attention to them anyway,’ or whatever you want to say. But it doesn’t matter. No one thinks you’re going to have your kids taken away, and I think it was such an Americans-appropriate heartbreaker.”
Do you think they deserved that or that their punishment sort of outweighed the crimes they committed?
Keri Russell: “I don’t know about deserved. I don’t know what anyone deserves, you know? I think it’s all the day of the week anyway. But, I think it sets with the show and it was good storytelling. And like I said before, like my only hope is knowing that everything does sort of fall apart in a few years and that having that little sliver of hope that Philip and Elizabeth could go find them makes me feel better.”
You and Matthew Rhys are so great together. What are you going to miss most about working with him?
Keri Russell: “Well many things, but I would definitely say just having a professional partner like that. He’s fun to work with because he’s so good. It’s sort of like playing tennis with someone; you’re only as good as your opponent. And, you know, he’s fun because he’s good. So, I will definitely miss that.
And, you know, just the intimacy you have with someone that you’re so familiar with. It’s easy, and hard I guess in some ways too, but I will miss that. And, he’s so funny. We had a lot of fun together. So, I think it’s time for it to end before we kill each other but we had a good run for sure.”
One of the most pivotal scenes in the finale is Stan finally confronting the Jennings. That’s something fans have been waiting for for years. Can you talk about filming that scene and how it felt emotionally? How do you feel personally about Stan not arresting the family?
Keri Russell: “So, we shot that all in one day. I want to say it took about nine hours and we shot in the same garage just standing there. I have to say, credit to Matthew and Noah (Emmerich) because I can’t remember the page count on that, but it had to be like a nine-page scene and just so many monologues. I don’t care how much you love a show, by year six laziness just happens. And they came in and just killed it. I mean, they knew every word and they kind of just did it right there. It was amazing to watch. I actually didn’t say much in it, so I got to just kind of watch it unfold.
Plus, I love that Stan doesn’t turn them in. I think that’s the complication that Joe and Joel present so well is there is no bad guy, there is no good guy. You like a lot of things about people that do shitty things. And people that are supposed to be shitty, you know, there’s a lot of things you like that are great about them and vice versa. And I think Stan and Philip were friends. They just had this whole other story going on privately, but I think that’s what they told very well in this story. So, I’m just glad Stan let them go.”
Did you ever come to a conclusion in your own mind about whether or not Stan’s girlfriend, Renee, was working for the Russians?
Keri Russell: “I know, it’s so crazy, right? That seems pretty creepy to me, but that’s just my take on it. But how crazy, right? At the end – ‘Oh, by the way, I don’t know yes or no but look out for it.’ And what do you do with that? It’s so crazy. But Joe and Joel love that stuff.”
What did it feel like preparing for and going into the final season? At what point did you learn how the show would end?
Keri Russell: “So as sad as I am to see it go, it just feels like the right time. I think the stories were still so good and so compelling and I would hate to be involved with something that I thought was creatively so interesting and then watch it sort of peter out. So as much as this sixth and final season coming to a head was hard in some ways, it felt right. That was sort of comforting in some way.
And to be totally honest, especially at the beginning of that season, I was working so many nights doing such hard stuff that I was so tired most of the time that I think I was probably like, ‘You know, oh I’m glad this is ending because I can’t do this anymore.’
And then when did we read the end? I guess I want to say I read the end about halfway through maybe. I was a little behind in reading my scripts and I had a chunk of the day in my shooting day that I had like three hours off before I had to go back. I went to this super fancy restaurant near where we were shooting and I sat at the bar of this swanky restaurant and ordered a giant glass of red wine and read eight, nine, and 10 in one sitting. And I cried and I tried to hide my eyes from crying, like, ‘I’m not crying!’ (Laughing) And I just read them back-to-back and went back to work.
And, I loved it. I thought to me it feels pitch perfect and devastating in all the right ways.”
As you began the final season the news was all about Russia. Is that something you talked about as cast members? Did it have any impact on you?
Keri Russell: “Well, I think the good thing was that because our show is set in the ‘80s, history was already written. So, it wasn’t going to change our performances in any way because the story has already happened and certainly was not going to be changed by present events. If anything, it was just more topical on a daily basis. Russia was just in the news more so if anything we would kind of say, ‘Well this is the year to get out because maybe people won’t be so sympathetic anymore.’
But it was more just a topical curiosity and coincidence. Because our show isn’t just a political show, it’s really a show about relationships, I don’t think it bore this great weight on us or anything.”
What do you think pushed Paige to make the decision to get off the train when she did?
Keri Russell: “I know, crazy, right? I mean, there could be so many reasons and really only Joe and Joel have that. It’s such a shocker because in my mind she’s already kind of implicated by her parents and all of that because she knows so much. Henry is kind of a little clearer because he’s still so clean and he’s really succeeding in his life. And to take him away from that would be cruel in some way. But, I don’t know. Maybe she just had enough. But, it’s such a painful choice. I don’t know. It’s her just saying, ‘I’m me. I’m not you guys and your decisions made for me are over now. Now I make my decisions.’”
Despite the fact Philip and Elizabeth survive at the end, did you view the overall story as a tragedy?
Keri Russell: “It’s definitely not Americana hopeful, right? I think Joe and Joel talked for a while about really wanting a Russian ending. And whatever that means to you, you know, but I certainly don’t think it’s like everyone wins and everything’s fair. (Laughing) It’s a little more complex than that. It’s bittersweet or just bitter-bitter.
But I do have to say I really like the ending. I hope you guys did too. And for everyone who has written such thoughtful and beautiful things about this show, I hope you guys are satisfied with it.”
The scene outside the summit when Elizabeth is in the car with Jackson is upsetting on all kinds of levels. What it was like to film a scene where Elizabeth obviously knows that she should act but either chooses not to or can’t bring herself to?
Keri Russell: “Well, first of all, that kid I thought was so good. He’s so young and he was so good. I love that scene because there’s something so upsetting when – because up until this point I think, and I think we can all agree, Elizabeth is like, ‘Shut the f**k up. You had a great night of someone f**ing you. Deal with it. You’ll be fine,’ you know? But then the way he’s looking at me saying, ‘You’re scaring me. Let me go.’ I think he’s so horrified and afraid, and I think Elizabeth sees the monster sort of that people have seen her and perceived her to be. I think it’s devastating and everything is sort of unraveling in this reckoning.
I think those scenes are really interesting for her character and for the arc of it all. So, I liked it. I mean, it was hard because it’s this clunky weird feeling to like not be able to do something and not act when it’s not quite so clear. But I really loved those scenes.”
Do you see any connection between that scene and some of the other scenes you had this season with younger people? Specifically, the child in that apartment and then that final confrontation with Paige about the honey traps?
Keri Russell: “Yes, I think all the personal is starting to trickle in. I think the reason Elizabeth was such a good soldier was she was able to not see that. She was able to be the better soldier and not let things distract her. I think in her unraveling in this season, being so tired, working on her own, not having anyone to help you or support you, you start to make mistakes and you start to slip up. And in her case, mistakes are becoming more human and developing a conscience about things. Seeing the kid as she kills the parents watching that video, there’s got to be a low moment in anybody’s life.
Yes, I think the human cost, especially. That whole season starts with that necklace. To me the necklace always meant any time I was in a scene with Paige that’s all… Like, I just kept thinking, ‘I have to tell her everything. I mean, I could die tomorrow. I could die tonight. If I don’t tell her everything she needs to know, she might not know it.’ And so I think that was constantly on Elizabeth’s mind this season.”
What was the last scene you filmed and how did that finality feel?
Keri Russell: “The last big scene we all did was actually super late at night. We were doing a night shoot north of the city at some random payphone and it’s when we were calling Henry. It started to snow and it wasn’t snowing in the other shots. We were freezing and it was probably about 3:30 in the morning. And we kind of had to go back and reshoot other people’s coverage because it didn’t quite match, and it was so sad.
To me, those scenes are so hard watching someone try to be normal but you know they’re dying. And just the sweetness of him saying, ‘Oh I’m just hanging out with my friends.’ He’s like, ‘Hey weirdos, I got to go.’ It’s sad but we all kind of got through it because it was just sort of written perfectly and we didn’t have to think about it too much. And then, you know, really we wanted to be warm so we got through it and got in our cars and went away.
But then the truth is there was one tiny little pickup scene we had to do on another day, which was literally a quick shot of me noticing Philip taking the ax out of the ax case and going, ‘Oh shit, he’s going to chop her head off.’ That was really the last scene of the whole series. So, it was a pickup from another episode. And we all clapped and that was it.”
Matthew Rhys and Keri Russell star in ‘The Americans’ (Photo by Eric Liebowitz / FX)
FX’s The Americans season six episode 10 brought the critically acclaimed dramatic series to a close with an episode that found Elizabeth (Keri Russell) and Philip (Matthew Rhys) finally returning to Russia as the FBI closed in. Unfortunately, they were forced to flee America without Henry or Paige, paying the ultimate price of losing their children for committing espionage against the United States.
With the Emmy Award-winning series ending, series star Matthew Rhys participated in a conference call to discuss The Americans‘ incredible six season run. During the conference call, Rhys talked about everything from line dancing to the leaving the kids behind to that intense scene in which Philip, Elizabeth, and Paige (Holly Taylor) squared off against Stan (Noah Emmerich) in the garage.
Matthew Rhys The Americans Finale Interview:
Were you shocked Stan decided to let the Jennings go without arresting them? What was it like to shoot that pivotal scene?
Matthew Rhys: “Yes, I was. It’s strange. Those things are always kind of strange in that your expectations of the shooting will be far harder than it is. And as has always been the case with The Americans, the writing was so good that it kind of shot itself. You know, it was a marathon because obviously we shot a number of angles on it that we don’t usually for The Americans. We don’t usually spend that amount of time rehearsing it, but we did get to on that one.
The pieces fell into place much easier than usual. The other thing I think on scenes like that is actors tend to turn up. When there’s a kind of a bit of a mountain to climb they turn up with all their gear ready to go. So, we all turned up ready to take a bite out of a steak that was that scene.”
Was that the scene you most enjoyed shooting in the finale?
Matthew Rhys: “Maybe enjoy isn’t the right word for it but the scene would be Henry in the booth. […] The kind of way they pitched that scene was I found difficult. I enjoy those scenes because it’s such an enormous challenge. I enjoy the challenge. I didn’t necessarily enjoy the scene and ironically it was the last scene in the season we ever shot, and it was in a snowstorm at 4:30 am. So, different things going on during that one.”
What will you miss the most about being involved in The Americans?
Matthew Rhys: “I thought it was executing this writing. I’ve never kind of encountered a show of this calibre where the kind of layering of the writing and indeed the character’s been so textured, really. And as far as an acting challenge goes, this has by far been my Everest or Waterloo, depending on how you look at it.
The challenges that came with this part and kind of landing in a real believable place has always been large and varied. I’ll miss the day-to-day challenges of this part which were tenfold daily.”
Did Paige’s decision to remain behind surprise you?
Matthew Rhys: “It did surprise me but I kind of loved it. You know, I think what the boys do so well is kind of present these, at times, very open-ended questions to the audience. I think that was one of them. And, you know, they led us down the path so far that Paige was going to come with us and then that about-turn on the train – I think it’s just such a U-turn, kind of a violent U-turn but it’s not shock for shock reasons. It’s always incredibly well justified. […] It gives the audience I think enough to go, ‘Well, you know, any number of things, she can go in any number of directions now. She can continue her work, quit, look after Henry…’ There’s so many variables kind of presented to you in that moment and in a very poignant way.”
Did Philip and Elizabeth in the end get what they deserved rather than what they wanted?
Matthew Rhys: “Exactly. Perfectly put. You know, I know for Philip’s part – I think I speak for Elizabeth also and indeed any parent who has had to kind of leave and abandon their children and life so violently and brutally as they had to – whatever the reward of returning home is at the cost of doing that to your children. I think the punishment is lifelong, really.
So, they got out alive, and maybe more for Elizabeth than Philip, got back to Russia. But the cost of which they paid I think is enormous.”
What do you think is the state of the Elizabeth and Philip’s relationship at the end of the show?
Matthew Rhys: “It’s sort of interesting because what is left you don’t know really how it will work out. Ultimately, they’re the only allies in each other that they have in that someone else who understands this incredible journey they’ve been on. Therefore, they do need each other in that respect.
I always harken back to the third episode of the first season when Philip wanted to defect. To me that was kind of brought back in those moments where I’m sure he could have gone, ‘You know, we could be in a very cushy witness protection program at this moment where the kids are doing okay as opposed to this.’
So, I think it’s a tragic ending for all intents and purposes because I think, as I said earlier, the cost of what they had to do with their children in order to get out alive I think is so taxing.”
Do you think Renee is a spy?
Matthew Rhys: “No, I don’t.”
He’s trying to help Stan but isn’t he possibly also going to leave him in torment and with questions about his relationship?
Matthew Rhys: “You know, there was talk. This final parting shot from Philip, whether it’s good or bad or is it worth it or not, and I feel ultimately Philip and Stan in another world would have loved having him as a best friend. And in all intents and purposes Stan was his only friend in this world, this kind of world of pretense that he lived in. Stan was the only friend he’d ever had and just the irony of everything else that came with it.
So, there’s genuine concern for Stan there. I just think he couldn’t leave it unsaid which is where I felt it finished with me, you know?”
Do you ever imagine Philip bumping into Martha in Moscow and how would that go?
Matthew Rhys: “Yes, you know, that’s the joke, right? There’s an uncomfortable moment in the supermarket where the three of them all meet again and go, ‘Oh, hi. What are you getting? Oh, we’re getting the same.’ Yes, because that’s the comedy spinoff version.”
What does Stan’s friendship mean to Philip and how do you think it changed him throughout the series?
Matthew Rhys: “You know, I kind of liken it in a slight way to his relationship with Martha inasmuch as the cost of the innocence. […] I think that was an element of his job that he didn’t enjoy. He loathed this using of innocent people. And I think with Stan it was sort of an equal part guilt about the pretense of the relationship, but the other half was indeed this genuine kind of love of this friendship that he had in a kind of very lonely existence. The great irony was that he was a counterintelligence officer.”
What was more heart-breaking: the Henry phone call, watching Paige get off the train, or seeing the betrayal on Stan’s face in the garage?
Matthew Rhys: “I think it was the Henry phone call still. You know, as a new father it came very easily to kind of put yourself in that situation and go, ‘I can’t even fathom doing this to my own son.’ I did and still do just think about as one of the most heart-breaking moments of our show.”
Did the ending live up to your expectations? Did you think their ending was fair?
Matthew Rhys: “I thought the ending was very fair. You know, I think they pitched it beautifully in that there were so many elements to it. It wasn’t definitive in one way with, you know, I haven’t got killed or caught or everyone made it away. There was such a penalty for them to pay. There was such an expensive cost they had to pay for the price of their kind of newfound freedom.
You know, on one hand they spent their life living a lie. I’m sure the relief from not doing that would be enormous because, as I said before, the cost of not being with your children and the betrayal and the abandonment of your children is kind of unfathomable.”
Matthew Rhys as Philip Jennings and Keri Russell as Elizabeth Jennings in ‘The Americans’ season 6 episode 10 (Photo by Jeffrey Neira / FX)
Do you have any favorite memories of working with Keri? What will you miss the most about working with her?
Matthew Rhys: “Oh God, I don’t know. I haven’t got the time to tell you what it is I’ll miss most about her because she’s kind of everything you want in a co-star. I thought in season two there were kind of these moments where because it was a throwback to the audition where she had to slap me in the face and I didn’t react – she kind of used to slap me in the face to see if I still would react. So, there were these very kind of inopportune moments she’d slap me in the face to see how I’d react. And, perversely, I kind of look back and go those were really great moments.”
What’s the hardest thing about saying goodbye to Philip?
Matthew Rhys: “I suppose it’s the amount of plates you have to keep spinning in the air. What I mean by that is I’ve never played a part whereby you have so many things going on at the same time. Since finishing The Americans I’ve been reading a number of scripts and kind of go, ‘Well, that’s great but what else is happening to that character?’ And I’ve realized, especially in the earlier seasons, they had so many things to contend with and kind of landing that in a place that was real was a real challenge, I thought. I’ve enjoyed the kind of enormity of this undertaking massively and that’ll be the hardest thing to say goodbye to.”
Why do you think Philip said he wished Stan had kept going to EST?
Matthew Rhys: “I think he qualifies it in the line by saying, ‘Because you would know what to do in this moment,’ which I suppose is about seeing a possible bigger picture. And we talked a lot about whether Philip in that moment is playing Stan or not even aware that he’s playing Stan and kind of appealing to his more human nature. I don’t know. I struggled so much with that line as to what it was and even though we talked about it, you still kind of have to make it your own.
I think it worked on a few levels in that, one, Philip in that moment the primal instinct is to defend your family, to protect your family. And therefore you need to get them out of that parking garage, so you will do anything that allows you to do that. By appealing to Stan’s human nature by going, ‘I wish you could see this bigger picture. I’m just trying to take care of my family and we’ve got our jobs to do.’ Because I love that line where Philip kind of finally breaks the fourth wall and goes, ‘We have a job to do.’ And that’s what it is. That’s what it boils down to.’
I just think it’s kind of just duplicitous in a way… it’s not duplicitous, there’s deeper meaning to it in that he kind of goes, ‘You know, I wish you had stuck with that because you’d see in this moment what it is.’ But also, the flipside there is you could say well he’s also playing Stan just so he can get out of the parking garage.”
Do you think that that was one of the moments where he really convinced Stan not to turn them in?
Matthew Rhys: “Yes. Well, I hope so. You know because again, the big thing I liked about the show is it allows the audience to kind of attempt to guess why or what it was that Stan did or thought to let them go. Do you know what I mean? I don’t think it’s that conclusive that moment which is why it was so tense because you don’t know what he’s going to do and he lets them go.”
You can see in his eyes he’s conflicted the whole time during this confrontation.
Matthew Rhys: “Yes and I think the kind of the shock and awe of this situation on him kind of blocks him or refutes him to be that linear in his thinking. There’s a number of other elements going on about Henry and everything else.”
What was your reaction to learning that Philip would be the one who had to basically say it’s time to go back home?
Matthew Rhys: “It’s kind of great. I think as an audience you’re led one way. And, obviously, the irony of that Philip is kind of the travel agent for this season. And then all of a sudden, as you say, he becomes the instigator. He’s the one who pulls the pin and goes, ‘We have to go.’ And in that one moment where he goes to see Father (Andrei) he becomes the catalyst, he literally is the one that starts running. I thought it was great. It’s another testament to their writing.”
There was a scene in “The Summit” in which Philip got fitted for a nice suit. What did that scene signify to you?
Matthew Rhys: “I haven’t watched that yet. I remember in the shooting of it there’s always those moments where they can kind of layer it almost because this whole thing of Philip trying to make a real go of the travel agency. It’s a real immigrant story, you know? Regardless of who they were, spies or whatever, it’s kind of an immigrant story that they came to U.S. and they want to succeed.
And there’s moments you kind of go, ‘Well these trappings, these material trappings, do they make you happy and at what cost?’ And his head is in a swirl at that moment where he’s going, ‘What is this and what does it really mean having a fancy suit? It doesn’t change anything. It doesn’t solve anything. It doesn’t help anything.’ But yet he still kind of wants it, you know?”
In “The Great Patriotic War” episode, there are two horrifying moments. One is Philip sparring with Paige in her kitchen and the other is the terrifying moment when he has to make a move on Kimmy. Which of those was more horrible?
Matthew Rhys: “I suppose the Kimmy storyline as fantastic, dramatized TV storyline that it is, I’ve always found it hard for the reason that it’s meant to be that Philip has this daughter the same age. It kind of repulses him in a way – a girl that young. [She’s] the same age as his daughter which is where all the inner conflicts come from. You still feel, ‘Oh my gosh, this is so wrong.’
So that was for me the hardest thing, harder than fighting Paige because actually I had a lot of fun. It was kind of fun to do that with Holly [Taylor] because she finally got to this [stage]. I remember years ago when we were doing all that stuff and Judo and she’s like, ‘I want to do that stuff.’ And then she finally got her wish come true except she didn’t realize it, fighting an oaf like me where you do actually fight for your life.”
We got to see Philip doing some line dancing this season. What was that like to shoot and do you imagine that there’s any line dancing in Philip’s future?
Matthew Rhys: “First of all, I imagine there’s no line dancing in the future. There’s a lot of lines or waiting in lines in his future in Russia – certainly no line dancing. But to me it was almost on a par with the Kimmy Breland because for me to dance publicly is my Achilles’ heel. I found that hideous as an experience.”
Are you going to miss wearing wigs? Are you hoping there are more wigs waiting for you in your career?
Matthew Rhys: “If I never wear another wig in my life, it’ll be too soon.”
You finally shared a few scenes with Costa Ronin as Oleg after all these seasons of being separated. What was that experience like?
Matthew Rhys: “It was great. We never got to act with the Russians. We were kept apart. And then the irony is you had these two characters in the same place, in the same position, with the same goals, the same fears, the same resistance. So, it was great just to kind of step outside the box, especially given Philip’s trajectory of trying to make the travel agency work. All of a sudden you have this huge other thing in his life that he kind of circumnavigates with someone who has the same fears. So, it was just great to kind of mix it up.”
What do you think will happen to Oleg?
Matthew Rhys: “Oh god, I’m sorry to say he lives his life in the prison somewhere.”
Troye Sivan’s set to embark on his lengthy ‘The Bloom Tour’ beginning on September 21, 2018 in Irving, Texas. The North American tour will include Sivan’s first headlining shows at both the historic Greek Theatre in Los Angeles and New York City’s iconic Radio City Music Hall.
Other stops on ‘The Bloom Tour’ include Austin, Miami, Atlanta, Detroit, Denver, and San Diego. The tour is scheduled to wrap up on November 8th in Vancouver, BC at the Queen Elizabeth Theatre.
The upcoming tour will be in support of his album Bloom which is currently available for pre-order. Bloom has already spawned the hit singles, “Bloom” and “My My My!,” and will be released by Capitol Records on August 31, 2018. The single “Bloom” has already been streamed more than 10 million times and “My My My!” is approaching 200 million streams.
Tickets will be available to the general public starting on June 8th at 9am PT via LiveNation.com and TroyeSivan.com.
Troye Sivan ‘The Bloom Tour’ Dates
9/21 – Irving, TX at Pavilion @ Toyota Music Factory
9/23 – Austin, TX at Austin City Limits Live at The Moody Theater
9/24 – Sugar Land, TX at Smart Financial Center
9/26 – Jacksonville, FL at Daily’s Place Amphitheater
9/28 – St. Petersburg, FL at Mahaffey Theater
9/29 – Miami, FL at Bayfront Park Amphitheatre
10/1 – Atlanta, GA at Coca-Cola Roxy
10/2 – Charlotte, NC at Charlotte Metro Credit Union Amphitheatre
10/4 – Washington, D at The Anthem*
10/6 – Upper Darby, PA at Tower Theater
10/9 – New York, NY at Radio City Music Hall
10/11 – Laval, QC at Place Bell
10/12 – Boston, MA at Boch Center – Wang Theatre
10/14 – Detroit, MI at Fox Theatre
10/15 – Toronto, ON at Sony Centre
10/17 – Minneapolis, MN at State Theatre
10/19 – Chicago, IL at Chicago Theatre
10/20 – Milwaukee, WI at Eagles Ballroom
10/22 – Denver, CO at Fillmore Auditorium
10/24 – Phoenix, AZ at Comerica Theatre
10/25 – San Diego, CA at Cal Coast Credit Union Open Air Theatre at SDSU
10/27 – Anaheim, CA at House of Blues
10/30 – Los Angeles, CA at Greek Theatre
11/1 – San Francisco, CA at The Masonic
11/5 – Portland, OR at Roseland Theater
11/7 – Seattle, WA at Paramount Theatre
11/8 – Vancouver, BC at Queen Elizabeth Theatre
TLC has renewed the popular home improvement series Trading Spaces for a 10th season. The series ran for eight seasons on TLC and Discovery Home before failing to be renewed for season nine after finishing up season eight in December 2008. TLC revived the show in 2017 and fans returned in high enough numbers to push the series into first place in the adult women ages 18-54 demographic among cable series in its time period.
The decision to renew was a no-brainer as Trading Spaces drove TLC into a second place finish among adult cable viewers on Saturday nights in the second quarter of 2018.
The season nine cast included Trading Spaces veterans Doug Wilson, Carter Oosterhouse, Frank Bielec, Genevieve Gorder, Hildi Santo-Tomas, Laurie Smith, Ty Pennington and Vern Yip. Brett Tutor, Joanie Dodd, John Gidding, Kahi Lee and Sabrina Soto joined the revived series when it debuted earlier this year.
Season nine will finish up on June 2, 2018 and will feature legacy designer Doug Wilson, new designer Kahi Lee, and carpenters Brett Tutor and Joanie Sprague redesigning rooms in Atlanta. Production on the new season is expected to get underway this summer. The 10th season will have an increased episode order and will premiere in early 2019.
“The response to the revival of Trading Spaces, from longtime devotees to newfound superfans alike, has been seismic, and we are proud to continue the celebration in 2019,” stated Howard Lee, President and General Manager of TLC, in announcing the show’s renewal. “We look forward to our designers and carpenters bringing more color, design risk and most of all, fun, into homes across the country in the upcoming season.”
The casting process is currently underway for the upcoming 10th season. Anyone interested in participating can visit http://www.tlc.com/casting for more information.
Details on Trading Spaces: “Trading Spaces was the first home makeover series of its kind and launched a generation of shows to follow in the television home design genre. Two sets of neighbors trade rooms for two days and, with the help of a designer and carpenter makeover a room with a budget of $2000.”
