0:00

Queen Charlotte the Official Podcast as a production

0:02

of Shondaland Audio in partnership with iHeartRadio.

0:18

Hi, everybody, Welcome back to another

0:20

episode of Queen Charlotte. A Bridgerton

0:22

Story, the Official Podcast where

0:24

we're delving into the captivating world

0:27

of costumes.

0:28

Characters, stories, Stories,

0:31

Story, and today we have

0:33

two incredible guests who have

0:35

left an indelible mark on the industry with

0:38

their exceptional talents.

0:40

I know I'm laying it on thick, but

0:43

we're going to have this

0:46

journey of creativity

0:48

and inspiration with costume

0:50

designer Lynn Powlow and

0:54

like I've told you before, my best

0:56

friend in my head are Semma Thomas.

0:58

We're gonna kick off this episod said with an extraordinary

1:01

rising star who not only graces

1:03

this green with their uneniable

1:06

talent their beauty, they

1:08

also champion human rights with unwavering

1:11

dedication. Meet our Semotonomas,

1:14

who burst onto the scene with their breakthrough

1:17

role as young Lady Agatha Danburry

1:20

in this series a Queen

1:22

Charlotte, which has definitely

1:25

rattled all of us through

1:27

their portrayal. Our Semma shattered

1:29

archetypes and discuss

1:32

the power of representation in storytelling. We're

1:34

gonna talk about all of the scenes that brought

1:36

us to Albernize, and then

1:38

we're gonna talk a little just about

1:40

our Semma. So she's got a passion

1:43

for storytelling and she's committed

1:45

to social change. So enough

1:48

said, our Semma is a force to be reckoned with. Let's

1:51

hear a little bit of our conversation. It

1:54

is my absolute pleasure to welcome our Sema

1:56

Thomas to our podcast. Thank you so

1:59

much for joining us.

1:59

Our thank you, thank

2:01

you. This is exciting.

2:04

I wanted to say thank you from

2:06

one third culture kid to another. I

2:09

definitely did a deep dive on you and

2:12

listen to a speech that you gave before,

2:15

and you refer to yourself as a third culture kid,

2:17

and I got so excited because I am

2:20

new to that phrase. I just heard that phrase

2:22

for the first time maybe two months ago, and I'm

2:24

like, oh, that's me for anyone

2:26

who doesn't know what is a

2:28

third culture kid? And how are you a third culture

2:30

kid?

2:31

So in a way, like, I guess I'm a third culture

2:34

kid because my

2:37

parents. My mom is Ethiopian,

2:39

my dad is Nigerian, but

2:41

I grew up a lot in

2:43

the US, and then from the US, I transplanted

2:46

to growing up in Kenya,

2:49

and so in a way, being

2:51

a third culture kid feels like being like an

2:54

alien in your family and an

2:56

alien in the world

2:58

around.

2:59

You as every space.

3:01

Yeah, it's it's it really

3:03

does feel like that. And luckily I

3:05

had, you know, my sister who was going through

3:08

the same exact experience as me. But like

3:10

a lot of people don't get that, and so

3:13

it's strange. It's strange, but it

3:15

it makes you learn a lot and

3:18

and honestly have to kind of take in

3:20

everything that the world gives you.

3:22

Yeah, you know, I had a transplanted

3:25

kind of experience like you did, where I

3:27

was living in the suburbs

3:29

of Chicago and then suddenly was

3:32

living full time in the Bahamas, going

3:35

to school and everything, And I

3:38

mean I felt like I fit in, like I

3:40

grew up with a Bahamian mom and

3:42

like, but I was American girl.

3:44

So I get it. I

3:47

get it. The way you spoke about your

3:49

experience reminded me about

3:52

Lady Danbury and really about

3:54

the Ton, really about the Ton. But

3:56

I was wondering how you brought that worldview

3:59

to your role.

4:00

I mean, I think I definitely

4:04

did. There's

4:07

definitely like this sense of isolation that

4:09

you can feel

4:11

in Agatha, and

4:14

it's something that I definitely clocked onto

4:17

when I was reading the

4:19

script, is like

4:21

she's so alone,

4:23

not only in the fact that she's probably

4:27

usually the only like black

4:30

women in a lot of the spaces, but

4:32

it's also the fact that, like she thinks

4:35

differently than a lot of people, and

4:39

she's probably never felt comfortable about talking

4:41

about that because she's aware of

4:43

that difference. And then on

4:46

top of that, as you see throughout the season,

4:50

it's like that thing of the varying degrees of

4:52

third cultureeness is you

4:54

see all of those people who are now part of

4:56

the Ton being part of a completely

4:59

new society that they've never been in. They're

5:01

now in another culture and

5:04

they have to assimilate, you know, act

5:06

like they've been there before. It's like, it's

5:08

what Lord Danberry says to her, do.

5:10

Not go like a peasant behavior,

5:13

So you've been here before.

5:16

That was so funny, though it's true.

5:18

It's like the slogan for anyone

5:20

who's ever moved to another like

5:23

place. It's like, I'd

5:25

like, you've been here before. Stop gawking.

5:28

I was like if that was not someone in my family

5:31

who I like. That

5:33

is so funny. That's one of my favorite parts.

5:36

And your reaction to those moments too, just

5:39

just goes to show how yeah, Lady Agatha

5:41

Danbury is, she thinks differently.

5:44

I think it's actually really remarkable to see

5:46

that on screen. How did you feel about

5:48

that? Do you feel proud?

5:50

Like?

5:50

Is that the right word to capture how you feel?

5:52

You know?

5:53

I do? I think I

5:55

feel validated,

5:58

like not only like me as our

6:01

summa, because there is that sense

6:03

in me that's like, oh, yes, you know you

6:06

got chosen for this role and they

6:08

didn't edit you out, so that means it's good because

6:12

they had that option. But

6:14

it's also like this story

6:17

for a lot of black women is

6:19

so powerful because

6:23

I think I grew up and always kind

6:25

of knew that I didn't

6:28

want to be the girl that gets

6:30

the guy and they fall in love in every movie

6:33

I grew up not seeing me reflected

6:36

back that I just maybe

6:38

was conditioning, but I just there

6:40

was something that I knew that my

6:42

story was something different. And to

6:45

see this character at

6:47

the end choose to be alone and

6:50

that be such a power move.

6:53

I was like this is This

6:55

is such a massive statement. This is

6:59

the woman that I want to be and

7:01

like to be able to be her

7:04

ast she becomes her is

7:07

such a generous

7:09

blessing to have. So

7:12

yeah, I was just excited. This

7:15

is like to also be in such a formative

7:17

part of my career and it's just

7:19

great.

7:20

You know, something you said though, it makes

7:22

me think about what we believe in.

7:25

You know, like you hear like award

7:27

speeches, like how many times

7:29

has like Lizzo said, this is for the

7:32

girl you know who was like me, you know, when

7:34

I was five, And I

7:36

wonder for people who who

7:39

hear that and they're like, man, if

7:41

I did see something like that when I was five,

7:43

how would my life have been different. I

7:45

can't fathom what my life would have been like if

7:47

I did see myself back then

7:50

or a story that I connected to back then. So

7:52

I think that's really interesting

7:54

for people watching Queen Charlotte today

7:57

to see the

7:59

character and what

8:01

they represent.

8:02

Yeah, I think it's going

8:04

to probably accelerate the unlearning

8:10

of self patred that I think

8:12

that a lot of us are taught at a really young age,

8:15

hopefully hopefully.

8:17

So that's so interesting because

8:20

the opening credits For me was

8:22

very emotional that graphic

8:25

design of this brown

8:28

girl swaying in all of these situations

8:31

constant, and I don't know

8:33

what it was, but I was like, oh my god,

8:36

some twelve year old inside of me was excited

8:39

about it. But I think Queen Charlotte

8:41

bridges that gap.

8:42

I'm hoping it opens up the

8:45

world for like all of the other options,

8:47

like this shouldn't be the only one like

8:50

that graphic is so much like every time when I

8:52

first saw it, I was holding back to

8:54

you because it was like the music and just.

8:56

This beautiful like

9:00

girl and gosh,

9:03

that should be its own animated series

9:05

so that like actual young girls can watch

9:07

it because this is a little bit you know, adult,

9:09

but like you know, it's

9:11

it's so beautiful.

9:13

Yeah.

9:16

Why do you think that there's a

9:19

another influx of proving

9:22

or disproving this work

9:25

of fantasy, this work of fiction?

9:27

And what does

9:30

that tell you about the work you have

9:32

ahead considering your

9:35

appreciation for spaces being created

9:37

for you and

9:39

your desire to create space for

9:41

creatives.

9:43

So we're talking about the

9:45

comments that Queen

9:47

Charlotte merriman On have been black. Yeah,

9:50

yeah, okay, and.

9:51

It's just, you know, the whole thing is too

9:54

out of left field, you know. Okay,

9:57

yeah, it's like, okay, it's a fantasy.

10:00

Why do we need to do this exercise?

10:04

I know?

10:05

You know, it shows one

10:08

that those people do not see

10:11

black people to be

10:13

like them, because you, in

10:15

that moment, cannot you see yourself

10:18

in that black person. Yet

10:20

for us, we have been conditioned

10:22

time and time again to be

10:24

forced to assimilate to whiteness, to

10:26

see ourselves in whiteness, and so that

10:29

to me just shows that you do not view

10:31

us to be humans like yourselves, or

10:34

to be something other. But the

10:36

thing is, I know that you

10:38

do something by putting out more

10:40

and more because

10:43

it's shocking the first couple of times,

10:45

and after the twentieth it's less shocking,

10:48

and then you have no choice. So

10:50

I think people shouldn't be afraid

10:53

by the reaction. The reaction is

10:55

a cult that we're doing something right,

10:58

you know, And I think we have to keep

11:00

doing it until there's less of a reaction.

11:03

Because why can't a queen be black?

11:08

Yeah?

11:09

Like actually why not?

11:11

Actually? Why not?

11:13

You know?

11:13

Yeah,

11:16

okay, so we got to we have

11:19

to talk about the look. Yes, I specifically

11:21

want to know if you had a favorite hat, oh,

11:23

because the hat game was on points.

11:26

It was it was

11:29

you know, I love a big hat and

11:31

the hat that I wear in the with

11:34

like the very bright magenta

11:37

dress because that's like the first time

11:39

she wears like very bright color.

11:41

I loved that dress. I love

11:43

that hat.

11:44

It's shocking.

11:45

Yeah, I was like, gosh, I wish I could wear this

11:47

for more scenes because it's crazy the amount of

11:49

detail that they put into these outfits of these

11:51

gowns and you see them for like very

11:53

brief seconds. You know, it's

11:57

it's amazing, and it's also just it shows

11:59

you, like that of work that's put into like every

12:01

second of this.

12:02

Yeah, Lady Danbury is

12:05

literally becoming who she will

12:07

become. She doesn't wear bright

12:09

colors like that later on, and it's

12:12

just so interesting.

12:14

So talking to lind Palla actually about

12:16

like just the costume design and the color

12:18

story of it all was really

12:21

was really amazing to see the

12:24

way that the outfits and the gowns and

12:26

the colors that Agatha

12:28

is wearing throughout the course of the season

12:31

kind of mirror her emotional growth

12:33

at the same time. So you see her wear these

12:36

golds and these pale yellows because

12:38

they're not her favorite color, but she's wearing it to appease

12:40

this man. Then you see her go through

12:42

black and then

12:45

you know, obviously a morning period, and then

12:47

you start to see her start to like experiment

12:50

with hats for like the

12:52

very first time, in like a more recreational

12:55

way, and you start to see her go into

12:57

like pinks and purples, and

13:00

like then you'll start to see her kind of ideally,

13:03

like in between this time and the Burgerton

13:05

era, sort to see her settle into, you know,

13:08

the more dark and bolder tones

13:10

that you see her wear in the Recncy

13:12

era.

13:13

You looked so amazing. You

13:15

were absolutely stunning.

13:18

And I'm sorry, but the copper

13:20

tub. Anytime you were in that copper tub,

13:23

oh my goodness, I mean just

13:26

exquisite. So did

13:29

you get an opportunity to work directly

13:32

with with Lynn on anything

13:35

specific or any creative decisions or

13:38

how you felt about something character

13:41

rooms.

13:43

I think I

13:45

wanted them

13:47

to take mostly the lead

13:50

when it came to the

13:54

costumes at the beginning, One because

13:58

I nervous, but

14:01

two also because that kind of mimics the

14:03

situation she was in she wasn't choosing

14:05

anything she was wearing, So I felt

14:07

like that kind of helped me get

14:10

into like where she was

14:12

as the character, because

14:15

I don't actually know what she would have wanted because

14:17

it's not her choosing it.

14:18

We've only just scratched

14:21

the surface of our Sema Thomas's talent

14:24

and their impact and their

14:26

dreams. So stay tuned. After

14:29

the break, we're going to get into their experiences

14:32

and discuss the power of representation

14:34

in storytelling. Hey,

14:48

welcome back, Pull up chair, get

14:50

cozy. Before we get back into our

14:52

conversation with Arsima, let's just take

14:54

a quick moment to hear this note from

14:57

the casting director, Kelly Valentine Hendri.

15:00

An Arsama's tape hit. That

15:02

is someone I've never seen before, and

15:05

Arsama's quite an extraordinary young woman, as you

15:07

can tell. American also, which kind

15:10

of threw me. I was like, Oh gosh, are we gonna cast

15:12

an American accident in person to

15:14

play Lady Danbury, who's got the most English

15:16

accent I've ever.

15:17

Heard, Lord Herman.

15:22

And then there is what I call the port Yes

15:26

that has my circle

15:29

of friends all in their feelings.

15:32

How did you feel when you first encountered

15:35

those lines.

15:37

I loved it because one

15:40

of the first time she

15:42

actually explains

15:47

what is going on in her head, like

15:49

when she actually says how she's feeling.

15:52

I mean ever like across

15:54

the entire Bridgerton

15:56

season one, season two, and.

15:58

Yeah, and

16:00

it just feels like this beautiful

16:04

release that I think she so greatly

16:06

deserves. Like you just

16:08

see, like how tough it is to be not

16:11

only like a black woman, but black

16:14

woman, but like in Agatha's case, a dark skinned

16:16

black woman holding on like

16:18

on her back, like this entire situation,

16:24

her family, her,

16:26

like the situation with the

16:28

monarchy, all of this and having

16:31

no one to really

16:34

discuss it with because obviously Carl

16:36

was there, but there's a power dynamic

16:38

and there's also you know, she'd be

16:40

chatting.

16:41

Okay,

16:45

I just gonna say, either

16:47

they are really really besties or

16:50

Coral Now.

16:53

She's she's great, but

16:56

can't she trust in we? It's

16:58

speculation, speculations more

17:01

solitude. Yes, your

17:04

cloak makes a fine blanket.

17:05

If you decide to have solitude on the ground.

17:07

Cool, he was

17:10

kind, he was joyful. I

17:12

felt joy Then I'm glad for

17:14

you.

17:15

So there, like she

17:18

finally gets this chance, and I'm like, oh

17:20

my god, she thank god, because

17:22

like I was like feeling like

17:24

this for her myself. You

17:27

know, it makes me think of people like

17:29

my mother, who I sometimes

17:32

realize I have not asked her

17:34

how she is, you

17:37

know.

17:39

Oh my goodness

17:41

you yeah for a second,

17:44

and why not? Like that's the question, why don't

17:46

we Why don't we ask the counselor of aunties?

17:50

Why don't we ask? Why don't we

17:52

ask that question? It's is

17:55

it a power dynamic? I don't know.

17:56

I personally am sometimes scared

17:58

because if she's not okay, I'm like, oh my

18:01

god, like I'll be broken. This

18:03

is supposed to be the person who is immortal,

18:05

impenetrable, you know, unwaveringly

18:08

strong, inhuman, and

18:11

so the moment that they are human,

18:13

it's like, oh my goodness, and

18:15

everything becomes like shaky.

18:18

That is huge. Every year

18:20

I look and I'm like, wow, my aunt,

18:23

my mom, whoever was this age

18:25

when this thing was happening?

18:27

And I was watching it and

18:30

just having an entire different

18:34

grasp of what might have been

18:36

going through their minds, happy, joyful,

18:39

sad moments, all of it. I really think Queen

18:41

Charlotte does a really good job of getting

18:44

us to ask those kinds of questions.

18:46

Yeah, oh, for sure, there's

18:49

something like this is literally when

18:51

I recognize what it was

18:54

and I watched Bridgerton, I

18:56

was like, this is an ode to the Aunties.

18:59

This is this is really for them,

19:01

Like when do you get a

19:04

prequel that is about the

19:07

maytriarch roles

19:09

of the main story, like the mothers,

19:13

the aunts, the godmothers.

19:16

You don't usually get that. And so then to show

19:19

them, and to show also like how instrumental

19:21

they are in how nice and

19:24

how you know, comfortable

19:27

and diverse Bridgerton

19:30

is it. It also

19:32

then allows you to then go back and watch the show

19:34

and then give them the kudos

19:36

that they deserve.

19:38

This is gonna sound weird. I'm excited to grieve

19:41

myself, like to

19:44

grieve a former version of myself and

19:48

open a new chapter. Like I feel like that's

19:50

a very scary hard thing

19:52

to do in

19:55

the way Agatha does over the port Wine

19:57

scene, and I.

20:00

I mean, I think it's it's

20:02

difficult to do without

20:04

like something to

20:08

ignite that moment because

20:10

it's hard. And I think in that moment, she's

20:13

grieving like what she

20:16

thought of her life. Oh,

20:18

Wow, Like she did

20:20

not realize that she could

20:24

do a lot of the things that she starts doing

20:26

in that like one year really

20:28

that we see all of this happen. I

20:31

think the moment she's like, since I was

20:33

three, I was told

20:35

this was the life. So

20:37

she didn't realize that there was anything

20:40

else. She's been living with like blinders

20:42

on, and now that

20:44

you've died, she's like, oh wait, now you're

20:47

saying that there was this

20:50

option and this option, and

20:52

I could have chosen something, and

20:55

now I can't choose

20:57

those things because once something

20:59

has past, you have to move on. And so

21:01

I think it's this fear maybe

21:03

that she has of choice.

21:07

Choice is a very scary thing when

21:09

you start to exercise it because the

21:12

blame falls on you if anything goes wrong.

21:15

You know, it's a very

21:18

like independent act to

21:20

choose something for yourself.

21:22

Yeah, I want to ask about

21:24

working with Payvan who played Coral

21:27

and Cyril. Just wondering what

21:29

that experience was like for people

21:32

watching who are just curious about

21:34

life behind the scenes.

21:36

It was really amazing to be able to have

21:39

Peyvander. She's an

21:41

amazing individual, extremely

21:43

kind, extremely nice. I wish we could

21:46

have spent more time together,

21:50

and Cyril was really

21:52

generous and a really

21:54

good and dedicated worker, and like was

21:57

a good example on like what is good

21:59

work ethic looks like it's

22:01

interesting because you're like put into a lot of these

22:04

situations where a lot of people work

22:06

very differently, like ways that you

22:08

know and ways that you're like, oh that I didn't even

22:10

know that was an option. Like Cyril

22:12

really brings music into

22:14

the way that he like attacks his character,

22:17

so he'll always be listening to music right

22:19

before we go onto.

22:22

The set of

22:25

the era.

22:26

I don't actually even know what he was listening to. I

22:29

know someone should ask him, but I'm

22:31

like listening knowing

22:36

you it's probably something joy

22:42

That was really really amazing

22:44

to see, and I mean I it

22:47

was lovely because like Payvan

22:51

is really doing it the theater

22:53

way, which is you know, like running

22:55

lines right before and like keeping

22:57

it fresh, which I

23:00

and very comfortable with. And so to

23:02

see her have take the initiative

23:04

and kind of like you know, open the space

23:07

for that was also quite inspiring

23:10

because yeah, I usually assume,

23:12

like I tend to take a back seat

23:14

and like wait for people to like create

23:17

this space mostly as a

23:22

side effect for moving in a

23:24

world ruled by white supremacy and

23:26

being a black woman, but and

23:29

being afraid to take up space. But

23:32

so wow, it's nice

23:34

to see somebody let me know that I can

23:36

do that and it's not read as

23:39

anything other than being

23:41

somebody professional. Yeah.

23:44

Yeah, that

23:46

is refreshing And I love I

23:48

love your your footnote.

23:52

We'll ask it for anyone, for

23:55

anyone that's.

23:55

Like in life or just because

23:57

you're like, this is your first major ruk

24:00

because.

24:00

Of life

24:03

life made it this list.

24:06

Yes, yeah, but I'll be the one.

24:09

Your career and education and

24:11

stem and your attention to Pan African issues

24:14

gives you a really incredible

24:17

array of possibilities as far as like how

24:19

you can change the world and move

24:21

the needle on anything.

24:24

Your flavor of activism could be starting

24:26

the conversation, you know, and that

24:29

is that can be the right

24:31

next step. So that's

24:33

awesome that this gives you that opportunity

24:36

to start the conversation.

24:37

Yeah, I mean, I'm really like the

24:39

whole saying of art is political. I'm

24:43

like, that's like my next step of like getting

24:45

into that political

24:48

art whatever. Like I

24:50

love that space. That's something that's beautiful

24:52

to look at undeniably stunning,

24:56

and yet you still feel

24:59

like something about that has to deal

25:01

with our day to day life. I love

25:03

that space, and that's what I

25:05

want to do. It's like the people that I look up to, like

25:08

Bosquillote and like you

25:10

know, Kaing de Wilie, like all these people

25:12

who there is something inexplicably

25:15

poignant and stunning and in

25:18

filming and TV.

25:18

That'll be what I want to do. I was

25:21

wondering if just

25:23

the act of saying acting is

25:25

what I want to do, freeze

25:28

you in a way that all of us don't

25:30

really realize.

25:32

Yeah.

25:33

I think for a really long time, I didn't tell anybody

25:36

I wanted to do it. And

25:39

then also having

25:41

gone to two separate universities

25:44

that both have amazing acting

25:46

programs and drama programs

25:49

and seeing people go in

25:52

and seeing how difficult the

25:54

programs are, I felt like, I

25:57

don't know. I was like, how dare I just say?

25:59

Like, I let it be an actor. And

26:03

so then when I

26:06

moved to Paris, I didn't tell

26:09

anybody that I knew that

26:12

I was going. I didn't tell them what I was doing.

26:15

For the longest time, I didn't tell anybody I was doing acting.

26:17

That was just between me and the people that saw

26:19

me in like the drama programs I was going

26:21

to.

26:21

At the time, you said you had a Nigerian

26:24

father and an Ethiopian mother.

26:25

Yes, yeah, I mean what my

26:28

mother didn't even know that I moved to Paris after

26:31

I graduated. She was just she

26:33

She called me one day and she's like, are some sorry,

26:36

where are you? And I was like Paris.

26:39

I was like when did

26:42

you go there?

26:45

Uh?

26:45

And so yeah, but

26:48

like we had made a

26:50

deal between my parents and I were like, if you

26:52

do your second degree, you

26:55

can then do whatever you want. And at

26:57

the time, I was like, I tried to do a nine

26:59

to five. I'd worked at the

27:01

United Nations Population Fund, and

27:05

it wasn't I mean, I was. I

27:07

was in the cubicle like doing

27:10

like preparing auditions, you

27:12

know, I was. I was looking through sides

27:15

as I was in my cubicle, and

27:17

so it was very clear

27:20

that it wasn't for

27:22

me. And I think I just needed my parents to

27:25

like give me a chance to

27:27

show them.

27:28

And then yeah, so the

27:30

moment do you quit and

27:33

left, like what snapped? Do

27:35

you remember when you decided you were

27:37

going to buy the ticket.

27:38

I remember I had just

27:40

finished the Yale Summer program

27:43

for acting and it was like the very

27:46

last day, and I remember I pulled aside

27:49

my teacher and

27:51

she's a hard ass,

27:55

so I knew she wasn't gonna lie to me. And

27:58

I was like, hey, I

28:00

need to ask you a question. She

28:03

was like, okay, what are some And I was

28:05

like, one, what do you think of my

28:08

braids? She's like, it's not professional,

28:10

but they're cute. And I was like, okay, cool, and I was

28:12

like that's a good barometer. And

28:16

then do I was like, do you think

28:19

I could do this? Like

28:22

do you think I should do

28:24

this? Like is it worth me doing

28:27

it? Actually? All I remember

28:30

taking away from it was like she said yes. And

28:32

I remember my lease was coming

28:34

to an end in New

28:37

Haven. I had no

28:39

job, I

28:42

had no real reason

28:44

to be anywhere, and

28:47

I remember I was

28:49

thinking about, like I think

28:51

I had had a friend at the

28:53

time we were planning on living together

28:55

in Brooklyn, and I was like, I

28:58

don't I don't

29:00

know how much I really need to be here.

29:03

Wow, sounds like a fun time, but

29:06

yeah.

29:06

It's like it sounds expensive and I

29:08

think I can live like the struggling

29:12

artists life in a place that's

29:14

different, in a place that challenges me. And you

29:17

know, I've lived in New York City before, so

29:20

it's like, I want to be somewhere that

29:22

is our summer, figuring it out

29:24

on her own. And I was like, I know

29:27

French enough to live

29:29

in Paris. I was looking at

29:31

tickets and there was a ticket for forty

29:33

nine dollars direct

29:36

from New York to Paris, and I was like, that

29:39

is the sign and

29:41

I bought it. What it's

29:44

meant to be?

29:46

Yeah, yeah, for

29:50

wow, just betting on yourself.

29:53

I know a lot of actors are like, you know, I don't.

29:55

I don't like put myself

29:57

into the role, you know. I feel like though,

30:00

in so many ways, you and

30:02

young Agatha Danbury were a match, just

30:06

your personal story and

30:08

seeing how Agatha

30:11

becomes who she becomes

30:13

and just takes a chance on herself. Yeah,

30:16

lots of work to do, lots of work ahead, and

30:19

we're all excited to see what you

30:22

do. And we are completely

30:24

floored and mesmerized.

30:26

You were just wonderful and we really really appreciate

30:28

it and we thank you for your time.

30:31

Thank you. This has been Oh

30:33

my gosh, I love it. I

30:36

am glad that this is recorded because I can

30:38

relive this amazing chat over and

30:40

over again. I'm

30:43

serious, hands down

30:45

top five chats.

30:48

I'm glad. I'm really glad. There's

30:51

never there's never enough time to cover it all.

30:53

But yes, you gave us the nuance

30:56

we needed. We really appreciate it.

30:58

Thank you so much for having me.

31:01

Now that we've been inspired by our Semma's incredible

31:03

journey, y'all, she did not tell her

31:05

parents where she was. Okay, that's

31:09

that's dedication. Before

31:11

we dive into the world of costume design with

31:14

Lynn, let's take a quick break. We're

31:29

back. You're listening to Queen Charlotte

31:31

of Bridgeton Story, the official podcast. Let's

31:34

get back into our conversation. Our

31:36

next guest is none other than Lynn

31:38

Pawlow, with an impressive

31:40

list of accolades under her belt or

31:43

shall I say, tucked in the

31:45

bones of her carissette, including

31:48

many Emmy nominations and

31:50

Costume Designers Guild Award nods.

31:52

Lynn has become synonymous with

31:55

iconic and unforgettable costumes.

31:58

When you're thinking of the world of Shondlal, we're

32:01

talking scandal Bridgerton.

32:05

Her work has captivated audiences worldwide.

32:07

So, without further ado, please

32:10

join me in welcoming Lynn Pallow. I'm

32:13

so excited to introduce you to

32:16

our listeners. You are the Emmy

32:18

Award winning genius behind

32:20

these beautiful visuals. It's

32:22

absolutely breathtaking, and

32:25

we're so excited and delighted to

32:27

be speaking with you about them.

32:29

Thank you so much, it's reciprocal.

32:31

Oh oh no, thank

32:34

you, thank you for that. So

32:36

Lynn, there is there's

32:39

so much to take in. We

32:42

could we could literally

32:45

just start anywhere. But I'm wondering

32:47

for you, where would

32:49

you start when you begin to unpack

32:52

your journey? I guess yeah. Would

32:54

you like to talk about your first encounter with the script?

32:57

I think by now most people

32:59

know that Shonda and I have had a

33:01

long career together in

33:03

terms of costume design, and

33:08

I talk about this all the time that she is

33:11

such a gift to costume designers,

33:13

certainly to me, because

33:15

she gives me so much creative freedom.

33:19

But within that freedom we do work together

33:21

very well. I feel. So.

33:24

She didn't even present me a script.

33:26

She presented me an idea. What

33:28

would you think, Lynn, would you like? Would

33:31

you like come on. She's handing me

33:33

this amazing project, Lyn,

33:35

would you be interested in

33:37

doing a period piece set in seventeen sixty

33:40

one, Yes, Shanda, I would.

33:42

It was that moment of okay.

33:45

So we started

33:48

the process with concept boards, as you do with

33:50

everything, certainly

33:52

on this kind of project, and

33:54

I pitched to Shonda that I would love to

33:56

do a met Ball and

33:59

not a period piece, and

34:01

I showed her an image from Charles

34:04

James, who was one of my favorite designers

34:06

in history, and there was a met Ball I think about

34:09

ten years ago that was based on his work, and

34:14

sort of my pitch for young Queen Charlotte was it

34:16

shouldn't feel period, it should feel

34:18

like she was going to a modern met

34:20

Ball, and that's how we started the project.

34:23

Was there a particular piece

34:26

that struck

34:29

you as your key inspiration for our

34:31

title character Charlotte.

34:33

For Charlotte, yeah, I mean if

34:36

you look at Cecil Beaton's picture from

34:38

the nineteen fifties of Charles

34:40

James's collection of evening gowns

34:43

from that period, that was our first

34:46

image on the wall that we put up

34:48

in our office, and then

34:50

after that we based everything. The

34:52

palette was certainly based on Matisse.

34:55

So we had so many Impressionist

34:57

paintings on the wall. Keep

35:00

saying it looks like a box of macaroons.

35:03

I'm and I always say, I

35:05

feel like it feels like a lily pond somewhere

35:08

in France, do you know, surrounded by

35:10

beautiful flowers. So

35:14

that was where we started. We literally just took

35:17

some French impressionistic paintings

35:20

and this one image from Charles

35:23

James, and that was our starting point and we built

35:25

on everything from that.

35:27

Wow. I

35:30

one of the things that struck me when

35:33

thinking about it kind of in

35:35

a big picture way, and of course with not having

35:38

expertise in this area, was

35:40

the color palette. Just there

35:44

was I never felt like I was kind

35:47

of stuck

35:49

in a certain type of box of crayons.

35:52

The colors were just all

35:54

across the spectrum.

35:57

Lady Danbury has that fucia dress,

36:00

and there's shark, shrews, there's there are so

36:02

many colors. I was wondering if

36:04

there was any like key direction or thinking

36:07

you had about that, especially

36:09

with each character's development.

36:11

I'm thinking about Lady dan very specifically.

36:14

I think you know, we were we are

36:16

a prequel, and there

36:21

Alan Marashnik did such a beautiful job

36:23

on that first season of Bridgeton with the

36:25

color I just thought it was absolutely stunning.

36:28

So we're it's sort of we're

36:30

looking at the early years

36:32

of these lovely ladies' lives,

36:35

and we start in one color

36:38

range and then we progressed to another. And

36:40

I think you raise an amazing

36:43

point about the show in that Shanda

36:46

had written this fantastic script that

36:49

told us how our characters got

36:51

to be where they are in Bridgititon,

36:53

and so she and so young Lady Danbree

36:56

talks about I

36:59

wear these colors because my husband likes

37:01

these colors, but it's not the color that I prefer,

37:03

which kind of broke my heart for

37:06

her. And then you transition.

37:09

So we had that again gift from

37:11

Shonda of knowing where we needed to

37:13

end with the characters. Lady

37:16

Bridgeton is in Bridgitton blue, Lady Danbury

37:18

is in these rich Burgundies, as

37:21

you say, very rich

37:23

sort of regal colors. She starts

37:26

in golds, which are also stunning

37:28

on Arsima and when you first meet

37:30

her stepping out of the car when

37:32

she comes to the wedding, she steps out of the

37:34

carriage, but it's not her color.

37:36

And I love that we learn

37:38

about Lady Danbury, that we learn why

37:41

she dresses the way she does in Bridgitton,

37:44

And I just think, I hope

37:46

that the Bridgitton fans will

37:49

understand that this is sort of an origin story.

37:51

And how did these, you know,

37:53

the three ladies Queen

37:56

Charlotte, Lady Danby and Lady Bridgington, how

37:58

did they end up where they are in the Bridgeton

38:01

timeline?

38:02

Lynn, can you tell me how Queen

38:05

Charlotte departs from its older sister

38:07

Bridgerton since it is like a

38:09

met ball and the costumes aren't so tied

38:12

to the times.

38:14

A lot of the story in our

38:16

six episodes is about the introduction

38:18

of a new, youthful queen to

38:21

England and the sense

38:23

that there is a mingling of society

38:26

and there's the old Ton in the new Ton.

38:29

So young Charlotte. We wanted her

38:31

to embody that fresh,

38:34

you know, new exciting

38:39

way of dressing which expresses

38:41

the excitement of the new Ton. So specifically

38:45

in the wedding scenes, we

38:48

see Charlotte, you

38:50

know, throw off the British wedding

38:52

gown and put on her wedding gown.

38:55

It's sort of a I would say,

38:57

an easter egg in a way for the

38:59

audio to understand that this is a

39:02

new world. And so

39:04

she embodies that in the way she dresses.

39:07

I mean, she's very When you see young

39:09

Charlotte with Augusta,

39:13

the King's mother, the contrast

39:16

is exceptionally

39:19

different, isn't it. I mean, one is fresh

39:21

and young and the other is sort of very traditional,

39:23

very period. Yes, so

39:27

was our That was our sort

39:30

of storytelling through the costume and

39:32

then slowly as

39:34

the years go on and

39:37

until the very end of the show, which I mean

39:39

I'm still get quite emotional about

39:41

it. Young

39:44

Charlotte has to embody

39:46

the Crown. She becomes full

39:49

circle and in the way that Augusta

39:51

protected her son in her own way, whether

39:54

you think it was right or wrong, Young

39:57

Charlotte now has to embody both the male and

39:59

fe email versions of the of the Crown.

40:02

And I always at

40:05

the time when we were working on this, reminded

40:07

everybody about that movie about

40:09

Queen Elizabeth. And you see this amazing

40:11

image at the end of Kate Blanchett as the virgin

40:13

Queen, and so young

40:16

Charlotte has become the Queen

40:18

and the king. She now has to embody

40:21

everything about the crown, and

40:24

in that regard, she's sort of she's sort of

40:26

regressed back to the fashion that she wouldn't

40:29

have worn as a young woman. Now

40:32

I'm making all of that up in my head. I

40:34

don't know what Ellen's and

40:37

I should ask I should call Ellen and ask her.

40:41

I think that, you know, our story is sort of out

40:44

of time in a way. I mean, even

40:46

though it's set in very specific dates.

40:50

But again, it's an origin story, and

40:52

the end of my story has already been told

40:54

by Ellen Marajnik in her costumes,

40:56

So I sort of had to back

40:58

into that and go, okay, so did why

41:01

does Queen Shawlotte dress

41:03

this way in the eighteen hundreds?

41:06

So that was our sort of arc

41:08

for her in our storyline.

41:12

Wow, when

41:14

I saw your costumes,

41:17

what I saw you do? Lynn? For

41:20

me, I saw Charlotte

41:23

compensating or filling all of that

41:26

empty space George

41:28

left her with and she had to just

41:30

fill it with opulence and

41:33

more and more. Yes,

41:38

you could see that that arc. There's

41:41

this moment where she's got this pink,

41:44

shimmery dress. It's right when

41:47

she is walking

41:49

to dinner and it's the first time

41:51

she sees young King

41:54

George for a meal, and however

41:56

long it's been since their wedding night, it honestly

41:58

took me back to being a

42:00

little girl. It just felt so

42:04

shimmery and delightful and

42:06

flowers like. It reminded me of my

42:08

era of I love pink and flowers

42:10

and everything and sparkly shoes

42:13

that light up. That's

42:16

what it reminded me of.

42:18

You sound like my daughter, Gemma. I love that it's

42:22

her favorite down. This

42:24

was a conscious choice, the

42:27

pink and the shimmeriness of

42:29

it, and the princess quality of it.

42:32

But when when he says, Hi, Charlotte,

42:34

I'm here for dinner, she is not that sweet

42:37

little princess.

42:39

Yes, journey

42:41

for a meal, this evening, a meal, A

42:45

meal, a meal,

42:51

Charlotte. Where are you going?

42:54

Where are you going?

42:55

I do not know, just away from

42:57

you, wherever you are, not Charlotte, Charlotte,

43:00

Charlotte. If you'll just give me a chance, Charlotte,

43:02

start walking this instant.

43:04

The whole montage of her eating alone

43:06

alone, you know, months of being alone,

43:09

and each each of those meals

43:11

was a different costume, which is on the screen

43:13

for maybe six seconds.

43:16

We have to talk about that.

43:18

We kept going, oh, she's changing again, she's changing

43:21

again.

43:21

Uh.

43:22

The production was going, oh my godlind do we have

43:24

to change again?

43:25

Yes, we do know.

43:27

And she's a strong woman

43:30

and she is a boss

43:32

in that scene and she's like uh uh

43:35

ah. We loved that contrast

43:37

for that scene. And it was the most romantic

43:39

gown for a not very romantic

43:41

scene because she's quite upset, isn't she as

43:44

she should be. Her husband's

43:46

been gone this whole time, So that's

43:49

why we chose that particular gown for that

43:51

scene.

43:53

Okay, that montage. We have

43:55

to talk about this montage because that's

43:57

what I was thinking of it

44:00

from at least trying to think of it

44:02

from your point of view, and how

44:04

little time those costumes,

44:08

the entire ensemble actually made it on

44:10

screen. Sometimes she had a wig on with

44:13

curlers in it at one point, all

44:16

of the undergarments.

44:18

I know, it was great, and honestly, you didn't see

44:21

everything that we did. There

44:23

were a lot of costumes that

44:25

I don't think made it to the cover that

44:28

I think the whole montage was just to tell the

44:30

story of loneliness, like even though

44:32

she's surrounded by

44:34

as you said, opulence and

44:38

these gorgeous fabrics and jewels

44:40

and the shoes, and thank you to Roger

44:42

Vivier because they gave us

44:44

so many beautiful slippers and shoes

44:46

for the show. That

44:50

she's just alone. And even when you have

44:52

all that luxury, it doesn't

44:55

it feels as though you

44:57

would find happiness in that. But I think it is a a

45:00

metaphor for life, and that, you

45:02

know, without her partner, without the

45:04

person that she wanted to spend the rest of her life

45:07

with, she was just scented in loneliness.

45:10

And everyone

45:13

on the production end kept saying

45:15

to me, oh, Lena, I'm so sorry you're having

45:17

to, you know, create so much

45:20

for so little screen time, and I was

45:22

the exact opposite. I was like, bring

45:24

it on. We were having a blast creating

45:27

all these beautiful gowns, I

45:29

bet, and we created

45:32

I think thirty gowns

45:34

for young Charlotte before we even

45:37

had the real outline

45:39

of all those scenes. And at

45:43

one point the production manager said to me, do

45:45

you think you're going to need that many? And I was like, yeah,

45:47

I do think we're going to need that many. So and

45:50

we did, I think out of

45:52

the hundreds and hundreds of gowns that we made

45:54

for Charlotte and I the

45:56

pieces, I think it was about one hundred and thirty

45:58

gowns. There

46:01

was only one that we didn't use at the end, so

46:05

we were yes with the matching

46:07

corsets and the underpinnings and the shoes

46:09

and the hair accessories. It was crazy.

46:11

You are playing with my emotions

46:14

right now. That's a lot. That

46:16

is so much. That's a

46:19

lot. And Okay,

46:21

so when you say one hundred and thirty pieces, you

46:23

don't just to clarify

46:25

for listeners and anyone like me who

46:28

is really just curious, you

46:31

mean entire ensemble, so

46:33

to say, or like a ruffle that you added

46:35

back in for a different scene.

46:38

We didn't repeat anything on

46:40

Young Charlotte, and each

46:43

gown is really two

46:46

pieces, the skirt and the over rope.

46:49

So that's so i'd say,

46:51

I would say it's over one hundred gowns total.

46:53

I'd have to check with Laura Frakhon,

46:55

who was my co designer on this, but

46:58

at the end, it's boxes and boxes and boxes

47:00

of gowns, and I wish I had an exact number

47:02

for you. Someone asked us

47:04

the other day. How many costumes

47:06

did you make for this? And

47:09

it's in the thousands.

47:12

For many reasons, we couldn't.

47:15

First of all, most people

47:17

don't do stories about loss,

47:19

and I love that Shonda did a story

47:21

about loss, about Queen

47:24

Charlotte losing. You know, it's

47:27

stunning, isn't it, and people

47:29

in mourning that you don't see that on television

47:32

or in movies, I don't think very

47:34

often in this period, so

47:36

none of that existed. And even the livery

47:39

from the seventeen sixties didn't

47:41

exist in England. You know, we didn't rent

47:43

anything. We made everything. It

47:46

was challenging, but also

47:48

it was fun. I was thrilled.

47:51

I'm always excited to do more.

47:54

I'm the opposite of some

47:56

people that I know in my business who would

47:58

rather lean in to oh, well, let's

48:00

find it. I just, you know, give me a piece

48:03

of fabric and let me make something. I

48:05

love it.

48:06

It clearly seems like less is not more

48:08

in your world. Less

48:12

is not more.

48:16

The other funny story for you is that we kept

48:18

running out of jewelry.

48:21

So again there's

48:23

a moment at the beginning of episode five

48:25

where even though they're in the dark,

48:28

Lady Danbury and by

48:31

Countess Violet are in the dark. Their

48:33

jewels are dancing from the light

48:35

on the stage. They're at the opera. These

48:38

jewels they borrowed.

48:42

Well, I will say that most of that

48:44

jewelry in the opera scenes

48:47

was we custom

48:50

made it in house. But the

48:52

necklace and ear rings that Lady Danby

48:54

had on were by my friends from

48:56

Lockspur and Hawk. They're based

48:58

in New York and they create

49:02

modern versions of George and

49:04

jewelry. And I had come

49:07

across them through a friend of mine and you

49:10

know, written to them, and they were stunningly

49:13

kind to the show. And

49:16

in fact, Young Queen Charlotte's wedding

49:19

band, that beautiful ring that George puts

49:21

on her hand during the marriage

49:24

ceremony was from Locksbury and Hawk.

49:26

So that's actual. Those are real jewels,

49:30

it's not costom.

49:32

I was also wondering how you fix

49:35

the jewels to the bodice. Charlotte

49:37

says, it's a whalebone corset.

49:40

Can you tell me a little about the corsets

49:43

that were a part of this

49:45

production.

49:46

Yes, so obviously it wasn't a whalebone

49:48

calls it, because

49:52

that would be very, very wrong. But

49:56

I think Shonda was speaking to

49:59

you know, how come your

50:01

clothes must have been as a young woman, and

50:04

how restrained

50:06

women were in their movement during

50:08

that period. However, we

50:11

did the exact opposite for young

50:14

Charlotte. We did bone sort of

50:16

the front of her gown, of her corsetory,

50:19

and also into some of her gowns, but

50:21

the side panels had elastic in

50:24

there because we did not want young

50:26

Charlotte to

50:28

be confined in her movements. So

50:30

when you look at her, when

50:33

she moves, even when she runs down the hallway

50:36

after her brother signs the marriage contract,

50:38

she can move. Yes,

50:41

yes, So that was a conscious decision

50:43

on our part not to have her be so

50:46

confined. And then you know, with other

50:49

characters again Augusta,

50:51

who was her antithesis, we

50:54

really did, you know,

50:56

structure her corsets because it was

50:58

important, wasn't it for her to stay in a certain

51:00

way?

51:01

Oh my goodness, And it's so evident.

51:04

And Michelle, by the way, Michelle was a

51:06

trooper. She was like, strap me into

51:08

that thing, and come on, let's do it. So

51:11

Michelle's a real she's

51:13

an amazing partner. When

51:15

you're you know, having to

51:17

deal with that element of costume

51:20

and costume design in this period. But

51:22

she loved it. She loved the causes.

51:25

We gotta talk about

51:27

Young Agatha. I

51:29

love her character, what she

51:32

embodies, and what I think I love

51:34

about Lady Danbury is I

51:37

loved Lady present

51:40

day Lady Danbury so much. And

51:45

Agatha, Young Agatha caught my

51:47

attention first because

51:50

of how different her colors are. And

51:53

I remember speaking

51:55

with agi Or before and she said,

51:57

you know, I I my character,

52:00

but the way I see her, she looks

52:02

different from the other women. Her hair is straight and pulled

52:04

back. She wears starker colors because she is

52:07

She doesn't need all the fuss. And

52:10

Young Agatha is fussy. She's got curls,

52:12

she's got flowers, ruffles.

52:15

Can you tell me about your

52:17

team's thinking, your thinking and

52:19

bringing Agatha, Young

52:22

Agatha to how we

52:25

know Lady Banbury in present

52:27

day? Because that is a journey.

52:29

Oh, it is most certainly a journey. It's

52:31

almost as if Young Agatha

52:34

is playing a role early

52:36

on in the story.

52:39

She's conforming to

52:42

a role that her parents have forced

52:44

her into from being a very young

52:46

child. And within that

52:48

role, however, I do love that. I

52:52

mean, she is being a dutiful wife, and

52:56

she is sort of, you

52:58

know, doing the things

53:00

that make her husband happy, although she herself

53:03

is very unhappy. But she's also managing

53:06

to create her own world

53:08

and surround herself with her friends,

53:10

you know, her maid who's become a confidante,

53:14

and she's the one really

53:17

who secures the

53:19

succession of the Danbury family.

53:22

She is the one that has

53:25

the knowledge and power to go up

53:27

against Augusta in our story,

53:30

which I absolutely love

53:32

about the character. But

53:35

is also a true friend to young Charlotte,

53:37

So you see why the two women albeit

53:40

it's this sort of strange friendship later on

53:42

in life that they do have sort

53:45

of a mutual origin story.

53:49

And you see this transition of

53:51

young Agatha from the

53:54

colors that her husband love that she didn't

53:56

love, then through the morning period

53:59

Afterpin passes away, which are actually

54:01

some of my favorite costumes on the

54:03

show. I

54:05

you loved creating

54:08

all those walking costumes that she wears

54:11

with the veils. It was so

54:14

much fun. And to see her in

54:16

those green fields, you know, just

54:19

so pretty. I find her

54:22

so compelling.

54:23

Don't you absolutely And

54:26

I love that you said you loved working on the

54:28

funeral costumes, because

54:31

I was wondering if you had to make

54:33

accommodations or do any

54:37

special encrusting of jewels to make

54:39

those darker fabrics pop on screen.

54:41

Oh of Agatha's

54:44

morning costumes are encrusted

54:47

with jet beads, so when she

54:49

moved in life, it just shimmered

54:52

and you do get a sense of it, but

54:56

you don't see the detail as

54:59

much as you would with your eye in

55:01

person. But it was a conscious

55:03

choice and a choice that I talked to Tom

55:05

Burka about that even

55:07

though Agatho was supposed

55:09

to be in mourning and supposed to be, you know, not

55:12

leaving the house all those things,

55:15

that when she does leave the house to

55:17

go for her rambles, we

55:21

wanted the camera to find her shimmering

55:24

in that countryside. And we

55:26

spent a lot of time hand embroidering

55:28

all the veils. It almost looks like tears,

55:31

but just this tiny touch of

55:33

something across, so it wasn't just a simple piece

55:35

of veiling. So everything was hand

55:37

embroidered, embroidered by our in house

55:40

team, And there are some of

55:42

my favorite costumes. They really are.

55:44

I love that the tears are in the veil and that she's

55:47

still shimmering through because she that

55:50

whole thing is about she.

55:52

She's mourning, but she's also mourning.

55:55

I think she's grieving for herself

55:58

too, like the three year old that

56:01

had to be prepared all this time.

56:03

So oh wow,

56:06

I didn't I.

56:07

Agree with that, with what you're saying. I think that

56:09

is I think that is her time of you

56:12

know, recollecting her life.

56:15

How did she end up here? How

56:18

can she dig out of this? Possibly,

56:21

you know, having the crown take everything

56:23

she's worked for? You know, does

56:25

that fit scene with the lawyer who says you'd

56:28

either get married again or you

56:30

know, unless you can manage

56:33

the succession for your son, you're going to lose everything.

56:36

Yeah, So I think it's a morning for you

56:38

know, having given up so much. So

56:40

I do think it's quite poignant and

56:42

lovely and I so respect that Shanda,

56:44

in the middle of this tale full

56:47

of color and life, takes this

56:49

moment to be just a little pensive

56:52

about the choices woman had. But still

56:54

beautiful, right, Lynn.

56:57

It has been such a pleasure

57:00

speaking with you and getting into

57:02

your head, and you're obsessed

57:04

about the story just like the rest of us. So

57:09

yeah, it's really fun to hear.

57:11

Everyone should know. I'm a fan too.

57:13

I love it. I watched all two seasons

57:15

and Bridgitton and you

57:18

know, I'm anything that Shonda does. I'm

57:20

there, I love it. I love for work. I'm

57:22

very fortunate to get to play in this world.

57:25

Very fortunate.

57:26

Thank you so so much for

57:28

your.

57:29

Time, take care, Thank you for everything.

57:32

Thanks again to costume designer Lim Pallow

57:35

and Yeah Lady Danbarry our

57:37

Sema Thomas. We're really grateful

57:40

for their time, insight and

57:42

fresh perspectives. On

57:44

our next episode, Golda Rocheville

57:47

and India and Martafillo have a sit down.

57:50

Con fact, whenever the Queen

57:52

is sitting down, she's in ug

57:54

boots. Let me reveal that

57:56

right now, any form of

57:58

comfort to Ruschavelle can

58:01

get while playing this part, I

58:04

will go there. So

58:06

know this world ug Boots.

58:13

Queen Charlotte. The official podcast is

58:15

executive produced by Sandy Bailey, Lauren

58:17

Homan, alex Alja Tyler

58:20

Klang and me Gabrielle Collins.

58:22

Our producer and editor is Tarry Harrison.

58:25

Subscribe to the podcast anywhere

58:27

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58:31

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58:34

But you can download it and

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58:39

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58:41

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58:47

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