​The Outlaws makes its debut on Prime Video tomorrow, April 1st, 2022, and in anticipation of its release, we here at Nerds That Geek were fortunate enough to sit down with the show’s creators/writers, Stephen Merchant and Elgin James and its stars Rhianne Barreto and Gamba Cole to discuss the wonder of this brand-new series

John Betancourt: I would love to know more about what went into the creation of these vibrant characters from a writing perspective.
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Elgin James: I think it started off, we really kind of wanted to have these archetypes, and then to just like, kind of crack them open and see their insides and go deeper. And what was great for me is that meant… working with Stephen… is he would actually play all the roles while we wrote it out, we'd be writing a scene, so he would be Gabby, he would be Myrna. It was pretty, it was pretty rad. Um, but a lot of that was that, just like how we ourselves look very different. We come from different places, we have different backgrounds, when we have actually so much in common. Um, and I think that became sort of almost like I keep saying, we're kind of the billboard for our own show of just like, how much… what's the truth behind what people see on the exterior.

John Betancourt: What are both most proud of when it comes to this series?

Stephen Merchant: Well, you know, I really hope that as Elgin said, it captures our sort of joint sensibility really, is that it's a show about, you know, as Elgin has said, how we're all one step away one bad decision away from a whole different life experience, and that you can take a character, you know, like the man who perceives himself to be the sort of upstanding law abiding citizen, and through some bad choices, finds himself, you know, in trouble with the law, and his life begins to unravel. And so, you know, what we were hoping to capture was that feeling that, you know, that there's a very polarized world that we live in now. But that actually we're all one step away from an alternate life and that we actually have more in common than we perhaps have that divides us and hopefully, there's an optimism to the show and, and a hope, and a sort of empathy for all of these people, and that we can maybe make you feel or care or empathize with even people that you wouldn't particularly like if you met them in real life. And I think trying to develop a show that's about empathy and about humanity and common ground and also have some, you know, some jokes and some thrills. I like to think that that's quite an optimistic utopian idea to put into a show.

Elgin James: Yeah, it was a funny experience for me to have worked on it with Stephen so closely and deeply for so long. And then I was here working on my show in the States while he was actually out with everyone else producing the show. So, it was actually really moving to see this effort that we done and then you give it to your friend who you trust more than anything and they can see what these people executed, was just like honestly, I mean, it actually touches me really deeply and I'm so insanely proud of it of just of what they all were able to create. So, every element of it… I'm just proud of

John Betancourt: What was it that attracted you both to your respective roles?

Rhianne Barreto: I think the main part was that it was written and created and acted with Stephen, I think he's a British comedy icon and he's created such incredible pieces of work that it just felt like to work with someone like him would be such a treat. And then obviously, the character is so beautifully layered and complex. That was really exciting also.

Gamba Cole: Yeah, um, you know, I agree, working with Stephen, the story was so good. You know, I'm also born in Bristol, in the UK. And that's where the story centered as well. So, I had that connection as well. And I've got family members that are in the same area as the character Christian. So, it felt it felt right, you know? And, you know, the, the story over the six episodes is one for my character that shows you may be from a particular background, and, you know, have a lack of options and stuff, but you can still aspire and dream, and, you know, be a good person, really. So, it was nice to show that nuance and color and where you meet him to where you see him at the end of that series are two completely different places.

John Betancourt: Now that brings up a good point. In that, this is a unique show that doesn’t portray crime in a traditional or stereotypical manner. What did you both do as actors to prepare to play such layered and complex characters?

Gamba Cole: For me, I went back to Bristol before we started shooting, and I just spent time creating that backstory, you know, where he went to school and the shops that he would go to in the areas in which he would spend his time and stuff like that. And I feel like familiarizing myself again, with the streets of Bristol really helped cement me into my character. And I think a lot of the times as well being an older brother as well, and having that dynamic of looking after somebody younger than you, and really wanting them to become a better version of you and the environment that you've come up in. That's also something that I identify with and familiarize myself with too. So. Yeah, those were the those were the main things I would say.

Rhianne Barreto: Um, I, when I first got the role, I went to Oxford University and did like a tour of the colleges and pretended to be a prospective student. That was quite fun to kind of see… the like, intensity of that, of that university and what that means to be in one of the top universities in the world and, and what that meant when she… maybe didn't go. So yeah, that was really exciting.

John Betancourt: Now there’s definitely a fair amount of subtext in this series, and with that in mind, what are you hoping from a message standpoint, audiences take away from this?

Rhianne Barreto: That's a great question. I think the main thing that I think Stephen’s nailed on the head is that the people that you start the show aligning with or thinking from what they look like… you would get along with most or would understand the most… that maybe you don't, and the people that you think have nothing to do with, you don't share culture or history or appearance, are the people that actually you relate to the most, and I think the differences between different humans that maybe don't walk in the same shoes necessarily, but share the same kind of human desires of wanting to be loved or wanting to feel safe or wanting their family to be safe. I think it's really universal. And I hope that people also laugh at the show, too.

Gamba Cole: Yeah, just to echo what Rhianne was saying, I think it's important that you know, us as a people realize that no matter what background you come from, or you know, what class you are deemed to be in, when our backs are against the wall, we will always make decisions that some will understand, that some won't, and it just shows you that everybody is flawed, you know, and we should look at people with more with more compassion and understanding, you know, we were blessed to be a part of a show where we're able to explore, and we're able to show, you know, both sides, you know, in real life, you don't really get that, that benefit. So, hopefully from that, you know, people learn and start to look at that. Also, just people enjoy, you know? We've had a torrid couple of years. So, you know, there's a lot of comedy in the show, as well. So hopefully, people can just like, sit down, shut off, and just enjoy and laugh with us, too.

John Betancourt: What are you both most proud of when it comes to your time on this series?

Gamba Cole: Um, my growth as an actor, I think I think every job that I go on to, I always want to learn, you know, I always want to make sure that I can come off on the other side better. And I spent time with, you know, the actors that are a lot more experienced than me, you know, from Christopher to Stephen to Claire, Eleanor, Darren, and I would, I would always sit down with them, and I would talk to them and I would ask them things, just, you know, from an actor's perspective about the industry, and like, even the stuff about the script, and making certain decisions, and, you know, just improving, you know, my technical ability on camera, as well. Stuff like that is important for me, because I always want to be a student. So, for me, that was the main thing. And, you know, just also, we're in such a privileged position, you know, to do something that we love doing. So, it's always paramount that you, you take that enjoyment from it always, you know, we were doing it through a time where it was COVID and stuff. So, it really did change the dynamics or shooting, it made things a lot more strenuous, and stressful at times, because you couldn't really get that interpersonal connection that you always normally get when you know, you're not dealing with the meter of distance and, and the constant masks, stuff like that. So that did make it hard. But then again, I have to, you know, the crew were amazing. And the cast, of course, Rhi included, especially, just sort of made things easier.

Rhianne Barreto: Yeah, I think everything Gamba said really, I think we spent a year, I spent a year in Bristol, I think, all in all, because we did both seasons, not just back-to-back, but like, mixed and jumbled up. Like we did… when we came back from COVID, Stephen had written season two. And one of the first scenes we were shooting was episode six, season two. Which was one of the last scenes of the last season before we shot any of the rest of it. So, it was it was like, technically, a baptism of fire. And, you know, we got so close with the crew that I started to like, I don't know, I just feel like I understood to a high level… lenses and eyelines and what, how to conserve energy and what to do in a wide and tight kind of remember how you're holding yourself so that when they come in for closer shots, you don't start changing, you know, just all the stuff it was kind of it was
like really technical and really, really useful to learn all that.

These interviews have been lightly edited and condensed for clarity.

Chilling new thriller The Institute reunited director Hamza Zaman and actor Mark Lobene, who had earlier worked on The Bohemians on the New York stage.
 
Nerds That Geek: Correct me if I’m mistaken, the film was shot in New York? 

Mark Lobene: Yes, it was shot in Upstate New York, along the Hudson River.
 
NTG: Did the shoot require you to relocate? 

Mark Lobene: Luckily no.  I did stay on location for several weeks while shooting.  This was a great team experience.  It was like summer camp!
 
NTG: How did you meet Hamza Zaman, the director? What led to the part?

Mark Lobene: I met Hamza several years ago when he directed me in a new play called “The Bohemians” at the Theater for The New City in downtown Manhattan.  We connected immediately and ultimately discussed “The Institute” screenplay he was working on.  We have similar life values.
 
NTG: What makes your character tick?

Mark Lobene: The need for world recognition as one of the smartest fertility doctors around.  Additionally, he needs to make scientific breakthroughs that will assure him that he will be in the history books. He likes scientific challenges and goes after them with energy.
 
NTG: And how would you describe the character arc, without giving anything away? 

Mark Lobene: Without giving anything away, I would describe the character arc as one of extreme competency that leads to a type of egomania, which leads to going off the tracks in pursuit of science at all costs to the detriment of others.
 
NTG: Was Hamza open to improvisation and contributions from the cast?

Mark Lobene: Yes, absolutely.  He welcomed feedback.
 
NTG: Being an actor, I imagine he was a real ‘actor’s director’? Was that evident? 

Mark Lobene: Yes, Hamza saw things from behind the camera and in front of it.  This is a great strength in a director as it provides a global view of the process.
 
NTG: What do you think makes the film as unique as it is? 

Mark Lobene: Several things make this film unique. First and foremost is the sympathy with which the romantic leads are portrayed.  They’re real people with real people’s problems.  Second, the crossover from “good science” to “bad” science in pursuit of a good objective, yet the transgressor, Dr. Landes, really believes he is doing good for the world, sort of a Dr. Jekyll and Mr. Hyde syndrome. 
 
NTG: There’s always something spooky going on, on the sets of horror movies. Any scary workplace stories for us to end on? 

Mark Lobene: I’d like to tell you, but you need to see the film first!
 
THE INSTITUTE is now available on digital, DVD, cable and Blu-ray.

Sasha Compère is an accomplished actor of both the silver and small screen. From a television standpoint, she’s appeared in Miracle Workers and Love Life and in theaters, you’ve likely seen her in Ad Astra or in the Netflix feature Uncorked. Currently she stars as Brit in the Freeform series Single Drunk Female and in anticipation of the show’s season one finale, which debuts tomorrow, March 17, 2022, on Freeform at 10:30 p.m. EST, we had the chance to speak with Sasha about her role and the show.
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John Betancourt: What was it that attracted you to the show and Brit for that matter as well?

Sasha Compère: Yeah, you know, when I read the script, I am immediately connected with Brit. One because she's a first generation Haitian American. And also, she's had those pressures put on her to be perfect. And my parents are both from Haiti. And, you know, I absolutely love, love, love and respect them. But I will say that pressure is relevant to me and very real. And I've also had friends go through a lot of gripping issues where personally, I've had to, you know, choose to distance myself and I heard from those same friends after the show coming out saying: “Wow, this show connected with me.” And I love that I love that the way that Simone was so generous with her story and, and how unique and funny and quick and kind of smart it was. I mean, I felt blessed. I felt blessed to even read it and read for it, and then to find out, but I got it was… a dream come true.

John Betancourt And you bring up a great point about diversity right there, which leads me to my next question. In that, what does it mean to you to be a part of a series that is so incredibly progressive and diverse?

Sasha Compère: Wow. Again, like I wish “dream come true” wasn't like the only thing that came to my mind. But I, you know, working on a show that is so diverse and hits life from so many angles, it feels like we're exactly where we should be and where I wish we were maybe 50 To 100 to 200 years ago, going all the way back to Shakespeare. He did a good job, sometimes. But um, he's one of my favorites. And I think he addressed a lot of issues that were maybe taboo for the time. Yeah, but um, I think it's, it feels fantastic to see, you know, Rebecca through Olivia's character going through IVF with her partner and to see Mindy be the boss and this amazing strong force and to see Ally Sheedy going through life, dating again and Sofia's character going through alcoholism losing her job, and Lily as a single mother and myself just dealing with having that quote unquote perfect life which I feel like we generally don't see people of color having it's sort of the flip for me and I was and I just feel so gracious and so like… it’s a breath of fresh air to see something on TV that looks like the way I see the world in everyday life.

John Betancourt: Now in talking about all those journeys, that brings up another important question. Because while it seems as though Brit has that perfect life, it’s obvious that Brit is the ‘peacekeeper’ on the show.

Sasha Compère: She is!

John Betancourt: How did you as an actor, approach the mentality of someone that is quite literally juggling everything and trying so hard to keep everyone so happy?

Sasha Compère: Someone who once worked three jobs at the same time. I think I was a building manager. I worked at a restaurant at night, and I would work at a network in marketing during the day and I think I just got it and that was for several years of my life I would keep multiple jobs. I mean even I believe back in high school; you know, I would work a job or two and then you know, go to school, and have the sports and then in college I work two or three jobs just to pay the rent and pay for books, while I was on scholarship. And in New York I immediately you know, got the night job got the day job and in California when I moved here, I juggled a lot and so I think that for Brit, I immediately tuned into her because I was like: “Okay, she's got a lot on her plate, and she's got to keep it going.” I see that and I get that, and I can come from that angle. Any day of the week, any day any hour.

John Betancourt: So, personal experience. Okay. I like that a lot.

Sasha Compère: Yeah!

John Betancourt: Now the only thing that hasn’t happened for Brit just yet in the show, is that she really hasn’t laid out what it is she wants and she’s looking for. Which is interesting since we know where the other characters stand. Now what would you say… Brit is searching for?

Sasha Compère: Well, I think she's searching for really who she is. I think for a long time she's been the product of maybe what her parents have put on her the product of just being a good friend. As far as supporting Sam and looking at Sam almost like, that's fine. But I do think there's a piece of her that looks at Sam's life, like it's a movie, you're watching someone go through all the things you wish you had the freedom to do. And I think it is looking for that freedom to start experiencing life and make mistakes. And I think she's chosen to make quite a few of them. And I think, you know, she's learning from them. So, she really is just learning how to find her true self.

John Betancourt: So, there are a lot of messages in this show. Which is a good thing. But of all the messages and themes present in this show, which one resonates with you the most?

Sasha Compère: I think, oh, that's a tough one, isn't it? Because there are so many. You know, I don't want to I don't want to support any or say that, like, it's okay for someone to kind of fall off the wagon. But I think that if you have the kind of support that, that Sam has, it's okay to be honest with your feelings and to you know, look for support and the people around you. And to, you know, laugh through some of the messy stuff with the people who are closest to you, as we all go through stuff.

John Betancourt: What would you say you’re most proud of, when it comes to your time on this series?

Sasha Compère: Oh, man, just I mean, everything. I think the fact that it was so women led and women forward from our Creator, Simone Finch, to our amazing producers, Jenni Konner, and, and Leslye Headland, and we had a lovely trove of female directors and a lot of inclusive like BIPOC and LGBTQ and IA and I just… I'm so proud of it. From both in front of the lens of behind the lens, really just looking like how we all want to be seen and how we how we should be accepted today. I'm proud that it exists.

John Betancourt: So, last question for you today, what are you looking forward to audiences experiencing in the season finale? Without any spoilers, of course.

Sasha Compère: Looking forward to seeing just how Sam and Brit’s relationship evolves, and also seeing growth in and maybe a little bit of attraction for every single character that we've met from pilot to end, will feel little bit of everyone going through something new. I’m also excited for people watch me in season two! -laughs-

John Betancourt: Yes! Well, thank you so much for your time today, Sasha. I really appreciate it.

Sasha Compère: Thank you so much, John!  

This interview has been lightly edited and condensed for clarity.

LOST ANGEL director and co-writer Simon Drake spoke to us on the eve of the film’s North American release about turning a 20-page long short script into a thrilling, comprehensive feature script.
 
Nerds That Geek: How long had you been looking at bringing Lost Angel to the screen?
 
Simon Drake: A number of years, as it was based on a short script which Louise Hume had originally written. The challenge to find a way to expand the story from the initial shorter piece into a feature length.
 
NTG: And it was written by yourself and Louise, over how long?
 
Simon Drake: The writing developed over several years. Trying to find a way into the story, and there was an element which was the key to the whole thing which took a while to find.
 
NTG: What was the initial germ of the idea?
 
Simon Drake: Louise had written a short script, about 20 pages long. It was essentially where Lisa and Rich meet, spend a night walking around a museum, then it ended where the second security guard appears. I really liked the premise and characters, so I produced it as a short film with Louise directing. Unfortunately there were a number of problems with that original production, and the short film did not really come together in the way either of us were hoping. Very disappointing. I still felt the script had been strong and it could be expanded to a larger scope of a feature film.
 
NTG: And how did your co-writing work, do you send the script back and forward and one adds their bit, the other approves, adds their contribution, and so on? That really intrigues me.
 
Simon Drake: After all the complications with the short film not really working, I was keen to develop the story as a feature length project, and Louise and I trashed out some ideas. However, by this time, Louise was working on her own novel and other writing projects and was happy for me to take the reins and finish it alone. I added the sister mystery and investigative plot based on her characters and premise from the short script. For example: Lisa did not have a surname in Louise’s version, so I suggested Hill as LH was Louise’s initials. Also, as Lisa is a more down to earth, grounded character compared to others in the story. Or I would expand things like Lisa’s ex-boyfriend Gaz, who was only mentioned in one line of dialogue in Louise’s shorter script. That helped to keep as much of the essence of Louise’s work whilst making things my own too.
 
NTG: Did you have Sascha in mind for the role during the writing process or did that come later?
 
Simon Drake: I met Sascha later on when I started the pre-production of the feature. She was one of the first people cast though, so as I did rewrites (or as we went through filming) I could write with her in mind or tweak the script based on her ideas, strengths and collaboration. 
 
NTG: She’s a relative unknown – where did she come from? What a discovery!
 
Simon Drake: A mutual friend (Samantha Bolter who helped with the majority of the casting) put me in touch. We had briefly met before; on a short film we were both involved in several years previously. I knew that as she was the lead character and in every scene of the film, I needed someone who could not only carry that responsibility but also, I needed a sense that the person would commit to such a big project before I considered getting others involved. I got that sense from her straight away.
 
Neither of us knew quite how long the project would take or how much commitment it would end up being though. She was incredibly committed and brought lots of great ideas to the table, she would suggest actors she knew for other roles I’d not cast yet or suggest shooting locations she found which we would end up using.
It was not an easy shoot at times, as a micro budget with no frills, we often had very little rehearsal time or were filming in cold locations etc, but her (and the other cast and crew) were terrific to stick with it.
 
NTG: Being an independent production, I’d think you probably ended up wearing more hats on it than credited. Was that the case?
 
Simon Drake: Yes, I had not planned on editing it for example, but I couldn’t get anyone else to commit, so I suddenly had to learn that skill. Likewise with the props or costumes design, art direction and most of those jobs which needed doing yet I couldn’t get people due to the (lack of) budget, schedule or other issues. It was a quick learning curve for me (and really made me appreciate the people who do those jobs as I soon found out what those roles entail and how important/difficult they all are).
 
A number of the names on the end credits are actually anagrams of my name (and a few of my sound and camera operators) as I wanted to acknowledge that we did at least focus on those things as best we could without the same 3 names (or worse, my name seeming really egoistical) appearing again and again.
 
NTG: If an awards ceremony were going to show a moment from the film, what moment would you ask them to play?
 
Simon Drake: In the first 5 minutes there’s a scene where Lisa goes to her sister’s flat for the first time and is looking around at the tiny details of Melanie’s life. A life now ended. Lisa is looking with a mixture of sadness, confusion and isolation, then some threatening goons show up kick starting the plot. Sascha played it on the verge of crying, but still holding back the emotions too. 
 
NTG: Considering the year, we’ve had, most of us are appreciate film and other forms of entertainment more than ever.  How have you been distracting yourself from outside worries during the past year?
 
Simon Drake: I had some editing projects like re-cutting an earlier feature film I produced before Lost Angel for a re-release (Infected: Darkest Day, also distributed by Left Films). As well as editing some short videos or doing fan edits of Hollywood films (for my own amusement and to practice my editing). Going running or playing basketball is good for my physical (and mental) health, and I enjoy reading or watching movies.
 
LOST ANGEL is on digital March 15.

Marsha Stephanie Blake and Omar Benson Miller are two accomplished and talented veterans of the acting community that have graced the silver and small screen often and their project is the incredible new Apple TV+ series, The Last Days of Ptolemy Grey, wherein they play Niecie and Reggie respectively, and we here at NTG were able to speak with both of them about their new shows and their characters.
 
John Betancourt: What was it that attracted you to both of your respective characters?
 
Marsha Stephanie Blake: Oh, man. I love Niecie… the size of her. Um, I don't often get to play characters who are a little bit selfish. Or maybe not with not as much virtue or outwardly not as much virtue. So, it was nice to explore this other side of this human being who, for all intents and purposes, thinks she's doing the right things, but sometimes makes the wrong decisions. But she's not the kind of person to admit that. It's just fun. I think it's just; it adds a level to my experience as an actor that I was really happy to explore and then getting to be in scenes with not just Samuel L. Jackson. But this roster of actors that… I’ve watched a lot of them. I've watched them over the years and admired them and been like, “Oh my god, this guy's so great.” Like Walton Goggins, I watched him and looked him up. You know I saw him in something small. I did one of those things where you see somebody in a small part, and you're like, “Who is that? Oh, my gosh, I can't unsee him.” And I went and looked him up. And then I went and watched everything else he had been in. Um, but you know, it's, it's just so many things that attracted me to the character. And then the story that Walter (Mosely) is telling. This beautiful in depth, familiar family story of generations, and legacy and how you treat people at the ends of their lives and how you're treated at the beginning of your life and what you're passing down to your children. Everything. There are so many aspects of this character that I love.
 
Omar Benson Miller: I just really was drawn to the relationship and the bond that a younger person has with this older person that he becomes a caretaker for, I thought that the kindness and the sensitivity and the selflessness of the character was really intriguing. Something we don't get to see often, especially in communities of color. And when you pair that with, you know, an absolute icon like Samuel Jackson, and Walter Mosley, and I just watched The White Tiger on Netflix, I was excited to work with Ramin Bharani. So, it was all good for me.
 
John Betancourt: Now I noticed that this series really does come off like a play and that both of your characters, have an incredible impact in a very quick timeframe. What did you do from a preparation standpoint as actors to get across such powerful themes with such minimal exposition?
 
Omar Benson Miller: Wow, that's a great question. For me, it was on the page already. They made it easy on me because I didn't have to do so much. Because the writing was fantastic, then we had a short rehearsal period where I got to work with Sam. So, he and I got to really get our chemistry together and build those layers, that bond, so that the viewer would see and feel that these men mean a lot to each other. That was the big prep, and then come in to work ready to play because Sam is a professional, he's not messing around. So, when the camera rolls, it's time to get busy. And it was great to be challenged, to be in scenes with someone who I've admired over the decades.
 
Marsha Stephanie Blake: You know, for me, it was about committing. Like you said, if you have less time on screen, you have to fully commit to the moment and be invested in the moment because at the end of the day, you're telling, I don't think of myself as someone who you know, has a small piece of the story. I'm a part of a whole I'm helping to tell this entire story. So, I'm a part of the whole, the entire thing… as all of us are. And as we were reminded by our cast members and directors and Sam and you know, scene partners… that you're serving something bigger than your yourself or you're just your characters. So, you come in you commit to whatever that moment is, you commit fully. You look to your scene partners if you get lost. You talked about it feeling like a play, it definitely felt like a play for me, you know, because we get six episodes, we get more time also to explore this person than you would on a normal TV show or a film. So, we just have more time with this person and exploring these relationships. And then you just trust your scene partners. And, you know, be ready to work, like Omar said, because you're working with the best, so just be ready to do it.
 
John Betancourt: And of course, I mean no disrespect there. You are both crucial to the story and without you two, there isn’t one. Now this is a series that is mired heavily in commentary and messages and rightfully so. What was the theme or message that stuck out the most for you?
 
Marsha Stephanie Blake: Probably this idea of family. Um, for me, my children always get confused, because they have a lot of aunts, and uncles and cousins who aren't blood relatives. And what I loved about this story is the idea of bringing people into your home and taking care of people, showing unconditional, unconditional love for people who aren't blood relatives. We do it all the time. I think culturally, definitely. You know, my family, immigrant background, we do it all the time. There's always someone in our house, it's not necessarily blood related. But we don't make a separation with that. There is no you know, well, he's family, but he's not family family, we don't do that. We don't even do half, half-brother and sister from where I'm from. You don't say someone is your half-brother or your half-sister. You say someone’s your brother, your sister. And that's it. So, I love that we're seeing that side of this big, extended black family. And then we're seeing it throughout history, because we're seeing the end of Ptolemy’s life. So, we're seeing 90 years of this legacy.
 
Omar Benson Miller: Humanity. You know, there's a, you see a range of man's inhumanity to man and man's humanity to man… in this story. And you see it from a variety of perspectives. The most being from Ptolemy through his memories and his current state, but you see everything, we got murder mystery, we have societal racism, we have all sorts of stuff going on. And it comes down to how we treat one another. And I don't think that this there's been a more important time to examine that component of society.
 
John Betancourt: What would you say, you are most proud of when it comes to your time on this series?
 
Omar Benson Miller: You know, what I was most proud of… my efficiency in being able to impact the story. So like you're saying, tjis character is not involved for a long time, but it's an important time, and to be able to be trusted to go one on one with the scenes with Sam, because all of my scenes are with him… to be able to go… for him to trust me and for the director and the writer to trust me to carry that catalyst to start the story is something I'm really proud of.
 
Marsha Stephanie Blake: Oh, my gosh, what I am most proud of being able to step outside of any kind of judgment of Niecie and embrace her, in all her humanity. I think it's… actually it's more difficult for me, I won't speak for every actor, but it's more difficult for me to play someone who I don't necessarily agree with all her decisions. But I had to figure out what it was about her, that made me attracted to the role, but also what made me scared of the role. And the fact that I was able, I think, to embody all the complexity and messiness that is, you know, that kind of a character. We kept saying, “Yeah, Niecy…” I can't remember which director was maybe it was Hanelle, kept saying, you know, “She's messy.” -laughs- She's just messy, which you know, so many of us are… it’s just reality.
 
This interview has been lightly edited and condensed for clarity.
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Lily Mae Harrington is a rising star in Hollywood, and she continues to add to her impressive resume courtesy of her appearances on a bevy of television shows and films and she is also a talented musician, and released her first album in 2019. Currently, she is wowing audiences everywhere as Felicia O’Brien on the Freeform series, Single Drunk Female and we here at Nerds That Geek were incredibly fortunate to sit down with Lily to discuss her role as Felicia and the wonder of the show, before tonight’s new episode airs on Freeform at 10:30 p.m. EST.
 
John Betancourt: What was it that attracted you to Single Drunk Female?
 
Lily Mae Harrington: Definitely at first, it was Leslye Headland, and Jenni Konner. I'm a huge Russian Doll fan and was a huge Girls fan. And they're able to really like… show women in complicated forms, in all of the work that they do. They're two creators I've always wanted to work with regardless of the project, and so when it came about, and it was someone a character with a Boston accent, I was like, here we go. I'm ready. This is… my time. -laughs-
 
John Betancourt: Big on the Boston Accent, huh? -laughs-
 
Lily Mae Harrington: I'm a Massachusetts girl. I've always been waiting to bring out the accent.
 
John Betancourt: So obviously, that has to be one of the reasons you were attracted to playing Felicia, what else attracted you to the character?
 
Lily Mae Harrington: Well, I just love that she, and well, especially, you know, when you're first auditioning for a series, you do the pilot, and you only get the pilot script. And so, at first, you know, she's kind of this mischievous figure, and in a way, you know, is kind of the evil villain to the sobriety in that first episode, if you will. And I loved the idea of being able to play someone that was enticing, yet dangerous.
 
John Betancourt: And you bring up another good point there, that Felicia is incredibly complex and can be the moral core of the story and also knows when to throw down and party. Which is incredibly realistic, what did you do as an actor to bring that kind of dynamic to this series?
 
Lily Mae Harrington: Well, I definitely felt like naturally, I had an awesome chemistry with Sophia. I mean, even on our first Zoom audition, there was like sparks going across the Zoom and the phone. And what was cool is, you know, she is kind of… she was always my compass. In every episode, and where she was at, in every episode, and that's the thing is you have these friends for so long, and it is these complicated relationships and deeper onion layers. But I definitely feel like it was also you know, where the writers wanted to take it. And we also didn't want to do this stereotype of a bad single mom. We really wanted to look into what other layers could exist, as well as her being ready to throw down and party, being the most devious one. But yeah, so that was really important to her development too, that she was a really good single mom, and that she has a good relationship with the father of her baby. And so that really steered the ship in a different direction for me, which is great. And I think, again, kind of adds to her complexity.
 
John Betancourt: That’s some great insight into your character and your process and I like that you speak even more to the realism of the show because I definitely want to dive into further by asking you, what it means to you be involved with such an incredibly progressive and realistic show?
 
Lily Mae Harrington: You know, it's so funny when, when it was first cast, and when we were shooting it, the progressiveness didn't even cross my mind to be completely honest. It really didn't come up for me until it was aired and until I saw people's response, and even just seeing a realistic take of a queer Jewish girl in the northeast. Like, specifically that, I mean, so many people have responded, so personally, just with that detail, and I mean, we have so many other things like with like Sasha's character, Brit, the Haitian community in Boston is like such a major thing that is looked over. And I think a lot of it, like I said, that didn't cross my mind until you're seeing these responses from people. And it feels really good. It feels right. You know, and that's the thing is never… I mean, it, maybe it was from the showrunner’s perspective, or the network perspective. But from our perspective, I never even thought twice about it, because it is a similar world that that I live in. You know, I'm surrounded by queer people. I'm surrounded by POCs in LA, maybe not in my small town in Massachusetts before, but yeah.
 
Yeah, I think it's actually mirroring our generation’s life. And I think that's also what's really special about the show is, there aren't a lot of young millennials led shows, you know? We're not quite Gen Z, if you are, like, specifying in generations, kind of this late 20s… where we're the last of the millennials, if you will. And so that's also a specific experience that I feel like no other show has quite captured. Maybe other than like Broad City, I was a huge Broad City fan. And that was part of understanding my relationship with Sam and just the love and vibrancy of female friendship in our time. And I really steered that in a direction that was definitely based on Broad City. But what else is on right now that that feels reflective of me, and my friends? It’s not a lot. So, I think that's, that's also part of their response. And so cool that a story of a lead character that the sobriety people might not relate to, but they're all these other details of her. And all these other characters that are really reflective of now. And I think it's awesome.
 
John Betancourt: See and you bring up another great point. Specifically how the show has so many layers and nuances and messages to it and with that in mind, what message are you hoping audiences latch onto the most?
 
Lily Mae Harrington: I think it's really making the best choices for yourself and living in, again, this time where I am really 28. I am. You know, I probably relate to Sam more than I relate to any other character, as a person, as Lily. And I hope the main thing is that, you know, that to enter into a place of really making the best decisions for yourself and your health, whether that's alcoholism or something else, I think is the main message that I'd like people to take away.
 
John Betancourt: Last question before we go, what is it you are most proud of when it comes to your time on this series?
 
Lily Mae Harrington: Ah, I'm probably most proud of the comfortability, I've grown on set. I've been working for 10 years, but the consistency of being on a series for a couple of months. Just really, I feel like I feel a whole different comfortability and confidence when it comes to that. And this is the first character I've ever improv’d with. And before I had taken some improv classes, and it was really not my thing, but when it came to this specific character, who I really, really understood and, and really felt connected to, that just came really naturally. So that was a new thing for me too. And proud to say a lot of my stuff ended up in the cut. So that's it. Oh, I'm super proud of that.
 
John Betancourt: Oh see, now that is something I was not aware of. That’s amazing because you’ve great scene stealing moments, that’s for sure.
 
Lily Mae Harrington: Yeah, we had a lot of fun. I mean, Sophia and Rebecca also had some great improv stuff. And we were lucky that we had showrunners that let us kind of roll with it. And yeah, so I'm super proud. I got to rise to that occasion.
 
John Betancourt: Well, that is amazing and awesome and, thank you so much for your time today. I really do appreciate it.
 
Lily Mae Harrington: For sure, thanks John.
 
This interview has been lightly edited and condensed for clarity.

Cynthia Kaye McWilliams is an accomplished and dynamic actor that has lent her voice to multiple animation and video game projects, in between playing impactful roles on the silver and small screen and now her latest venture, is playing the pivotal character of Sensia in The Last Days of Ptolemy Grey on Apple TV+, and we here at Nerds That Geek were fortunate enough to sit down with Cynthia to discuss her new role.
 
John Betancourt: What was it that attracted you to the role of Sensia?
 
Cynthia Kaye McWilliams: Oh, my goodness, um, I think well, first of all, it's a role from the book. I loved the book. I love Walter Mosley as a novelist, I loved that the teleplay was still very true to who she was created to be in the book. What attracted me to her is that it was a woman that was written very, as a dynamic character. I love that she's fierce, that she's unapologetic for the way that she exists in her relationships, that she had no concern with what at the time really was the kind of ideologies that governed women, you know, she wasn't concerned with fidelity, she wasn't concerned with singular sexuality. She really… we have words for these things now. But we didn't then, you know, there was no nonbinary, there wasn't I mean, it was just, she was free. She had the boldness to love and respect her desires and wishes and ideas of herself and not apologize or compromise. So that was just a really exciting character to play in a time that she was sort of living outside of, you know?
 
John Betancourt: That makes total sense and what I liked about your role and the show, is that the whole thing kind of works akin to a play and it’s also unique that Sensia is both there, and not there. How did you as an actor, prepare for all of that?
 
Cynthia Kaye McWilliams: Yeah, basically, she's presented to us as a memory for two whole episodes. She's nothing but some glances. And maybe, you know, a little call from the beyond. I mean, literally, I think for two episodes, we get eyeballs, and a “hey, pity, Papa!” So, it's not until that third episode that she comes alive. But I think that for me that's absolutely in preparing for it, how you start is, you know, learning who she is. Unpacking this character by looking at what was written and who she was created to be. And then getting to know her, falling in love with her, so that I could occupy her in a way that gave her life and love and understanding. Because in order to be someone who's going to permeate someone's memory for the whole of their life, that means that I needed to be alive, vibrant, full of electricity, of connection of power in a way that would crystallize and stay with him to the point that when he is disappearing inside himself, I could pierce through all of that dementia and fog, and ground and anchor him and pull him back into himself. So that for me was, what my preparation was about was about really giving her all the life and vibrance and boldness I could, so that I could then empower him to be bold later. And face those fears.
 
John Betancourt: Now you mentioned that there are two sides of Sensia in essence, the ‘ghostly’ version and the more dynamic version. Now how did you prepare for the second side of Sensia and all the working pieces to her?
 
Cynthia Kaye McWilliams: Again, I think for me, preparation, always starts with the page. Everything I know about who I'm playing comes from what the author tells me about her. And then also what the other characters in the story, tell me about her. Like, like you're doing an interview with all the characters, you know, and you're like, so tell me what, what happened that night. And as you're collecting as a detective, right, you're collecting everyone's point of view. And somewhere in there is the truth. So that's the goal, is that I'm collecting the pieces from the writer from the characters from the time, and I'm allowing all of those things from my knowledge of myself as a woman, from my sexuality from all of these things, are all being included in how I'm pulling together the pieces. And I get to then say: “Alright, now I can tell the story.” Now tell the story of what happened. Because I've done the interviews, I've done the work. So, for me, that's always sort of the same process. And in this situation, I had the pleasure of also having the book to work from. And then having this amazing partner in Sam… I think one of the great things about working with a really good, really good available actor, is that even though you've done all your work, you come and you think you know who you are, and then another person gives themselves and their view and you realize, oh, this person is informing me about who I am right now.
 
I think the same way that like people have children, you know, and they say, you know, I thought I knew who I was, and then my kids told me who I was… like your kids will tell you about yourself. And I think when you're working with a really good actor who's seeing with fresh new eyes, and every moment, they're sort of informing you of who you are. Like if you reach out your hand to someone right, and they do this -pulls back-, immediately, you know, something I've done has made this person feel threatened or scared of me in some way. But if you do this, and they lean into you, then you know, I've done something to make this person feel safe, feel warm, and welcome. So, something about our choices, our dynamic as a person, even if we have an idea of who we are, we can see who we are from someone else. And then in the sense of working with an actor. Sam is so present moment to moment that I felt like I was always learning about myself through him as well.
 
John Betancourt: Now this is also a series packed to the brim with incredible themes and concepts. Which one of them stood out and resonated with you the most?
 
Cynthia Kaye McWilliams: I mean, my gosh, like I said, so many things we're dealing with, we're dealing with mortality, or dealing with the idea of just growing old, you know, losing things and holding on to things. For me, I think when thinking about growing old, losing and holding on, and the things we get to choose what like… you know, some things you don't get to choose, what you lose and hold on to. But I thought… the dementia, of course, is a very, like, it's a palpable thing, right. But for me, I thought a lot about how that mirrors or is like sort of a grand metaphor, culturally. And I think as we get towards the end of the story, and we see like Robin's character develop more and her relationship to Ptolemy develop more, we really begin to see like, for me, it was about what we've lost as a culture as we've migrated from our history as an oppressed people… in southern culture, and out of the gaze of like, who we were, and that we only existed sort of in white America, and then found our own freedom, our own stories, our own voice.
 
But what have we done with that? And in doing so, have we lost the voice of our elders? Have we lost their stories? Have we lost our respect for them? Or, and have we allowed them the ability to pass on legacy to us? And what a fragmented reality we live in, when we lose our history? So, for me, yes, it's Ptolemy’s history. Yes, it's Ptolemy’s… fragmented brain. Yes, it's Ptolemy’s fear of the future and dying. But for me, I thought about it as a culture, that to me, we are fragmented. In this reality. We are tied off, cut off, disconnected from our legacy sometimes. And I think because of those two things, it's scary. Where we're going, the mortality of this culture. It frightens me.
 
John Betancourt: Those are some powerful observations. So, last question before we go… what are you most proud of when it comes to your time on this series?
 
Cynthia Kaye McWilliams: Oh, wow. That's a good question. Um, I am most proud that when being met with someone as formidable as Sam, that I chose to believe in my power to tell a story with him. And not allow myself to get swallowed up by the power of sort of the mythology of an iconic and great actor. I'm very proud that I continue to do what I do in every project, big or small, which is to serve the story.
 
John Betancourt: There you go. Well, I cannot thank you enough for your time today I really do appreciate it and I cannot wait for everyone to see the show later this week.
 
Cynthia Kaye McWilliams: Thank you and oh my gosh, it’s this week!
 
This interview has been lightly edited and condensed for clarity.

Joe De Sena is a former Wall Street broker turned entrepreneur and he is also the founder of the world-renowned endurance sports and wellness brand, Spartan, and his latest venture, is bringing his business acumen to the masses via the new CNBC series No Retreat: Business Bootcamp, and we here at Nerds That Geek were fortunate enough to sit down with Joe to discuss his new show, before it makes its debut, tomorrow, March 8, 2022 at 10 p.m. EST on CNBC. 
 
John Betancourt: So, if we could, let’s start off by getting you to know a little bit. If you maybe tell us what it is about business in general, that ignites such a passion in you?
 
Joe De Sena: I grew up in a household where my father, all he did was talk about business. All he did was do business, everybody in the neighborhood that I grew up in did business. And quite honestly, I never really had a job. In my lifetime, I sold one of my companies, but it's really all I know. Since I was indoctrinated into entrepreneurship at such a young age, I know what it takes, at least I think, and it requires pushing all day, every day. And I think the thing that drives me batty is when I see others with so much more potential not grinding to the level they can.
 
John Betancourt: What was it that motivated you to want to step in and help other businesspeople?
 
Joe De Sena: I mean, I just want to help everybody, kids, dogs, people, businesses, push, push and just squeeze the most out of life, that they can. Squeeze the most out of their business, that they can, right? Stretch $1. I just hate waste.
 
John Betancourt: Now to shift gears a little bit and focus on your new show, what motivated you to create the supremely impressive venue, The Farm?
 
Joe De Sena: I had a picture of a red barn on my trading desk for years. I was attracted to like, if you watch a TV show, and you see some really, you know, 1700s old cabin or whatever? Even the place where Shrek lived, right? I don't know, I'm attracted to that. So, I always wanted a farm, where I'd go back to the 1800s and get some simple living. I found it with my wife in Vermont. So, the goal was to turn it into a place of transformation, a place that people could come to where they, you know, let down their guard. And they'd be willing to, like, get way outside their comfort zone and in the process transform. And so, it was an idea in 2020, 22 years ago. And for whatever reason it worked, people just started showing up. I mean, I get emails and calls, literally every day from around the world. Could be active-duty military, that says: “Look, I'm not supposed to, but I really just need two weeks on the farm, can I go?” So, it's just a place that transforms.
 
John Betancourt: Now what is it that motivates you to select a particular business to appear on the show?
 
Joe De Sena: Well, tons of companies reach out like I said, I get inquiries every day. It's been happening for 20 plus years. And the biggest question is like, are you serious? Are you willing to do the work? Because if you're not, you're wasting your time, you're wasting my time. We don't have time. So, it's us quickly trying to ascertain is this individual, is this group of people, willing to lean in and do the work?
 
John Betancourt: What does it mean to you personally, to be able to do this for as long as you have?
 
Joe De Sena: Oh, my God, I got to pinch myself every day. Unbelievable. I get to do this. The only thing I pray for is that one day, the Pentagon or Department of Defense will wake up and say wait a minute, Joe is doing a public service here. Why don't we help him? That's the only thing. This is amazing. I get to do this.
 
John Betancourt: What does it mean to you to be able to have the world see what you do on a regular basis?
 
Joe De Sena: Well, I've always wanted it to be scalable, right? I, my goal is to change 100 million lives. It's hard to do it if the only people that know it are the few neighbors on the farm, right? If we can let the world know that this is what we do, and that by doing hard stuff, you'll be better for it. Now I got a platform, we got a big platform that hopefully is going to help transform more people. And that's the goal at the end of the day.
 
John Betancourt: So, now that you’re able to get your message out, what are you hoping audiences take away from this show?
 
Joe De Sena: I think, I want… would be entrepreneurs to really think twice. I'd love everybody to be an entrepreneur, but there are realities associated with that, that not everybody's ready for. So, I think it's good for the would-be entrepreneurs to really do a, you know, a head check. Those that are in the game already and running their businesses, hopefully, they wake up and realize, listening to a podcast or reading a Harvard Business Review, that they might need more than that. We all become really complacent in our own personal lives as well as in our business lives. And the reality is 95% of businesses fail. So, if 95% of businesses fail, we got to look in the mirror and say, “You know, why is that?” And I think the show helps rattle and wake up the folks that are running these businesses, so that less businesses fail.  
 
John Betancourt: That’s a really good point and it also brings up a follow-up question. Since so many businesses fail, how often have you had folks simply shutter their business right there since your program makes it clear that this is more than they can handle?
 
Joe De Sena: More than I'm proud of. They literally just pack it in. And you try to talk to them. And you try to walk through it. And explain that all you got to do is live to fight another day. But yeah, folks pack it in. And look, it would have happened anyway. Might have been a year later. It's better to just to rip the band aid off and find out... maybe you weren't designed to be an entrepreneur.
 
John Betancourt: That’s fair, and that’s a message we don’t talk about enough. Now what would you say you’re most proud of when it comes to The Farm?
 
Joe De Sena: Well… my family. All my kids were born there. And the fact that that people find it as valuable as they do. Even though it's a place that puts people under extreme pressure, and, and transforms, folks, it still is a place that's quiet and is a place of… I don't know… a place that you know, is a change from everybody's -- all of our ridiculous lives that are just inundated with so much nonsense, right? So, it's, you know, a place of refuge, juxtaposition to a torture chamber if that makes sense.
 
John Betancourt: I totally get it. Speaking of pride, what would you say you’re most proud of when it comes to this show?
 
Joe De Sena: The fact that I was able to sit still long enough and film for like 65 days. (Laughter erupts from both Joe and John.)
 
John Betancourt: There you go, an honest answer. Last question, what’s the biggest message you hope people take away from this series?
 
Joe De Sena: I think I think the biggest takeaway is like business is a combat sport. And so, let's train for it. Let's treat ourselves like Olympians and then not be upset if we don't, and we don't get the results we plan.
 
This interview has been lightly condensed and edited for clarity.

Sonita Henry is a highly accomplished actor who has appeared in a multitude of television shows and films and has also played roles in some incredibly notable franchises such as Doctor Who and Star Trek, and her latest role is as Detective Sergeant Priya Shamsie in The Chelsea Detective on Acorn TV and we here at Nerds That Geek were lucky enough to sit down with Sonita to discuss her new role.
 
John Betancourt: How did you get involved with The Chelsea Detective?
 
Sonita Henry: Well, they always ask us this question. And what we really want to say is… it's a job. (Laughs.) But at the same time, you know, you can turn down auditions, but what I liked about this was that it was a detective show, which everyone has seen, and everyone loves. But this kind of looked at their private lives a bit more than your average detective show. And I love the fact that Priya was a new mom. And she was struggling with that. And she was very good at her job. But the thing that's supposed to come very naturally, supposedly to women, wasn't coming naturally to her. And I can completely relate to that, because I had at the time, I had a four-year-old daughter. And so, I kind of got that trying to balance being a mom and a working mom and that kind of stuff.
 
John Betancourt: Now something I noticed about this series, is that it is incredibly realistic, since it features, like you mentioned… a more personal side to the characters. What did you do as an actor to prepare, in order to bring that realism, in both the detective and personal aspect of the story, to life?
 
Sonita Henry: Well, as far as the technical side, once I booked the part, I read a couple of books, one written by a woman, about being a woman in the police force, which as you can imagine, is difficult still, and one written by a gentleman who, who breaks down how the detective process works, once they get the call that something's happened. And it breaks down stage by stage. But also, the producers got us a Zoom meeting with an actual detective who works in England. And I think… I'm not sure… he's, I think he's retired now. But he was explaining to us exactly what happens and what the detective’s role is, and there's this thing called “The Golden Hour”, and that's the hour where they need to try and find the most clues about who did this and how it was done, because after that, evidence starts deteriorating. There are too many people on the crime scene, that kind of stuff. So that was very cool, the technical aspects of it. And as far as being prepared for being a mom and trying to juggle that and trying to be a wife, and, you know, trying to be good at her job, but also be a good mother and be a strong woman… that just is every woman's today, you know? The way of living right now, especially if they have children. So that didn't take a lot of research. That was just life.
 
John Betancourt: Now something I noticed about this series, is that every single character in this story is flawed in manner similar to the rest of us, and it seems as though they’re all searching for something. What is Priya searching for this season?
 
Sonita Henry: I think, you know, Priya, is pretty young to be a detective sergeant. She's also a woman. She's also a woman of color. So, she has worked really, really hard to get to the level that she's at. And she's struggled and she's had to make sacrifices. And I also, I spoke with, I spoke with Peter Fincham who created the show, before we started, and had a long discussion about who Priya was, and some of her backstory. And I don't necessarily know that Priya wanted children. So, she is struggling with, basically with those very simple factors. You know, her husband wanted a child, her family wanted her to have a child, culturally, she's meant to have a child. But for her, her focus is her career, which, you know, in her world, in her culture, that's not necessarily where a woman's focus should be. So, I think that’s the struggle that she's constantly having, being a woman, being a woman in the police force and having to be a mother and trying to figure out how she can do all that. Because once you have a child, you can't give them back. So, I've been told. (Laughter erupts from Sonita and John.)
 
John Betancourt: My parents said the exact same thing, and they asked that question a couple of times. (More laughter.) Now you bring up a good point there as well, about diversity. Because this series really does a phenomenal job with diversity and representation. What does it mean to you personally to be involved with a series that presents this level of diversity?
 
Sonita Henry: Well, that was something that I was so happy about. Because when I read the script, and I saw that Ashley from forensics, is written as deaf in the script, because Glen Laker who wrote the first two scripts, his son is deaf. And so, when I when I read that, I immediately thought of an actress that actually called Sophie Stone, and then I found out that Sophie was actually cast in that role. So, I was so happy about that and been a fan of hers for years. And to have that and not be made a thing, it's just that our forensic expert wears hearing aids and she is deaf and, it's not made a huge thing of, and I loved it in the second episode how the restaurant owner and her wife, are a lesbian couple. And that's also not made a thing of, they just happen to be a lesbian couple who own a restaurant together. And, my character. That's not brought into question, and there’s Peter Bankole’s character who plays Connor, and you know, London is a melting pot. If you didn't have a show that set in London, and that didn't happen, diversity, I think that would be more jarring. Does that make sense?
 
John Betancourt: It absolutely does. Now, this is a show loaded with themes and meaning and messages, which is the one that you hope the audience latches onto?
 
Sonita Henry: You know, first seasons are always hard, because you're trying to establish characters, you're trying to help an audience to fall in love with these characters. Because for a TV show to work, you know, a story is a story, is a story. But if you don't have interest in the leads, and you don’t want to see them every week, then you're gonna lose your viewership. So, I think, you know, I think that the theme I'd want them to take away is that for all their intelligence and strength, you know, these characters, Max and Priya, are broken people trying to help other people who are broken.
 
John Betancourt: Last question for you today, what is it you’re most proud of when it comes to this series?
 
Sonita Henry: I'm proud of the fact that my chemistry read… well, when you do an audition, you have to do a self-tape, because it was it was in the, the height of the pandemic. And so, I had to do a self-tape. And then I had to do a chemistry read with Adrian Scarborough. And I don't know if you can imagine, but a chemistry read over Zoom is not the easiest thing to do. So, I'm the most proud of Adrian and my working relationship, both off camera and on camera, and especially on camera, because that's what's going to help the show. But the fact that we literally met for an hour's coffee before we started filming, and thankfully the producers got it right, I think, and I feel like we have great chemistry on screen and off. And I'm the most proud of that.
 
This interview has been lightly edited and condensed for clarity.
​

Adrian Scarborough is a talented and accomplished actor that boasts an impressive resume. For he’s starred in a great many movies, been a part of a bevy of television shows and has taken part in just about every genre out there and his latest challenge as an actor, is portraying Detective Inspector Max Arnold in the new Acorn TV show, The Chelsea Detective, and we here at Nerds That Geek had the chance to sit down with Adrian recently to discuss his new show.
 
John Betancourt: What was it that attracted you to the character of Max?
 
Adrian Scarborough: Well, look, it was just such a treat to read the script and just kind of, you know, have all of these wonderful things come together in the most delicious sort of meal. Really, it's a recipe for character actors to die for, I think, with the, you know, riding around on a bicycle, living on a houseboat, being a dyslexic and taking lots of photographs on your phone, and just piecing all of that together and, and finding out about his private life and his dad's bookshop and his wife and how his relationship with her has gone down the pan. And I just think that, you know, all of those things combined really just kind of made me go: “Yeah, it's a ready-made character.” Essentially. You don't have to do very much. Do you know what I mean? It fits like a glove, really, and sits very comfortably. So yeah, I was very lucky.
 
John Betancourt: Now if the character was that comfortable for you, was there a lot of extra work that went into creating him? Because he is genuinely realistic and relatable.
 
Adrian Scarborough: Well, I think all credit goes to our wonderful writers really, and to Peter Fincham for creating something so three dimensional. But Liz Lake and Glen Laker who also wrote on the series, Glen particularly, wrote the first two episodes, and he was just wonderfully helpful to have around because obviously, he'd been on the project a long time before I came along. I don't think I was in their minds at the start. And it was really great to be able to actually ask him, you know, where a lot of these ideas and thoughts come from and what he was at, sometimes he wasn't always terribly helpful, because he couldn't remember, it was so long ago, that they'd sort of had these conversations and made these decisions about the characters that he couldn't necessarily remember what had come from where. But I just think it's a classic example of good writers using their imaginations. You know, it's great, what you pay him for.
 
John Betancourt: Now digging a little deeper into this character, I noticed as I was watching this season, that there was a lot of yearning for Max. That there’s a lot he wants out of life, what would you say he’s searching for in season one?
 
Adrian Scarborough: Oh, I think Max is searching ultimately for some sort of happiness. Both in his personal and professional life… but he's his own worst enemy. And, you know, he floats it at every turn. Really, when he's working, he doesn't give enough time to his private life. And when he's giving to his private life, he feels like he's taking his eye off the ball at work. And I think that targeting that is definitely what makes him tick, really. And he's just, he's like me, in the sense that he's sort of only happy when he's working. And it’s sort of… it's his motor, I think, and it's what makes him tick. Maybe, maybe I've imposed that upon him.
 
John Betancourt: Oh, you see that for sure, where a clue just lights him up and that that definitely makes him so relatable, as do all the themes and deeper moments and speaking of that relatability and realism factor, what does it meant to you to be a part of a show that is so incredibly realistic and deep?
 
Adrian Scarborough: Well, I, what I love about it is the fact that it, it shoots in London, and there are very, very few cop shows that he can afford to do it, or have the time to do it, let alone in the middle of a pandemic. But I think that is incredibly unique to be able to actually shoot right on the streets that you're talking about, generally speaking, a lot of those cop shows will shoot out of London, because it's incredibly complicated to shoot anywhere in London. But with this, you just can't get away with not being there. There's just so much of Chelsea and so much of London that you see it. And I just think that that bit of London becomes a character in its own right. In the series, really, especially if you're going to call it The Chelsea Detective. It's kind of important that it's there, and that you see it pretty regularly.

But also, if you're going to set a show on a houseboat, you've got to have a houseboat. I mean, there's no getting around it. We did have an interior houseboat that we built, simply because what we discovered was that on the Thames, because it's so Tidal, a lot of the time you're sort of, you'd never quite know where you're going to be. And you could be sort of... just about to start floating, you could be floating on quite choppy seas. But also, when the tide’s out, the banks are so steep, that the houseboat actually just sort of sits at an angle. Obviously getting a camera to sit, yeah, became quite a pain. And it was just decided very early on that it would probably be a good idea to have the main room of the houseboat actually in a studio, so it makes a lot of sense.
 
We did shoot all of our interiors there, but we spent a lot of time on the house. But I have to say and hopefully that comes across, I mean, you know, there's one… I mean, there's several… but one of the curses of shooting in a wet April is that all the wind can whistle up the Thames sometimes. There were days where me and Anamaria Marinca, who plays my wife, my ex-wife, were having sort of, you know, intimate conversations on the deck of this boat with a howling wind around us and freezing temperatures and occasional snow and blizzards. But yeah, it was hugely entertaining to do. And getting an entire crew down onto something like that boat is pretty impressive.
 
John Betancourt: Well that adds a whole new level of depth to the boat scenes now. And it’s funny, I was re-watching a few scenes earlier for my notes and I noticed there are a couple of shots that capture the whipping hair. That aside though, my last question for you today, revolves around teaching. Because regardless of his struggles in this show, Max is something of a teacher. What are you hoping he teaches the audience this season?
 
Adrian Scarborough: Oh, well, I think he learns as much about himself throughout the course of this as he gives to other people really. I think take your time, the principal thought is just go steady and be meticulous and work it out along the way. But I think he learns an awful lot from Priya and from the other people in his office and particularly his Aunt as well. She is a very interesting development in his life. You kind of need to know. In episode three, the aunt character comes back. And they have quite a long scene on the houseboat where they sort of talk about the intimacies about his relationship and his marriage and his ex-wife and I think that she's sort of gives him quite a few hard truths along the way and Priya does for sure. It's quite nice having a sidekick who really does kick it every now and again.
 
So yeah, it was really lovely having Sonita around for that. She was terrific. She's brilliant. And in actual fact, she does that. She does give… give me a bit of a kick every now and again. She’s very good, very, very good at helping me learn my lines. Because she's so young, and I'm so old (laughter) and it just takes so much longer these days for them to go in. And she just looks at a page and it's there, you know, so annoying. Anyway, very helpful, very useful, blessed to have around. And she made me laugh a lot, and made me take myself a lot less seriously, which was pretty useful at times.
 
This interview has been lightly edited and condensed for clarity.