Keira Knightley Hopes Helen Can Finish Off Dani in ‘Black Doves’ Season 2: ‘I Don’t Think It’s OK That She Tried to F— My Husband and Kill Me on Christmas Eve’

As a fan of Keira Knightley‘s work, it’s fascinating to see her delve into such a complex and multi-layered character like Helen. Her ability to portray both the femininity and strength of a woman navigating through a world dominated by men is commendable. The juxtaposition of pregnancy with violence in Black Mirror: Bandersnatch is not only thought-provoking but also reflects the harsh realities of motherhood that many women experience, often overlooked in popular culture.

⚠️ WARNING: This content reveals significant plot points from the first season of “Black Doves,” currently available for streaming on Netflix. Proceed with caution if you wish to avoid spoilers!

Keira Knightley’s first TV series in over two decades, titled ‘Black Doves’, has been an unprecedented triumph for Netflix. So confident was Netflix in its potential success, they commissioned a second season from Knightley and creator/showrunner Joe Barton, before the show had even debuted on air.

Over six episodes, audiences have been captivated by Helen (Knightley), skillfully juggling multiple roles: she’s the refined spouse of Wallace (Andrew Buchan), the Minister of Defense; a nurturing mother to her twins; a supportive confidante to troubled assassin Sam (Ben Whishaw); an enthusiastic partner in a clandestine affair with Jason (Andrew Koji); and a relentless operative for a covert organization, the Black Doves.

Following Jason’s mysterious death, Helen becomes relentlessly determined for revenge. However, her quest for vengeance takes an unexpected turn when she uncovers a worldwide conspiracy that could potentially ignite World War III. This places her in direct opposition to the enigmatic Black Doves and their stern, ruthless leader, Mrs. Reed (portrayed by Sarah Lancashire). As if dealing with American and Chinese assassins, as well as lethal U.K. gangsters, wasn’t enough, Helen must also confront fellow Black Dove member Dani (Agnes O’Casey), who is intent on gaining Wallace’s favor and sees Helen as a hindrance. Moreover, there are the London-based crime organization, the Clarks, who also have it in for Helen.

After receiving a Golden Globe nod just recently, I had the pleasure of chatting with EbMaster about my insights into Helen’s enigmatic history, my aspirations for season two, and if I’ve traded in my corsets for a permanent switch to firearms.

Firstly, congratulations on the Critics Choice and Golden Globe nominations! Were you expecting it?

They’ve both been quite unexpected delights, and it’s truly heartening. After all, such creations are often not appreciated; they can easily go awry. Yet, when something turns out as planned and people appreciate it, it’s just fantastic.

You’re being called the new Queen of Christmas, since this is your fourth yuletide project after “Love, Actually,” “Silent Night” and “The Nutcracker and the Four Realms.” Are you ready to take Mariah Carey’s crown?

Absolutely, I’m all set. However, please note that I might not be able to reach some high notes in that particular song. Other than that, I’m completely prepared.

Given you’re so closely associated with “Love, Actually,” did you hesitate when you saw “Black Doves” was also set at Christmas?

I hadn’t consciously planned the Christmas theme of the production. It wasn’t until we were filming and seeing the set adorned with Christmas lights that I realized how much of a Christmas movie it was. For six months, we were immersed in the Christmas spirit during production, but I didn’t fully grasp just how Christmassy it would turn out to be. While I wouldn’t have been deterred by the theme, it wasn’t something I deliberately set out to achieve.

Joe Barton told me when I interviewed him recently that he was a bit Christmassed out by the end.

After six months filled with Christmas decorations, it felt like we had our fill. Perhaps if the storyline returns to a Christmas theme for Season 2, we might be able to handle it once more. Who knows what the future holds?

Joe seemed to think it wouldn’t be Christmas, but he’s open to Easter.

I mean, sure. We could have some big bunnies running around it, it’ll be great.

He also mentioned that you were specifically looking for a contemporary project, rather than something period, when he sent over the pilot for “Black Doves.” Have you hung up your corset for good?

I haven’t retired my corset permanently. At any given moment, I only have a specific goal in mind. In this case, I was seeking something modern and engaging, with an emphasis on violence and set in London to avoid disturbing my children’s school routine. Finding such a project seemed unlikely, but then my American managers contacted me, asking if I knew Joe Barton. Coincidentally, I had just watched “Giri/Haji.” They informed me that Joe had recently submitted a pilot, which was violent, set in London, modern, and by Joe Barton himself. Needless to say, I was thrilled. It turned out to be one of my favorite projects to work on, largely due to its absurdity – the very ridiculousness made it enjoyable.

Were you conscious of treading the line between that melodramatic silliness and grounding it in reality?

Indeed, and I believe that’s precisely what Joe excels at. His work, such as “Giri/Haji” or “Lazarus,” masterfully balances on a fine line. It’s a skill that not many possess, and it’s immediately evident when you read it. The dialogue is so captivating, yet the storyline itself is wildly intriguing.

During the creative process for fight scenes, I often find myself questioning, “What’s the genuine scenario here?” For instance, in Episode 2’s knife fight between Helen and Elmore Fitch (played by Paapa Essiedu), my immediate thought was, “Given our sizes, how can I realistically defeat someone of his size?” My idea was to think like a butcher, focusing on the tendons for a precise strike that would debilitate him, causing him to bleed out. However, Joe (the director) gently pointed out that such an approach might be disturbing. He suggested a more realistic yet less brutal alternative, such as using a dish towel to subdue the opponent. Balancing realism with sensitivity is something he does exceptionally well, always reminding us when to tone things down.

How much did you know about Helen’s backstory when you started shooting? And are we going to see more about what happened with her stepfather and her sister in Season 2?

It seems that I’ve been making assumptions but still have doubts about the truth. The storyline evolved and transformed as we progressed, keeping things intriguing. A question that constantly puzzled me was whether I had killed the stepfather, given its significant impact on the character. He emphatically stated, “No, you didn’t kill the stepfather.” However, a scene was also filmed where my character confesses to the murder. This left me perplexed for a moment, but later he clarified that this scene would be removed again. So, it remains unclear whether I did or did not commit the act. I have my suspicions, though.

What would you like to see Helen do in Season 2?

I want to kill Dani. I don’t think it’s OK that she tried to fuck my husband and kill me on Christmas Eve. So [Joe and I] are having a very funny text line at the moment where I’m basically saying, “Let me kill Dani.” And he’s like “Errr.” I’m going murderous, and he’s like, “No, wait a minute!”

To be fair, those are good reasons for Helen to kill Dani.

She’d undoubtedly harm Dani! It’s clearly unacceptable for anyone to attempt to have an affair with her spouse. After all, I can engage in extramarital relationships, but that’s not his prerogative, evidently.

Do you think Helen loves Wallace?

I find it intriguing to observe that while she appears to be an exceptional spouse and mother in one realm, she exhibits abhorrent behavior as a wife and mother in another. Despite her shortcomings, the complex nature of her relationships is captivating.

We had numerous talks about defining this bond, and it seems to me that what we’ve arrived at is affection or love. Her choice to stay, despite having the option to leave, is intriguing – a mystery that I believe warrants further exploration.

Aside from the fact she’s a spy and her husband is the Minister for Defence, it’s a very relatable concept: “Do you ever really know the other person in a relationship?”

I find the charm of the story lies in its complexity. Indeed, it’s set in the exaggerated, espionage-filled universe we know. However, at its core, it explores the various masks we all don, and how no one truly knows us completely. What makes this narrative unique is that only Sam knows the entirety of the protagonist. Thus, their platonic bond serves as a sanctuary where they can be completely genuine with each other.

Helen and Sam yearn for love, yet they’ll never experience it fully due to their hidden aspects that remain unknown to their partners. This secrecy breeds melancholy and loneliness amidst the chaos of the world around them, adding depth and emotion to the show, which I found captivating.

The scene in which Helen gives up her plan to run away in order to come and help Sam is really touching. What was it like wielding both a baby bump and a gun?

As a cinephile, I found myself donning a bulky prosthetic belly and breasts for one particular scene – an experience that left me feeling quite heavy but also exhilarated. The reaction from the audience during filming was priceless; their jaws dropped at the sight of it. Interestingly enough, this scene wasn’t originally planned for early on in our production timeline. There had been murmurs about it, yet we hadn’t quite grasped how it would unfold. It seemed like a brainwave between director Alex Gabassi and Joe: “She needs to be pregnant.” And boy, were they spot-on! The set buzzed with confusion as everyone tried to figure out what was going on, their faces filled with curiosity and bewilderment – a truly shocking yet delightful moment in our filmmaking journey.

In literature, pregnancy is sometimes treated as the ultimate expression of femininity — and here it’s juxtaposed with you murdering assassins. Did you think about that dichotomy while shooting the scene?

It did go through my head. I’ve just never found pregnancy to be a “soft” thing. I got sciatica in my second pregnancy — I was so angry at the end of it. I was in so much physical pain, and I was so angry that I remember being in a swimming pool — the only time that I was not in pain was if I was floating in a swimming pool — and for some reason, I had to get out. And I just remember really shouting at my husband. I was like this angry hippopotamus full of rage at this whole thing. And I think that’s actually more what was in my head. I understood the rage, the discomfort of needing to piss every five seconds, having your sciatica being completely blown to pieces. I think I’m much more interested in that reality of pregnancy, and therefore that kind of violence that she’s experiencing. I could connect to that in a way that isn’t the soft, fuzzy version of pregnancy that you’re used to seeing in popular culture.

Given the potential repercussions of Sam killing Trent in the season finale, could Season 2 see Sam and Helen set against each other?

Yes! I mean, this is just fun for me and Ben — this is not me saying that this is what’s going to happen in Season 2, because I actually don’t know. But we were constantly going, “Is there a price that they’d turn on each other?” Because they are fundamentally capitalist extremists. There is no morality. So there is a price for everything. And there is nothing higher than their own ego and their own selves. They’re mercenaries. So is there a world where they turn on each other? Joe, when we talked about it, said “Absolutely not. They’re completely best friends.” But you plant a seed with Joe, and then he goes away, and he’s like “Hmmm.”

This interview has been edited and condensed.

2024-12-13 22:17