🚨 SPOILER WARNING 🚨 As a devoted fan, I can’t help but share my thoughts after watching the thrilling season finale of “Elsbeth,” now available on Paramount+ – “Ramen Holiday.” The twists and turns left me speechless!
With just a touch of charm and a brief spell behind bars, Elsbeth Tascioni managed to rediscover her rhythm again.
In the final episode of Season 2 from CBS’ “Elsbeth,” the resilient attorney-turned-NYPD detective, Carrie Preston, ended up in jail for the first time since her appearance on “The Good Wife” in 2013. Last week’s episode saw Elsbeth pushing boundaries with a well-connected murder suspect, Rod Bedford (Billy Magnussen). As a result of her actions and her involvement in the murder investigation of Judge Crawford (Michael Emerson), whom she was investigating for two murders, a judge decided to penalize her by charging her with felony harassment.
Elsbeth’s imprisonment offers an opportunity for the show to delve into some dramatic flair, as it includes a jailhouse performance based on “Cell Block Tango” from “Chicago,” and you can watch this entire scene only here, above.
Not just anyone is wandering around in Elsbeth’s thoughts; instead, she’s now living alongside several criminals she apprehended during the first two seasons of her show. These include Freya Frostad, a decluttering expert, Dr. Vanessa Holmes, a cosmetic surgeon, Margo Clarke, a high-end matchmaker, Pupetta Del Ponte, a restaurateur, Quinn Powers, a tech entrepreneur, Matteo Hart, a designer, Joe Dillon, an obsessive bartender, and Alex Modarian, a theater director – the very first person Elsbeth unmasked as a murderer in her NYPD job.
As a devoted fan, I couldn’t help but daydream about reuniting the illustrious lineup of our beloved guest stars on the show. It seemed like just a whimsical notion, until miraculously, every puzzle piece clicked into place.
Showrunner Jonathan Tolins expressed that he was essentially counting on the fact that things would fall into place and a large number of people would return, as stated to EbMaster,” said Jonathan Tolins. “In essence, we took the plunge without having a safety net, truth be told.
However, it’s important to remember that this is a murder mystery, which means someone will inevitably lose their life. In this instance, it’s Modarian who meets his untimely end, stabbed cruelly in the prison library with a deadly weapon fashioned from ramen noodles (no jest). Despite her current predicament, the gloom that has enveloped Elsbeth since Crawford’s assassination begins to dissipate, and she immerses herself once more into solving crimes, determined to uncover who was responsible for Modarian’s murder.
Elsbeth goes back to question her previous suspects, who are now resistant, annoyed, yet somewhat intrigued by another opportunity to outwit Elsbeth. However, it turns out that these individuals are not the murderers; instead, Elsbeth discovers that it was the warden (Donna Lynne Champlin) who murdered Alex. The reason being, she was caught smuggling contraband into the prison, and Alex was planning to betray her by informing on her to reduce his own jail time.
In the absence of her regular NYPD associates, Elsbeth creatively presents her potential suspects through an old-style musical number performed by the Merry Murderesses in her cell block (consisting of Parker, Gershon, Retta, Milano, and Lail). The adapted “Suspect Tango” by Tolins highlights each woman’s association with Modarian, offering Elsbeth an entertaining respite to develop her theories. Despite pausing occasionally to demonstrate impressive dance moves, she continues to analyze the case in this captivating setting.
Preston remarks, ‘We’ve created something that feels like it embodies Elsbeth’s vision of impressive dance moves – think a leap in mid-air or a lively exit from the stage. I hope you understand what I mean? Essentially, we’re realizing Elsbeth’s dream of performing on the grand stage.’
In this episode, the show delves into some of its most challenging content to date. Simultaneously, it marks the departure of Kaya (played by Carra Patterson), Elsbeth’s former partner, who is moving on to a task force and leaving the precinct. The producers have confirmed that Patterson will no longer be a series regular but will reappear as a guest star from Season 3 onwards. With Kaya’s departure happening at a time when Elsbeth is already doubting her role in the NYPD, the upcoming season is expected to bear the weight of this change.
In the following conversation, Preston and Tolins discuss with EbMaster the potential impact of Kaya’s departure on Elsbeth, the near exclusion of a specific portion in the musical number, and the reason behind the excessive dialogue regarding ramen noodles in this particular episode.
Or simply:
Preston and Tolins chat with EbMaster about how Kaya leaving affects Elsbeth, why a certain part of the song almost got cut, and why so much focus is on ramen noodles in this episode.
When did you decide that you needed to send Elsbeth back to jail?
During the mini writing workshop at the start of Season 2, the notion arose to set something within an upscale penitentiary. We playfully suggested that if we did this, we could potentially stage “Cell Block Tango” and include actual murderers in the prison. Later on, someone proposed taking it a step further by making Elsbeth a prisoner instead of merely having her visit a prison where a homicide had occurred. This idea was one of those that we always thought might end up as our finale, hoping against hope that we’d be able to make it happen and bring back many of the cast members. We took a leap without a safety net. Truthfully, we didn’t have an alternate plan. If needed, we would have invented new characters. Remarkably, a great number of people agreed to participate.
Carrie, what was it like to be back in jail? We’ve seen Elsbeth in this situation previously on “The Good Wife,” but this is a noticeably more theatrical and fun stint.
Carrie Preston: To begin with, there were no musical numbers during that era. However, the development of the character following the assassination she witnessed was quite remarkable. Despite Judge Crawford’s death, his influence lingers, and another judge seems to continue meddling in her life, even from beyond the grave, creating further complications. Furthermore, Elsbeth is faced with a crisis of faith in the justice system, as the judge she had gathered evidence against becomes almost revered. This leaves her dealing with these challenges when she enters the prison system. Yet, once she refocuses on her life’s mission—solving crimes and seeking justice—she returns to her usual self.
When did the ramen noodles of it all come into play? Because you commit so hard to it that you even have an animated sequence to prove that ramen noodles can be fashioned into deadly weapons.
It all started with an extensive online search, often referred to as Googling. Intriguingly, it was discovered that ramen has taken over cigarettes as a form of exchange in prisons, and I find this quite amusing. To be honest, I can’t pinpoint why, but perhaps it’s the absurdity of noodles that does it for me. Interestingly, the team in charge of scriptwriting grew rather irritated with me, as every time we veered away from focusing on ramen in our storyline, I persisted, “No, we must keep the ramen at the heart of this tale.
Stumbling upon an intriguing video on YouTube demonstrating the crafting of a terrifyingly sharp pasta knife, my mind instantly began to spin with story possibilities. With characters like Pupetta, the restaurant owner, and chef Viv [Pamela Adlon] from earlier in the season, the potential for engaging narratives was immense. And as if the title wasn’t already catchy enough, I couldn’t help but chuckle at the playful wordplay that led to “Ramen Holiday.” Though some may view puns as a simpler form of wit, the humor certainly didn’t disappoint me in this case!
Beyond the ramen, this musical number sequence is such an elevation of the show’s sensibilities. Carrie, you get to play the Roxie Hart role in this nod to “Chicago,” but that also means Elsbeth doesn’t get to sing. She’s the observer. How hard was it not to join these ladies in this big moment?
Preston: It was quite challenging! Being in that ensemble was wonderful for me. Yet, it also served as a kind of break since I’m usually the one responsible for leading all the scenes. It was delightful to attend and witness these terrific actors, under the guidance of Lionel Coleman, our exceptional director, and Susan Misner, who handled the choreography. They were putting on quite a show, and it felt like opening night – only this time, it was on a prison set.
By the way, the unique set constructed exclusively for this episode added an extraordinary touch. We hadn’t attempted anything quite like it before, making it particularly special. Everyone seemed to have stepped up their performance, creating an atmosphere of novelty and exhilaration within our team.
Don’t sell yourself too short. Elsbeth does dance in the background at one point, so she and you get your moment.
Preston: Indeed, I did! Due to my busy schedule with other tasks and our tight eight-day TV episode shooting timeline, I didn’t get a chance to rehearse with any of the ladies beforehand. However, Susie, who is a dear friend, was supportive and said, “Alright Carrie, I believe you’ll come up with something entertaining here. Let’s collaborate.” So, on the spot, we improvised. We shaped it into a performance that seemed fitting for Elsbeth’s character, incorporating dance moves like high kicks and stage exits – just the kind of moves Elsbeth envisioned as her big stage debut coming to life.
Jon, what was it like to stage a fantasy musical number in this world? It sounds like “Cell Block Tango” was your only choice from the beginning.
User: Indeed, the decision to go with “Cell Block Tango” was set in stone from the start. The scene seemed perfectly suited to it. However, it was quite nerve-wracking because Gail Barringer, our line producer, had already agreed to construct the prison set before we’d fully worked out the story. I drafted this version of “Cell Block Tango” once I knew which characters would likely appear in it, as getting approval for such a number from various estates takes time. So, until just before filming began, there was a constant worry: “Will this ever come to fruition?” It was very much a case of “If you build it, they will come.
Musical fans will likely have a bone to pick with you, though. You had Donna Lynn Champlin right there and she doesn’t sing! Were you tempted to throw your warden into that number in some form or fashion?
Tolin: The role proved challenging. Despite Donna Lynne Champlin’s impressive musical background on “Crazy Ex-Girlfriend,” her performance in “The Perfect Couple” particularly stood out to me. I simply suggested she would be perfect for the part and extended an offer to her. However, she was disheartened because she wasn’t given a chance to sing.
Preston: Or even just whip out a tap number! Just a little tap number off to the side. Something!
Tolins: I know, I know. But again, we have 43 minutes. I still have to do a murder mystery too!
The running joke for two seasons has been the whole show that when someone asks if she works with the police, Elsbeth doesn’t really have a straight answer. But at the end of this season, the final scene sees her give this big speech about their collective mission. Have we gotten to a place where Elsbeth knows what her role is?
Oh, Crawford, I believe she is aware of the reason behind it and so are her colleagues, but others might still be puzzled. You should remember that before his death, Tolins initiated an internal inquiry regarding Captain Wagner, which led to increased examination and stress on the precinct. I have a feeling that this investigation will persist into Season 3.
Carrie, what did you think about that final speech Elsbeth gives that really says a temporary goodbye to Kaya?
Preston: Jon’s writing was simply stunning, and it was deeply touching to see the actors gathered for that scene. The scene wasn’t particularly challenging to act out. I simply immersed myself in it and conversed with the people I care about most, particularly Carra. It was one of those moments that reminds you how fortunate you are to work alongside exceptional artists, and to have the opportunity to share a message that I believe the world needs to hear.
On that day, we experienced an extraordinary moment. All our guest actors were rehearsing their dance routines on the prison set across the street. Meanwhile, our precinct set saw a record number of people gathered for the show, as many detectives and uniform officers were involved in the same scene. Additionally, it marked Wendell and Carra’s final day of the season, making it an emotional yet memorable occasion. To add to the joy, it was also the first time I brought my mother and sister onto the set, and for the first time in my life, I managed to impress my sister! All in all, it was a truly delightful day.
Preston: On that particular day, it seems we also snapped a group photo of the whole team. Consequently, everyone involved in producing this show was present. Naturally, it appeared fitting for Elsbeth to deliver her speech on that specific day.
Does that mean that the musical number was the last thing you shot for the season?
I: Oh, it was simply marvelous! Every second we could squeeze in during our allocated time was dedicated to making it perfect. The final shot, with everyone else already wrapped up, saw me working alongside some boas and dancers for a brief while. It was an extraordinary, breathtaking conclusion to the season, encapsulating all that had transpired. Essentially, there I was, a solitary figure amidst a whirlwind of colors. Truly, it felt like a moment of meta-reflection on the entire spectacle.
Tolins: And Carrie, you don’t know this yet, but that did make the final cut.
Preston: Oh good!
Carra Patterson is leaving as a series regular, but Kaya will be back as a guest star. This is such a crucial time for Elsbeth because, as you said, she is restoring her faith in the justice system. Is it going to be even tougher for her in Season 3 to have also lost her best friend?
Preston: In a few weeks, Jon and the team will resume writing, and I have faith in their abilities. Yet, I believe it’s crucial to explore Elsbeth’s reactions when she encounters situations she can’t manage. You see, we often portray her as confident, but what truly makes her multi-dimensional is her vulnerability. She isn’t shy about expressing her feelings. She isn’t timid about dealing with loss, unease, love, and other emotions that many of us prefer to overlook or deny. Elsbeth doesn’t avoid the world; she faces it head-on.
Without her usual support from this NYPD colleague, who has been both a confidant and a stabilizing force for her, she might be compelled to take on more responsibilities independently. This situation could serve as an opportunity for her to further establish herself within the NYPD, reflecting a narrative about a woman of maturity embarking on a self-reinvention phase without relying on male support or any crutches. This strong and courageous character is venturing into uncharted territory, a journey that I believe will continue her personal growth process.
Jon, do you plan on giving her another permanent partner or will the revolving door of detectives in the NYPD be your focus in Season 3?
Tolin: To begin with, we’ve been adding some new officers who are uniformed, specifically Ethan Slater and B. However, I’m not planning on simply replacing Kaya with someone identical in the role they played in Elsbeth’s life. The bond between Elsbeth and Kaya was quite unique and extraordinary, much like Carrie and Carra. Instead, we’re going to explore different approaches to see how it might work out.
As a dedicated cinema lover, let me express my admiration for one of this season’s standout lines – the poignant moment from last week’s episode where Elsbeth, in prison, acknowledges her emotional depth by saying, “I rarely find myself in such a gloomy place. In fact, it’s unusual for me to reveal it.” I appreciate this line because it adds layers to Elsbeth’s character, showing us that her sunny disposition isn’t just a natural state but a choice, a testament to her discipline and inner strength. This insight makes her journey even more compelling, deepening my affection for the character.
This episode had to make you want to bring back more of your murderers. Is there anybody that you’d like to see Elsbeth go toe to toe with again in the future?
Tolin: Oh, can I say all of them?
Preston: It’s clear that Jon and I have been discussing the idea of bringing Tracy Ullman back, but this time as a new character. After all, she’s renowned for her ability to metamorphose unlike anyone else.
Tolin: She went ahead and proposed it right on the set. She asked, “Is it possible for me to return in a different role?” Frankly, I’d be thrilled if an entire season revolved around her portraying all the murderers!
This interview has been edited and condensed.
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2025-05-09 06:02