SPOILER: 'Elsbeth' Arc Ends with Shocking Death - Carrie Preston & Michael Emerson Reveal All

As a dedicated movie enthusiast, I can’t help but share some intriguing insights from the recent episode of “Elsbeth,” titled “I Know What You Did Thirty-Three Summers Ago” – available now on Paramount+. Be warned, this post contains significant spoilers that might ruin your viewing experience if you haven’t watched it yet!

Over more than a decade since her debut on “The Good Wife,” viewers have followed Elsbeth Tascioni (portrayed by Carrie Preston), an intelligent yet quirky attorney turned investigator for the police, as she upholds the law and trusts that ultimately justice will prevail.

Towards the climax of this week’s “Elsbeth” episode on CBS, justice met its demise before her very eyes. Throughout most of the season, Elsbeth has been clashing with Judge Milton Crawford (played by Michael Emerson), a man she suspects murdered someone to conceal his past misdeeds. However, in a shocking twist, Elsbeth witnesses Crawford’s assassination—an act carried out by the same individual whose innocence Elsbeth had been striving to establish.

Preston communicates to EbMaster that Crawford’s final act, leading Elsbeth towards a dark path, signifies a significant shift for the series – a pivotal moment that he and Emerson, his wife in real life for 26 years, both experience, even if only as adversaries.

She remarks that this episode is the most impactful one in our series thus far, and I believe it’s crucial for this reason. In this episode, we will witness how she manages to recover, as it leaves her reeling significantly and plunges her into a darker state than ever before.

Ever since Elsbeth was selected as a juror for Judge Crawford’s court last autumn, she has been convinced beyond doubt that Delia (Meredith Holzman) was not responsible for the murder of her partner, Andrew (Quincy Dunn-Baker). On the contrary, she suspects that Crawford himself was the one who brutally killed Andrew and is using his judicial position to conceal the truth. The audience, however, has been privy to this fact since the show’s inaugural episode on Dec. 12, when it revealed Crawford’s guilt in the very first scene of Emerson’s debut.

33 years ago, Crawford, a privileged teenager with a temper, is revealed as the one who killed a young woman who rejected his advances. This was the reason Elsbeth couldn’t let Crawford go without questioning him and finding proof. This week’s opening scene provided this explanation. To gather more evidence, Elsbeth and Captain Wagner (Wendell Pierce) embarked on a road trip to Cape Cod to investigate the crime site. They discovered items with Crawford’s blood on them and collected some of his DNA to support their suspicions. However, their efforts were thwarted by a prospective federal judge, who used his influence to erase all evidence against him.

As I tirelessly strive to thwart Crawford’s schemes and restore Delia’s life, I find myself face-to-face with the self-satisfied judge, basking in his newfound fame and victory over me. However, our heated exchange is abruptly cut short as Delia approaches, pulling out a gun and firing at Crawford. In a heartbreaking moment, she explains to me that she couldn’t risk him escaping justice.

Crawford’s passing marks the conclusion of Emerson and Preston’s most recent acting duo, who previously portrayed a mother and son in “Lost,” and a romantic pair in “Person of Interest.” However, they both consider this their most rewarding partnership to date.

“You versus me?” Emerson says to Preston. “This is as good as it gets.”

During the judge’s absence, the influence of Crawford will significantly impact the last two episodes of the show’s second season. (Rest assured, “Elsbeth” has been confirmed for Season 3.) Following the shooting incident, Teddy (Ben Levi Ross), Elsbeth’s son, becomes disheartened to such an extent that he reconsiders his intention to pursue law alongside her. In addition, the normally resilient Elsbeth is too shaken up by the event to argue against this change in plans.

Preston remarks, “It’s stunning that he dies as a martyr yet his guilt in both murder cases vanishes due to his power and influence. This raises questions about our broader society, and we will observe how someone like Elsbeth, who stands for truth, justice, and strives to rectify her past mistakes; someone who seeks justice whenever possible, reacts to this revelation. What does it imply when even the best efforts may not guarantee a just outcome?

In this passage, Preston and Emerson discuss their contrasting feelings about filming a key death scene, Emerson’s predictions of difficult times for her character, and the actions of Elsbeth that discomfited her spouse during production.

There is such a long legacy of great recurring guest stars in this “The Good Wife/The Good Fight/Elsbeth” world. It’s why we have Elsbeth today. But Crawford is not destined to be among them. Did you always know his story would be so final?

Carrie Preston: Actually, we weren’t aware of the plan. When Michael made his debut, everyone – the network, writers, and producers – were so impressed by his performance that they began discussing ways to expand his role a bit more. Initially, Michael was only supposed to appear in four episodes, as far as I remember.

Michael Emerson: Yeah, two big ones and a couple of little [appearances] in between.

Preston: Later, they considered prolonging his stay – mainly because they adored him, given Michael’s exceptional intellect. However, considering the storyline progression of the season and Elsbeth’s personal journey, it was fitting to arrive at the decision we did. I believe this is one of the most powerful moves the writers have made this season.

Michael, what was it like to be confronted with Crawford’s unexpected end?

Emerson: This acting challenge was intriguing to me, particularly how it was crafted within the script. The element of surprise really drew me in, as it wasn’t predictable – instead, it sprung up unexpectedly. Plus, it was enjoyable to film! Compared to other on-screen deaths I’ve experienced, this one was relatively effortless and pleasurable.

Preston: Maybe for you! I never like watching him die, especially right in front of my eyes.

That’s so true, you did have an unfortunate front-row seat to this moment.

Preston: Indeed, I did! Additionally, what’s fascinating about the show’s writing is that it seems to have been building towards this climax all along. I don’t believe the writers intentionally planned for this conclusion, but looking back, the way they developed Delia’s character makes perfect sense given her actions in this plot.

Finality isn’t something we get in this series. Most episodes end with the guest star of the week being carted off to jail, but this is a very final and bloody end to Elsbeth’s sparring partner in Crawford.

I believe it’s crucial to acknowledge that our world doesn’t always deliver justice as expected. Our legal and law enforcement systems aren’t flawless; they can be manipulated. It’s appalling when someone like him, who committed heinous crimes, escapes punishment and is even idolized, while all the evidence against him vanishes due to his influence. This raises questions about our broader society, especially for individuals like Elsbeth, who are optimistic, truth-seekers, and dedicated to righting past wrongs. They strive for justice whenever they can. What does it signify when even our best efforts may not guarantee a fair outcome?

You told EbMaster last fall that you were waiting for the right role to work together in the world of “Elsbeth.” What did you make of Crawford’s impact on Elsbeth? This role ends up being what shatters her worldview.

Preston: Absolutely! This episode is undeniably our most intense one yet in the series. I believe it’s crucial because of its dramatic impact. We will witness her struggle to recover from this ordeal, as it leaves her reeling and plunges her into a darker state than we’ve seen before. Acting out these scenes is certainly engaging, but I also think it underscores the unpredictability of our world – there are always unexpected twists and turns, which makes for great television in my view.

Elsbeth and Crawford have two big standoffs in this episode, the first of which is in a subway entrance where he tells Elsbeth that “the time for threats is over.” What was it like filming that scene?

Emerson: Eventually, we arrived at a location that was far more ominous and menacing than any we had previously encountered. It was not only disconcertingly personal but also downright terrifying. The atmosphere there was eerie, and the physical conditions were indeed frightening.

Preston: For this episode, we had an exceptional director, Joe Menendez, which made everything smooth sailing for us. He handled it brilliantly and focused on the suspense and danger that I believe was fitting. However, I haven’t seen the final version yet, but from what I’ve seen of his setup shots, he definitely emphasized those elements. On a practical note, filming at the Christopher Street subway stop on a Friday night was incredibly noisy, meaning we had to frequently pause and resume shooting.

Emerson: We never got a clean take of the scene. When the train would come, we would just hold.

Preston: It somewhat reduced the stress. I imagine they crafted it into a neat sequence for the viewers, but it genuinely kept us focused on each other’s actions.

Emerson noted that we were required to remain indoors due to the chilly, gusty weather that evening. We simply stood there, gazing at one another, hoping for a moment of tranquility so we could resume our conversation.

Preston: Despite noisy distractions like trains, chattering teens, and public announcements, our exceptional sound team managed to record our conversation clearly.

Emerson: There was an announcement every minute!

Preston: We’ve heard those announcements so frequently that night that I feel like I could repeat them word for word.

Well, you definitely don’t get that in the final cut. The tension is unbroken as Crawford issues his threat. But then the other confrontation is the final scene inside the courthouse and outside of it when Elsbeth storms up to Crawford. What did you make of Crawford’s now-famous last words –– “The world rewards might, and I am a mighty man indeed.”

His current state of exuberance sets the stage for his downfall. He’s so overconfident that he believes there are no consequences, making him feel secure enough to reveal his secrets to her. However, she has no power to take action against him.

That’s sheer overconfidence, and it’s astonishing to see it on a television program. It reminds me of those instances when immediate defeat follows victory.

A hunter never even considers the possibility that he himself could become the hunted. In the heat of his triumph, he’s completely oblivious to it.

Do you think Elsbeth’s unwavering mission to expose him ever actually scared him?

Emerson: She seemed to irritate him greatly, causing him to become angry and even enraged at times. I have the feeling that on occasion, he came close to acting aggressively or violently, but something would prevent it. Perhaps a phone call interrupted, or someone knocked on the door. In these instances, he would withdraw, returning to his composed demeanor and meticulous strategy.

Why do you think it is Crawford who really got under Elsbeth’s skin? It’s not like she doesn’t confront dangerous, desperate people all the time. In the previous episode, David Alan Grier’s character told you he wanted to see you in a coffin.

Preston: I believe he symbolizes an unassailable authority that can arise, particularly in someone holding a judicial position. Overthrowing such a figure is extremely difficult. This invulnerability bothered her, but she’s so determined and trusts in the strength of solid evidence that it was simply a question of gathering it. She managed to do just that – gather the evidence. However, he was more powerful, able to eliminate it. This is where the darkness sets in for her, and undeniably for her son. The fact that her son becomes disillusioned and hardened by this situation is a major source of concern for her, something she’ll have to work hard to address.

You both have spoken about wanting to work together so you could see each other more. Are you sad to be at the end of it now?

Preston: I was overjoyed to introduce him to the life I’ve been part of, sharing with him the happiness, kindness, and goodwill of my colleagues who I spend a significant amount of time with – often 16 hours a day! It was truly delightful having him around, yet it made our lives a bit tricky when we were both on set because there wasn’t anyone to manage things back home. So to say, there was no one to keep the ‘fort’ standing.

Emerson: Who was going to walk Chumley?

Preston: Indeed, who would take care of our small pet dog, Chumley? We had to juggle things a bit, but it was all worthwhile to include him in the “Elsbeth” clan.

Emerson found the challenge significant and somewhat intimidating. He was stepping into a substantial role with high visibility, acting alongside Carrie Preston. On the first day, he had to create an entirely new character from scratch. Fortunately, he had a longer storyline that allowed him to gradually understand this judge’s personality and, as we approached the end, inject more fun and style into his performance.

Did anything surprise you about playing enemies?

Preston: As an actor, I crave complexity and conflict, finding satisfaction in portraying multifaceted characters with challenges to engage against. Scenes that are effortless don’t hold as much appeal for me. That’s why working alongside my husband of 26 years was exciting because we have a deep trust in one another. We didn’t discuss our scene work, but I knew Michael was exceptional, so I came prepared to collaborate with someone at his level, giving the best performance I could offer.

In a flash, you transition into a focused professional mindset. By that stage, she’s hardly Carrie to me – more like an adversary in a fictional scenario, complete with challenges and solutions. I’m engaging in a sort of musical duet with her, trying my best to match her rhythm. I’m watching the direction her music takes, then attempting to either harmonize with it or create discord. As for real people, they seem to fade away.

It probably also helps when Carrie puts on Elsbeth’s signature fuzzy hats, and it just transports you to this world.

Emerson: There’s a unique way Elsbeth looks at you that feels almost penetrating. It’s quite intense, with a wide-eyed, curious, and open expression. It can be slightly unsettling, and it’s a gaze I don’t often encounter in my everyday life. However, during the show, I certainly experienced it.

You played mother and son on “Lost,” a couple on “Person of Interest,” and now enemies on “Elsbeth.” Where do you rank this one among your own screen collaborations?

Emerson: I am going to remember it fondly because of how frightened I was at the beginning.

Preston: Since it wasn’t confined to a single episode, we had the chance to explore and develop the dynamic and relationship between us. Over time, this connection flourished. In terms of ranking our collaborations, I’d place this one at the very top.

Emerson: You versus me? This is as good as it gets.

This interview has been edited and condensed.

2025-04-25 05:19

SPOILER: ‘Elsbeth’ Arc Ends with Shocking Death – Carrie Preston & Michael Emerson Reveal All