Why Al Franken Was Cast in 'The Residence' Over Hugh Jackman: Inside the Show's Secrets!

⚠️ Caution: This conversation reveals crucial plot points from the series “The Residence,” currently streaming on Netflix.

🚨 Spoiler Warning: The following discussion discloses significant details about the Netflix show “The Residence.” Proceed with caution if you haven’t watched it yet!

Before jotting down a single line for Netflix’s newest murder mystery, “The Residence”, its creator, Paul William Davies, had already decided on the identity of both the murderer and the victim.

Throughout eight exciting episodes, a fresh comedy-mystery series, modeled after Kate Andersen Brower’s non-fiction book “The Residence: A Peek Behind the Private Lives of the White House,” gradually reveals the circumstances surrounding the sudden death of White House Chief Usher A.B. Wynter (portrayed by Giancarlo Esposito, replacing the late Andre Braugher). This unfolds on the night of an Australian state dinner at 1600 Pennsylvania Avenue.

Following an intense probe into the murder case on the specified night, Detective Cordelia Cupp (Uzo Aduba) delves into questioning 157 possible suspects and eyewitnesses concerning the crime and its concealment attempt. Upon returning to the White House, she escorts all her remaining leads through the house, providing explanations about the various hints she uncovered throughout the process. The final destination of this guided tour is the Yellow Oval Room, where A.B. was fatally wounded.

It’s been discovered that Molly Griggs, formerly known as Lilly Schumacher and the wealthy, self-important social secretary who aspired to redesign the White House, ended up murdering A.B., a staunch traditionalist, during the state dinner night. Just prior to his demise, A.B. confronted Lilly in her office, warning her that he would reveal her for embezzling funds, breaking contracts, trading favors with various vendors, and illegally allowing people into the White House. In a fit of anger, Lilly tore out a page from A.B.’s detailed journal, which contained evidence of her criminal acts.

After recognizing that her document might be misconstrued as a suicide note, Lily devised a strategy. She pilfered paraquat, a harmful pesticide, from the gardening shed and borrowed one of gardener Emily Mackil’s (Rebecca Field) dishes to transport the poison into the White House. She contacted A.B. from the shed and requested a meeting in the Yellow Oval Room. In addition, she posed as First Gentleman Elliot Morgan (Barrett Foa) to get the Secret Service removed from the second floor. Meanwhile, she covertly concocted a deadly brew, only to witness A.B. arguing with housekeeper Elsyie Chayle (Julieth Restrepo). (Later on, Lily attempted to implicate Elsyie and engineer Bruce Geller (Mel Rodriguez) as the actual culprits in the crime.)

Following my dismissal, I found myself in a precarious position. In an attempt to mend fences with A.B., I offered him a drink laced with a harmful substance, hoping for peace. When he discovered the poison, he reacted swiftly by tossing it on some flowers nearby. Unforeseen consequences ensued as Lilly, in a fit of rage, hurled a vase at his head, causing fatal wounds. She then resorted to brutally beating him with a clock and concealed it within a storage compartment hidden along the passageway connecting the Yellow Oval Room and the Treaty Room.

With A.B. eliminated from the scene and Jasmine Haney, our new Chief Usher, blissfully unaware of that night’s events, Lilly believed she had successfully covered her tracks. However, little did she know that Detective Cupp would return, revealing her deception by literally piercing a hole through the wall with a knife, exposing her desperate attempts to hide the truth.

A writer-producer who has been associated with Shondaland for a long time, having honed his skills on “Scandal” under Shonda Rhimes, later went on to create the two-season ABC legal drama “For the People.” Now at Netflix, he’s been working on “The Residence” for over five years. Here, the producer shares insights about that shocking twist, how they managed to recover from the unfortunate departure of Braugher with Esposito’s assistance, the reasons behind casting Kylie Minogue and Al Franken, and his belief that there are numerous untold stories related to the “World’s Greatest Detective.

When you set out to create “The Residence,” you didn’t expect the detective to play a very prominent role. Once you made the decision to center this show around Cordelia Cupp, how did you think about building her as a character? Why did you choose to make her an avid birder?

Initially, when I conceptualized this murder mystery, I imagined it would primarily be narrated from the staff’s perspective, with the detective playing a supporting role. However, as I began to write, Cordelia seemed to assert herself forcefully into the narrative. One aspect of crime fiction that I adore is the presence of an exceptional detective, and so I decided to make this story centered around Cordelia Cupp.

Essentially, the narrative revolves around both the staff and the characters, but let’s be clear, this is primarily a Cordelia Cupp mystery, which is what I find so captivating about classic detectives like Sherlock Holmes, Hercule Poirot, or Benoit Blanc. I wanted to create an iconic image for her, and she naturally assumed that role. Uzo’s performance is simply stunning, magnetic, and versatile, making Cordelia stand out even more distinctively.

The development of my character’s interest in birds was quite natural and unplanned. Since my stepfather is a bird enthusiast, I spent a significant amount of time during the show’s production observing various birds in my backyard, which is filled with them and bird feeders. Although I didn’t initially have much knowledge about birds, I found myself drawn to them, thinking, “This could be an interesting aspect of her character.” However, I never intended for it to become as prominent as it did for her or the show. It gradually felt more like, “Oh, this is a fantastic opportunity to delve deeper into understanding her perspectives and thought processes.” Over time, it evolved naturally to the point where it became an integral part of who she is and how she lives her life. She frequently uses birds as analogies, making it a significant part of her identity in a way that felt authentic as I developed her character.

You created so many colorful characters around Cordelia that it was almost impossible for me to figure out the killer in real time, until Cordelia began to spell things out in the finale. Why did you choose to have so many suspects by design?

The project’s origin stems from two aspects: firstly, reading the book and getting engrossed in the staff portrayed within. Despite the project evolving into something completely different (with no murder mystery as in the book), I found it intriguing and decided to delve deeper, captivated by the numerous compelling stories and complex relationships among the staff and between them and the president. Over time, I trimmed down characters, but there were so many more! The challenge increased when I began casting, and I felt compelled to create additional content for these exceptional actors. However, I had to scale back on some staff members who weren’t primary suspects, but whose stories I wanted explored further. Ultimately, I aimed to construct a rich and unique world, which is rooted in the characters themselves – this was a key priority for me.

As a fan who’s always been drawn to the charm of murder mysteries, I can’t help but appreciate the stellar ensembles from the ’70s classics like “The Last of Sheila,” “Murder on the Orient Express,” “Death on the Nile,” and more modern ones such as “Clue.” However, it was Rian Johnson who truly brought this genre back to life with “Knives Out.” The poster alone, featuring an array of characters, is a testament to his genius. Reviving Agatha Christie’s approach of gathering as many suspects in one room for the final reveal has always been my favorite part of these stories, and it never fails to delight me.

There are numerous methods to craft a murder mystery or detective story, and “Sleuth” and “Death Trap” (from the ’80s featuring Christopher Reeve and Michael Caine) were particularly influential for Rian Johnson and me. Unlike those two-to-three character productions, I aimed to create a grand scale story with an abundance of unique characters in this project.

How did you find the tone of the show, and how did you work on it with your leads and the rest of your very large ensemble?

In essence, the style or approach of this project seems to align closely with my own writing style, so I didn’t need to spend much time figuring out the direction; rather, it was about getting everyone else on the same page. Shondaland and I have a strong bond, having worked together for over ten years now, and they are well aware of my preferences in terms of tone and writing style. While this project isn’t an exact replica of other works, it can be described as multi-layered, blending elements of humor with romance and raw emotion. It’s not strictly a comedy or a drama, but rather a unique blend that reflects my diverse writing approach. I prefer to incorporate various tones into my work, which, in turn, helps define my style.

Before we officially began the casting process, I had already penned several scripts. The style and tone of these scripts are reflected in the final product as well. Reading one of these early drafts gives you a clear idea of my comedic style and what the show is all about. There’s plenty of stage directions and jokes to keep you entertained. I believe that those who read it could sense the essence of the production and were eager to be a part of it. This mutual understanding eliminated the need for extensive discussions about the show’s direction. Each cast member possesses exceptional comedic skills, yet they are also versatile enough to play serious roles as needed, fitting perfectly with the design of the show. Consequently, there were no challenging conversations. From the outset, everyone was on the same page and fully committed to the project.

At what point during the writing process did you know that Lilly Schumacher was the killer? Why did you settle on her?

When I initially arranged everything, my main focus was on ensuring that I had correctly identified both the culprit and the deceased. I required someone suitable for the role of the victim, someone capable of provoking significant animosity, possessing a strong motive, and convincing enough to maintain suspicion across various individuals. While I intended to stage a grand event such as a state dinner, I didn’t want the pool of potential suspects limited only to staff members or attendees. Instead, I aimed to involve as diverse a group of people as possible in my investigation. Consequently, I had to determine who this person was – the victim – and simultaneously figure out the identity of the right perpetrator.

In my story, I aimed to make the primary conflict a matter deeply connected to the House itself, rather than an external issue like a financial dispute or personal affair. I wanted it to be a struggle born within the House’s walls, not just a coincidental problem that could have occurred anywhere but found its way into the White House. By making the conflict an integral part of the House, I hoped to create a sense of realism and root the story in the setting.

Additionally, I wanted to explore the occasional tension between long-term staff members and newcomers who bring fresh ideas and perspectives. While these individuals typically collaborate effectively, I thought it would be interesting to delve into the potential friction that could result from their contrasting approaches to problem-solving. Even though no one has ever been harmed in these roles, I found the idea of this tension being a driving force for the relationship between the characters compelling.

But were there any specific clues that you included in the show to later reveal that Lilly was the killer? Were there any clear tells that you and Molly Griggs had discussed ahead of time?

Throughout the series, it’s evident that her conflicts with A.B. are a recurring theme, unlike other characters who have more episode-specific disputes. What makes it engaging is that these disagreements seem to pop up in almost every episode. When you rewatch the episodes, you might notice that some focus on Marvella, others on Didier, Sheila, or Tripp. However, if you look closely while watching, you’ll find that she was involved in a dispute with A.B. about the musical guest in one episode, a disagreement over seating charges in another, and so on. This constant tension between them is a significant structural element of the series, creating a sense that these issues have been ongoing not just during the events of each episode, but also before them.

As a cinephile, I’ve got to say, Molly delivered an exceptional performance that left us with so much to unpack. To ensure I didn’t give away too much or too little, I had to finely tune the narrative at the end. Her acting was so versatile that she provided ample room for me to experiment with her character. When we finally discover her true identity, she delivered an iconic villain performance that left an indelible mark on me. However, a great actor like Molly also offered enough range in her portrayal, allowing me to adjust and balance the performances throughout the production. In the end, it was my responsibility to ensure the performances were not overshadowed or understated at any point – not just with Molly, but with every actor involved. The project felt almost like an eight-hour movie in terms of its complexity, so I had to maintain a delicate balance to prevent overstepping boundaries at different points during the storyline.

Throughout the series, I emphasized the pattern that A.B. usually settled his disputes in private, and this is a recurring theme. Therefore, when Lilly mentions in Episode 7 that she saw him fighting with someone in the Yellow Oval Room, it seems unrealistic because the door was closed during that scene. Moreover, this action contradicts how he typically handled such situations. Thus, I aimed to highlight these logical inconsistencies for the viewers, as it was something that Cupp noticed while solving the case.

You lost Andre Braugher halfway through production, and you chose to recast his role with Giancarlo Esposito, who had worked with Braugher on “Homicide: Life on the Street” and was a longtime friend of his from the New York theater scene. How were their portrayals of A.B. different? Did the role have to get any smaller or change at all to accommodate the recasting?

In essence, the character remained consistent throughout; I didn’t alter anything specifically for Andre or Giancarlo initially. The role itself was its own entity, and both these exceptional actors breathed life into it uniquely, demonstrating their individual brilliance – a testament to their acting prowess. It wasn’t necessary for me to provide additional directions to either of them; they were already outstanding performers. Unfortunately, the circumstances surrounding this project were deeply tragic and painful for everyone involved. So, unlike a play where different actors take on the same role, these performances were deeply personal and unique to each actor.

To put it simply, working with Andre initially was tough due to the need for reshoots. Aside from those technical difficulties, the real challenge we faced was emotional. Andre was an integral part of our team and was deeply fond of the show, so his absence was felt profoundly by everyone involved. Fortunately, Giancarlo stepped in to help us navigate through this emotionally taxing situation with grace and skill, making it less daunting for all of us.

The directors of “The Residence” ended up using “plates” — background shots which are then superimposed with other elements during post-production — so you were essentially able to superimpose images of Esposito over Braugher in some episodes. How much were you able to reshoot with Esposito, given that A.B. is mostly in scenes with bigger groups of people?

We re-filmed any significant scenes involving meaningful dialogue or performance by A.B. It proved difficult and technically possible, but challenging, to recreate larger scenes such as the state dinner, where A.B. was present. Instead of attempting to reproduce these complex scenes in their entirety, we opted to use “stand-ins” or “plates.” In cases where it was more feasible, we utilized these stand-ins rather than trying to recreate extensive, intricate scenes that primarily focused on other aspects, not A.B. Wherever possible, we managed to make these adjustments.

Have you or Shondaland ever considered releasing clips of what Braugher did shoot in those four episodes before he passed?

We never talked about that.

You decided to set this show during the hustle and bustle of an Australian state dinner at the White House. You got Kylie Minogue to play a version of herself in a couple episodes, and then there are numerous references to Hugh Jackman, even though we never see his face. How did Minogue’s cameo come about? How close did you actually get to getting Jackman, and why did you choose to use a body double of him when he couldn’t do it?

Initially, when composing the first episode, I included Hugh’s character with the hope that perhaps our schedules could align, making it feasible for him to be part of the project. Although I don’t personally know Hugh or have worked with him before, I’ve only heard positive feedback about his work. Some cast and crew members from Netflix had collaborated with him on previous projects, and they all seemed enthusiastic about the prospect of working together. Unfortunately, our schedules didn’t align, but I thought, “Oh well, it’ll still be enjoyable.” I figured that incorporating Hugh’s character added to the humor of the show, so we decided to keep it in. I found this an entertaining choice for the storyline.

Kylie managed to find the time to help out, and she did an excellent job with a great attitude. Not only did she fulfill her task, but she went above and beyond by taking on additional responsibilities due to scheduling flexibility. Given how enjoyable it is to work with her, I took advantage of this opportunity and we ended up doing more than initially planned for the project.

What about Al Franken? The former real-life senator, who resigned in 2018 under a cloud of sexual misconduct allegations, plays a fictional senator in this show.

Initially, Al’s character was expected to have a more conventional, extended role in the series. This wasn’t a fleeting appearance but a larger part throughout. However, I didn’t anticipate utilizing Al as extensively as I did. To my delight, he was eager to participate, and once I had Al Franken on board, I made full use of him. He is a legend, and his performance was excellent. I believe people appreciated collaborating with him on those scenes.

The fact that this show is titled “The Residence” means that you could theoretically set the next chapter of this story in another famous home, in just about any country. Have you thought about what a second season could look like?

I’ve given some thought to it here and there, but I haven’t had the chance for a thorough contemplation. Yet, when considering Cordelia, Edwin (played by Randall Park), and even during the initial stages, I’ve often pondered about potential new directions and unique mysteries. What makes great detective fiction enjoyable is its distinctiveness while maintaining a sense of familiarity, like Sherlock Holmes at 221B Baker Street or Agatha Christie’s Poirot. The way cases come to them might be distinctive, but the approach remains comfortingly familiar. So, I envision continuing this journey with a fresh twist and new adventures, while maintaining the essence of what we’ve established. And yes, there are ideas brewing!

This interview has been edited and condensed.

2025-03-23 19:21

Why Al Franken Was Cast in ‘The Residence’ Over Hugh Jackman: Inside the Show’s Secrets!