Analyzing Elizabeth's Grief and Strength in Episodes 3 & 4 of Lessons In Chemistry

Summary

Lessons in Chemistry takes a surprising time jump in episode 4, introducing a new era through subtle costume and music choices.

Directing the canine character known as Six-Thirty proved to be a delightful experience, as it introduced a delightful aspect to an otherwise sorrowful episode.

Brie Larson, who effortlessly balances her roles as an immersive actor and an EP, flawlessly collaborated with the directors, showcasing her profound understanding of the character.

Warning: This article contains spoilers for Episode 4 of Lessons in Chemistry.

Lessons in Chemistry, the new hit show on Apple TV+, stars Brie Larson as Elizabeth Zott, a brilliant scientist in the 1950s who faces constant underestimation by her colleagues. The show explores her scientific partnership and budding romance with Dr. Calvin Evans, until a shocking cliffhanger in episode 2 leaves Elizabeth and the audience devastated when Calvin is fatally struck by a car. Based on Bonnie Garmus' best-selling novel, Lessons in Chemistry stays true to the heart of the story while introducing some unexpected twists.

Episode 3 focuses on Elizabeth's pregnancy, first detected by her dog and trusted narrator, Six-Thirty, and how she copes with the loss of her soulmate. Despite having her work stolen and her name removed from a joint publication with Calvin, Elizabeth perseveres with her own determination and the support of her neighbor, Harriet Sloane. In episode 4, the series jumps to the 1960s, introducing Elizabeth's daughter, Mad, and her friend Amanda. Their lunchtime food swaps unexpectedly lead to Elizabeth being offered a new job as a cooking show host.

Bert and Bertie Talk Lessons in Chemistry Episodes 3 & 4

We had the opportunity to interview the renowned directing duo, Bert and Bertie (Amber Templemore-Finlayson and Katie Ellwood), who shared their insights on Lessons in Chemistry. They also discussed their collaboration with Brie Larson to portray Elizabeth's grief effectively and their creative process in developing the captivating characters of Harriet and Mad. Moreover, they expressed their enthusiasm for the upcoming season of The Walking Dead: The Ones Who Live, which will focus heavily on Rick and Michonne.

For our website: I appreciate the fact that you were able to incorporate the seven-year time leap into episode 4, mainly by showcasing Mad's school and providing glimpses of the TV production set. Can you please share your thought process in terms of establishing this new time period and any sources of inspiration you drew from?

Bertie: It was a challenging question that caught us off guard. It only happened in one scene transition, so it heavily relied on costume and music. For the seven years that we haven't seen Elizabeth, every detail of her life after meeting Calvin was included. It was a significant task, but we wanted to keep it simple and not overdo it.

We usually have elaborate transitions, like the kitchen demolition, but this time we opted for a subtle approach using music, camera work, and set dressing. When we stumble upon the refrigerator, we see Madeline's work displayed on it. Ultimately, we preferred a subtle approach, but Brie helped us fill in all the necessary storytelling elements.

Six-Thirty is by far my favorite character in the series up until now. Can you share what it was like directing the dog and how well it aligns with BJ Novak's vocal performance?

Bert: Since the vocal performance was recorded afterwards, we didn't actually know who would be narrating it while shooting. We could have assigned any voice to it; the focus was primarily on developing the character for the dog at that time.

People often say that working with dogs and children can be challenging, but we have firsthand experience working with numerous dogs on set. Surprisingly, it brings a certain joy to the atmosphere when they are involved. There is a noticeable shift and transformation when they are treated as another character. We utilize various shots, such as over-the-shoulder, point-of-view, and close-ups, to capture their presence. Despite the fact that this particular episode was filled with grief, the inclusion of a joyful and lovely dog named Six-Thirty added a refreshing dynamic.

Working with dogs is like working with an additional character. It requires more time and consideration in determining the shots we use. It is important to think ahead because, as a spoiler alert, the dogs are not present in every scene. We need to frame and position things strategically to include them when necessary while keeping them out of the frame when not needed. By doing so, we can maintain their presence without them being physically in every shot. The dog in this instance was named Gus, and it was an absolute pleasure to have him on set. Needless to say, everyone instantly fell in love with him.

And then, having the opportunity to create an episode from his point of view brought us immense joy and a creative challenge. Our hope is that it resonates with viewers, offering a refreshing and distinct experience that evokes a range of emotions. There's something about projecting our own feelings onto an animal that allows for a deeper emotional connection. So, perhaps you'll find yourself more engrossed in episode 3 – among many other reasons that make it special.

Our website: Brie not only serves as a producer for the project but also played a vital role in bringing it to Apple. She had already initiated Elizabeth's journey before your involvement, so what was it like collaborating with her in these episodes?

Bertie: It's fascinating how Brie seamlessly transitions between being an executive producer and a fully immersed actor. There was a specific instance when we needed to discuss episode 3, but she wasn't ready while shooting episode 2. At that time, she was deep in the world of being in love with Calvin and envisioning their life together. It was understandably challenging for her to shift gears and confront the idea of him being gone. However, once they wrapped up the final scene of episode 2, she was immediately ready to dive into the conversation.

Entering the scene, she displays absolute professionalism. As an exceptional EP and actor, her standards are set high, requiring us to closely accompany her throughout. She possesses an intimate understanding of the character and makes audacious choices that stem from her personal connection with them. Furthermore, her expansive insights stem from her immersive experience of living as the character, allowing her to provide a comprehensive perspective as an EP.

Both of you have prior experience working on TV shows and films, all of which involve immersing yourself in someone else's creation. In this particular case, we also have the reference of the book to consider. How much influence do both the first two episodes and the book have on your approach, while still aiming to make your own unique impact on this part of the story?

Bert: I started reading the book but halfway through, I realized it was confusing me. I struggled to remember what was happening and whether it was part of the earlier or later episodes. So, I stopped reading and finished it after watching the show instead. Unless I was writing a movie from scratch based on a book, I wouldn't repeat this experience because clarity is important. It's difficult to keep track of different versions.

However, in TV shows, this confusion can be a positive thing. There's a sense of establishment, except for the pilot episode where you briefly step into the world before stepping back out. Writing a film takes years of your life, but with TV shows, you can briefly immerse yourself in different time periods, with great elements like dogs, children, and talented actors. It's like playing in a sandbox, making a mess, and then leaving. It's a lot of fun. In comparison, making a film is an all-consuming experience. It's more like a marathon, while working on a TV show is more like a relay race.

When it comes to remarkable actors, Aja Naomi King's portrayal of Harriet truly captivates us in these episodes. We witness firsthand how she possesses an indomitable spirit that sets her apart from Calvin and Elizabeth. Our goal was to enhance Harriet's story by introducing new elements that weren't present on the page. Aja, being an incredibly creative and collaborative actress, had already established a solid foundation for the character. However, she remained open to our suggestions and additions. We also had the invaluable input of Dr. Shimel Bell, who served as a cultural consultant and contributed significantly to Harriet's narrative. The writers drew inspiration from the compelling history of the 10 Freeway and a remarkable woman who resided in 1960s West Adams and played a pivotal role in revitalizing the neighborhood.

I believe the discussion between Shimel and Aja centered around the distinction between white woman feminism and black woman feminism. Although these two forms of feminism are often combined, they are notably different, especially for African American women. Aja and Shimel provided valuable insight into Harriet's perception of Elizabeth as a white woman in a predominantly black neighborhood. There was an underlying suspicion, and their relationship did not immediately develop into a friendship. Elizabeth's reserved and introverted nature contributed to the closed doors she had, which briefly opened for Calvin before closing again. However, Elizabeth truly needed the support and companionship of another woman. Crafting Harriet's story and understanding her perspective was a collaborative experience with Aja, making it an integral part of the process.

I enjoyed the switch-up with Mad and Amanda, as I hadn't realized there was another character named Amanda Pines in the book. How much of your portrayal of the girls was predetermined in the script? And how did you collaborate with the young actresses to establish this new friendship during that time period?

Bert: It was a delight to play with this misdirection. The show excels at incorporating these subtle twists and inside jokes, making it an extremely playful series. It's always exciting to introduce a character in a unique way, reminding the audience to stay attentive and not to anticipate the usual.

In this show, particularly in episode 3 which is told from the perspective of a dog, the writers always give us something to explore and analyze. It feels like a small present that you unwrap, and working with the character of Mad was truly incredible. The young actress was absolutely delightful; it's amazing when you come across a talented child who truly understands and portrays emotions well, and she showed maturity beyond her years. It was an absolute pleasure. Our little Mad was exceptionally talented, and Brie formed a very powerful connection with her. They had similar ways of thinking. Brie brought a whole new dimension to the character of Elizabeth and our storytelling.

Another unexpected surprise for me was witnessing the memories of Calvin and observing how Elizabeth interacts with him. How do you approach those scenes? She isn't actually hallucinating that he is present, but you have to establish that she still maintains a deep connection with him throughout.

Bertie: As huge fans of magical realism, we aimed to incorporate that element in this particular instance, by not making Calvin a ghost. It was important to us to convey the idea that it was actually the protagonist's yearning for him that brought him into existence. In certain moments, her desperation manifested him in various ways, appearing as a real person in the room who provided solace and conversation. He became a comforting presence, even physically touching her. For instance, he would embrace her during moments of distress, such as when she struggled to cope with her newborn child. Similar to Six-Thirty, we treated him as another character present, despite all of us being aware that it was impossible for him to truly be there.

I must mention that I've been a big fan of your past works, including Silo. I'm also eagerly anticipating The Walking Dead: The Ones Who Live, which you're currently working on. Can you share your experience of establishing a new world with beloved characters that everyone adores?

Bert: We have a deep affection for these characters, and there is a strong desire for their return. It is a wonderful privilege to revive them, given their extensive experience and talent. We were incredibly fortunate to embark on this journey. We understand that the fans have eagerly awaited their comeback for many years.

It was a challenging endeavor, taking place in New Jersey during the winter. However, sometimes these hardships manifest on screen and add an electrifying element to the story. Bringing back these two beloved characters is truly exciting, and our sole aim is to ensure that the fans are delighted and content. We sincerely hope that you will be. Brace yourself for the unexpected.

About Lessons In Chemistry

Taking place in the early 1950s, "Lessons in Chemistry" revolves around Elizabeth Zott (portrayed by Larson), a woman whose aspirations of becoming a scientist are hindered by the prevailing male-dominated society. After being dismissed from her laboratory position, Elizabeth reluctantly becomes a presenter on a television cooking program. Determined to impart knowledge to the disregarded housewives, as well as the newfound attentive male audience, she goes beyond just sharing recipes.

The initial 4 episodes of "Lessons in Chemistry" can be streamed on Apple TV+, with subsequent episodes releasing every Friday.