‘The Regime’ Creator on Crafting an Ending to Kate Winslet’s Reign

Warning: The following article reveals important details about the ending of The Regime.

At first, Will Tracy conceived the protagonist of The Regime as a male figure. However, he applied a clever tactic often utilized by writers: alter a single element of the writing and observe the outcome.

The individual responsible for creating the series shared with The Hollywood Reporter that the initial idea sparked a plethora of fascinating prospects. They expressed that the concept of an autocracy in American literature hasn't been explored in such a manner before. Additionally, the character's awareness of the situation and ability to utilize their status as a weapon was particularly captivating.

Kate Winslet took on the powerful role of a strict leader in a political satire created by the writer of Succession. The series, which had six episodes, came to an end last Sunday with an unexpected and triumphant conclusion.

The Chancellor, Elena Vernham (played by Kate Winslet), makes a difficult decision to sacrifice her lover, Herbert Zubak (played by Matthias Schoenaerts), in order to regain control of her leadership, as her regime is threatened. The series concludes with a return to the Palace, but everything has changed. Elena's husband, Nicholas (played by Guillaume Gallienne), has returned and Elena is no longer vulnerable or unpredictable; she is firmly in control. She addresses her loyal citizens confidently and from behind a bullet-proof glass cage, before paying a visit to Herbert's dead body, which is now in a glass box in the Palace mausoleum. Unlike in previous scenes where she saw her father's dead body, there are no spoken words to reveal what Elena is feeling. Instead, viewers must interpret her pensive and reflective expressions as she walks away, while the song "Baby Please Don't Go" by Chicago plays over the credits.

After witnessing Elena Vernham’s entire journey in The Regime, Tracy (the writer, executive producer, and showrunner) shares with THR the origin of his idea for the series. He reveals how it unexpectedly relates to current happenings, and delves into his decision to construct a fictional country. Moreover, he explains why he believes that the story should conclude in this locale.

I heard that your fascination with authoritarian regimes was what inspired The Regime. Could you provide more details on why you find this type of reading so intriguing?

Laughing, I admit that my hobby is quite embarrassing. It's difficult for me to explain where my fascination with reading books about Stalin and watching horrifying documentaries about world atrocities comes from. Maybe it's because I'm trying to mentally prepare myself for a similarly unstable political situation. Or maybe part of it is the comfort it brings me, despite my discomfort with using that word. Reading about the Siege of Leningrad during the Second World War can make my own worries and anxieties seem less significant. Surprisingly, buying me a book about Ceaușescu or North Korea is an easy gift idea for me, as it's one of my interests.

What made you choose to pursue fiction despite having a wealth of knowledge at your disposal?

I could have focused on creating a limited series about Nicolae Ceaușescu's reign or the early years of the Syrian civil war, but as an American, I didn't feel like I had the expertise to delve into another country's painful history. Additionally, I didn't want to be limited by the baggage of any specific country, so instead, I created my own country within a realistic geopolitical framework that reflects current global issues. I was inspired by Jesse Armstrong's approach to creating Succession - he initially did extensive research on Rupert Murdoch and his media empire, but eventually decided to use that research as a foundation to create his own unique story. I followed his lead and set aside research to craft my own story.

Your fellow director, Jessica Hobbs, mentioned that ensuring the show's fictional setting didn't overly reference any particular place or person was a difficult task. Did you also find it challenging when writing the script, or did you include subtle hints for the audience to interpret?

The show has some hidden messages that people can find if they look for them. However, like Jess, I was worried that viewers would watch it and think that it was a thinly veiled reference to a certain regime. This thought made me feel uneasy. Additionally, while I was writing the show and during production, I was also worried whenever something relevant to the show happened in the news. Non-writers may think that this news is a great gift, but for most writers, including myself, it gives us a sense of dread. This feeling arises because we feel behind the wave and think that we are only reacting to the news.

It is possible that this could happen, even in Ukraine. It seems like this situation has been ongoing for five years now, but it occurred well after the show was initially written. We had already completed the scripts for all of the episodes, and as we were reviewing them, we realized that this could be an issue. There is one episode where it appears that this event could be a concern. We meticulously scrutinized the story and altered it to ensure that it was unique. Thankfully, we created a distinct regime, country, and leader in the show that is politically, culturally, and geographically specific. As a result, it should not feel like we are drawing too close to any real-world influences.

At what point did you pen this piece and when did you commence the production process?

My idea was initially conceived around 2018, followed by scripting and conducting a mini writers room session. The scripts were finalized approximately three to four months before the onset of the Ukraine crisis. However, even after completion of the scripts, numerous events that took place created a domino effect. For instance, the situation between Israel and Palestine as well as unfortunate circumstances surrounding Alexei Navalny.

I wrote about the TV show Veep and talked with the person in charge, David Mandel, about how some of the stories they created turned out to be similar to real-life political events without them realizing it.

The situation on Succession would be more challenging for us. It poses a greater difficulty to handle the actual America and the rapid variations in the political environment, such as those experienced in 2016, which felt fast-paced to the majority of us. It proved extremely arduous to make a contemporary series about American politics, culture, and media while an overwhelming situation remained conspicuously absent from the show. I had felt rather fortunate. Praise be to God that I avoided creating a fictional government while depicting a true state, as it would have been a much more perplexing task.

The co-director of The Regime, Stephen Frears, expressed his straightforward opinion about what he desires the viewers to grasp during an election year in America. He stated, "Do not cast your vote for Trump." Do you agree with this statement?

I was expecting it to be more controversial, but it turned out to be okay (laughs). When I write, I focus on creating intriguing stories without aiming to influence anyone's voting or decision-making. Though it might sound like I'm avoiding the question, I aim to make stories that are both captivating and humorous, with characters that pique people's interest. I also want my stories to have some relevance to the real world and provide commentary on how it works. However, I don't have any political agenda to encourage people to resist authoritarianism, neither here nor overseas. I wish I did have all the answers because it would be perfect if my show could solve all problems (laughs).

I reckon that Elena shares similar traits with Trump, more so than with other leaders such as Putin. What stands out about Elena in the show is a trait commonly found in authoritative figures - a desperation to be heard and respected, without being ridiculed. They possess unusual personalities that may sound or look funny, which is what sets them apart and contributes to their success. However, their insecurity never disappears, stemming from past experiences of being laughed at. This insecurity is deeply ingrained in their character, driving them to want to be taken seriously. These thoughts influenced how I wrote the show.

I comprehend that Kate Winslet was the solitary contender deemed fit for the role of Elena. What was the reason behind picking a female instead of a male for the part?

When I first started brainstorming ideas for the show, I absentmindedly made the main character a man without considering other options. However, upon reviewing my work, I decided to experiment with changing the character's gender to see how it would affect the story. This decision led to many intriguing possibilities. As a writer, I often like to make small changes without overthinking them to see how they impact the overall narrative.

To start off, I never really saw that in American fiction before. Usually, when it comes to stories about autocracies, they tend to feature a stereotypical portrayal of a powerful, brutal man. But then I had a thought – what if we portrayed a strong woman leader instead? And what if she was a bit too authoritarian? I don't recall ever seeing that kind of character before, so I found it quite intriguing. It would be interesting to explore how the character is aware of her own strength and uses it as a weapon.

Do you think she knows how to make the best use of that skill? Well, she can also use it effectively with her colleagues. Despite not being a mother, she has a maternal vibe that she exudes. Moreover, when it comes to attracting investment and recognition from the West, she knows how to portray herself as a strong female figure. Even though she can be quite oppressive, we can overlook that and focus on how she presents herself as a powerful woman leader. This opens up brand new possibilities for storytelling that we wouldn't have access to otherwise.

After the conclusion, do you consider the series to be completed with only six episodes?

I believe that when it comes to this topic, we have covered significant milestones in the lifespan of this government. I approached it in a way that would allow for storytelling, as we examined the life of this regime in miniature. It was always my intention to end it at six episodes, and I did not write it with the idea of extending it in mind. However, I am open to the possibility of continuing if the circumstances are right, as I am open to various opportunities.

You can now watch The Regime on Max as it is available for streaming.