New TV Drama Recounts Heroic Escapes On The Underground Railroad The multilayered thriller follows a group of enslaved people as they escape a Georgia plantation. Co-creator Joe Pokaski says the Underground Railroad may be America's "most heroic story never told."
NPR logo

New TV Drama Recounts Heroic Escapes On The Underground Railroad

  • Download
  • <iframe src="https://www.npr.org/player/embed/469670174/469757766" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript
New TV Drama Recounts Heroic Escapes On The Underground Railroad

New TV Drama Recounts Heroic Escapes On The Underground Railroad

  • Download
  • <iframe src="https://www.npr.org/player/embed/469670174/469757766" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player">
  • Transcript

STEVE INSKEEP, HOST:

Let's talk about the Underground Railroad. That's a phrase many of us learn in school. That railroad, which is a metaphor, was filled with drama and danger. Enslaved people in the American South journeyed hundreds of miles to freedom helped by abolitionists who also took great risks to help them. Now the Underground Railroad is a setting of a new TV series that debuts tonight on WGN America. NPR's Neda Ulaby has more.

NEDA ULABY, BYLINE: "Underground" was created by two people - Misha Green, who's black, and Joe Pokaski, who's white. They met as writers for the TV show "Heroes" and discovered a mutual love of comic books and action films. They bring that sensibility says, Pokaski, to a story they feel gets skimmed-over in school.

JOE POKASKI: You know, it's arguably the most heroic story never told in American history. So we both, being comic book people, being genre people, wanted to make it as exciting as it should be.

ULABY: "Underground" is one of those multilayered dramas that follows different groups of people, like in "Game Of Thrones." Here, there are slave catchers, abolitionists, a family who owns a plantation in Georgia and the people forced to work there.

(SOUNDBITE OF TV SHOW, "UNDERGROUND")

UNIDENTIFIED ACTRESS #1: (As character, singing). The drinking gourd...

ULABY: "Underground" is like a spy thriller, says actress Jurnee Smollet-Bell. She plays Rosalee, a housemaid who runs for freedom with characters who must rely on cryptic clues to make it North, like a gospel song that shows how to navigate by finding the Big Dipper.

JURNEE SMOLLET-BELL: They could use a star or they could use a song, or they could use code words or glances, or markings on a tree.

(SOUNDBITE OF TV SHOW, "UNDERGROUND")

UNIDENTIFIED ACTOR #1: (As character) See, the sun rises on the right, sets on the left. It means that that big spoon in the sky always points North.

UNIDENTIFIED ACTOR #2: (As character) Follow the drinking gourd.

UNIDENTIFIED ACTOR #1: (As character) Come on, boy, you just figured out a part of the map to freedom.

ULABY: This is the first really big dramatic TV series centered on American slavery since "Roots" in 1977. "Roots" was a miniseries, not a regularly-scheduled show, and it's being remade this year. Lisa Woolfork is a University of Virginia professor who studies representations of American slavery. She's heard people complain about slavery fatigue since movies like "12 Years A Slave," and she understands wanting to put the past safely behind.

LISA WOOLFORK: But one way to understand why our present is the way that it is is rooted in the past. As Faulkner said, the past is never dead. It isn't even past.

(SOUNDBITE OF TV SHOW, "UNDERGROUND")

UNIDENTIFIED ACTOR #3: (As character) Look what you've done.

ULABY: Woolfork points to one scary scene in "Underground" where an 8-year-old child accidentally damages the belongings of an overseer.

UNIDENTIFIED ACTOR #3: (As character) You got 'em all dirty. Them things worth more than your life, boy.

UNIDENTIFIED ACTRESS #2: (As character) Mr. Bill?

UNIDENTIFIED ACTOR #3: (As character) Get your hands out. Pull them out.

UNIDENTIFIED ACTRESS #2: (As character) Mr. Bill?

ULABY: The overseer wants to whip the little boy's hands. His adult sister offers to take the beating instead.

WOOLFORK: And I found that incredibly powerful because what it suggested to me was the interchangeability of slaves in this system.

ULABY: A system based on white supremacy and indifference to black pain.

WOOLFORK: And it helps to start thinking about what black life is, what black life means, how black life was valued.

(SOUNDBITE OF TV SHOW, "UNDERGROUND")

UNIDENTIFIED ACTOR #4: (As character) That's enough. She's going to need those hands to serve at the party tonight.

ULABY: Too often, Woolfork says, we tell ourselves stories today imagining our relationship to slavery.

WOOLFORK: If I lived in that time, I would not be a slave, and that I would not hold any slaves, I would certainly help slaves.

ULABY: But one of the things Woolfork liked about the TV show "Underground" is how it exposes the difficulties of resisting such a deeply entrenched system and the bravery of those who managed to, and she was impressed by its production values.

KATE WOODS: Can somebody go and put a bit more blood on his hands?

UNIDENTIFIED WOMAN #1: Yes.

WOODS: And a lot of sweat.

ULABY: On the "Underground" set in Louisiana last July, everyone was really sweaty. In stultifying summer heat, director Kate Woods filmed a scene in which that 8-year-old, in a brown gingham shirt, picks cotton outside a real historical plantation.

WOODS: Is he nice and sweaty?

UNIDENTIFIED WOMAN #2: They sweated him up.

WOODS: OK, good.

ULABY: As part of preparing for the show, some of the cast learned how to pick cotton for real.

ALDIS HODGE: Yeah, good old cotton. (Laughter).

ULABY: Actor Aldis Hodge.

HODGE: It makes you think differently when you put on a pair of jeans, I'll tell you that much.

ULABY: Hodge plays the leader of "Underground's" resistance. He's lean and intense with burning brown eyes. We're outside the Rural Life Museum at Louisiana State University where production designer Meghan Rogers has arranged seven wooden shacks around a humble vegetable garden. It's home to the enslaved characters on the show.

MEGHAN ROGERS: This is all real.

ULABY: These shacks were actual slave quarters built in the 1830s.

ROGERS: This is creepy sometimes.

HODGE: Very creepy the first time we stepped on set. All of us were like, we don't know where to step. We don't know how to act. We don't want to touch anything. No, you could feel the presence.

ULABY: That authenticity helped Hodge, he says, playing scenes like when his character is caught.

HODGE: I think it was, like, my first day of shooting where I was begging for my life.

(SOUNDBITE OF TV SHOW, "UNDERGROUND")

UNIDENTIFIED ACTOR #5: (As character) You wasn't lost.

HODGE: (As Noah) I was.

UNIDENTIFIED ACTOR #5: (As character) You made that trip six times now.

HODGE: (As Noah) And I always come back. I always come back, master. I always come back.

Those are the days you sit alone and quiet for a long time. They are the hard days. It hurts. And there's no way that you can come from set without taking a little piece of that with you.

ULABY: Filming "Underground" was emotionally draining and physically challenging. For the abolitionists' house, production designer Meghan Rogers built a secret bunker where actors had to crouch for hours.

ROGERS: We play a lot of action of people standing on top of people hiding.

(SOUNDBITE OF TV SHOW, "UNDERGROUND")

UNIDENTIFIED ACTOR #6: (As character) This tunnel will allow your cargo to enter the house when it's safe.

UNIDENTIFIED ACTRESS #3: (As character) About how long should we be expecting to harbor runways at a time?

UNIDENTIFIED ACTOR #6: (As character) Cargo.

UNIDENTIFIED ACTRESS #3: (As character) Right. Cargo.

ULABY: With a historical drama so dramatic, you might not think about the tiny nuances in details Rogers attended to. She designed the dresses of the plantation housemaids to nearly fade into the wallpaper of the big house so the women are almost like furniture. And Rogers made the color yellow a motif - the color of freedom. It's the color of the lantern set in the window of the abolitionists' house. Yellow pops up constantly.

ROGERS: Throughout the entire show, I have somebody who's putting yellow flowers all over the place when they're on their journey. It's echoing the color of the lantern, the light of the lantern.

ULABY: Nothing about "Underground" is sepia-colored. The show's co-creator, Misha Green, says she wanted to tear history off the walls of the proverbial museum and make it urgent and fresh.

MISHA GREEN: You know, the Underground Railroad was the first integrated civil rights movement, and I think it's a great example of what - when we all work together, the odds we can go against which is 600 miles of crazy terrain, being chased by slave catchers, to get people to be what they should be in the first place, which is free.

ULABY: Green and her co-creator, Joe Pokaski, wanted to challenge how we tell the story of American slavery and the people who struggled against it.

POKASKI: And I don't think we necessarily have framed runaway slaves as American heroes, but when you break it down, the idea of someone who's told they belong to someone else but they refuse to believe it and decide to run 600 miles to take their freedom back, we should be living in a culture that embraces that wholeheartedly.

ULABY: In a country still unresolved and ashamed in its accounting of slavery, Green and Pokaski want to find new ways to connect history to audiences who can then, emboldened, move forward. Neda Ulaby, NPR News.

Copyright © 2016 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.