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Season Three of TURN: Washington’s Spies, the Revolutionary War spy thriller, builds towards one of the most notorious moments in American history – the treasonous defection of Benedict Arnold (Owain Yeoman). Behind enemy lines on Long Island, Abe Woodhull is a spy for the Patriots, reporting directly to George Washington (Ian Kahn). Embedded within the Continental Army, Benedict Arnold is seduced to become an informant for the British. As the consequences of their espionage ripple through the battlefield, the spy game becomes a heart-stopping race to see which mole will be unmasked first. In 1778, there is only one fate that awaits a captured spy -- the hangman’s noose. The price for treason is blood, and not all of our heroes will survive.
Above: "Some of the documents are photocopies of the originals — something we've never tried before. For example, the first page of the letters that Andre carries from Arnold concerning West Point was the only page I could find a facsimile of. The rest I composed from descriptions of what was found on him. We never actually see the papers, but they are still historically accurate." — Prop Master Kelly Farrah
Below: "The Whitehall set that we’ve built in Richmond is extensive, with an upstairs set and a downstairs set. The Tuckahoe Plantation [boyhood home of Thomas Jefferson] is used as the exterior. The interior set is not necessarily modeled on the exterior, but there is a wood-paneled room in Tuckahoe which I’ve recreated to a degree: the Oak Room, where a lot of our scenes take place." — Production Designer Caroline Hanania
Right: "All the fireplaces on our sets can actually have fires… For the decor, we draw our inspiration from texts and paintings of the time as reference. All of the paintings used on the sets are reproductions of artwork from the period." — Production Designer Caroline Hanania
Below: "The money was printed by our graphics designer from an actual 50 dollar bill. We cleaned it up and took off the signatures so that they could be signed again." — Prop Master Kelly Farrah
Below: "We built the Setauket set from scratch. We even built a water wheel with water going around, to be our mill. As you can see, there’s no water nearby, so the visual effects team has to drop water into the background, since Setauket is by the sound. They also add Setauket’s windmill." — Production Designer Caroline Hanania
Below: "We have a backlot behind our stage in Richmond. It’s an area where we’ve created a lot of camps. We’ve painted the back of the stage building green, so we have this huge green screen. Then when we do reverses, visual effects adds in the background and augments the camp to make it larger. Also, that’s real snow, which is rare." — Production Designer Caroline Hanania
Left: "What’s fun about this Sugar House prison set is that, in spite of the fact that it was meant to be a rather grim prison cell, those rows of big black dots on the walls (which are meant to be large nail heads) are actually HUNDREDS of plastic “googly-eyes” painted black. It was surreal being in there before they were painted." — Set Designer Al Hobbs
Below: "The documents were either compared from actual documents or I composed them... I kind of have a talent for the way people wrote in the past, mainly because I've studied old documents for 50 years!" — Prop Master Kelly Farrah
Right: "The treats were bought at the grocery store and rearranged, except for one tray that I made out of clay." — Prop Master Kelly Farrah
"Those delicious-looking treats were real as well and ended up back in the Art Department for our Friday afternoon Happy Hour." — Set Designer Al Hobbs
Above: "The exterior of Benedict Arnold’s house is actually the capitol building of Williamsburg, Virginia. All of the exterior shots of Arnold and Peggy at Penn Mansion [in the first episode of the season] were shot in Williamsburg, using elements from the town, including that carriage that they ride in." — Production Designer Caroline Hanania
Below: "John Andre’s apartment for Season 3 is the same set we used in Season 1. It then became Benjamin Franklin’s house in Season 2. So now it’s back to being his apartment again. That set has come full circle." — Production Designer Caroline Hanania
Right: "I’ve used quills to write some documents, but the old quills were cut much better than they are now, so I use a pen with a nib mostly. I'm often asked why I don't use brown ink, so they look like original documents. They used an iron rich ink that was black in the 1700s. The ink "rusts" over time and TURNS brown." — Prop Master Kelly Farrah
Below: "For the guns, we use reproduction Brown Besses and Charleville muskets for the most part. Some of the pistols are reproduction as well, but some are original." — Prop Master Kelly Farrah
Below: "It’s a cabin where to fisherman brothers lived, so it’s very dressed down. They hunt, they fish, so everything is very functional. We had skins on the beds, antlers, it’s very rough. I wanted to have that incongruity of these two very important people — Andre and Arnold — in an unlikely setting." — Production Designer Caroline Hanania
Right: "[Native American War Chief ] Han Yerry’s clothing is based on research of Eastern Woodland Nations." — Costume Designer Lahly Poore-Ericson
Above: "The fans used at the ball were all made for this scene in particular. Martha Washington’s had a printed map of the world circa 1770’s." — Costume Designer Lahly Poore-Ericson
Below: "The Royal Gazette print shop contains four printing presses. We built those ourselves. Two of them actually worked, and they’re based on historically accurate printing presses that we saw in Williamsburg. They actually have a print shop there." — Production Designer Caroline Hanania
Right: "With Rivington holding court at his tavern in his “banyan” robe, I love the notion that all of these customers are his guests and he presides like a proud peacock over this establishment." — Costume Designer Lahly Poore-Ericson
Below: "West Point ended up being a big set for us. There was nothing there, so we created a couple of camps, the embankment and the fort from scratch. We shot for about three days and we only had about four days to build it all. We had terrible weather — we kept getting hit with the snow, and it was bitterly cold and windy. But in the end, it worked out really well." — Production Designer Caroline Hanania
Below: "Our cannons are from the premiere cannon maker, Bob Gilmore in Ohio. We in the film industry have used him for about 20 years." — Prop Master Kelly Farrah
Above: "The bright pink with grey floral fabric used in the center panel and stomacher Shippen’s ball gown are from a two-meter piece that I found in an antiquities shop in London." — Costume Designer Lahly Poore-Ericson
Craig Silverstein began his writing career on Syfy’s The Invisible Man and USA’s The Dead Zone, and since then has worked on numerous television series. Most recently, Silverstein created and executive-produced the CW series Nikita, and was a co-creator and executive producer on the Steven Spielberg–produced dinosaur drama Terra Nova. Previously, Silverstein worked with 20th Century Fox Television on a number of series, including Bones, K-Ville, Drive, The Inside and Standoff, which he also created and executive-produced.
A highly regarded producer in both film and television, Barry Josephson’s recent film credits include the international hit film Enchanted, the 20th Century Fox family adventure film Aliens in the Attic, and the Warner Bros. comedy Life as We Know It. He also produced the recently released Dirty Grandpa, starring Robert De Niro and Zac Efron for Lionsgate and QED. He is also in pre-production on a number of feature projects, including Circle of Treason for Focus Features, Apex and The Dive for 20th Century Fox & Lightstorm Entertainment. Additional film credits include Hide and Seek, Like Mike, The Ladykillers, Wild Wild West, Die Hard 2, Lethal Weapon 3, The Last Boy Scout, Buffy the Vampire Slayer and Ricochet.
Josephson’s television credits include serving as the executive producer of the long running hit series Bones, currently in its eleventh season on the FOX Network, the pilot Edge for Amazon, the critically acclaimed Maximum Bob, The Tick, Fantasy Island, and the HBO/FOX series Tales from the Crypt. He executive-produced the syndicated show Pat Croce Moving In, as well as a number of cable comedy specials.
Before embarking on full-time producing duties, Josephson served as president of worldwide production for Columbia/Sony Pictures, where he began his six-year stint with the studio as a senior vice president of production. During his tenure, Josephson was responsible for such hits as Men in Black, Air Force One, In the Line of Fire, The Fifth Element, Anaconda, Bad Boys, The Professional and The Craft.
Michael Taylor began his television career as a writer for the Star Trek series Deep Space Nine and Voyager. He subsequently was a writer/producer on the USA series The Dead Zone, based on the Steven King novel. After five seasons on The Dead Zone, Taylor joined the Syfy channel’s Battlestar Galactica as a co-executive producer and wrote the Battlestar TV movie, Razor. When Battlestar ended its four-season run, he became a writer/co-executive producer on its spin-off, Caprica. He was also a writer/executive producer of the FOX pilot/TV movie, Virtuality. Most recently, Taylor served as executive producer and co-creator of the Syfy series Defiance, and executive produced and wrote the Battlestar prequel web series and TV movie Blood & Chrome. Taylor’s work has been nominated several times for both Hugo and Nebula Awards. He won a Peabody Award as part of the writing staff of Battlestar Galactica and a webisode series he wrote, the Battlestar Galactica: Razor Flashbacks, garnered an Emmy®Award for best Short Format Live-Action Entertainment Program.
A Yale graduate, Taylor had a varied career prior to writing for television, including working as a newspaper and magazine reporter and as a musician in a New York rock band.
Andrew Colville has written for a number of television series, most recently USA’s Graceland, the CW’s Nikita, and Fox’s Lone Star. He also shared in the 2010 Writers Guild Award for Best Drama Series with the writing staff of Mad Men. In college, Colville studied political philosophy and agriculture, two interests he never thought he’d be able to combine until he started writing for TURN: Washington’s Spies.
Mitchell Akselrad made his television debut on TURN: Washington’s Spies. He graduated with highest honors from the University of Michigan, where he won the First Place Hopwood Award for Screenwriting, the Arthur Miller Award, the Lawrence Kasdan Award, and the Peter and Barbara Benedek UTA Award, for his feature screenplay, The Pacific Eclipse. His current projects include Splinter Way with Warner Brothers; and Titans of Park Row, which was voted onto the prestigious Hollywood Black List and is now with Langley Park Productions. Akselrad also serves on the Writers Guild of America’s Education Committee.
Emmy® Award-winning Henry Bronchtein has an extensive background in directing and producing for both film and television. Born and raised in Brooklyn, New York, one of Bronchtein’s first projects was as an apprentice assistant director on Martin Scorsese’s Raging Bull. Additional film credits include the award-winning Enemies: A Love Story, A Perfect Murder, Addicted to Love, Weekend at Bernie’s, It Could Happen to You, Guarding Tess, Striptease, Rookie of the Year and Eddie and the Cruisers.
Bronchtein is best known for his work as Co-Executive Producer on HBO’s The Sopranos where he received two Emmy® Awards for Outstanding Drama Series. He directed four episodes of the series, two of which were also nominated for best directing DGA awards. Bronchtein also received two Producer’s Guild of America awards for Outstanding Producer of Episodic Television Drama for his work on the show.
Additional television credits include producer/director of CBS’s Hostage, Co-Executive producer and director on HBO’s Luck and Co-Executive Producer of AMC's Into the Badlands. In addition to producing, Bronchtein has directed episodes of several well-known television series, including The Lottery, The Following, Burn Notice, John Doe, NYPD Blue and Law & Order: Special Victims Unit.
Bronchtein is a graduate of New York University’s Tisch School of the Arts.
Born and raised in Los Angeles, LaToya Morgan is a graduate of the American Film Institute Conservatory, where she received a MFA in Screenwriting. She is an alumna of several prestigious fellowships including the Warner Bros. Television Writers’ Workshop, Film Independent Producer’s Lab, the Producers Guild Power of Diversity Fellowship and recently won the WGA’s Feature Access Project. LaToya has written for the Showtime series Shameless, the NBC series Parenthood, the USA/Fox21 Matt Nix series Complications, and for the last three seasons on AMC’s TURN: Washington’s Spies, where she was honored with a 2016 NAACP Image Award nomination for Outstanding Writing in a Drama Series for her episode “False Flag.” She is a member of the Academy of Television Arts and Sciences.
Alexander Rose is the author of Washington’s Spies, upon which TURN: Washington’s Spies is based. After serving as a consultant for the first season, Rose joined as a co-producer and writer for the second. His latest book, Men of War: The American Soldier in Combat at Bunker Hill, Gettysburg, and Iwo Jima, was published in June 2015 and he is now working on a history of the Hindenburg airship.
Marvin Rush has been involved in the entertainment industry for over 25 years, working as a cinematographer, director of photography and director. Rush is best known for his work as director of photography on Star Trek: Enterprise, Star Trek: Voyager and Star Trek: The Next Generation, and also directed several episodes for each series. Additional television credits include serving as cinematographer on Hell on Wheels for AMC, where he has also directed two episodes, and as second unit director of photography on FOX’s Glee. Rush’s film credits include cinematography for Meeting Evil, starring Luke Wilson and Samuel L. Jackson and directed by Chris Fisher, and Street Kings 2: Motor City, starring Ray Liotta and also directed by Fisher. Rush also served as the director of photography on Cherry, an independent feature film written and directed by Jeffrey Fine.
Rush also directed episode six of TURN: Washington’s Spies this season.
Caroline Hanania was born in Lebanon and educated in England and Italy. She studied fine art at the Accademia di Belle Arti in Rome, Italy where she spent a year working as assistant to surrealist artist Mayo, whose costume designs are a feature of Marcel Carne's classic film Les Enfants du Paradis.
After completing her BA at Camberwell School of Art in London, Hanania began her design career in the London Theatre culminating in a three-year term as resident designer with the Common Stock Theatre Company. She entered the film industry working with production designer Andrew McAlpine as art director on productions including The House, directed by Mike Figgis, High Season, directed by Clare Peploe and Alex Cox’s Sid and Nancy.
For over thirty years, Hanania has worked as a production designer both in Europe and the U.S. and designed the feature films Hear my Song, Funny Bones, The Mighty, Town and Country, Serendipity and Shall We Dance, starring Richard Gere and Jennifer Lopez, all directed by the British director, Peter Chelsom. Hanania also designed Focus Features’ Evening, starring Vanessa Redgrave, Meryl Streep, Glenn Close and Clare Danes; The Better Angels, an independent feature film, produced by Terrance Mallick about Abraham Lincoln's childhood growing up in Indiana in 1820; and Daniel Barber’s The Keeping Room, set during the American Civil War. Hanania has designed three seasons of Turn Washington's Spies for AMC.
Recently, Hanania designed a western for Amazon called Edge, directed and written by Shane Black.
When not working on films, Hanania works at her own art: painting, drawing and hand building ceramics. She has lived in California for the last sixteen years with her husband Chris Harvey on their vineyard.
Costume Designer Lahly Poore-Ericson was raised in pastoral Vermont where she attended Marlboro College, graduating with a degree in theatre. After several years in the Pacific Northwest working in theatre and film, she moved to Los Angeles, where she continued her career as an Assistant Costume Designer on such critically acclaimed films as Titanic, The Patriot, Minority Report, Heat and Dragonfly.
Costume design credits include TURN: Washington’s Spies season 3, set in the 1770’s; I Saw the Light, set in the 1940’s; The Homesman, set in the 1850’s; Doc West, set in the 1890’s; 50 to 1, Spoken Word, First Snow, Save Me and Urban Justice.
Poore-Ericson spends her free time in historic Santa Fe, and the picturesque Pacific Northwest with her husband and daughters.
"Valediction" - Abe covers up a murder with an unlikely accomplice. Benedict Arnold abuses his power as he settles into a new home in Philadelphia.
"Cold Murdering Bastards" - Anna tries to save the ring after Abe's cover is blown. Benedict Arnold seeks Washington's help against charges of treason. Townsend sends a signal.
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Whether commemorating favorite films from every genre and decade, or creating acclaimed original programming, AMC brings to its audience something deeper, something richer, Something More. The network reigns as the only cable network in history ever to win the Emmy® Award for Outstanding Drama Series four years in a row with Mad Men, and six of the last eight with back-to-back honoree Breaking Bad. The network boasts the most-watched drama series in basic cable history and the number one show on television among adults 18-49 for the last three years with “The Walking Dead.” AMC’s current original drama series include The Walking Dead, Better Call Saul, Hell on Wheels, TURN: Washington’s Spies, Halt and Catch Fire, HUMANS, Fear the Walking Dead, Into the Badlands and the forthcoming The Night Manager, Feed the Beast, Preacher and The Son. AMC also explores authentic worlds and discussion with original shows like Talking Dead, The Making of the Mob, Comic Book Men and the upcoming Ride with Norman Reedus and The American West. AMC is owned and operated by AMC Networks Inc. and its sister networks include IFC, SundanceTV, BBC America and WE tv. AMC is available across all platforms, including on-air, online, on demand and mobile. AMC: Something More.
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