Once Jimmy discovers that Max is dead, the writer’s room was faced with the question of how we would bring Grace and Jimmy together one last time? What could possibly make Grace reach out to the mobster after killing his son the night before? Surely she understands the risk. And yet, she goes. But not to extract any more information, not in pursuit of her son’s killer – Grace goes to Jimmy to say goodbye. She’s not being dumb, she’s scared. She really has no idea what Jimmy knows, but this is a moment of transcendence for Grace. She’s not thinking about herself. Grace understands Jimmy’s grief, and she cares about him.

Episode 8

Grace sits in the shower, washing away the blood and the dirt, recounting the horrific events of the evening. After blowing a hole through Max’s head, she douses the body in gasoline and lights the pier on fire – destroying all the evidence in the blaze.

Jimmy sits in his backyard drinking. Distraught that his favorite son, Max, tried to kill him. He calls Grace. She ignores him. Instead Grace phones Tom and gets his voicemail – she just needs to hear his voice, it still helps her sleep.

Grace hears a knock at the door of her motel, it’s Jimmy. Grace reluctantly lets him in. Later on, the pair lay together in bed. Jimmy doesn’t know how he got it so wrong with Max. Grace tries to console him, while hiding her fear. She clearly cares for Jimmy, but the man has no idea that Grace just murdered his son.

The next morning, Jimmy gets a call from Joe. He needs to get down to the docks, immediately. Grace knows exactly what that call is about. Jimmy kisses her and leaves.

There’s a police bust at a whorehouse. Wilson is arrested. He identifies himself as a cop, but to no avail.

Police and fire department swarm the pier. The media is there as well. A charred body is discovered inside the wreckage. With Wilson detained, Fleming asks to be made lead detective on the case. Hernandez jokes that he’s as ambitious as she used to be. Fleming sees the corpse, and it brings back memories of the firebombing at the Bamboo Pearl –that could have been him. Hernandez decides to give the young detective a chance.

Jimmy arrives at the pier. Joe informs him that they’ve found a body – probably just some bum sleeping inside. Fleming questions Jimmy, the corpse was found on his property and they’ll need to interview his whole crew.

Jimmy calls his sons to make sure they’re all right – both calls go to voicemail. Jimmy calls Cathy, asks for Alec, but she says he’s not with her. Now Jimmy is starting to worry.

Wilson arrives at the docks. He’s pissed that Fleming has been made lead on the case.

Jimmy heads to the chess park where Max spends a lot of his time, but he hasn’t been around lately.

Grace is at the San Jose Police Department for her probation hearing, they have decided to fully reinstate her. She gets her badge back. Mitch is waiting to congratulate her.

Evie and Tom watch football practice at school. One of the players, Nathan, waves to Evie..Tom asks his daughter about it, but she assures him that they’re just friends. Tom tells Evie that he’s applied for a teaching job in Ferndale. He thinks they should go and that they need a fresh start. Evie wants to know what Grace thinks, but Tom hasn’t talked to her about it yet. They both need to be prepared for the possibility that Grace may not come.

Jimmy, worried about his sons, walks into the Oakland PD, looking for answers. He talks to Hernandez. Jimmy thinks he might be able to identify the body from the pier. She takes him down to the morgue. The body is burned beyond recognition. Hernandez shows Jimmy the items found on the corpse. He sees the Laszlo watch that belongs to one of his sons.

Jimmy goes to see Cathy. He needs to know where Alec is. Cathy tells him again that she doesn’t know where her husband went. He took off the night before, pissed at his father. Jimmy tells her that one of his sons is dead, but doesn’t know which one. Cathy breaks down.

Meanwhile, Alec is out in the forest, camping. He needed to get away from the city to clear his head.

The dental results come back at Oakland PD, confirming that the corpse belongs to Max Laszlo.

Alec goes to see his father after Cathy tells him what happened. Jimmy is stricken by the site of his eldest son. He now knows that Max died in the fire. Jimmy tells Alec to leave, thinking that Alec must have killed Max. Alec is distressed by his father’s reaction and takes off.

Grace goes to see Wilson. She tells him she’s been reinstated. She asks him if they have any leads on the Max Laszlo case. He informs her that the person of interest on the case is Alec – the last time anyone saw the brothers together, they had to be pulled apart. Grace asks to borrow his car. Wilson agrees, as long as she delivers Alec to him.

Back at the pier, a C.S.I. officer informs Fleming that they’ve found a weapon at the murder scene. They’re running it for prints.

Grace goes to see Jimmy. He’s devastated. Grace tells Jimmy not to seek revenge as she did – it will destroy him. She lost everything that mattered to her.

The prints come back on the weapon found at the pier. Hernandez puts out an APB for Grace Travis. They found her prints on the gun. Mitch calls Grace to ask her if it’s true.

Grace rushes off to see Evie, pulling her out of class. Grace takes her daughter to a nail salon for some mother/daughter time. Evie is thrilled. Grace listens to her daughter talking a mile a minute, realizing that there hasn’t been enough moments like this. Evie asks if she’s going to come to Ferndale with them. Grace doesn’t have an answer.

Jimmy meets with his mole in the police department, Campbell. He tells Jimmy that there’s a warrant out for Grace Travis. Her fingerprints were found on the weapon at the pier. Jimmy is floored.

Grace brings Evie home. Tom is pleased to see his girls getting along so well. Grace hears the sirens in the distance. She knows the police are coming for her. Grace tells Tom and Evie to go to Ferndale. Grace breaks down, “I’m so sorry.” The cops arrest Grace and drag her away in front of her family.

The Hollywood Reporter made it known earlier today that Johansson will play the love interest of Favreau’s character, a chef two times her senior who quits his job and pursues his dream of running a food truck.

Johansson is currently busy filming Captain America: The Winter Soldier and can be seen next co-starring with Joseph Gordon-Levitt in his directorial debut Don Jon, due in October.

Production for Chef will begin this summer in Los Angeles.

Ira Parker: How would you describe your character?
Martin Donovan: He’s obsessed with power. I think like most people who cause trouble in the world are obsessed with power. He’s the central tenant of his existence really. He’s not a sociopath, he’s a control freak.

IP: Do you think Campbell is a moral person?
MD: In a certain way, he probably has his own sense of morality. In his mind his power is ethical and moral, because he probably thinks that him having power is better than anybody else having it. Better he has it than the other deviants.

IP: How did you prepare for your role?
MD: I’ve been on the planet for 55 years and that was my prep.

IP: Ha ha. What planet were you on before?
MD: Ha ha. I don’t know, I try to absorb the scripts and get a good sense from the writer, Matthew, of his intentions for my character’s world view. And I look at the theme and tone of the piece as best as I can because these things, especially in their infancy, are evolving and unfolding in real time. It’s taken me a long time to get this far as an actor, but it really comes down to just being present for the scene and getting familiar with who this guy is on a basic level and then trusting the writing.

IP: You’ve played cops before. How does this experience compare?
MD: It’s usually more interesting to play people who are outside the law who are, quote unquote, “the bad guys.” I’ve played a lot of very positive protagonists. I don’t know if I’ve ever played any heroes, but it’s more satisfying and more of a challenge, but also more gratifying to find the humanity in the bad, than it is to find the humanity that’s written on the page for the hero. It’s kind of all there, it’s let out for you. When you are handed a character that is “bad.” you could stand back and objectively say this guy is despicable and his behavior is despicable, but that’s never how I approach it.

I’ve played a guy who was having sex with his daughter. That was a challenge, but I decided that I was going to play it like the greatest love story ever told. I just decided that he was in love with his daughter, she was beautiful, and it was a love story. That’s how I played it. That’s the only way I could have played it. People watching it are cringing in horror, but I can’t play a creep, I can’t play an asshole, I can’t play a monster, and I can’t play a murderer. I can play human beings; that’s all I can do. And we are all capable of doing all these terrible things.

So my job is to make it as difficult as possible for the audience to hate or to judge the person that I’m playing if he’s doing terrible things. I don’t let them off the hook; I don’t want to let the character off the hook for what they did. I just want to make sure that it’s difficult for the audience to just dismiss him as “a bad guy.” That’s my job.

IP: So you don’t separate “good Campbell” from “bad Campbell”?
MD: Never. No I never think about a scene as being, “this is where I’m bad.” Never. That’s death. That’s bad acting. If you’re thinking about what the character is doing, trying to act good or bad, it’s going to be terrible.

IP: What part of Campbell’s personally would you say is the most like your own?
MD: People are dazzled by actors who disguise themselves. This is what gets you Oscars. And I can tell you from personal experience that most actors who are honest say it’s easier to disguise yourself than it is to be present and bring yourself. If you think about any of the great actors in the film industry, like Marlon Brando, did he ever really disguise himself? Did you ever say, “Oh wow he totally transformed himself?” No, he was Marlon Brando. He was so beautiful and present and committed in whatever role he did, you were mesmerized. He didn’t do a funny walk and change his voice. So I would say everything about Campbell, all of the facets of Campbell, I’m trying to access in my personality. Whatever he is doing in the moment, I’m trying to find how I would do it.

IP: What type of songs do you think we’d find on Campbell’s playlist?
MD: He’s probably classic rock. He doesn’t have any Clash or Sex Pistols, any punk. He’s classic rock.

IP: Favorite scene of the season?
MD: The one out in the park with Matthew Beard (Max). There’s some coming up this week with Jimmy that I’m looking forward to. I like all of them so far. I wouldn’t want to narrow it down to one, but of what I’ve shot, the one in the park comes to mind.

IP: What’s the best and worst part about being on set?
MD: Ha ha. There’s no worst part about being on set. Nothing that I would complain about because I know how lucky I am to have a job. I mean, the most difficult thing is maintaining your concentration, but the worst part, I don’t know. I guess waiting around. The best part is collaborating with people, working as a team, and then finding the zone – when your concentration is so good that you have no sense of anything else around you. You’re in the scene. That’s why I do it.

IP: Throughout the season, Campbell never does any of his own dirty work. Why does he make an exception with Mitch?
MD: There is nobody else who can do it really. He’s got to do it. Fleming screwed up and you don’t send a boy to do a man’s job. If you want it done right, it’s got to be done.

IP: Who would win in a fight between Jimmy and Campbell?
MD: I’m thinking probably Jimmy. Ha ha.

IP: Campbell’s got all that police training though.
MD: Yes, ha ha. But that’s not how he wins. He doesn’t win through physical fights. It’s not who he is.

IP: As a kid, when you played cops and robbers, were you the cop or the robber?
MD: We played cowboys and indians. Man I’m trying to remember now. I’m sure I played them all. I don’t know, I think I probably wanted to be the cowboy.

IP: Why does Campbell decide to put Alec in charge at the end?
MD: I think it’s a holding maneuver. It buys him some time. I think ultimately Campbell’s going to have to work around Alec. So, it is just a matter of convenience at the moment. Rearguard action. Get some stability and we’ll see what happens. I can’t imagine he thinks it’s a permanent situation.

Sony Movie Channel HD (Ch. 563) – The Stepfather

Crime & Investigation HD (Ch. 566) – Cajun Justice

Hallmark Movie Channel (Ch. 560) – Norman Rockwell’s Shuffleton’s Barbershop

HDNet Movies (Ch. 561) – A Few Good Men

MGM HD (Ch. 562) – Original Bond Movie Marathon

Smithsonian HD (Ch. 565) – The Real Story

Universal HD (Ch. 564) – The Aviator

Shorts HD (Ch. 568) – Festival Road Trip – Cannes International Film Destival 2012

All in HD. Only in HD.

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Ira Parker: How would you describe your character?
Matthew Beard: Max is a deeply troubled young man. You’ve got Alec who is going to storm into a situation with a baseball bat and beat everyone up and then you’ve got Max who would rather talk things through. He seems a little bit more intellectually minded. A bit more switched on. He is the favorite son because Jimmy sees that quality in him – that he’s not going to rush into stupid things. The problem is he thinks too much. In fact Max’s intelligence is sort of Jimmy’s downfall because Max sees an opportunity to take over and become number one. Max has a real thirst for that, to become the kingpin. And that’s a quality his father didn’t see in him.

IP: How did you prepare for your role as Max?
MB: Well, see I had two different sides to it because for the first five episodes we see a very different Max than the Max revealed in episode six and seven. So, thankfully the scenes in the first five episodes were all me lying and acting and scheming, which is quite fun as an actor because that’s what I’m doing anyway. A lot of the other cast didn’t even realize what was going to happen and what I was going to do later on. So preparation-wise, I didn’t do that much. I ended up basing my entire look on an English serial killer from the 1960s named Ian Brady who is famous for the Moors Murders close to where I live in England. He had a very distinct grey suit. Had a very distinct famous mug shot of him when he was arrested. I just took that into makeup and costume and said, “I want to look like this.” And it worked out unbelievably because it was kinda what they had anyway. And Jimmy is all in black and Alec is all in black and Max is just a little bit off in the grey.

So it was really important for me to get the look right and then it was about deciding how he was going to sound. I had to work with the dialect coach and sort of pick a voice for him because I knew I wanted him to sound sort of soft and innocent. I remembered seeing The Assassination of Jesse James. Casey Affleck does this really odd croaky light voice in it and it’s really soft because he’s a coward supposedly, but then of course he’s the one who ends up doing the deed. So I stole that a little bit and just kind of chose a soft, weak voice. And then when he goes full on psycho towards the end there’s more intensity. Apart from that, I didn’t go around killing small animals or anything.

IP: What kind of books do you think Max reads?
MB: Like “Crime and Punishment”, “The Fountainhead”, all these books about incredibly selfish, scheming characters who are sort of obsessed with their own psychology.

IP: What part of his personality do you think is most like your own?
MB: Killing people. Ha ha. No. I guess, his duplicitousness. If that’s even a word.

IP: It is actually.
MB: How he revels in a good lie and a good scheme. I mean, probably if I wasn’t an actor I would end up being some kind of psychopath.

IP: They’re not always mutually exclusive.
MB: Ha ha. Maybe I am a psychopath, I’m not sure.

IP: As we sit alone in your trailer, that’s great. What kind of music does Max listen to?
MB: The first thing I do whenever I get a job is make a playlist for the character and listen to that all the time when I’m on set, when I’m traveling to work. Because I find music the easiest thing to immediately set me in the mood I need to be in. Making Max’s playlist was harder than most, but in the end it’s full of really grandiose classical stuff. There is “Lacrimosa” by Mozart in there and there’s “Bolero”, which was Ian Brady’s favorite song by way of classic music. There’s all this really big classical music that makes you feel like you’re in a movie and you are incredibly important, and when you walk it pushes your shoulders back and makes you feel bigger than everything else – Bigger than everyone else in the room, smarter than everyone else in the room, faster than everyone else in the room. I know that’s really what he is. Every room he walks into he knows more than everyone else in there. It did mean I had to pound classical music in my trailer. People were a little bit confused, but that’s okay.

IP: What was your favorite scene of the season?
MB: It has to be the one where Thandie is dragging me along that pier at 5 in the morning when we did that night shoot and I’m on my hands and knees and there are bits of gravel all in my hands. I couldn’t stop smiling, it was so much fun. Because it was a relief, I finally got to let the cat out of the bag and stop worrying, “are we giving this away? Is this coming out?” It didn’t matter anymore. I could just be Max, proper Max, the real Max that’s been hiding for all this time.

IP: Have you ever died on camera before?
MB: I’ve committed suicide on camera before, but I’ve never been killed on camera before. That was my first death and I think it was a good one. It was a good death. It’s going to be hard to beat. I don’t think I’m going to get to urinate all over someone’s face and then die again. I don’t think that’s ever going to come up again.

IP: Don’t say that. You’re young.
MB: Maybe I’ll get typecast. I’d hate that to be my niche in the market, the guy who just pisses on people. Because I don’t think there’s much work going around.

IP: How would Max want to be remembered?
MB: He’d just want to be remembered. He wouldn’t care how, I don’t think. I think he just wants to be remembered. And he does, they spend the next three episodes talking about him. It’s perfect. I actually sat in on episode 8’s read through, the one after I’ve died. And I loved it. My ego was huge by the end because all they did was talk about Max for a whole episode and how much they missed him and how great Max was. I’m like, “Yeah, yeah.” I loved it, there’s a bit of Max that’s still lingering in my brain, it’s like “This is great.”

IP: Do you have any last words for anyone? Jimmy, Alec, Grace, or even Fleming?
MB: Fleming, I love you. I always will ha ha. Jimmy, you should have seen it coming. Grace, good work, well done. You got me. Alec, it’s weird, he kind of really grows up here, doesn’t he? He starts off as this stupid cave man who walks around with his big stick, but he figures out that I’m playing him and I think I’d be quite impressed by that if I knew – if I’m in heaven watching down on all this. I think I’d say to Alec, “Well done, for sorting yourself out. It’s a shame it took you so long.”

IP: What’s the best and worst part about being on set?
MB: Best part is the team spirit. That’s amazing. How quickly and intensely you become close with all these people within a matter of weeks, especially the makeup girls and people who clean you up every morning and push you out there into the world. That’s really nice. And worst part, the time pressures I suppose. Like when you are doing a TV show, you can hear the ticking clock. You are constantly under pressure to deliver. But that’s any job, I suppose.

IP: You found out pretty early on that Max would die in episode seven. As things went along, did you make any pleas to the writers or the producers to not kill you off?
MB: At first I thought, you can’t kill Max because in The Godfather and Godfather II, they don’t kill Pacino off, they don’t kill the quiet one who doesn’t seem like he could take over the business. They kill off the guy that runs in with the big bat. I thought, “You’re doing this all wrong, it’s all backwards.” But then I started thinking he has to die. Someone that evil just has to go. And now I think it was the right decision. So I didn’t make many pleas. I let other people plea on my behalf. They have been very kind. Others tried to work out ways of not killing me or me coming back. Which is nice and fun to listen to, but unlikely.

IP: Godfather II…who knows…
MB: Yeah, maybe rather than looking at the Pacino angle, look at it from a Brando angle, come back as DeNiro. Well maybe, but I don’t know, we’ll see. I was happy for him to die though – he should die. And I love a good death, and I had a really good one.

Ira Parker: How would you describe your character?
Ian Hart: It’s like any job. He’s been there too long. Just trying to bide his time until his pension kicks in. Maybe a couple of years ago, he could have had an opportunity to progress and get promoted but now he doesn’t give a shit. He’s an acceptor. He accepts the status quo. He’s not interested in busting some kid for weed. The only kind of things that get his attention are big, large-scale, clever Machiavellian kind of things. I think he has a kind of a respect for Jimmy. He sees him as a businessman, a clever businessman. The fact that he’s a criminal doesn’t really enter into it. They are reciprocal parts.

IP: How did you become involved with the show?
IH: I was in England at the time and Brian Kirk, who directed the first episode, asked me to come in for the audition. I read the script and the description in it that made Brian think of me was, “If Wilson was a building, he’d be condemned.” Flattering and probably accurate.

IP: Ha ha. How did you prepare for your role as Wilson?
IH: Well, he’s not a super cop. He’s not the dynamic TV cop that’s always getting out of cars and jumping across bonnets and pulling his gun out. He doesn’t get his gun out very often at all. So you start thinking about things. You start thinking about what he might be like and who he might be. I remember watching a documentary about a U.K. police force. They followed a group of detectives for a period of two years, and the only guy they ever caught was one of the cops because they’d been videoing. And I figured, if that happens in that situation, there’s no reason it’s not true in Oakland or anywhere else in the world. And that’s what I thought about. That was my motivation.

IP: What part of his personality do you think is the most like your own?
IH: He is lazy. Ha ha. No, he’s not lazy, it’s kind of one of those things. You reach an age where you just don’t have to try so hard. He doesn’t try very hard.

IP: Was he different in his younger years?
IH: I think that’s nature, whether you want it to be or not, you just are. There is an immediacy when you are young, you think every day is a brand new day, and you don’t have perspective. With me, I have a kid and my kid thinks that today is the only day that is ever going to exist. You don’t make forward thinking decisions when you are young. You make immediate decisions. He’s not thinking about his pension, which is 10 to 15 years away. He’s living in a kind of projective version of reality.

IP: What kind of songs do you think we’d find on Wilson’s playlist?
IH: Well sadly, America as a nation embraced rock music more than any nation on the Earth, except perhaps the Norwegians or the Germans – they like that shit as well. And Wilson’s driving a Pontiac Trans Am, I can do the math, he’s got to have all that bullshit ACDC and all that nasty, nasty shit. But I think also, there’s a softer side to him. You are probably going to hear some jazz, some light classical tunes. He’s probably tuned into classic FM or whatever.

IP: What was your favorite scene of the season?
IH: The first scene. The first scene I did was just chasing Grace out of a car and I’m trying to handcuff her. I liked it because on the first day you’re trying to figure out what this is all about. You’re trying to figure out what the dynamic is and how is Wilson going to look and how is he going to feel with the nature of the show. And the way they shot that, the way they did everything about it, was great. It was exciting. I think that Keiran (DP), Brian, and everyone did a great job. Ever since then I’ve just sat on my big fat ass and gotten bigger and fatter, at least then I was doing something.

IP: Best and worst part about being on set?
IH: Best part, the people. The crew is being delightful. Everybody, makeup, hair, props, camera department, everybody has been delightful. It’s a great group of people. That’s the best.

The worst has been that they put mayonnaise on every sandwich. And I’ve been asking for three and a half months now, can they make one without mayonnaise. And it’s just never happened. But they are nice people, the catering people. But when I was a kid, back in the olden days, you had to ask for mayonnaise. It wasn’t just compulsory. Now, the first thing they do is put mayonnaise on the bread.

IP: Do you think there is a happily-ever-after for Wilson and his prostitute girlfriend, Kim?
IH: I don’t see why not. He doesn’t make judgments. She’s a prostitute. As an adult with a socially aware make up, he knows there’s a criminality involved in the subjugation of woman – that sociologically woman are being subjugated and oppressed and all those things, but he seems to remove himself from that judgment. She’s just a girl. For him, the morality is not an issue. If he were against prostitution, he wouldn’t be going to prostitutes. But I don’t think he’s immoral, I just don’t think that he’s puritanical. And I don’t see any reason why those two shouldn’t be together. You do get a sense that he cares about her and I don’t imagine there were many people in her life that care about her. So I could see that working.

IP: Have you ever had a relationship that jeopardized your job?
IH: This job? Impossible to jeopardize. I mean you might not get the next job. They might hold shit against you from conversations you may have had with producers in the past, and then all of a sudden you find yourself out of work for six years. But they won’t fire your ass because basically there is money involved.

IP: Amen.
IH: They don’t care about nothing else, we all know that. You can behave like a complete dickwad. As long as they’ve shot at least two episodes, you’re going to be there until the very end. Cynical but true.

IP: Wilson can sometimes be a pretty depraved character, what do you think his childhood was like? What do you think his parents were like?
IH: Just regular folks, regular Joes. There’s a belief that there is a direct correlation between childhood events and what it produces in the adult that I find difficult to be simplistic about, because everybody reacts differently. Some people suppress some things that some people would not suppress. So how much one’s childhood is a predicative element of one’s adulthood, it’s debatable. But I think Wilson grew up and had regular parents. I don’t think he’s attracted to the dark side, I think he became a cop because he had a genuine interest in it. He wanted to be a detective. He likes the detective aspect of it, he loves all that stuff. It’s a game like anything else. He likes the puzzles.

IP: Wilson seems to have become Rogue’s comic relief. Any favorite lines from the season?
IH: Ha ha. I don’t have a tremendous capacity. I don’t remember anything at all. It’s how I survive.

IP: Once it’s delivered it’s gone?
IH: It’s gone. No repercussions, no fretting over it, no going, “Oh I should have said this, I should have said that.” No. It’s too late now.

IP: What’s a question you always wish people would ask you, but they never do?
IH: “Why can’t you get a better job? You little shit.”

IP: Ha ha. And what’s the answer?
IH: That’s the question I ask myself daily and I don’t have the answer yet.

IP: If you weren’t doing this, what would you be doing?
IH: Something simpler. Something like a lumberjack. That’s what I wanted to be when I was a young man. Although, I’m getting old now, so I’d probably be dead.

IP: Or at least a few fingers short.
IH: I’d be losing bits and pieces and probably have one arm longer than the other and shit. Maybe Forestry. Work for the Forestry Commission and be a Park Ranger. That would be a nice job. Simple life.

Tune in to see North America discover a hidden world where life — ranging from the familiar to the exotic — battles deep freezes, deadly fires and explosive super storms. Discovery’s determined production crew journeyed the span of North America including the frigid Yukon Territory, the lush forests of Belize, the snow-capped Rocky Mountains, the barren deserts of the American Southwest and more. After 2,830 days on location on 250 separate expeditions the more than 850 hours of footage has been put together for this landmark series.

North America’s first five episodes reveal intimate stories of animals struggling to survive unforgiving weather and terrain. Never-before-seen sequences range from the elusive desert jaguar in Mexico to daring grizzly bears diving in more than 20 feet of water to grab salmon in Alaska. The series “Making Of” episode chronicles North America’s production team and the challenges they faced including battling the destructive Hurricane Irene and other natural disasters all while attempting to capture the most majestic animals in the continent.

North America, the new seven-part natural history series from Discovery Channel debuts on May 19 at 9 p.m. ET/PT.

Written by Eli Roth (Cabin Fever, Hostel), Guillermo Amoedo, Nicolas Lopez and natural disaster/horror flick, Aftershock is about what happens to six people enjoying the Chilean clubs when an earthquake hits. Getting safely above ground is only the beginning of their nightmare. A crowd favorite at the Toronto Film Festival, Aftershock does something surprising in the middle – it morphs from a natural disaster film to a horror one and once the characters are finally above ground there’s a whole new slate of circumstances to make them fear for their lives.

Directed by Lopez, Aftershock is available on DIRECTV before it’s in theaters.

Order Aftershock Now

What is the Knuffle Bunny? The Knuffle Bunny is a children’s book about a young girl who leaves her stuffed animal behind at a laundromat. Because she cannot talk, she can’t tell her father why she is so upset. “What is the Knuffle Bunny?” was the very first cue card tacked up on our corkboard in the writers’ room. It would become the centerpiece of our mystery – the one piece of evidence that Grace has overlooked, and the one thing that Sam could not bring himself to verbalize. Throughout our discussions in the writers’ room, over breakfast, over drinks, our Knuffle Bunny would prove more elusive than the Mo Williams original. In episode 7, Grace finally finds the piece of evidence she’s been looking for. It all started with the Dragon Brewery.

Episode 7

Max chases Grace down an alleyway, but he spots a couple walking nearby and is forced to abandon his pursuit. Max swaps out the chip in his cell phone and dials an unknown number. “We need to talk. Now.”

Max meets with his co-conspirator, Deputy Chief Campbell. Max wants to know why he was never informed that Jackie Hays is a cop. Campbell assures the boy that Grace Travis no longer carries a badge – her work with Jimmy is outside the scope of the police department. The nature of the pair’s relationship starts to become clear. Campbell turned his back on Jimmy after Michael Chen informed the Oakland Police Department that Tony Aldon was laundering his money. Campbell turned his allegiance to Max, who is now in procession of Jimmy’s money. Campbell orders Max to kill Grace before she fucks everything up.

Grace and Mitch discuss the recent revelation. Max didn’t seem to know who shot at Grace, leading them to believe that someone else is calling the shots. But Max is still the key to her whole case. She needs to tell Jimmy that Max is his traitor. Mitch preaches caution – there’s no telling how Jimmy will react when he hears the news.

Tom and Shelley make up a bed for Evie, who still doesn’t know about her father’s romantic dalliances with her teacher.

Grace goes to see Jimmy at the motel. She tries to tell him about Max, but he starts kissing her. Grateful for the relief, Grace goes with it.

Later on, Grace and Jimmy lie in bed. She starts to tell him about Max – that Max and Skinny knew each other and that Tony visited Max in jail several times. Jimmy is furious at her for even suggesting that Max had anything to do with this. He pulls a gun on her, but Grace is calm. She knows the truth. Jimmy storms out.

Max shows up at Alec’s house and tells his brother that Jackie Hays (Grace) is a cop. Alec can’t believe it. Max is worried about Jimmy. He thinks his father is losing it, and can’t control himself around Grace. Max informs Alec that Grace knows about Hector and Lee. If she goes to the police with that information, he’s likely to end up on death row for murder. Alec needs to take care of her, immediately. Cathy has overheard the entire conversation from the next room. She’s terrified for her husband and their family.

Alec goes to see Jimmy at his office. He tells him that Max came over last night and claimed Jackie Hays was an undercover cop. Alec is positive that Max is trying to set him up. Jimmy blows up on Alec, calling him a liar and accusing his son of being jealous of Max. Jimmy wants to know who else Alec has told about Jackie – that’s when Alec realizes that Max was telling the truth. Jackie is a cop and Jimmy knew about it. Alec feels betrayed. He can’t believe that his own father has put their entire family in jeopardy.

Tom tells Shelley that he applied for a teaching position in Ferndale, about 200 miles North of San Jose. Shelley is hurt. She wants to know if he had already made up his mind to leave before they slept together.

Grace calls Jimmy, but he won’t pick up his phone. Mitch pulls Max’s file. It’s completely clean except for his one arrest.

Jimmy meets with Max. He confronts his son about Tony’s visits to Santa Rita. Max claims that he was starting up a business on his own and needed Tony’s help. Max desperately tries to convince Jimmy that Grace is playing them against each other. But Jimmy isn’t buying it. Max finally has to come clean. He’s been moving against his father. Jimmy is heartbroken and he wants to know why. Max answers, “You’re a monster in a tailored suit. How did you think I’d turn out?”

Grace lets it slip to Mitch that she’s been sleeping with Jimmy. He reprimands her, but she doesn’t care. When she’s with Jimmy she doesn’t feel the pain of her normal life. Mitch receives a call from his contact at the FBI. Chen was running a money-laundering sting operation out of an office building on Hyde and Ellis. Grace realizes that’s where Chen tried to meet her five months ago.

Grace and Mitch check out the location. She finds a large advertisement for Dragon Brewery, with the same image of a dragon that Sam had been drawing repeatedly before he was killed. She realizes that whatever happened must have happened in this parking lot. Sam was waiting in the car. He must have seen something.

Grace goes home. Searching for a missed clue. She studies Sam’s drawings. They’re the child’s equivalent of the dragon on the advertisement board, except there’s no star on the neck. Trying to piece it together, Grace calls Tom to see if he remembers anything else unusual about Sam’s behavior before he was shot. He doesn’t. Grace asks him if he stayed at his mother’s house last night. Tom tells her that he stayed with Shelley.

Tom and Evie head home after soccer practice. Evie tells her dad that she’s worried no one will be around to take care of her if something happens to him. Tom tries to comfort his daughter, but it doesn’t help.

Max tells Campbell to revoke his parole. Mitch gets the alert and informs Grace that there’s a warrant out for Max’s arrest. Grace needs to get to him before the cops do, otherwise she’ll lose him for another year. Mitch tracks Max’s cell phone to the docks, but he’s worried that it might be a trap. Grace doesn’t care and goes anyway.

Max waits for Grace, staked out, with a sniper ready to fire on her vehicle. The sniper fires a barrage of bullets, causing her to crash. Max climbs down from his position to check the body, but Grace is gone. Grace sneaks up behind Max and ambushes him, breaking his leg with a crow bar. Grace marches him away from the docks at gunpoint. She wants to know why Max had Sam killed. Max is stunned. He can’t believe that’s what all this was about – some kid. He’s pissed. She ruined all of his plans. Grace demands an answer, but Max honestly doesn’t know anything. In a moment of hesitation, Max manages to turn the tables on Grace and knocks her unconscious inside one of the loading docks.

Looking to embarrass the woman who’s just screwed up his whole life, Max whips out his dick and start to urinate on Grace. She starts to wake up, mid piss, and uses the opportunity to punch Max in the groin. He drops to the ground. There’s a desperate struggle for the gun. It goes off, accidentally shooting Max through the brain. Max falls over, dead.

Thandie executes a crane kick. “First learn stand, then learn fly. Nature rule, Daniel-san, not mine.”

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