If Season 3 of “The Diplomat” proved anything, it’s that Keri Russell and Rufus Sewell have quietly become one of television’s great acting partnerships.
Created by Debora Cahn, Netflix’s “The Diplomat” has always thrived on sharp political intrigue, escalating international crises, and dialogue that moves at a pace demanding absolute precision from its cast. Yet beneath the diplomacy, espionage, and geopolitical maneuvering lies one of television’s most compelling marriages. Kate and Hal Wyler spend as much time manipulating each other as they do protecting one another, and the audience is rarely certain whether Hal’s latest move is motivated by political ambition, genuine loyalty, or some impossible combination of both.
That balancing act has become even more impressive in Season 3, which may be the series’ strongest yet. Following the shocking events that concluded Season 2, the new season reshapes the political landscape in dramatic fashion, forcing Kate, Hal, and those around them into alliances and conflicts that constantly shift beneath their feet. Returning stars Keri Russell, Rufus Sewell, David Gyasi, Ali Ahn, Rory Kinnear, and Ato Essandoh are joined by Allison Janney and Bradley Whitford in expanded roles, while Cahn’s writing continues to find new ways to raise the stakes without sacrificing the wit and emotional honesty that have made the series one of television’s smartest dramas.
Perhaps the show’s greatest accomplishment, however, is making Hal Wyler someone audiences continue to root for despite every reason not to. Over three seasons, Sewell has portrayed a man capable of deception, manipulation, and ruthless political calculation. His loyalties have often appeared to shift depending on the circumstance. Yet somehow, viewers continue to trust him, largely because of the unwavering devotion he has consistently shown Kate. Whether that trust remains intact after the events of Season 3 is another question entirely.
What struck me most throughout our conversation was just how much preparation goes into making Hal and Kate’s relationship feel effortless. Sewell described the rare trust he shares with Russell, explaining that neither actor feels the need to manufacture chemistry or overwork a scene before the cameras roll. Combined with Debora Cahn’s exceptionally precise writing, it’s a process that allows two remarkable performers to continually surprise each other and, in turn, the audience. It’s no coincidence that one of television’s best written relationships also happens to be one of its most believable.
I spoke with Sewell about Season 3’s biggest shifts, Hal and Kate’s evolving relationship, collaborating with Keri Russell, working alongside Allison Janney and Bradley Whitford, the challenge of portraying morally complicated characters, and why, after more than three decades in the industry, he believes he’s having more fun now than ever before.
Awards Focus: I’ll start with the question everyone is probably asking after that finale. Season 2 of “The Diplomat” ended on quite the cliffhanger. What can audiences expect from Season 3?
Rufus Sewell: That’s an easy one. What should they expect? They should expect to confront the unexpected. What happens is pretty unpredictable. From the end of Episode 1 onward, things are turned on their head in a way that’s enormously beneficial to the story. It creates new dynamics and new difficulties for Kate and Hal and everyone else, things no one could have seen coming, least of all Kate and Hal.
The worlds are turned around. The dynamics shift. The status relationships of a lot of people change. It raises the stakes in a way that’s very engaging. The high stakes and new circumstances give rise to a lot of tension and humor. The more unpredictable the story gets, the more interesting the scenes are to play.
AF: How much does the real world influence the show? There’s been so much happening globally, particularly between Europe and the United States. Does “The Diplomat” ever try to lean into those events, or does it deliberately try to exist in its own world?
Sewell: It’s impossible to lean in without falling over, and with how fast things move, it’s hard to even know which direction to lean. If we mirrored real life too closely, people would think we were being over the top. One of the pleasures for us and for the viewer is the escapism of an alternative world. It doesn’t have to be rose-colored. It can be a five-years-ago version of dysfunction.
Other people’s problems can be interesting in a way that our own are not, and that’s what we’re setting up, a kind of alternate universe. You can’t keep up with the pace and craziness of real events. If you try, the pace of change will outrun you. Deb has established a world that occasionally rhymes with reality because it touches on similar themes, sometimes in sad ways. But no one’s trying to directly mirror real life.
AF: In Season 3, we see a greater amount of time spent on Hal and Kate’s relationship compared to the previous season. Was it a deliberate decision to return to that dynamic, or was that simply where the story naturally took the characters?
Sewell: It’s very interesting to hear you say that. When you’re filming, you don’t really know what the overall feel of the season will be, especially from my perspective. As to whether it was deliberate, I’m not really a party to those decisions. I think it just developed that way, and I’m glad it did.
When the big change happens at the end of Episode 1, both Keri and I were very excited. It opens tremendous opportunities. What you don’t want is to repeat the same dynamic we had in Season 2. We needed a shake-up.
As for Hal and Kate’s relationship, neither of them is worried about where it goes, together, apart, love, hatred. All of that is the DNA that entices us and that the audience enjoys. It needs trouble. Characters shouldn’t get what they want unless it’s a poisoned chalice. Otherwise, it’s not dramatic or interesting.
AF: I sometimes forget that Keri wasn’t in “The Man in the High Castle” and you weren’t in “The Americans” because your chemistry is so remarkable. In this new era of shorter seasons that can be years apart, how do you and Keri maintain that connection and energy on screen?
Sewell: That’s very nice of you to say, and I appreciate it. One always hopes that something like that is just there, and if it’s not, there’s nothing you can do. Chemistry is nothing if it’s there, but it’s everything if it’s not.
There are certain things actors do to show chemistry, and I hate them all. Chemistry is the opposite of cooperation. It’s the sense that everything will be fine even if you miss the ball once in a while. You don’t have to catch everything. It can bounce, and that’s okay.
From the first moment Keri and I worked together, I instinctively knew that whatever I do will meet what she does, and we can keep changing it. We just play. We’re not trying to cooperate. Cooperation can be the death of drama. That’s why directors sometimes dread actors getting together romantically. It can kill that spark. We’ve had that connection from the start. We don’t question it, and it’s not really work. It’s just luck.
AF: We’ve been lucky as viewers to see it. Your characters in “The Diplomat” and “The Man in the High Castle” share moral ambiguity and complexity. How do you make characters like that likable when their actions can be so awful?
Sewell: For a long time, I was cast in potentially one-dimensional roles and thought, “No, I’m going to play something else.” It was my only way to show range. The downside was that I became popular among directors with underwritten roles because I could fill them out, but when something was well-written, they’d go elsewhere.
As for likability, I just try to ask, “What if this were me?” and not judge the character. You have to stand behind their eyes and try to win your case. With Hal, it’s more nuanced. In “The Man in the High Castle,” there was a central conflict I tried to protect. Sometimes the writing would veer from it, and I’d push it back. It became a battle between me and the story, which oddly mirrored the character’s struggle.
If I were consistently cast as nice guys, I’d probably do the same thing in reverse, try to find the gray. The responsibility of an actor is to play the truth, and nothing is all white or all black. As Marlon Brando said, it’s a polka dot world.
AF: You mentioned that you and Keri don’t need to plan chemistry. When it comes to dialogue, do you ever work through scenes together or suggest changes to the scripts?
Sewell: We get along really well and laugh a lot, but we don’t need to discuss or change much. With Deb’s writing, there’s no need to alter a syllable. I’ve done projects where I had to unpick the language to make it feel less written, but not here.
It’s a mistake to criticize the writing before fully exploring it. Often, the part that gives you trouble is the key to the scene. With Deb’s scripts, that’s definitely true. Maybe we’ll change an “um” or an “ah” here or there, but we love the writing. It’s a gift. We do our work separately, come together, and play. It can change from take to take, but we don’t need to plan it.
AF: Besides Keri, there are new faces this season. Allison Janney, for example, has a bigger role. Who have you most enjoyed working with among the new cast?
Sewell: That’s always a dangerous question. The ones I work with most are Allison Janney and Bradley Whitford, who plays her husband. They’re both fantastic and hilarious. There’s an episode, number six, where the four of us, me, Keri, Allison, and Brad, spend a lot of time together. Long scenes, like doing a play with the best people in the world. I feel very lucky.
AF: Where does Hal sit for you now, in terms of how much fun you’re having as an actor?
Sewell: This is the most fun I’ve ever had. I’ve had periods of great fun before, but this is consistent. Coming up to Season Four, I can’t believe my luck. I’m more aware now of how lucky I am. When you’re younger, you’re too busy thinking about what something might lead to. Now I just think, this is it.
There’s nothing I could move on to that would offer me more. That doesn’t mean I don’t want to explore other things, but this is a joy. Every script brings something new, and I don’t care what’s asked of me, I’ll have a go. This is what I’m in it for. I feel very, very lucky.
AF: That joy really comes across on screen. Congratulations on the new season, and it’s been a pleasure talking to you.
Rufus Sewell: Lovely talking to you too.