I think, because it's one of my favorite moments in [Charles Manson's Hollywood]. That series got a lot of attention and people talk about it a lot, but they tend to focus on the episodes that have more to do with the murder, Charles Manson doing something particularly weird, or Sharon Tate.

As a performer, I could be like, "I don't want to leave that in there." But as a producer, I have to leave it in there.

I have a degree in cinema studies and the big paper I wrote at the end of that was about Judy Garland and Liza Minnelli. So I thought that I knew quite a bit about Judy Garland, but I read in passing that the Stonewall riots were a reaction to her death and I had never really read enough to know what that meant or how that could be true. I was interested in that I knew so much about Judy Garland, but I really didn't know this story.

The thing that breaks my heart about [Dennis Wilson] is that he was very naïve from the beginning to the end.

I was trying to see if I could produce an episode - completely write it and research it and record it and edit it - all by myself in a week.

In terms of the way the industry operates, the studio system was such its own thing. It's so different now that it's a globalized world.

Between the action sequences, the pleasure lies in observing impeccably dressed Brits exchanging barbed witticisms - making it, basically, Downton Abbey with cyber crime and shower sex.