The Killer in the Residence: Unmasking the White House Murder Mystery
Spoiler alert: This story delves into the ending of the Netflix series “The Residence,” so proceed with caution if you haven’t watched it yet.
NEW YORK – In the opulent halls of power, deceit can often wear the most innocent of faces. Netflix’s "The Residence" throws viewers headfirst into a labyrinthine murder mystery unfolding within the very walls of the White House. Detective Cordelia Cupp, played with steely determination by Uzo Aduba, finds herself embroiled in a high-stakes investigation after the untimely death of A.B. Wynter, the White House’s esteemed chief usher, portrayed by the late Giancarlo Esposito. Wynter’s demise, discovered during a lavish state dinner at 1600 Pennsylvania Avenue, sets off a frantic search for a killer among the corridors of influence.
As the series progresses through its eight episodes, suspicion falls upon a cadre of individuals, each with their own motives and secrets. The brash and ambitious chief advisor, Harry Hollinger, embodied by Ken Marino, appears a likely candidate. So too does Jasmine Haney, the aggrieved assistant usher brought to life by Susan Kelechi Watson, seemingly harboring a vendetta. Yet, the true culprit lurking in plain sight is far more unexpected.
Lilly Schumacher, the president’s seemingly carefree social secretary, played with a captivating blend of charm and cunning by Molly Griggs, is revealed to be the mastermind behind Wynter’s murder. A product of privilege and social media savvy, Lilly’s persona as a well-connected influencer masks a ruthless ambition and a deep-seated disdain for tradition. She poisoned A.B. and then delivered the final blow with a clock, a symbol of the very institution she sought to dismantle.
Lilly, a nepo baby whose whims were often indulged, harbored dreams of transforming the White House in her image, emulating the style and grace of Jackie Kennedy. Her quirky behavior and apparent obsession with everything from Harry Styles to outlandish wellness initiatives initially painted her as comic relief. However, beneath the surface lay a simmering conflict with A.B., who threatened to expose her shady financial dealings and her callous treatment of her colleagues.
"It’s us versus them: the staff who have been here regardless of administration, versus the people who come in with the new president," Griggs explains. "Lilly very much embodies ‘them’ because she’s the one pulling all the strings."
“The Residence,” executive produced by Shonda Rhimes and created by Paul William Davies, explores themes of power, entitlement, and the clash between old and new. Davies explains that early on, he considered multiple suspects and even toyed with the idea of A.B. being the aggressor and Lilly the victim. But the weight of Wynter’s decades of dedicated service made him a more compelling target.
“I liked the idea that the chief usher could engender so much hostility from so many different people,” Davies says. “That’s what you need in order to keep the list of suspects viable: a lot of different people who might’ve interacted with the victim in a way that could turn ugly.”
Lilly’s character is a stark reflection of the current political climate. As the entitled daughter of a wealthy casino magnate, she believes in neither the principles of fairness nor the importance of teamwork. For her, the rules simply don’t apply.
"She has no fear of retribution; she’s like, ‘My lawyers will fix this,’" Griggs says. "Even when Lilly is being escorted out of the room to be arrested, I don’t think she feels like she got got. When I think about it in the context of how our country works, and the people who have power and the people who don’t, there is that sense of, ‘I’m untouchable. I can have whatever I want and no one can stop me.’"
The dramatic climax unfolds in the finale as Detective Cupp gathers all the suspects. Lilly, feigning despair, desperately attempts to frame housekeeper Elsyie, played by Julieth Restrepo, and engineer Bruce, played by Mel Rodriguez, claiming she tried to cover for them out of pity. Davies reveals that he wrote this audacious attempt at manipulation after casting Griggs, confident that she possessed the acting prowess to pull off Lilly’s transformation from seemingly compassionate to chillingly calculating.
Aduba was profoundly impressed by Griggs’ nuanced and subtly sinister performance. “I thought it was genius,” she says. “She knew what Lilly represented. She gave a master class on gaslighting and how power can be utilized to disadvantage some.” The scene, ultimately, is “a thorough example of who gets believed and how easily they are.”
Davies masterfully plants hints of Lilly’s guilt from the very beginning. In a miniature dollhouse replica of the White House featured in Episode 1, keen-eyed viewers can spot Lilly opening the door to the Yellow Oval Room, where she later tries to hide evidence. Her prolonged stare-down with Cordelia during their initial encounter foreshadows "the beginning of a showdown really early on," Griggs reveals.
“The Residence” marks a significant milestone in Griggs’ career. At 31, she has steadily built a strong presence in television, with roles in Fox’s “Prodigal Son,” Apple TV+’s “Servant,” and Peacock’s “Dr. Death.” She may also be recognized as Grace, Roman’s girlfriend, in Season 1 of HBO’s “Succession.”
Following her Broadway debut in “Hello, Dolly!” in 2018, Griggs has returned to the New York stage in “John Proctor is the Villain,” a dark comedy starring Sadie Sink. Set in a high school in Georgia in the wake of the Me Too movement, the play follows an English class as they delve into Arthur Miller’s “The Crucible.”
“It’s made by women for young women, but it’s a play for everybody,” says Griggs, who portrays guidance counselor Bailey. “It can help us continue to ask questions about these murky gray areas in our lives and what behavior is acceptable.” Coincidentally, “John Proctor” began performances on March 20, the same day “The Residence” premiered on Netflix.
Griggs plans to celebrate her success with a watch party at her home in Brooklyn, surrounded by her husband, friends, and her beloved pet pitbull, Izzy. While Izzy may not fully grasp the intricacies of screen acting – “she doesn’t really understand screens. I don’t think she’ll have any recognition it’s me, like, ‘Mommy killed A.B.?’” – the occasion will undoubtedly be a joyous one.
For any actor, "it’s a miracle to be doing one thing in this business, so to have two things at the same time feels special," Griggs says. "My younger self would be so geeked. I feel really calm and excited right now – but talk to me in 24 hours!" The success of "The Residence" and her return to the stage solidify Griggs’ position as a rising star, ready to take on new and challenging roles that explore the complexities of human nature and the dark side of power.
