Although BBC America received considerable acclaim from their original series, “Copper,” a period piece about New York City police officers circa the 1860s, it should come as no surprise that their stock and trade still tends to be series set in the UK. Don’t worry, though: they’re still sticking with the whole period-piece thing for their latest endeavor, “Ripper Street,” which is set in Whitechapel, in London’s East End, n 1889, a mere six months after the infamous Jack the Ripper murders. The series stars Matthew Macfadyen, a familiar face to Angophiles for his work in numerous TV and film appearances, and Bullz-Eye had a chance to chat with him just before the “Ripper Street” panel at the Television Critics Association’s winter press tour, where we asked him about his new gig, several of his old ones, and how he got into acting in the first place.

Bullz-Eye: You, sir, are no stranger to period pieces.

Matthew Macfadyen: I’ve done a few, yeah. [Laughs.]

BE: What was it about “Ripper Street” that stood out for you in particular? Certainly it’s a bit darker than some of your past fare.

MM: Yeah, I thought it was dark. But I just thought the writing was brilliant. I really did. I didn’t expect to…I wasn’t planning on doing another series, but then it came along and I couldn’t stop reading it, which is sort of the acid test for me. So that was it, really.

BE: When you took the role, how much of Det. Sgt. Edmund Reid was on the page, and how much were you able to bring to the part?

MM: It was all on the page. I mean, it’s there. It’s so beautifully sketched out, and there’s so much going on underneath him. He’s got this terrible thing with his family, his daughter, so…there’s a lot. It’s interesting. And I think the writer, Richard (Warlow), doesn’t immediately build the characters, but you know there’s a back story, and it sort of comes out in dribbles. It evolves.

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Although the History Channel has done an admirable job of trying to bring “Top Gear” to America, there are many viewers who still view the U.S.’s take on the series as a pale imitation of the original UK version…and, yes, if you’re wondering, I am one of those viewers, thank you very much. Not that there’s anything wrong with Adam Ferrera, Tanner Foust, and Rutledge Wood in principle, but to my way of thinking, they can’t hold a candle to Jeremy Clarkson, Richard Hammond, and James May. I mean, I’m not even a car person (and, boy, is that an understatement), but I’ve been enthralled by the adventures of Clarkson, Hammond, and May ever since I first discovered the series a few years back.

Indeed, I’ve found their presences so uniformly enjoyable that I’ve even followed them over to their various solo exploits. For instance, if you’ve never seen “James May’s Toy Stories,” head over to Hulu and check it out post haste…but, hang on, before doing that, perhaps you’d better watch “Richard Hammond’s Crash Course,” which actually makes its debut this evening on BBC America. I was fortunate enough to be able to chat with Mr. Hammond during this summer TCA press tour, and we chatted about this new series as well as the one which made him a household name amongst automobile enthusiasts, not to mention various and sundry other topics.

Bullz-Eye: You’re all but ubiquitous on UK television nowadays, but how did you find your way onto TV in the first place?

Richard Hammond: I started as a radio host 24 years ago, in 1988. Local radio, a small station in the UK. I stuck with that for the better part of 10 years and eventually started doing TV. Car-related TV, because that was always my passion. And that opened into other types of TV, but I stuck with the cars as well, and then eventually auditioned for and got “Top Gear” when they re-launched it.

BE: Being a re-launch, I guess it was both a proven commodity as well as an unproven one, since it was all new.

RH: Yeah, it’d become quite old-fashioned and, as happened, it was taken off air because viewers had dwindled, but then it came back as an entirely new thing.

BE: Presumably you were pleasantly surprised when it took off as well as it did.

RH: Weren’t we, though? [Laughs.] Yes, but it wasn’t immediate. We were very lucky. We were afforded the opportunity to grow organically over time, because it was only a small show, so we could be allowed to evolve. We never set out to create the monster we created. We set out to make the best car show we could. That, honestly, is all we ever set out to do. And it was what it was, and it grew to what it became, and it found the appeal it found. We were just lucky. It was a perfect storm. The perfect combination of event, context, characters, appetite…it all came together.

BE: It’s very much a car show for people who aren’t even car aficionados.

RH: Well, we kind of do that to save the viewer the bother. We’re car geeks. I mean, I collect cars. I’ve got…oh, God, dozens of them at home, ranging from pre-war to immediate. But it has to have that at heart. We occasionally…not in recent years, but there was a time when we’d be asked quite regularly, “Are you really a car guy, or is it all put on?” You couldn’t pretend! But you don’t have to be a car fan to watch it, because cars, generally speaking, are fascinating to everyone because they affect all of us. Even if all you ever do is get in one to get a ride to school, they’re still part of your life, be it as a symbol, a means of communication, a means of transport, even as self-expression.

BE: What would you say has been the most fascinating aspect of “Top Gear”? You’ve been to so many countries, done so many things…

RH: Well, I’ve grown up there! I was 30 when we started, I’m 40 now. That’s a big period in a chap’s life! [Laughs.] Both my daughters have arrived since then. Lots has happened. It’s been a part of my life for a long, long time. That’s probably the big surprise. No, the bigger surprise is what’s happened to it! It still takes our breath away how big it’s gotten. We can’t believe it.

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