Have you had a chance to see the show yet?                                                             
Not the whole show, but I have seen through five.

Episode four feels like a big turning point in your arc, as the first few episodes are really about Rhaenyra learning the ropes of what it is to be a royal in this world. What do you think she really learns about that experience?
I think she learns that, ultimately, this is a man’s world. She has to either submit or play them at their own game and beat them. At the end of four, we see understand how to play that game—because three and two, she’s rebelling. She’s trying to prove [that] through actions, but ultimately her voice is what is heard to her father. She gets through to him because she can articulate what she couldn’t say in those prior episodes of “Look what I can do. Look how much smarter I am than you think I am. I’m really trying to help.” She learns how to vocalize that. 

That scene feels like the culmination of your arc in a lot of ways. What was it like for you to shoot it?                           
It’s incredibly exciting when you have such a vivid arc, especially as a young person [and] as someone quite new to the industry. It’s exciting and terrifying because you care so much that you don’t want to overthink and spoil it. I was given such a blessing being able to work across from Paddy [Considien] with those scenes. We really worked together. It felt like a play—the end of four—having that negotiation. It was very rhythmic and felt like a bit of a dance. I had a lot of fun shooting that scene.

The other big part of four is your Prince and the Pauper moment on the streets of King’s Landing. Did something as slight as a costume change cause you to shift how you approached the physicality of those scenes?                
Yeah, because ultimately, it’s symbolic of freedom. She’s free physically within her clothes and she’s free to move around the world in a way that she almost wishes she could. The conservative construction of the things that she has to wear in King’s Landing reflect the way that she moves and the way she thinks. It was really fun being able to open up that box; we see how more comfortable in her own skin [she is].