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Interview
Carrie Coon's character fulfills some of the same dramatic and thematic purposes. But how much and how immediately did you find yourself missing having a Solverson this season?
(Laughs.) I never missed them. I mean, I miss Patrick Wilson and Allison Tolman but we have to keep innovating or die. I really like that Gloria is not Marge Gunderson and that she's not Molly and she's also not Patrick Wilson. She's someone who, unlike Molly and Marge, who are women of a simpler world in a small town where everything made sense, Gloria, when we meet her, is already reeling from the rug being pulled out from under her. Her husband has left her for another man, she's been told that she's no longer chief of police at the end of the year, so she's sort of both chief and not chief at the same time. And then, her stepfather is killed. So she's already on the defensive, she's already trying to cope with a world that doesn't make sense and the crime only exacerbates that.
So, she's a more taciturn character, she's a little more guarded, she's a little more defensive. She covers it as well as she can with the Minnesota Nice veneer, but we see that she has a much harder edge. I like that she was different and the more I wrote her, she just wanted to be that person. I had conversations with the network because they anticipated that she would be a Marge or a Molly and they were looking for that, and they were like, "Why is she so hostile?" and I was like "That's just who she is, she's different." And it took awhile for them to go "Oh yeah, even though it's the same show, it's a different show entirely so we can't judge it by the standards of last year or the first year."
(Laughs.) I never missed them. I mean, I miss Patrick Wilson and Allison Tolman but we have to keep innovating or die. I really like that Gloria is not Marge Gunderson and that she's not Molly and she's also not Patrick Wilson. She's someone who, unlike Molly and Marge, who are women of a simpler world in a small town where everything made sense, Gloria, when we meet her, is already reeling from the rug being pulled out from under her. Her husband has left her for another man, she's been told that she's no longer chief of police at the end of the year, so she's sort of both chief and not chief at the same time. And then, her stepfather is killed. So she's already on the defensive, she's already trying to cope with a world that doesn't make sense and the crime only exacerbates that.
So, she's a more taciturn character, she's a little more guarded, she's a little more defensive. She covers it as well as she can with the Minnesota Nice veneer, but we see that she has a much harder edge. I like that she was different and the more I wrote her, she just wanted to be that person. I had conversations with the network because they anticipated that she would be a Marge or a Molly and they were looking for that, and they were like, "Why is she so hostile?" and I was like "That's just who she is, she's different." And it took awhile for them to go "Oh yeah, even though it's the same show, it's a different show entirely so we can't judge it by the standards of last year or the first year."
Source:
Episode 2 / Production #302 – “The Principle of Restricted Choice” (Airs April 26, 10:00 pm e/p)
Gloria deals with the aftermath of a crime, Vargas makes a move, and Ray and Nikki move on to Plan B.
Written by Noah Hawley; directed by Michael Uppendahl.
Gloria deals with the aftermath of a crime, Vargas makes a move, and Ray and Nikki move on to Plan B.
Written by Noah Hawley; directed by Michael Uppendahl.
Source:
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