HBO’s The Gilded Age focuses primarily on the women of the historic period, marked by extreme wealth and inequality as America prepared for the turn of the 20th century. Carrie Coon plays Bertha Russell, a new money star on the rise attempting to break into as many old money social circles as possible. As we see over season two, she’s not afraid to take a chance on “the new,” such as the new Metropolitan Opera, to create a space in which she will dominate socially.
Standing constantly by her side is George Russell, played wonderfully by Morgan Spector (The Plot Against America). Throughout the entire series, he’s remained her staunchest ally and supporter, willing to allow Bertha her own path as well as support her financially behind the scenes when needed. He is, of course, a classic amalgamation of a Gilded Age robber baron. As Spector plays him, George emerges as a compelling combination of ruthless businessman (remember that season one suicide) and a dedicated family man.
Across season two, George takes the forefront against striking workers as unions begin to form. He also spends several episodes in a Gilded dog house after it’s revealed that, last season, Bertha’s lady’s maid attempted (unsuccessfully) to seduce him. It causes a rift that only George’s behind-the-scenes machinations can repair. He also stands by as Bertha schemes to attract the attention of the visiting The Duke of Buckingham (Ben Lamb), wondering exactly how far she’s willing to go.
Here, Awards Daily chats with Spector to discuss his most significant season two moments.
Awards Daily: In season one, there appeared to be more of a balance between Bertha and George. However, with season two, that balance appears to tip in Bertha’s favor. Did you sense that change when you were prepping and performing season two? If so, then why do you think that balance has shifted to Bertha?
Morgan Spector: I’m not sure I do sense that change. Certainly, the reappearance of Turner [Kelley Curran] and the revelation of the incident between her and George gives Bertha a certain wounded righteousness for a few of the episodes, but after that I think they more or less return to their usual balance. The season’s central conflict between the Met and the Academy of Music is definitely Bertha’s war, but I think that’s consistent between the seasons. This is a show about how these powerful women ran society. The men will always be supporting players in that drama.
Awards Daily: George and Bertha have a heated exchange in episode four, the likes of which we haven’t seen between them before. Tell me about playing that scene with Carrie Coon and what you think it says about the balance of power in their relationship.
Morgan Spector: I usually love playing conflict because I love argument, but I have to admit I’ve become attached to George and Bertha’s camaraderie, the way that it’s always the two of them against the world. So, it was actually a bit uncomfortable to feel genuinely at odds and go at each other that way. Certainly, in those scenes, Bertha has something over George. He made a mistake. There’s nothing worse than hurting the person you love by accident.
Awards Daily: What were some of your favorite moments to play in season two?
Morgan Spector: I loved working with Darren Goldstein [Henderson]. I’ve known him a long time, but we’ve never had a chance to work together. Those scenes are so nicely balanced. Henderson actually has a lot of leverage, and that’s unusual for George. It made the scenes quite tense. I also love working with Blake Ritson [Oscar]. I have two scenes with him this season where I absolutely devastate him, and he plays defeat so beautifully. Not everyone can do that.
Awards Daily: There’s an extensive subplot running through the season regarding George’s dealings with the labor strike. He’s moved by the living conditions of the families involved in the strike, enough that he calls off a potential riot. Yet, this is the same George Russell who indirectly led to a man’s suicide in season one. Is this an evolution of George Russell? Is he becoming more sensitive to the plight of the working man despite still being a robber baron?
Morgan Spector: I think it remains to be seen how much he’s evolved. Certainly, he’s shocked to discover how little opportunity there is for Henderson’s children. As a family man, that cuts to the core of his own values. It’s enough to keep him from mowing down dozens of striking workers, but is it something that will remain important for him long term? I guess we’ll see. He does tell his peers that “we owe” the workers safer factories, and that actually does seem something like an evolution.
Awards Daily: Do you think George has any idea of how far Bertha seems to be willing to go to make a match between the Duke and Gladys, particularly considering the Faustian allusions in the end of the season?
Morgan Spector: You know, I don’t think he does. He’s spent two seasons saying how important it is to him that Gladys make a love match, and Bertha has completely ignored that. In my mind, it’s a much less forgivable betrayal than the issue with Turner.
Awards Daily: Earlier in the season George seemingly wanted to protect Gladys from Oscar van Rhijn and his marriage proposal. How do you interpret that rejection? Does he see through Oscar or is he aware of Bertha’s larger scheme for Gladys’s betrothal?
Morgan Spector: I think he sees through Oscar entirely. I think he knows he’s a fortune hunter, and that he’s not really interested in women. The thought of his daughter caught in a loveless marriage of convenience makes him furious.
The Gilded Age second season finale drops Sunday night at 9pm ET on HBO. All episodes of The Gilded Age stream exclusively on MAX.
