TVLINE | We’ve talked before about Mel losing her parents, which isn’t something the show dwells on, but it’s something I found myself thinking about this season. I get the sense she’s been fortunate to have strong female role models in her life — working under Dr. Al-Hashimi at the VA being one example — but having lost her father, I found myself wondering what kinds of male mentors she’s had in her life. Did that factor into how you thought about Mel’s relationships with Robby and, especially, Langdon, and why Langdon’s friendship and mentorship seem to mean so much to her?
DEARDEN | I would say with Robby, yes, but not with Langdon. I think Langdon has filled a new and different box in her life of [being] kind of a brother. And it’s not the dad relationship you’re looking for, but it feels more equal. Something I know Patrick and I both loved to show in the second season is going from more mentor-mentee [to] more equals, where they’re both very protective of each other. And they both kind of get each other.
I think for Langdon, Mel is someone who will not judge as a fault. She cannot judge someone, really. Coming back from rehab, there’s still someone who completely believes he’s good now. I think everyone else is kind of like, “It’s only a matter of time before he relapses,” and Mel’s like, “No, I believe you. You’re done.”
And I think for Mel to have someone who tried to get to know her is everything. We loved playing that scene at the end, where it just doesn’t seem to have the same unevenness that it did in the first season, or even the start of the second season. It was just kind of like pals hanging out, talking about their day. And it was simple, and I thought the simplicity of that was also beautiful.
But for the first season, Mel stuck to Robby like glue. Even in his curmudgeonly Robby way, he still did take an interest in Mel more than normal. A lot of characters [during the] first season were like, “I don’t know what to do with you, so I’m just gonna, like, not be here.” And he found himself not speaking her language exactly, but he was hyper-encouraging of Mel.
Actually, in both seasons, as much as Robby was in trouble in the second season, he still found times to reassure Mel. And so I think there’s something he gets about her, but he doesn’t really know how to word it either. And I think she definitely sees the father figure in Robby.
TVLINE | Isa and I previously spoke about Mel and Santos’ karaoke excursion at the end of the season, and she described it as “primal scream therapy.” Do you think Mel experiences it the same way, or is something else going on for her in that moment?
DEARDEN | Normally, no. But I think that night was also primal scream therapy for Mel. I mean, they’re both — no one’s as tired as Santos [in the] second season — but to find whatever random energy bubble you have left in you and just go out after a long, tough day, and just — what do they call them? Screlting? Scream-belting? Just screlt. Screlt like crazy.
For Mel, it means so much to be asked in general, and to be trusted, too…. I think [the screlting represented] so much of her day, and so much of what she wanted to probably yell at Becca about.
It’s the first time you see Mel physically, metaphorically, and literally take her hair down. So it’s just like, “Oh, the structured person is letting loose a little bit.” And I think it’s much more of Mel trying on what it’s like to be a little looser than something that comes naturally for her, which is why it’s just a little awkward for sure.
TVLINE | Isa also mentioned that the two of you came up with the idea of Santos letting Mel’s hair down because it’s not something Mel would think to do herself. What do you think that moment signifies for Mel?
DEARDEN | I think the reason I have the braid and will continue to have the braid for my character at work is because it’s structure. It’s perfect structure. I’m the only one whose hair does not get in the way, because it’s perfectly put into a braid that goes down my back, and it keeps me exactly in the moment. I don’t have to worry about anything.
It’s not a very attractive braid. It’s plastered down because it’s the most efficient and routine, and so I think that moment was the most, like, “Mel is trying something.” I don’t think Mel enjoys being touched without permission, but she kind of lets her do it. I thought there was something there that was especially fun where it’s kind of like, “Yeah, Mel might need someone to help her get out of her box,” and to have someone just safely pushing her towards that was, I think, really invigorating.
This story originally appeared on TVLine
