For Taylor Dearden and Tal Anderson, playing twins Mel and Becca King on The Pitt has become a true collaboration. The two first-time Emmy-nominated actors have developed an easy rapport that allows them to dig into the complicated bond between sisters who have spent most of their lives relying on one another even as their lives now begin to pull them in different directions.
This partnership extends to how they approach the women they play, particularly in portraying their neurodivergence authentically. Anderson says the actor’s job is “to defend your character’s right to exist,” a philosophy that has informed how both approach Mel and Becca through their characters’ behavior, along with challenging stereotypes and drawing on their own experiences to make the sisters feel specific and fully realized.
Here, the actors speak with Deadline about building the King sisters, navigating the industry and what they’ve learned from each other along the way.
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DEADLINE: Taylor, you mentioned recently that you’re probably the one who gets recognized the least out on the street from the cast. Has that changed at all since Season 2? And what about you, Tal?
TAYLOR DEARDEN: I’m not too sure, because we’ve been shooting Season 3. So, I don’t see much of the outside world ever. But it’s true that people don’t recognize me much because there are a lot of things about me that are different from my character. My hair is lighter, my voice is deeper.
TAL ANDERSON: I do get recognized more I think, but I don’t think it’s because of the Emmy nomination. It’s because Becca’s storyline stuck so hard with people. And also, online, people are so warm and have congratulated me, and said positive things about Becca’s scenes — and that is really uplifting, because it means they really accepted Becca standing up for herself.
The best advice was years ago from my acting coach, Daniel Travis. He told me that it’s your job as an actor to defend your character’s right to exist. And that really stuck with me. No matter what you personally think, you have to be your character’s biggest defender.
Tal Anderson
DEADLINE: Speaking of Emmy nominations, this is the first one for both of you. How are you feeling about being recognized this way by your peers?
ANDERSON: I’m still processing it. I mean, it’s shocking, but I’m just so grateful for this amazing opportunity. It’s been really great.
DEARDEN: It’s been strange, in the best way, because I’ll immediately forget every day, but then someone will say something to me about it, and I kind of do this thing where I comically look behind me, and go, “Oh, wait, you mean me?” It’s so bizarre.
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DEADLINE: What’s the best advice you’ve received as an actor so far?
ANDERSON: I’ve been lucky to have great people around me. And I think the best advice was years ago from my acting coach, Daniel Travis. He told me that it’s your job as an actor to defend your character’s right to exist. And that really stuck with me. No matter what you personally think, you have to be your character’s biggest defender.
DEARDEN: I definitely agree. I think as much as everyone — the writer, the director, the rest of the crew — thinks that they maybe know best, you actually know your character best, you’re creating something and you know Becca better than others. And there’s always ways to make it work, which can be hard when there’s so many people writing for your character and then you’re like, “OK, but it has to be one person doing it.” Sometimes it’s asking for things and asking for ways to make things fit, which is hard.
DEADLINE: Becca gets to enter the emergency room in Season 2. What was the difference for you in filming this time around? Especially considering you had more tranquil scenes in Season 1.
ANDERSON: It was so exciting to be working on the hospital set. I was just in awe. So, first of all, it’s really hard to explain how impressive it is, just how it looks. But also for my character, it was a huge moment because she never had the chance to see this part of Mel’s life and to meet the other people Mel spends so much time with. Becca and I were experiencing the same awe at the same time. But I was also in awe in Season 1 for our Episode 15 scene where we walk around the block. The crew was so big for that scene and there were a lot of cool filmmaking things going on, don’t you think, Taylor?
DEARDEN: I love that little car rig. Wasn’t that the coolest thing that they were in?
ANDERSON: Yes.
DEARDEN: So, there was this go-kart thing the camera crew was in when they were filming her and I walking. It was about the width of the sidewalks, but it also looked like an army tank because it was so outfitted. It was cool [laughs].
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DEADLINE: When was the first time you two met? And what did the writers tell you about your relationship?
DEARDEN: They told me that we were twins and that our parents died when we were really young. I think our dad died first and then our mom. So, we were just the two of us on our own for years. Knowing how close not only twins are in general, but also how close you have to be if it’s just the two of you against the world at that point, that helped build the need for that kind of closeness. And then Becca living in the independent living community was a new thing. And so it was kind of all new and scary, especially that Mel had to make this job work because Becca was so happy in her new community. It was like, if you can’t make this job work, then you’re kind of screwed. And so there was added anxiety of not just a first day, but a first day with so much more riding on it for Season 1.
And the first time we met? Correct me if I’m wrong, Tal, but wasn’t it when we filmed the FaceTime? We were actually at St. Joseph’s for the ambulance bay shoot, and across the street is a park. We met then and hung out a bit, then we separated and did a real FaceTime. A fun fact is that every time there is a FaceTime, we are actually doing that, which I think is cool about the show.
Something that Tal and I have talked about in public is just that we’re really sick of how neurodivergent people are seen in the media. And we both wanted to tell stories that felt like we could see ourselves in them.
Taylor Dearden
DEADLINE: In Season 2 there’s a bit of a rift between the sisters. Becca is asserting her autonomy and Mel is stunned that her sister has a boyfriend and is having sex without having mentioned any of that to her. How did you view their relationship this time around?
DEARDEN: For Mel, the reason it’s earth-shattering is not that Becca’s independent or that Becca’s happy or that Becca’s any of those things. It’s just the idea that Mel is being replaced, that there’s someone in Becca’s life who is getting her attention more and is there for all of her needs now. Mel, perhaps rather incorrectly, has seen herself as Becca’s caretaker, even though that’s not how Becca sees it and not what objectively is true. And I think having independence is such a great idea, but the idea that Mel’s not wanted or needed anymore in Mel’s head is the scariest thing ever.
ANDERSON: I think they love each other unconditionally, but they’re sisters, so they’re allowed to disagree. I think maybe what we saw is both of them realizing that they needed personal space, and to work on their personal happiness away from each other, but I don’t think their bond is broken. It’s too strong.
DEARDEN: I love how Becca is obviously the more independent sister. And I think it also plays on tropes that the audience expected the wrong thing in a good way, where it’s like, why would you expect that? There’s no reason. It’s Mel who’s the dependent one.
DEADLINE: And Becca is so sassy too when Mel wants to try to do the examination. Becca is like, “OK, can you get your own life, girl? And bring in Dr. Langdon while you’re at it.” What were those conversations like with Valerie Chu (executive story editor) on your portrayal of Becca?
ANDERSON: I knew I was going to play her sassy [laughs]. I had a conversation with Val about what she was thinking when she wrote Becca’s response to the sister fight scene. I really wanted to try to avoid anything that seemed like a stereotype, because I didn’t feel like Becca would authentically react that way with Mel. In that moment, I think she just wanted the conversation to end and any emotional regulation she needed to do, was kind of internal. And Val was really great. She listened, and she also explained where they were coming from and going with the scene, to help me understand why Becca would react the way that was written, but in the end we worked on a small adjustment that helped me so much, and it just felt so natural for Becca. It’s so nice when you get the chance to work with writers and talk to them about the stuff in their head that doesn’t make it to the page. It’s so helpful to hear that stuff as an actor.
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DEADLINE: Taylor, what specific characteristics did you bring out of Mel that made Mel feel real to you in addition to being something that you’re also trying to convey to the audience.
DEARDEN: Something that Tal and I have talked about in public is just that we’re really sick of how neurodivergent people are seen in the media. And we both wanted to tell stories that felt like we could see ourselves in them. I think having the opportunity, and also having a writer like Val — she’s so great. Valerie, she was nominated for writing, which is so amazing — but she was so great with us both coming to her and saying, “In my experience, I’ve never done this kind of thing. This is what I would do in this situation.” And she’s so open and so cool about it. It was especially great to have her to bounce ideas off of, too.
I picked Val’s brain about the intention behind Mel’s reaction to her sister saying what she said, and then I told her how I would do it if it was me in those shoes, and that’s how that scene played out. She’s so open and willing and easy about that stuff. And I remembered asking Tal, someone who really knows you in this circumstance, after yelling, what would they know body-language-wise? How close would I get if I know you so well? And stuff like that. And so Tal was able to answer as Becca, “I feel like you should be here.” It was great. It just worked really well, I thought.
I’ve been happy to see so many authentic disabled stories on the show. And right now in this country, the rights of disabled people are under attack, and especially their wellbeing and their access to appropriate healthcare. So, the need for these stories is high and the fear is real.
Tal Anderson
DEADLINE: What would be some advice you’d have for actors trying to make it in the industry with their own neurodivergences?
ANDERSON: Never let anyone tell you you can’t make your dreams come true. I think that’s my best advice: Don’t let anyone tell you that your disability will get in the way of working on your dreams. If you want to act, just do it because acting is personal, so just go for it.
DEARDEN: I’d also say, personally, therapy’s really helpful. Yeah. But it also helps me know myself — what hurts, what’s extra hard for me with disabilities, what’s easier for me — so that I can communicate that better with others.
I mean, it’s always going to be difficult. No matter what industry you’re in, you’re going to run up against a lot of people who don’t really care to change or help at all. But the more you know about how you need to do things, the better. But also, I mean, of all industries, this is probably the best one for us. There’s a lot of neurodivergence within the industry on every position and level. And so, we’re definitely more amongst peers in this industry than probably any other.
DEADLINE: I want to talk a little bit about your favorite things. Becca and Mel talk about their favorite movie. What are some of your favorite films that you return to in general?
ANDERSON: Oh my gosh, I have a lot of favorites in a lot of different genres. But I’m a huge, huge horror fan, especially the slasher films. I watched them all, but my all-time favorite is the original A Nightmare on Elm Street. I’m also a big fan of ’80s films. I don’t watch any one movie like Becca does when she watches Elf, but I have seen A Nightmare on Elm Street a lot of times.
DEARDEN: I’m a scaredy-cat, so I can’t watch any of that stuff. At all, ever. Anything that’s been labeled as a thriller, I’m covering my eyes the whole time.
ANDERSON: Oh my God, you’re totally missing out, Taylor.
DEARDEN: I’m not, for myself, no.
DEADLINE: Taylor is like Obsession – who? Backrooms – where? Someone put on Frozen.
TAYLOR DEARDEN: Exactly [laughs]. Freddy Krueger, no way.
ANDERSON: I’m going to quote from Nightmare on Elm Street 3. Excuse my language: “Welcome to primetime, bitch” [laughs].
DEARDEN: That’s great [laughs].
DEADLINE: What do you rewatch from time to time, Taylor?
DEARDEN: There’s a lot. I think it depends on what I think I need. Singin’ in the Rain is one of my go-tos, but I also love—
ANDERSON: That’s really good.
DEARDEN: It’s so good. And there’s a bunch of older films that I love, All About Eve or The Women or Paper Moon is amazing. I love Clue.
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DEADLINE: While working at the hospital, Mel has a couple of self-soothing tools and mechanisms in place. What are some things you do to decompress yourselves both personally and professionally?
ANDERSON: That’s a really, really good question. I spend time with my cat, and she’s really important to me. She really grounds me. As far as how I decompress in my work, other than memorizing lines and just rehearsing by myself, sleep helps. I’m not getting that much nowadays.
DEADLINE: Please teach me how to get more sleep.
DEARDEN: I don’t think I get enough, but I know how important sleep is. Especially for me, and when I don’t get it, I can always tell [laughs]. But the demand of the show is pretty crazy—and the weekends too—for all of us. It’s tough to find a way to decompress. Sometimes, I do photography. I love doing that.
When it comes to working, it’s a really interesting way that we shoot because we shoot in order. But, the problem with that is, for me, with ADHD, you kind of need to get me at the right time for focus. And because we’ll shoot in order, we’ll do a scene where I’m in it, and then it’ll be hours of a different scene. And then I have that downtime, and then to get me back able is really nearly impossible. So, I have to keep myself active and awake. But I still don’t have any solutions.
ANDERSON: You know, whenever I’m not doing my scenes and I have free time, I’m always in the viewing room watching other scenes being filmed. I really like to do that whenever possible. I had the luxury of doing this because I was only in a few scenes this season, but I like to get a feel for what’s happening in the story before and after my scenes. Becca’s not part of Mel’s world during the day, so when she comes into The Pitt and she’s sick, she doesn’t belong there.
So, watching Taylor do her other scenes is helpful when possible to understand where Mel is coming from and why she behaves the way she does. When I first read the scene where Becca and Mel started yelling, I was really sad. But once I was able to see Taylor in her other scenes and we were in the middle of our scenes together, everything clicked and I understood what Becca’s role was in Mel’s story.
DEADLINE: If both of you could pitch one future storyline for the King sisters, what would it be?
ANDERSON: I’ve been happy to see so many authentic disabled stories on the show. And right now in this country, the rights of disabled people are under attack, and especially their wellbeing and their access to appropriate healthcare. So, the need for these stories is high and the fear is real. I don’t know what the future stories are for Mel, but I’m sure that Scott [Gemill] does. What I do know is that I’ve enjoyed working with Taylor, and I’m really proud of the work I’ve done on The Pitt as Becca and of the authenticity my lived experience has brought to her as a character.
So, hopefully Becca continues to help us understand more of why Mel is who she is, so we can really understand Mel as a person, not just as a doctor.
DEARDEN: For me, maybe seeing some personal-life stuff or some personal growth as characters over the medicine is probably what I’d like. The medicine’s awesome, but I think learning who these people are is really what we’re all invested in.
