Rachel Bloom talks that surprising Reboot finale and the weirdness of group lunch orders
, but if I had to guess, and especially the way I was playing that last scene … it’s an abandonment. I think if you questioned her, she could see the logic in it. I think if it were someone else, she’d see it as maybe more even-keeled, but because it’s her father basically repeating her central trauma, it’s devastating.
In the scene with Peter Gallagher’s character [new studio head Tyler], off-hand, I called Paul “Dad”—that would be the first time Hannah calls her father “Dad” on the show. We don’t highlight it, but, altogether, her standing up for her father is her turning a kind of therapized corner, and I think her father brings her back to square one by abandoning her.
AVC: You see the writers’ room and it’s such a collaborative environment; it can really only help you.AVC: Speaking of those writers’ room scenes, I was curious, on , you were the star, but you also wrote a lot of it, and created it, and wrote the songs for it. But here, you were just acting. What was that transition like?It’s very freeing to just be acting on something. At the end of the day, it’s not my vision. The original vision is great; it’s why I signed on in the first place. I guess because I have been the creator of a show, and when you do that, you’re putting your heart on a plate, you’re putting your soul out.
Steve [Levitan] was very kind, and was like, “Look, you’re a great writer, let me know whenever you have thoughts.” And I’d give the most occasional thought, mostly relating to a question about my character in a given episode. But for the most part, it was just really nice to sit back and do my job as the actor. Because I’ve done the other thing, and I want to do the other thing in the future, but this isn’t the thing where I do that. This isn’t my show.
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