Kim Dickens Treasured the Deadwood Reunion on The Better Sister

by

Warning: Plot details ahead for the miniseries “The Better Sister,” which premiered in its entirety on Amazon Prime Video on May 29.

Over several decades, Kim Dickens has portrayed numerous compassionate, pragmatic characters across different eras and post-apocalyptic settings. She refers to many of the directors she’s worked with as “my Daves,” including David Fincher on House of Cards and Gone Girl, Dave Erickson on Sons of Anarchy and Fear the Walking Dead, and David Simon on Treme (almost We Own This City, but timing wasn’t right). A significant professional bond she has is with David Milch, who created Deadwood and cast Dickens as the faithful, resourceful, and kind madam Joanie Stubbs in his colorfully profane series about the notorious frontier town. Over two decades after Deadwood premiered, Dickens is once again collaborating with the Milches: David’s daughters Olivia and Elizabeth, where she plays a conflicted detective in their Prime Video miniseries, The Better Sister, whose temperament eventually leads to her downfall.

In Dickens’ words, Alafair Burke was encouraged to “freely explore and develop the characters” by co-showrunners Olivia Milch and Regina Corrado, including the character of Detective Nancy Guidry from Burke’s 2019 book. One significant alteration made to the novel is Dickens’ portrayal of Guidry. While the novel version was more functional, Dickens describes the TV version as having “a touch of style” as she becomes convinced that sisters Chloe (played by Jessica Biel) and Nicky (Elizabeth Banks) were involved in the murder of Chloe’s husband (and Nicky’s ex), Adam (Corey Stoll). With a new background detailing Guidry’s history of violence on the job and a revised ending where the sisters sabotage Guidry’s career to protect themselves, the character of Guidry is fleshed out into a captivating, intricate figure, further enriched by Dickens’ witty, dedicated performance.

The story of The Better Sister concludes with Chloe and Nicky escaping punishment for murder, while Guidry faces ruin, and both women grappling with their past ethical lapses related to Adam’s death. This concentrated narrative focus on the show’s female characters mirrors its team of female co-showrunners, producers, and writers. As Dickens humorously notes, “It was wonderful collaborating with all these women, but we didn’t really ponder it. We were simply thinking, ‘We’re all fantastic at our jobs, and we enjoy what we do.’ However, the entertainment industry should strive for more equality. Give our show a watch, and you’ll understand why.”

How did you come to be working with Detective Nancy Guidry? We’ve kept in touch since our time on Deadwood, and Regina Corrado would often say, “Olivia and I are writing something especially for you.” That’s quite an honor. But it’s also something I’m used to hearing from my writer friends, usually directed towards someone more established in the industry. [Laughs.] When I received the offer, I was on vacation and immediately started reading the scripts. Coming off of Fear the Walking Dead, this project was quite different. I’ve played a detective before, with Detective Rhonda Boney in Gone Girl, and an FBI agent in a David Milch series before Deadwood, Big Apple. It was ahead of its time, airing on CBS when it should have been on HBO. It featured David Strathairn, Michael Madsen, Ed O’Neill, and Titus Welliver. I auditioned for that role, and I remember telling my agent, “I’ll take whatever he offers and become a better actor for it.” This encounter marked the beginning of my association with the Milches.

In your words, what particularly fascinated you about the character of Guidry, compared to other detective roles you’ve played like Detective Boney and the sheriff in Briarpatch?

Well, I found Guidry to be a more emotional and swaggering character compared to the casual and somewhat bird-like Boney. Playing detectives is something I’m familiar with, but I’ve also taken on roles as madams. In the case of Guidry, I felt I could be quite relaxed in portraying her, as there was a lot of humor and irreverence in this show. Nicky’s character often steps out of line, and even my character’s words occasionally did, but I believe it stemmed from a truth about these imperfect individuals. The performances by Banks and Jessica Biel were incredibly bold, and the scenes between our characters, filled with that raw, primal love or intense animosity, remain my favorites to watch.

I appreciate Nicky and Nan as a couple because they seem to understand one another’s hidden motives. To put it simply, they have a knack for seeing through one another’s facades, which sometimes leads to intense disagreements but also provides an amusing dynamic that we find entertaining.

Did you mention that Nan is quite expressive, especially on stage? Was there a moment in the story where you portrayed her at her most expressive or dramatic? To put it another way, was there an instance when she acted out the crime for Chloe and Ethan, trying to make them feel uneasy or suspicious? This scene would be different from when she’s analyzing the crime scene with her partner or discussing it privately. In public, she tends to be more flamboyant and expressive, perhaps to extract information from Chloe and Ethan.

In the book and series, Nan takes matters into her own hands by framing Adam’s boss, Bill, to shift suspicion from Nicky. Meanwhile, Guidry uncovers that Nicky was responsible for Adam’s death but learns about a coverup in Guidry’s past where she and other officers wrongfully attacked a Black man, resulting in his paralysis. In the series, Nicky exposes this information to the media, leading to Guidry being placed on leave. The final scene shows her at a bar, watching as her partner, Matt Bowen, gets tricked by Chloe’s framing of Bill while Nicky escapes justice. You can see Matt’s line to him, “Good for you, getting it all wrong – idiot,” which is both sarcastic and resentful. Reading the book first, did that ending surprise you?

When I read this, it definitely caught me off guard. Nan steps out of her professional boundaries, uncovers the truth, and the murderer, only to be punished for it and lose her job. To me, this is a powerful ending because it also sets up new possibilities for her character. For example, will she make it home that night? Will she end up in jail herself? Given how much she relies on her job and the responsibilities of her family, I found this ending to be particularly impactful. In the series, I played with the idea of her drunkenness, sometimes overindulging, other times slamming down shots, or asking for more drinks. Initially, there was an idea that her wife would come in and take her home gently, creating a poignant moment if this were a small-town detective story. However, Guidry is not the main focus of the narrative. Instead, it serves to highlight Chloe’s actions against Bill.

In this scene, Detective Guidry encounters Eddie Jackson, the man she has a complex relationship with due to past events involving attempted murder and near-fatal injuries. This conversation is intricate and filled with underlying tension. Despite their mutual dislike, they are bound by their shared history of wrongdoings. Talk to me about this scene where we delve into the depths of their strained relationship and the consequences of their past actions.

Was it unexpected for you that Guidry’s evaluation scene with the counselor, where she initially seemed evasive but eventually opened up honestly, caught your attention?

Did you also feel like we were longing for a Deadwood reunion? Indeed, many of us who worked on that show together share that sentiment. It’s hard to believe it’s happening! The depth of our relationships made our work feel like family. I’ve known Olivia since she was 15, and even when we filmed the Deadwood movie, she had already built a successful career. She was always willing to lend a hand. There’s no denying that David is her father, and so much of his brilliance shines through in her. Her ability to be funny on the spot and her talent for pacing are truly magical. Working with Elizabeth Milch was equally delightful. She’s an exceptional writer and person. We were all talented individuals who took our work seriously but also knew how to have fun and appreciate each other’s talents.

Discussing writing matters, I’m captivated by the fact that Nan is a youth baseball coach. Her perspective on coaching, as she puts it, “I’m shaping them while they’re still young, before they turn into spoiled brats,” offers a unique insight into her character. This line suggests that Nan is not afraid to speak her mind, possibly having a background in sports and parenting children herself. Her blunt and honest approach serves as a relatable and humanizing element in the narrative, demonstrating her concern for the young athletes she coaches.

Read More

2025-05-30 22:54