Louisa Jacobson Was Meant for This Moment.

      Louisa Jacobson is popping up everywhere—making waves in Celine Song’s new rom-com Materialists, appearing on your screens in the third season of HBO's Emmy-nominated period drama The Gilded Age, and now gracing the stage in the off-Broadway show Trophy Boys, written by Emmanuelle Mattana. Clearly, Jacobson has a remarkable range, positioning her as one of the most promising talents in the next generation.

      Getting to portray diverse characters across three different platforms in such quick succession feels like a blessing for Jacobson. It's rare for emerging actors to showcase their skills in such varied ways early in their careers. Although she hasn't had much time to digest the whirlwind of back-to-back press tours for Materialists and The Gilded Age alongside previews for Trophy Boys, she is very much aware of the uniqueness of this moment.

      As the daughter of Meryl Streep and sculptor Don Gummer, and the youngest of four siblings in artistic fields, Jacobson was practically destined for this path, which shines through in her captivating performances—whether she's portraying a young woman challenging 19th-century expectations, a bride-to-be questioning the institution of marriage, or a confident young boy dealing with the challenges of masculinity and societal norms.

      We caught up with Jacobson on a Monday morning in late June to discuss her impactful summer.

      In June, you took part in three distinct projects across various mediums (film, TV, and theater). What is your approach when considering new roles? What truly resonates with you at this stage in your career?

      I’m still at a point in my career where I have to audition for everything. As an actor, I don’t have much control over what comes next, and there’s always the question of "When's my next job?" So, it feels a bit peculiar to be picky when I'm in a position of "I’ll accept any chance that comes my way.” However, I usually find it worthwhile to audition if the material really resonates with me—if it sparks creativity in my mind while reading it. I’m drawn to genuine, boundary-pushing portrayals of life that confront what we often overlook or fail to recognize. That’s what I appreciated about Celine Song’s film Materialists. She’s such an authentic filmmaker, and her humor is deeply rooted in the human experience’s tragedies. I’m also particularly focused on seeking out queer narratives, especially those centered on queer women. I want to amplify those narratives because they deserve more attention.

      Having grown up in a fine arts environment, how did being the youngest sibling affect your decision to pursue acting?

      Being surrounded by artists from a young age felt like a gift. My brother initially pursued acting but chose music, while my dad is a sculptor. My parents were incredibly talented and dedicated to their crafts, which was inspiring. Growing up in a household that valued and took art seriously cultivated a vivid imagination among us. Play was fundamental; it’s the essence of theater. We were always engaging in imaginative play, like dressing up and putting on shows, even going as far as charging admission. I’m five years younger than my closest sister, so they often led our play, which I loved. It was such an enriching and motivating environment, and that sense of inspiration has stayed with me. When you engage in that kind of play from an early age, it’s something that lingers and never fades, at least for me.

      You began your professional journey in theater before transitioning to screen acting in The Gilded Age. Why did that feel like the right time/project for that change? How did that experience shape you as an actor?

      I graduated from drama school in 2019 and immediately took part in a beautiful production of Romeo and Juliet at the Old Globe, which was incredible. Playing Juliet was a dream role. After that, I auditioned for The Gilded Age. After graduation, it’s expected that you pursue work wherever it appears, regardless of whether it’s theater or screen. Auditioning for The Gilded Age felt like a straightforward decision. I was thrilled it was created by Julian Fellowes, as I was a devoted fan of Downton Abbey. I had little knowledge of the historical context of New York during that era, which is surprising given its significance in shaping the city as we know it today. So I was definitely going to audition.

      I landed the role in September 2019, and we were set to start filming in March 2020. Due to the COVID-19 pandemic, there was nearly a year-long gap between casting and filming. Experiencing my first TV show during the pandemic had its challenges, but those challenges turned out to be quite enriching and provided a robust learning experience.

      Jonathan Bailey once shared that returning to the stage feels like a creative reset for him. Do you have a similar sentiment?

      Absolutely. It brings me back to my center. One of the joys of working on The