Betty Gilpin Bio, Age, Isn’t it Romantic, Father, Husband, Nursie Jackie,

Betty Gilpin Biography

Betty Gilpin is an American actress notable for portraying Doctor Carrie Roman in Showtime’s Nurse Jackie. She also plays as Debbie “Liberty Belle” Eagan in the Netflix comedy series GLOW, inspired by the 1980s female professional wrestling league of the same name.

Gilpin has also appeared in Law & Order: SVU, Medium, Fringe, and Elementary.

Betty Gilpin Age

Gilpin was born on July 21 in New York City, U.S. He is 32 years old as of 2018.

Betty Gilpin Father

Betty was born to actors Jack Gilpin and Ann McDonough. She is a 2008 graduate of Fordham University. Fordham has appeared off-Broadway in productions such as Heartless, I’m Gonna Pray for You So Hard and also We Live Here.

Betty Gilpin Cosmo Pfeil | Betty Gilpin Husband | Betty Gilpin Married

Betty has been married to Cosmo Pfeil since 2016.

Betty Gilpin Glow

Betty stars in the Comedy web television series Glow as Debbie “Liberty Belle” Eagan.

Betty Gilpin photo

Betty Gilpin American Gods

Betty has a recurring role in the fantasy drama television series as Audrey, Robbie’s wife and Laura’s best friend.

Betty Gilpin Law And Order

Gilpin (Stacey Hayes-Fitzgerald) also played the role of Amanda Dockerty In episode 6.8, Law & Order: Criminal Intent: The War at Home (2006).

Betty Gilpin Elementary

Betty plays as Fiona Helbron in the 2016 TV episode of Elementary.

Betty Gilpin Upcoming Movies

  • Isn’t It Romantic
  • Stuber
  • Grudge

Betty Gilpin Net Worth

The Glow star’s net worth is not yet revealed.

Betty Gilpin Movies




2019Isn’t It RomanticWhitney
2017Future ’38Banky
2015True StoryCheryl Frank
2014Take CareJodi
2008Death in LoveYoung Model
Ghost TownWWII Nurse

Betty Gilpin TV Shows





Robot Chicken

Laurie Jupiter / Louisa von Trapp


American Gods




Debbie Eagan



Fiona Helbron

Mercy Street

Eliza Foster

Masters of Sex

Dr. Nancy Leveau


The Mysteries of Laura

Isabel Van Doren


Nurse Jackie

Dr. Carrie Roman


Law & Order: Special Victims Unit

Natalie Relais


The Good Wife


Past Life



Kim Clement


Law & Order: Criminal Intent

Stacey Hayes-Fitzgerald

The Unusuals

Abigail Allen / Margo Stanford

Law & Order

Paige Regan


New Amsterdam

Marika Soloway


Loraine Daisy


Law & Order: Criminal Intent

Amanda Dockerty

Betty Gilpin Emmy | Betty Gilpin Golden Globes

Gilpin was a first time Emmy nominee for Glow in 2018.

Betty Gilpin Instagram

Betty Gilpin Singing

Betty Gilpin Interview

‘GLOW’ Co-Stars on Breaking Gender Rules — and Bones — in Season 2

Published: JULY 03, 2018


GLOW is set in the 1980s yet remains relevant today. What was the experience of tackling themes like harassment and fighting for female voices to be heard while the real world was changing with #MeToo?

Alison Brie: More than anything, I felt so incredibly lucky to be on this set at this time. Mostly because I’m surrounded by incredible women who are in a power position and it’s such a warm, safe space in which to create. That’s been a major relief as all of this stuff has been coming out. We’re lucky that we didn’t have to go to work every day with that nervous anxiety, wondering if some horrible story was going to come out about someone we were working with. That feeling that so many women have to work in scary environments and ours is the opposite. We also tell stories about women going through what a lot of women are currently talking about, so it feels incredibly valuable to work on a show that is written from the female perspective and can analyze all different themes about working in this industry and struggling as an actress.

Betty Gilpin: Being on a set with female bosses [co-showrunners Liz Flahive and Carly Mensch], the level of comfort and bravery I felt really made me reflect back on my whole career. I’d always known about things that men did that made me shut down, creatively. But I was surprised to reflect on things that I did to myself as a result of being in a male-dominated environment. My brain had taught itself to have a male gaze representative at the door, proof-reading ideas like a checkpoint: “Oh, that would make waves, don’t do that” or “That choice is a little too big.” I felt a level of fear and anxiety that if I didn’t behave like the quiet Barbie I was playing, they wouldn’t let me play a quiet Barbie again. In previous jobs, I would spend four takes auditioning and then in the fifth take, sneak in my biggest and weirdest choice. In GLOW, I spend my first take doing my weirdest and biggest choice and just get bigger and weirder from there. Our set can feel like this sort of protected, feminist bubble where you get to trot out your bravest, most-empowered self for free. And whether you chose to bring that self into the rest of the world that doesn’t feel exactly like the GLOW set is your choice. I’ve tried to in other jobs that I’ve had this year, but it’s not as easy as I had hoped.

In the fifth episode, Ruth Wilder (Brie) is sexually harassed by the network boss when she meets him for dinner and is told he “always takes dinner meetings in his room.” How personal was that scene?

Brie: We don’t have to deal with misogynistic directors in our day-to-day life, but we portray them and in season two we get to show the abuse of power through a male executive. That episode demanded a lot of vulnerability and it was also wonderful to shoot on our set where there was such great sensitivity shown toward me and everyone involved. We shot it with a skeleton crew; a whole day was dedicated to the sequence. It was as if we were shooting a nude scene, it was handled with that kind of sensitivity. There was a lot of discussion and thought that went into every detail: like, should Ruth be facing the bedroom so she can always keep eyes on the bed, or do we want it to be behind her? Even the physical choreography of how we get into certain positions. The actor who plays Mr. Grant was so fantastic. If anything he was toorespectful. Take after take, I would tell him: You can go further with it, you gotta go further! But it’s certainly a step in the right direction to have men be too respectful on a set and have to pull it out of them, than the reverse. Because our environment is so polar opposite; there was a lot of relief between takes.

And it did feel personal. It was interesting to shoot a scene like that in the current climate, but it also felt very necessary to portray that on a show about actresses. The scariest part is that the first time I read it, my question was: Is it bad enough? I had to take a step back and be like, “Wow.” Because we read stories in the news and the pendulum has swung really far. Even talking to our writers, I know that the stories that were shared in our writers room — real experiences that our female writers have gone through — were far more salacious than what we have in the episode. But it’s not about shock value. What we’re showing is just the slippery slope of how easily a woman can find herself in that position.

Betty Gilpin: Prior to this being written and prior to this season, we had shared experiences with each other. Alison and I and the whole cast were already very vocal about things that had made us feel small and alone and had already found unity in that feeling. So, we were lucky that we as people had a united front of support, where our characters do not.

Showrunners Liz Flahive and Carly Mensch spoke about how the meat of the episode was in the conversation after, between Ruth and Debbie. Ruth confides in her friend and expects sympathy, but is confronted with a differing perspective about what women have to do to hold on to a Hollywood career in the 1980s. What conversations did you have with the writers, and with each other, about what you wanted to portray?

Brie: The conversation between Ruth and Debbie is the most important part of that episode. To not only show a woman put in a very precarious position but the reaction of another woman — a contemporary in her industry who has had a very different experience. I know it was important to Betty that Debbie not come off as too much of a villain during that conversation. But she plays it so beautifully. Essentially, what we’re showing is that it was sort of learned behavior. I think a lot of women really felt that to work in this industry and be successful, you had to play the game. You had to put yourself out there with men in a certain capacity to continue to work. What you see in that scene is one actress’ resentment at another actress not following the rules that she had been made to feel like she had to follow her whole career. And in that way, Ruth is really naive when it comes to the entertainment industry. Having had zero success as an actress, she really hasn’t found herself in difficult positions very much of the time.

Betty Gilpin: At first, I had a visceral negative reaction. I was so disappointed in her. But then I realized, her reaction isn’t about Ruth at all. Debbie is thinking only about her own experience and feeling shame and regret and vulnerability. I think both Debbie and Ruth went into the scene thinking it was going to go differently. There’s a way of looking at it where it’s super black and white. Where Debbie is the cool, “How could you?” ice queen and Ruth is the victim, but they’re both victims. They both have the map of their own experiences on their faces. And it’s even more complicated because they’re both feeling extreme shame and loneliness in that moment. All they want is their best friend who knows them to be able to open their arms and to just fall into the other person. And of course, because of their history, they can’t do that. It breaks my heart.

Ruth escaped the scenario, running out of the bungalow and rejecting the boss. Were you surprised by that reaction? 

Brie: That made sense to me because it’s more Ruth’s naivete that she wouldn’t even realize the possible repercussions of that action. It adds to what makes Ruth a really complicated character — where she chooses to take the moral high ground and where she fails to do that, which of course Debbie references by saying that she slept with Debbie’s husband last season but now is drawing the line with sex in a way that’s going to hurt everyone. It was more a sign of Ruth’s internal struggle and just her newness to this whole industry.

Betty Gilpin: Debbie wouldn’t have done the same thing Ruth did. She wouldn’t have walked out. I don’t know that she would have had sex with the guy, but she would have teased him into thinking there’s a world in which it could have happened so that she didn’t upset the boss. Something that is unique to our time now is people becoming more vocal and supported when they speak out, whereas in 1985 that wasn’t the case.

Both Ruth and Debbie also fight for a seat at the table this season, with Ruth directing and Debbie producing. How do you compare their quests for power?

Brie: Debbie is certainly much more upfront about asking for what she wants and demanding it, and I think Ruth sort of thrives when she’s beaten down and challenged — which is good because she finds herself in that position often in the context of this show. Ruth is almost more collaborative by nature, but she is at a disadvantage in terms of her naivete. She’s often misinterpreting signals from Sam [Sylvia, played by Marc Maron]. In the first episode she takes the reins to direct the cold open of the show – she doesn’t really have Sam’s permission, but in her mind they’re collaborators! Now they’re working together and rolling with it full force, even though she hasn’t been given that authority. Ruth tends to get in her own way; whereas with Debbie, we see the real male obstacles that are keeping her down.

Betty Gilpin: It’s really interesting to see in what ways Ruth and Debbie are strong and in what ways they second-guess themselves. There’s a big difference between self-confidence and self-worth. While Debbie may have pretty good self-confidence when it comes to putting on a bold lip and sauntering across a room, in terms of self-worth, she has a long way to go. In her soap opera days, I don’t think she ever dreamed of the possibility of becoming a producer. Ruth has always known what she’s worth and has always dreamed to the stars. I think she’s thought about directing for a long time, and Debbie is just forming these dreams. I certainly relate to that. As an actor, I kept my dreams very low, achievable and realistic because I love it so much and I didn’t want the heartbreak of not achieving something. And what’s happening on GLOW is so beyond my expectations. I’m in this feminist apocalypse and it’s happening at the right time for me, because I’m watching women around me who have dreamed this big for their whole lives and I’m learning how to do that. I think self-worth can be contagious if you let it.

They are bucking gender rules that existed in the ’80s, some still today. How do you view the sexual politics they encounter? 

Brie: I don’t think Ruth really even thinks about it. Last season, GLOW opened with Ruth reading the man’s part in the scene because it’s a better part. Ruth is not getting on a soapbox about women’s rights; it just doesn’t occur to her that she shouldn’t be able to do this stuff. Whereas Debbie has worked much longer as an actress and she knows how to show up to a meeting and get what she wants. The battle is harder than even she anticipates. Debbie’s able to get the title, but she’s not able to get the respect right away. Ruth is just diving in and doing the work and not thinking at all about those titles or those things, and then gets hurt so much more when it doesn’t work out for her.

Betty Gilpin: As an actress, Debbie is used to there being one girl part: A story about a bunch of men and then there’s the Bond girl or the mother. Debbie, like me, is shocked and inspired by being in a work environment where there are 14 women around her. Suddenly, there are many spaces and different ways you can be useful and your 7-year-old creativity is just as valuable as the way your butt looks in tights. She’s figuring out, “Where do I fit in? If I’m allowed in that room, at that table — what do I want that to look like?” Producing, for her, is a really good fit. In the 1950s, there are so many women who could have been CEOs. Debbie has been a producer in her own home, by herself. She just has to give herself permission to have a voice. Men’s brains are going to take forever to change, you may as well work on your own brain first.

What was it like to film the scene where Debbie, after snorting cocaine, snaps Ruth’s ankle during their match — and did she do it on purpose?

Brie: It’s always such a blast to be in the ring with Betty. In this case, again, there was a lot of sensitivity paid in terms of — how much do we want the audience to think that Debbie really did this on purpose, or was she just so coked out of her mind and unstable that she took the move too far? And I think it’s a little bit of both. Betty is such an incredible actress and it’s one of our favorite things, to be in the ring together and to get to layer in so much stuff. We’re doing the moves, working off of our chemistry in the ring and the chemistry between our wrestling characters. Then at the same time, playing real heavy, human emotions underneath that are bubbling to the surface. That’s a dream day of shooting for me.

Betty Gilpin: It was long because we had two different directors — it was the end of one episode and the beginning of the next. Every wrestling sequence takes so long; usually we start the day pretty ambitious with a set of shot lists and sometimes I’ll do a move and say, “OK, we can do four takes of that, not 16.” But I was worried about that scene because playing Liberty Bell not on cocaine is already like she’s on cocaine. (Laughs.) The way to wrestle safely is to do it slow — you are more of a stumbling, drunken bear than a coked-up deer. I thought, “Maybe she just drops the character totally.” That Debbie is so angry, it’s Debbie fighting Ruth. And that’s what I tried to play with in that sequence. The rage is easily accessible, it’s within all of us. The past two years, the breaking news is: Every woman, in every stage of time, in every place has a bottomless well of rage that can be harnessed into art or business or whatever they choose. I definitely was thinking about Roy Moore during the cocaine match. I was like, “Roy Moore!”

I don’t think Debbie meant to do it. She was feeling genuine feelings of: I want Ruth to feel pain. But I don’t think she meant to or thought she was going to break her ankle. There was a sequence they cut after it happened, where all the girls come down from Sam’s office and each one glares at me with a horrible look like, “How could you?” And after we filmed it, I was like, “She had sex with my husband! It was an accident!”