In a fantastical world characterized by age-old prophecies, intricate royal bloodlines and the formidable, mystifying “One Power,”  the Amazon Prime Video Series, The Wheel of Time, appears to embody a world centuries and universes away from our own. Characters engage in grueling sword fights, face deadly creatures and channel powerful forces, presenting challenges that seem unique to the fantasy world. The storyline, however, explores ideas of absolute power, the morality of violence and gender essentialism, that feel more pertinent to our world with each passing day. At the heart of the series is the deeply human pursuit of self-discovery, perhaps the reason that the show has captivated fans of the original books and new viewers alike. ‍

Ceara Coveney — who plays Elayne Trakand, the Daughter-Heir of Andor kingdom — is the embodiment of this theme of self-exploration. First appearing in season two, her character is a knowledgeable and determined member of the Andor royal family, learning to channel her own considerable skills in the One Power. Reprising the character in season three, Coveney faced the unique challenge of building upon Elayne’s introduction in prior episodes and breathing life into a character originally constructed on paper.

Embodying Elayne with a revitalized confidence, Coveney allowed herself to dive into the folds of her character’s brain. Akin to many artists, she is attuned to the emotions and behavior around her, learning to carry her interpretations onscreen in an authentic way — her character’s own challenges and learning experiences in season three empowered Coveney to push the dimensions of what audiences knew, or expected, of the daughter-heir.

One may notice that this drive to exceed has followed Coveney's whole career. Previously starring in the Netflix thriller Young Wallander (2019) and coming-of-age drama Hoard (2023), Coveney demonstrated commitment to nuanced characters is evident, whether in a highly-anticipated TV adaption or an independent short film. Season three of The Wheel of Time presented Coveney with the challenge of maintaining a regal elegance, while tackling omnipresent struggles of identity and growth — one she ultimately rose to, and yes, conquered. 

In this conversation, Coveney expands on her ever-growing relationship with her character, and the unique escapism the fantasy genre has offered her.

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When did you first find your affinity for acting? Was there a moment of realization when you knew that this was your calling and that you were in the right place?  

I always loved performing. Growing up, I had a karaoke machine in my bedroom and I’d spend most of my evenings and weekends at dance classes — it was something that ran alongside my school work that I loved to fill my spare time doing. It wasn’t until I was a teenager that I considered the possibility of pursuing it as a career. A drama teacher saw potential in me and mentioned it to my mum and once that idea had been planted, I couldn’t see myself doing anything else. Nothing else ignited the same passion in me as acting did and I knew I had to try, even if I failed.‍

How did it feel to return to set for the third season of The Wheel of Time? With all of the changes coming for your character in Season 3, did you take a different approach to your creative process?

Returning to set for Season 3 was really special; it’s a luxury to be able to reprise a character and evolve their story further. In Season 2, my focus was on bringing Elayne to life as authentically as possible while also making her my own. With all the changes coming for her in Season 3, my creative process definitely shifted. I felt like I could approach her with more confidence and freedom — I could let her breathe and evolve naturally. The more time you spend with a character, the more you understand them. My process focussed more on diving deeper into her inner world and exploring new dimensions of her personality. Having already established her foundation, I could now push further, finding different nuances in her journey and allowing her growth to shape my performance

It can be challenging to fully flesh out characters in a television show that have been explored so deeply already in the novels — what was that experience like for you? What kind of things were you conscious of in your approach to bring Elayne from page to screen? 

Yes, it can be really challenging because books as a medium give readers direct access to a character’s inner thoughts in a way that screen adaptations often can’t. The Wheel of Time books, in particular, offer rich insight through multiple POV chapters, allowing us to see a character’s internal struggles and motivations in depth. There’s also simply more space in a novel to develop these layers than there is in a television script. Because of that, I was very conscious of bringing as much of Elayne’s depth from the books into my performance as possible. My scripts were always covered in notes and book quotes — little reminders of what she was feeling in any given moment — to help ground her on-screen journey in the source material.
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Now that you have spent so much time with this character, are there pieces of her that you think are embedded in you? Or is there a certain practice of distance that you have in your creative process? 

I think I already shared certain similarities with Elayne before playing her, but spending so much time with the character has made me more aware of those traits. I really connected with her sense of loyalty. Elayne would do anything for her friends, and she would use all of her considerable power to protect them. She’s very confident, determined and sometimes a bit stubborn. They are definitely Elayne-isms that have stuck with me. That being said, I do always try to maintain some distance in my creative process — it’s fun to really dive into your characters world, but always important to be present in your own as well.

There's a lot of physicality involved in inhabiting different characters — how do you physically prepare yourself for each role you take? How does your daily routine change depending on the role?

It really depends on the physical demands of the role. With Elayne, for example, her royal status means her physicality is precise and intentional, so I worked closely with our movement coach to refine that, as well as to develop the specific gestures she uses to channel the One Power. Some roles require a high level of stamina and strength while others require you to be more fluid and freer. I tend to incorporate movement into my daily life accordingly, whether it's training weights or improving flexibility and control with something like yoga. During my preparation, it usually becomes clear what areas need focus, and I tailor my training to meet those physical demands. Honestly, sometimes it’s just about getting enough rest to be able to perform at your best on set.

What interests you about the fantasy genre? Why do you think audiences gravitate towards fantasy narratives?

I think fantasy offers a unique form of escapism — it’s so different to our everyday; it’s so easy to get lost in them and your imagination. That said, beneath the complex lore, magic systems and otherworldly settings lie deeply human stories. The characters are driven by emotions and instincts we all recognise which makes their journeys relatable despite the fantasy backdrop. In particular with The Wheel of Time, there’s such a vast array of characters, meaning there’s likely someone you’ll connect with and maybe even see yourself in. I think fantasy has something to offer everyone. I love seeing people be surprised by the genre and how much they enjoy watching and reading it.‍

As an artist, do you consider yourself to be more attuned to the world around you than others? What do you tend to notice in people?

I wouldn’t necessarily say that artists are more attuned to the world than others — everyone notices and experience[s] things in their own unique way. I think that’s what’s so interesting about acting is trying to find and encapsulate these differences and nuances we all carry. I do think that being in a creative field encourages a certain kind of observation, whether that’s paying close attention to human behaviour, emotions, or the details of a setting. For me, it’s less about noticing things that others don’t and more about interpreting them in a way that feels truthful in my work.

Photographed by David Reiss‍

Styled by Holly White

Make-up by Sara Hill

Hair by Sophie Sugarman