Before she enters a set, she enters a shift—something subtle, almost atmospheric, like light adjusting to a new room. For Rico Nasty, transformation has always been less about reinvention than expansion: a way of moving between versions of the self without ever fully leaving one behind. That instinct now finds a new register in her acting debut in Margo’s Got Money Troubles on Apple TV, where performance becomes less about presence on a stage and more about inhabiting a world that continues to exist long after the cameras stop rolling.
Rico Nasty On Personas, Performance, And Becoming On Set
A frequent musical collaborator, Roark Bailey, opens the conversation with a voice note for Rico that feels less like a prompt and more like an invitation—asking whether the personas and alter egos she’s built through music have, in turn, prepared her for acting. She doesn’t search for the answer—she meets it immediately. “My god, yes,” she says, folding the worlds together without hesitation. “I think anytime I’ve ever been on set for a music video has prepared me for acting.”
Music videos, makeup chairs, and every transformation in between blur, in hindsight, into something closer to rehearsal than memory. “Anytime I’ve gotten my makeup done has prepared me for acting,” she adds. “Anytime I’ve gone through any type of transformation… I really live by that.”
NEW YORK, NEW YORK – APRIL 08: Rico Nasty attends Apple’s “Margo’s Got Money Troubles” premiere at Regal Union Square on April 08, 2026 in New York City. (Photo by Michael Loccisano/Getty Images)
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She frames identity not as something fixed but something worn. “You got to wear the clothes, don’t let the clothes wear you,” she says, almost as a guiding principle. “If I’m wearing dark hair then I’m going to act darker. If I’m wearing blonde hair, I might be a little more bubbly.” It’s not reinvention, she insists, but permission—permission to shift, to lean, to play without breaking the self beneath it. “It’s not a complete personality switch,” she adds, “but I do think allowing yourself to transform in a fun, whimsical way… it helps when you’re given a character.”
Rico Nasty Talks Costume, Color, And Character As Language
That philosophy followed her directly into character work, where even costume became a kind of language. With only a few fittings, she found herself reconnecting with a visual boldness she had recently stepped away from. “Everyone knows me for being colorful,” she says, “but I had been wearing darker stuff, more muted tones.” The role, she explains, pulled her back toward saturation, toward risk. “There were moments I was like, I don’t necessarily like this outfit, but it goes with the character,” she admits. “So I had to step outside of myself in that way.”
One of the most unexpected fittings, she recalls, was a full lace look. “I wore these full lace outfits and I thought it was so funny,” she says. “I was like, huh, this is different for me.” The moment lands less as discomfort and more as recalibration. “It really just helped me be confident in myself again,” she adds. “I kind of felt like I hadn’t lost it—I was just playing it safer.” Even the character herself felt defined through contradiction. “She’s a very questionable girl,” Rico says of KC, “but in a very nonchalant way. I love her.”
Rico Nasty leans into a quiet moment with her co-star in a neon-lit, color-saturated still from Margo’s Got Money Troubles, capturing an intimate pause within the show’s vibrant world.
(Photo Courtesy of Apple TV)
Rico Nasty Shares On-Set Chemistry And Off-Camera Rituals
On set, structure often gave way to instinct. Scenes bent slightly in the hands of chemistry, particularly with her co-star Lindsey Normington, who plays Rose. “We were literally dying [laughing] in between shots,” she recalls. “We had amazing chemistry from the first time we read together.” Even scripted moments loosened under that energy. “There’s a part where we’re reaching for pizza that was scripted, but we kept laughing,” she says.
Off camera, her dressing room rituals are stripped down to essentials—small anchors in a constantly shifting environment. “I need a blunt,” she says plainly, then laughs. “I need a Celsius [drink]. I need a blanket.” She pauses, almost amused by her own honesty. “I am very mindful that I come from the rapper world,” she adds, “but my rituals are the same, brother.” Craft services, she notes, felt almost surreal in their abundance. “They had everything—banana bread, sandwiches—it was insane. We were all talking about it every day.”
Rico Nasty Breaks Down Her Audition Process in Hollywood’s Nepo Baby Era
The audition process is something she is careful to undo any myth around ease. “I didn’t just get the role because I’m Rico Nasty,” she says immediately. There were readings, callbacks, and eventually an acting coach who reframed everything. “Your job is to defend the character even if you don’t agree with them,” she recalls him saying. “You can’t be like, why would she say that—this is supposed to be you. You have to get into it.”
Rico Nasty sits beside her co-star in a candid on-set moment from Margo’s Got Money Troubles, capturing a surprised reaction amid the show’s vibrant, fast-moving energy.
(Photo Courtesy of Apple TV)
She also pushes back on the idea that recognition alone opened the door. “Which was even weirder,” she adds, “because when we got on set and I met the author, she was a fan and had on literal merch from 2020.” While discussions around casting often circle questions of access and advantage, industry data analyzing 634 actors aged 35 and under in 2025 U.S. films suggests roughly 16%—about one in six—have at least one parent in the entertainment industry, underscoring how varied and uneven pathways into acting can be.
By the final round of auditions, she stopped minimizing herself for the room and leaned into presence instead. “I wore a hoodie that said ‘ex-bisexual,’” she says with a laugh. “I wanted them to laugh—because that’s what the character made me feel.” She describes the room shifting after that. “It gets to that point where you’re like, I have to do this really good… because a lot of these people, this is what they literally do for a living.” And in that moment, performance was no longer adaptation—it was translation.