Rose McIver: The Life Story Behind iZombie's Star
In this post
A Three-Year-Old in The Piano
Rose McIver was born in Auckland, New Zealand, on 10 October 1988, to John McIver, a photographer, and Annie McIver, an artist, and she grew up in a house where pictures and paint were part of everyday life rather than something kept in a gallery. Her older brother Paul became a musician, so the McIver children grew up with cameras, canvases and instruments around them, and the idea that a person could make a living by creating things was not strange in their home but normal. Auckland in the late 1980s and early 1990s was a long way from Hollywood, yet it was also the city where Jane Campion was making films that the whole world would soon be talking about, and one of those films would give Rose her first job before she could read. At the age of three she appeared in Campion’s film The Piano, released in 1993, a film that went on to win major awards around the world, and although her part was tiny, the experience placed her on a film set while most children her age were still learning to tie their shoes. She has said in later interviews that she does not remember much of that first job, which is hardly surprising, but the fact of it mattered, because it meant that acting was never a mysterious world she had to break into from the outside, but a place she had visited since she was small.
Growing up in Auckland, Rose went to school like any other New Zealand child, and her parents kept her life as ordinary as they could, which meant that the acting jobs came in between school terms rather than instead of them. She appeared in New Zealand television as a child, including small roles in the fantasy series Hercules: The Legendary Journeys and Xena: Warrior Princess, shows that were filmed in New Zealand in the 1990s and that gave a whole generation of young New Zealand actors their first professional experience. Those sets were practical schools, because a child actor on a television set learns to hit a mark, to wait quietly for hours, to repeat a scene until it is right and to take direction from adults without losing confidence, and Rose learned all of it while she was still at primary school. She also learned something else that would matter later, which is that a working actor’s life is mostly waiting and preparation rather than applause, and that the people who last in the business are the ones who can enjoy the waiting as well as the performing. Her family moved within Auckland as she grew up, and she attended Avondale College, a large secondary school in the city’s west, where she balanced lessons with auditions in the way that child actors have always had to do.
By the time she was a teenager, Rose was old enough to choose acting for herself rather than simply being taken to auditions by her parents, and the choice she made was to keep going but to keep her education as well. She studied at the University of Auckland, taking papers in psychology and linguistics, subjects that had nothing to do with fame and everything to do with understanding how people think and how language works, and that interest in how people behave would later show up in the way she played her characters. Psychology taught her to ask why a person does what they do, and linguistics taught her to listen to the exact words people choose, and both of those skills are useful to an actor who has to make a character feel like a real person rather than a collection of lines. She did not finish a degree in the usual way, because acting work kept pulling her away, but the time at university mattered because it gave her a life outside acting and a way of thinking about the world that was not shaped by film sets alone. Many young actors who start as children lose that outside life and find themselves with nothing to draw on when the roles change, and Rose’s decision to study kept her connected to ordinary people and ordinary problems.
From Auckland to the Yellow Ranger
Rose’s first role that audiences outside New Zealand might recognise came in 2009, when she was cast as Summer Landsdown, the Yellow Ranger, in Power Rangers RPM, the seventeenth season of the long-running Power Rangers television series. The show was filmed in New Zealand, which was one of the reasons a New Zealand actor could win a leading part in an American series, and it gave Rose a year of steady work in action television, with fight scenes, stunts and a character who was brave, loyal and quick to act. Playing a Power Ranger is a particular kind of training, because the costumes are heavy, the action is choreographed to the second, and the actor has to make dialogue written for children sound honest, and Rose did it well enough that Power Rangers fans still remember her Summer as one of the stronger Rangers of that era. The same year she appeared in a very different kind of film, Peter Jackson’s The Lovely Bones, released in 2009, in which she played Lindsey Salmon, the younger sister of Susie Salmon, played by Saoirse Ronan. The film was based on Alice Sebold’s bestselling novel about a murdered girl watching her family from the afterlife, and although Rose’s part was supporting, working on a Peter Jackson film in New Zealand, with a cast that included Mark Wahlberg, Rachel Weisz and Susan Sarandon, taught her what a large international production felt like from the inside. The two jobs together, a children’s action series and a serious literary drama, showed the range that would define her career, because she has never stayed in one kind of work for long.
After Power Rangers RPM and The Lovely Bones, Rose made the decision that many New Zealand and Australian actors face, which is whether to stay at home and wait for the next local production or to move to Los Angeles and try to build a career in the much bigger American market. She chose Los Angeles, and the early years there were the usual mixture of auditions, small parts and near misses that every actor who moves to Hollywood knows well. She appeared in the American series Masters of Sex in 2013, and in 2013 she also joined the ABC fantasy series Once Upon a Time as Tinker Bell, a recurring role that she played across several seasons. Tinker Bell in Once Upon a Time was not the small glowing fairy of the Disney cartoon but a full character with a history, a temper and a complicated friendship with Captain Hook, played by Colin O’Donoghue, and Rose played her with a sharpness that made the character feel like a real person who happened to have wings. The role mattered because Once Upon a Time had a large and loyal audience, and it put Rose in front of American viewers every week, which is the slow work of building a career in television: one recurring role at a time, one audience at a time, until casting directors start to remember your name without being reminded.
The job that changed her life arrived in 2015, when she was cast as the lead in the CW series iZombie, created by Rob Thomas and Diane Ruggiero-Wright and based on a DC comic book series. Rose played Olivia Moore, known as Liv, a medical resident in Seattle who is turned into a zombie at a boat party and takes a job in a morgue so she can eat the brains of the dead, and each time she eats a brain she takes on the personality and memories of the person it belonged to. The premise sounds like a joke, and in lesser hands it would have been one, but the show used it to tell stories about grief, identity and the way people change when they lose the life they planned, and Liv became one of the most original heroines on American television. Rose had to play a different personality in almost every episode, sometimes a daredevil, sometimes a grieving mother, sometimes a shy teenager, and she had to do it while keeping Liv herself recognisable underneath, which is a technical challenge that very few actors could have managed for five seasons. iZombie ran from 2015 to 2019, and by the end of it Rose McIver was no longer a New Zealand actor trying to break into American television but the lead of a successful American series with fans around the world.
Ghosts, Christmas Princes and a New Zealand Return
While iZombie was still running, Rose took a role that seemed to belong to a completely different world, and it became one of the most watched films of her career. In 2017 she played Amber Moore, an American journalist, in the Netflix film A Christmas Prince, a romantic comedy about a reporter who goes undercover as a tutor at the palace of the fictional country of Aldovia and falls in love with Prince Richard, played by Ben Lamb. The film was made quickly and cheaply, and nobody involved expected it to become a phenomenon, yet it did, because Netflix viewers watched it in huge numbers, talked about it on social media, and turned it into a Christmas tradition, which led to two sequels, A Christmas Prince: The Royal Wedding in 2018 and A Christmas Prince: The Royal Baby in 2019, with Rose returning as Amber in both. The films were not praised by critics, and Rose has been honest about that, but they were loved by audiences, and they showed a different side of her work, because Amber was warm, funny and ordinary in a way that Liv Moore, the zombie, never could be. The success of the trilogy also showed how Netflix had changed the film business, because a small romantic comedy that would once have gone straight to television could now reach tens of millions of viewers in a single weekend, and an actor in it could become famous without ever having a cinema hit.
After iZombie ended in 2019, Rose returned to New Zealand for a film that was much closer to home, Daffodils, released in 2019, a musical drama directed by David Stubbs in which she played Maisie, a woman whose father is dying and who tells the story of her parents’ love through songs by New Zealand musicians. The film was based on a stage play, and its songs included work by artists such as Crowded House and Bic Runga, so it was a love letter to New Zealand music as well as a story about family, and Rose sang in it, which she had not often been asked to do on screen. Playing Maisie meant working in her own accent, in her own country, with a story that New Zealand audiences recognised as their own, and that mattered after years of playing American characters in American shows, because it reconnected her with the place and the voice she had started from. She has spoken about how important it is for New Zealand actors to come home and tell New Zealand stories, not only because the stories deserve to be told but because an actor who never goes home can lose the accent, the humour and the point of view that made them interesting in the first place. Daffodils was not a big commercial hit, but it was a film that New Zealand audiences took to their hearts, and it reminded casting directors that Rose could do more than American television.
In 2021 Rose took the lead in another American series, Ghosts, the CBS comedy based on the British series of the same name, in which she plays Samantha Arondekar, a woman who inherits a country house, falls down the stairs, and wakes up able to see and hear the ghosts who live there. The ghosts include a Viking, a 1920s singer, a Revolutionary War officer and a hippie, played by a large ensemble cast, and Samantha has to live with them, argue with them and help them resolve the unfinished business that keeps them tied to the house. The show became a hit for CBS, running for multiple seasons, and it gave Rose a different kind of leading role from iZombie, because Samantha is not a zombie or a detective but an ordinary woman in an extraordinary situation, and the comedy comes from her reactions rather than from her powers. Playing Samantha also meant working in a true ensemble, sharing scenes with eight or nine other actors at once, and the show’s success depended on the timing and generosity of the whole group rather than on one star, which suited Rose, because she has always been an ensemble actor at heart. Ghosts also made her a familiar face to a new audience, the broadcast television viewers who had never watched iZombie on the CW, and that widened her fame in a way that streaming alone had not done.
What Her Career Shows
Rose McIver’s career has a shape that is unusual for an actor who started as a child, because it has no single moment of explosion and no single role that defines her, but a steady accumulation of different kinds of work in different countries. She has been a Power Ranger and a zombie, a Christmas princess and a ghost whisperer, a Tinker Bell and a New Zealand daughter singing her father’s story, and each of those roles asked for something different, which is why she has lasted while other child actors have faded. The through-line is not fame but flexibility, because she has never insisted on being one kind of actor, and she has never been afraid to take a job that critics might dismiss if audiences would love it, or a job that audiences might ignore if the story mattered to her. That flexibility comes from her upbringing, from parents who were artists and a brother who was a musician, from a university education in psychology and linguistics, and from a childhood on New Zealand film sets where the work was practical and the applause was never the point. She is also a reminder that a career can be built slowly, one recurring role at a time, and that the actors who last are often the ones who were never in a hurry to become famous, because they were too busy learning how to act.
The Years Between the Big Roles
Between the end of Power Rangers RPM and the beginning of iZombie, Rose McIver’s career was made of the kind of work that does not make headlines but does make an actor, because the years from 2010 to 2014 were filled with guest roles, small films and auditions in Los Angeles, and each of them taught her something that the big roles would later require. She appeared in the American drama series Masters of Sex in 2013, a prestige cable show about the researchers William Masters and Virginia Johnson, played by Michael Sheen and Lizzy Caplan, and working on a show of that quality meant working with actors who prepared meticulously and directors who expected every scene to be exact. She also appeared in the film Blinder in 2013, an Australian rules football drama, and in the independent film The Answer in 2015, small productions that paid little but asked a lot, and that is the trade that young actors make every day: the money is small and the experience is large. Those years also included the recurring role of Tinker Bell in Once Upon a Time, which she played from 2013, and that role deserves more attention than it usually gets, because Tinker Bell in that show was a fairy who had lost her wings and her faith in herself, and Rose played her as a woman who was angry, funny and wounded all at once, which is a long way from the tiny glowing figure of the Disney cartoon, and the audience responded to the complexity.
One of the most interesting things about Rose’s career in those middle years is how willing she was to work in different countries and different kinds of production, because she did not treat Los Angeles as the only place where acting happened, and she did not treat television as lesser than film. She worked in Australia, in New Zealand and in America, in children’s television and in adult drama, in fantasy and in realism, and each move added a different skill to her work, so that by the time iZombie asked her to play a different personality every week, she had already played enough different kinds of character to know how to find a new one quickly. That skill, the ability to build a character fast and make it believable, is one that comes only from volume, from having played many parts rather than one part many times, and it is the reason she could survive five seasons of a show that would have exhausted a less experienced actor. She has also spoken about the loneliness of those years in Los Angeles, about being far from her family in Auckland and about the difficulty of building a new life in a city where everyone is auditioning for the same few jobs, and that honesty matters, because the public story of an actor’s career usually leaves out the lonely years, and the lonely years are where the career is actually built.
Her work as a producer and her interest in stories from New Zealand also grew during this period, because Rose has talked about wanting to tell stories from her own country and to support the filmmakers and writers who are trying to do the same. New Zealand is a small country with a film industry that depends on a handful of people who keep showing up for each other, and actors who leave for Hollywood and never come back are a real loss to that industry, so her decision to return for Daffodils in 2019, and to keep talking about New Zealand stories in interviews, was a professional choice as well as a personal one. She has also used her public profile to talk about the issues she cares about, including the environment and the rights of young people, without turning her social media into a lecture, and that restraint is part of her character as a public person: she says what she thinks, briefly, and then goes back to the work. The through-line of these middle years is not a single famous role but a pattern of showing up, in different countries, in different genres, for different audiences, and doing the work well enough that the next job followed from the last one, which is how most lasting careers are actually built, one job at a time.
A Career Built on Showing Up
One of the most useful things to understand about Rose McIver’s career is how it was built, because it was not built on a single audition or a single hit, but on showing up, year after year, in different countries, in different genres, for different audiences, and doing the work well enough that the next job followed from the last one. The pattern began in childhood, with small roles in Hercules and Xena, continued with Power Rangers RPM and The Lovely Bones in the same year, and carried on through Masters of Sex, Once Upon a Time, iZombie, A Christmas Prince, Daffodils and Ghosts, which is a list that spans children’s television, fantasy, horror, romantic comedy, musical drama and broadcast comedy, and the variety is the point, because an actor who can work in all of those genres is an actor who will always be in demand, and Rose has been in demand for more than thirty years, which is a longevity that few child actors achieve, and that she has achieved by being reliable, professional and good, which are qualities that directors value more than fame, because fame fades, while reliability lasts. She has also been lucky, and she would be the first to say so, because the roles she wanted came when she was ready for them, yet luck, in acting, is usually preparation meeting opportunity, and Rose was prepared, because she had trained on New Zealand sets since she was three, had studied psychology and linguistics at university, and had learned, from her parents, who were artists, that a creative life is a long one, built on patience, not on a single moment, which is a lesson that has served her well, and that her career proves, one role at a time, from The Piano to Ghosts, and counting.
Her relationship with New Zealand deserves a final word, because it is the thread that runs through her whole career, from the three-year-old in The Piano to the woman who returned for Daffodils, and the thread matters, because New Zealand is a small country with a film industry that depends on its actors coming home, and Rose has come home, again and again, not for a premiere but for work, which is a choice that the industry feels, and that the audience in New Zealand appreciates, because they see, in her, a person who has not forgotten where she came from, even as she has become a star in America. She has spoken about the importance of New Zealand stories, about the need for the country’s actors to tell them, and about the way that a small country can produce work that the world wants to see, which is a belief that she has lived, by taking roles in New Zealand films, by singing New Zealand songs in Daffodils, and by keeping her accent, her humour and her point of view, which are the things that made her interesting in the first place, and that Hollywood, for all its scale, could not give her, because they came from Auckland, from Titirangi, from Avondale College and from a family of artists, which is a heritage that Rose carries with her, wherever she works, and that makes her performances distinctive, because they are rooted in a place, and a place, when it is real, gives a performance a truth that no amount of training can fake, which is why Rose McIver, the girl from Auckland, is still working, still growing, and still surprising audiences, in New Zealand and in America, one role at a time.
The future for Rose McIver is still open, and the most interesting thing about it is that she is at a point in her career where she could choose almost anything, and the choices she makes now will define the second half of her working life, because she could stay in American television and play Samantha Arondekar for many more seasons, which would be a comfortable and successful life, or she could take the risk of a leading film role, perhaps a New Zealand story, perhaps a drama that asks her to do something she has never done before, and that risk is the one that her career so far suggests she will take, because her best work has always come when she was slightly outside her comfort zone, from Liv Moore to Maisie in Daffodils to Samantha in Ghosts, each of them a step into new territory, and each of them successful, which is a pattern that points toward a future that is as surprising as the past, and that the audience, which has followed her from a three-year-old in The Piano to a ghost whisperer on CBS, will follow, because they trust her, and trust, in acting, is built over decades, not overnight, which is exactly how Rose McIver has built it, one role, one country and one story at a time, from Auckland to the world and back again.
My Take:
When I think about Rose McIver’s career, the word that keeps coming back to me is steadiness, because hers is not a story of sudden fame but of a person who has worked, learned and grown in public for more than thirty years, from a three-year-old in The Piano to the lead of Ghosts, and who has done it without a scandal, without a reinvention and without ever seeming to chase the spotlight for its own sake. I think that steadiness is underrated in the entertainment business, where the stories that get told are usually about explosions, breakdowns and comebacks, and Rose’s story is none of those things, which is precisely why it is worth telling, because it shows a different way to have a career, one built on showing up, doing the work well and going home. Her performance in iZombie is the best example of what she can do, and I want to give it the attention it deserves, because playing a different personality every week for five seasons is a technical achievement that most actors never attempt, and Rose did it while keeping Liv Moore recognisable underneath every new brain, which meant that the audience could enjoy the comedy of the week without losing the character they had come to love. The show asked her to be funny, sad, brave, frightened, romantic and angry, sometimes in the same episode, and she managed it with a lightness that made it look easy, which is the hardest kind of acting there is, because the audience only notices the effort when it is missing.
The A Christmas Prince trilogy is the part of her career that critics like to dismiss, and I think that dismissal says more about critics than about the films, because those three films did something that many respected films never do, which is to make millions of people happy at Christmas. Rose played Amber with a warmth and a lack of vanity that made the films work, because she never acted as if she were above the material, and that generosity toward a small romantic comedy is a professional virtue, not a weakness. An actor who treats a Netflix Christmas film with the same seriousness as a Peter Jackson drama is an actor who understands that the audience’s pleasure is the job, not a distraction from it, and I admire that about her. Daffodils is the opposite end of the same quality, because it was a small New Zealand film that few people outside the country ever saw, and she took it because the story mattered to her and because it let her sing songs from her own country’s music, and the willingness to do both kinds of work, the huge Netflix hit and the small home film, is what makes her career feel honest rather than calculated. I also think her university study in psychology and linguistics shows up in her acting in a way that is easy to miss but real, because her characters always seem to be thinking, and the thinking is visible in her face before she speaks, which is a quality that comes from understanding people rather than from learning lines.
Ghosts is, in my view, the role that best suits her now, because Samantha Arondekar is an ordinary woman surrounded by extraordinary people, and Rose has always been at her best when she is reacting to the world around her rather than dominating it. The show works because the ensemble works, and the ensemble works because Rose, as the lead, makes room for the other actors, which is a generous kind of stardom that not every lead possesses. I notice that the funniest moments in Ghosts are often the quietest ones, a look, a sigh, a pause before she answers a ghost who has said something ridiculous, and those moments depend on timing that cannot be taught in a single lesson but has to be learned over years of working with other actors. There are limits to what she has done, and I should name them plainly, because she has not yet had a major film role that defined her the way iZombie defined her on television, and The Lovely Bones, for all its prestige, was a supporting part in someone else’s story. That gap is not a failure but an open question, and I think the film role that finally defines her will be a New Zealand story, because that is where her voice is most distinctive and where her understanding of character runs deepest.
For young actors, especially those who start as children, Rose McIver’s career is a useful map, because it shows that the way to survive is not to become famous as quickly as possible but to become good as steadily as possible, and to keep a life outside acting so that you have something to bring to the roles. Her parents kept her schooling normal, she studied at university, she went home to New Zealand when the work there mattered, and she took the Christmas films without embarrassment and the ghost story without snobbery, and each of those choices added a year to her career. My honest view is that she is one of the most reliable actors working in television today, and that reliability is a compliment of the highest kind, because it means that a director can hand her any character, any accent, any tone, and trust that the character will arrive on screen as a real person. The story is not finished, and the next chapter, whatever it is, will probably be as surprising as the last one, because Rose McIver has never done the expected thing twice, and I would not expect her to start now.
There is one more part of Rose McIver’s story that I think deserves a closer look, and it is the way she has survived being a child actor, because the statistics for child actors are grim, and most of them either leave the business or struggle for years to be taken seriously as adults. Rose survived because her parents kept her life normal, because she went to university, because she did not try to become famous at sixteen, and because she was willing to play supporting roles and guest roles for years while other former child actors were demanding leading parts they were not ready for. That patience is a form of intelligence, and it is the intelligence that separates the actors who last from the actors who flame out, because the business rewards the people who can wait, and Rose has always been able to wait. I also think her choice to study psychology and linguistics was more important than it looks, because it gave her a way of thinking about characters that is not based on imitation but on understanding, and the characters she plays feel understood from the inside rather than copied from the outside, which is why Liv Moore could change personality every week and still feel like the same person underneath.
I want to say something too about the way she handles fame, because she is famous in a quiet way that is becoming rare. She does not court controversy, she does not share her private life in detail, and she does not seem to need the audience to love her as a person in order to love her work, and that distance is healthy, both for her and for the audience, because it lets the characters be the stars rather than the actor. In an age when many actors feel they must be constantly visible on social media to stay relevant, Rose has stayed relevant by working, and the work has been steady enough that she has never needed to manufacture attention. That is a lesson for young actors who are told that they must build a personal brand before they build a career, because Rose’s career proves the opposite: build the career, do the work well, and the audience will find you, whether you are playing a zombie, a Christmas princess or a woman who can see ghosts. Her story is a reminder that fame is a byproduct of good work, not a substitute for it, and that the actors who remember that are the ones who are still working in twenty years.
Finally, I think the most interesting question about Rose McIver is what she will do next, because she is at a point in her career where she could choose almost anything, and the choices she makes now will define the second half of her working life. She could stay in American television and play Samantha Arondekar for many more seasons, and that would be a comfortable and successful life, or she could take the risk of a leading film role, perhaps a New Zealand story, perhaps a drama that asks her to do something she has never done before, and that risk is the one I hope she takes, because her best work has always come when she was slightly outside her comfort zone. The Lovely Bones showed she could hold her own in a serious literary drama, Daffodils showed she could sing and carry a film about her own country, and Ghosts shows she can lead an ensemble with generosity and timing, so the pieces are all there for a film career that is as strong as her television career. Whatever she chooses, the story so far is already a success, not because she became famous but because she became good, and stayed good, for more than thirty years, which is a rarer achievement than fame, and a better one.
One more reflection on Rose McIver concerns the way she has balanced two countries, New Zealand and America, because she has worked in both, lived in both, and told stories in both, and that balance, which is hard to maintain, is the foundation of her career, because the New Zealand films, like Daffodils, remind her where she came from, while the American series, like iZombie and Ghosts, challenge her with new scales and new audiences, and the movement between them keeps her work fresh, which is why she has lasted for more than thirty years, while other actors, who chose one country and stayed there, have faded, because the actor who can work in two worlds has twice the opportunities, and twice the stories to tell, which is a lesson that Rose has taught, one role at a time, from Auckland to Los Angeles and back again.
Another thought on Rose McIver is about the way she plays ordinary women in extraordinary situations, because Liv Moore was an ordinary medical resident who became a zombie, Samantha Arondekar is an ordinary woman who can see ghosts, and Amber Moore was an ordinary journalist who fell in love with a prince, and each of those characters is ordinary, yet each of them is placed in a situation that is not, and Rose’s skill is to make the ordinary feel real, so that the extraordinary feels believable, which is a form of acting that requires the actor to be grounded, to be believable, and to trust the audience to follow her into a strange world, which is exactly what she does, in every role, and why the audience follows her, from iZombie to Ghosts, one episode at a time.
Finally, I think Rose McIver’s career will be remembered as a model of steadiness, because she has worked for more than thirty years, from a three-year-old in The Piano to the lead of Ghosts, without a scandal, without a reinvention, and without ever seeming to chase the spotlight, which is a rare achievement, and one that deserves to be celebrated, because the entertainment business rewards noise, yet Rose has succeeded with quiet, with work, with showing up and doing it well, which is a lesson that young actors, who are told to be loud, would do well to learn, because the quiet actor, who does the work, is the actor who lasts, and Rose McIver has lasted, and will last, one role at a time, from Auckland to the world and back again.
Frequently Asked Questions
Where was Rose McIver born?
Rose McIver was born in Auckland, New Zealand, on 10 October 1988, to photographer John McIver and artist Annie McIver.
What was Rose McIver’s first film role?
She appeared in Jane Campion’s The Piano, released in 1993, when she was three years old, in a tiny part.
Who did Rose McIver play in Power Rangers RPM?
She played Summer Landsdown, the Yellow Ranger, in Power Rangers RPM in 2009, which was filmed in New Zealand.
What is Rose McIver’s role in iZombie?
She played Olivia Moore, known as Liv, a medical resident turned zombie who works in a morgue and takes on the personalities of the people whose brains she eats. The series ran from 2015 to 2019.
Who does Rose McIver play in Ghosts?
She plays Samantha Arondekar, a woman who inherits a country house and, after a fall, can see and hear the ghosts who live there. The CBS series began in 2021.
What are the A Christmas Prince films?
A Christmas Prince (2017) is a Netflix romantic comedy in which Rose plays journalist Amber Moore, who falls in love with Prince Richard. It was followed by The Royal Wedding (2018) and The Royal Baby (2019).
Did Rose McIver study at university?
Yes, she studied psychology and linguistics at the University of Auckland alongside her acting work.
