(art commission by Auds and Crafts)
Part One of Killing Eve fanart inspired by the Red Thread of Destiny from Season Three.
New art coming soon. Visit wearevillaneve on Instagram for all the commissioned and compensated galleries.
It took a long time for the actor to find her groove ā then the smash TV spy thriller changed everything. She talks about getting advice fro
As an actor gearing up to appear at the National for the first time, Oh had, a few weeks earlier, the amazing good fortune to run into Fiona Shaw at a grocery store in her LA neighbourhood, where her Killing Eve co-star happened to be living while filming. āSheās one of the greatest stage actors of her generation and knows the National,ā says Oh. In the supermarket aisle and later, over breakfast at Ohās house, Shaw gave her a bunch of hacks about the stage at the Lyttelton. āShe said, āIf youāre going to be on this stage, look out for [the sight lines] in this area,ā or, āThis is the strongest area on stage, do this technicality this way.ā She was giving me the gold. I could not believe it.ā
Oh as Eve was a revelation; by turns sardonic, baffled, excavating every nuance of what it is to be a frustrated, overlooked cog in the machine, and all the while harbouring star status that let out in her electric chemistry with Comer.
Eight years and another big show ā Netflixās excellent comedy drama, The Chair ā later and Ohās attitude to all this history is by turns philosophical, resigned and, increasingly, weary of being asked to relive it. Sheās that rare actor willing to say crunchy political things such as āPatriarchy runs within all of usā or āIf youāre going to put all your stock and wait for the white dude to give you the opportunity ā¦ thatās destructive.ā Equally, however, raking over and over the bad times gets old. When I ask what makes her angry these days, she says: āIsnāt that just the question and the challenge of life? How do you deal with life not being fair, or/and turning out the way you want? Youāve gotta figure it out. You have to find different avenues to work out whatās going on subconsciously and consciously. Typically women have ā I shouldnāt say ātypically womenā.ā She thinks for a moment. āNo, I will say that. I think this is the one thing that particularly straight men have a much more difficult time with, which is to find friendships where there are deep conversations, and where they can talk things out. I have that relationship with friends, both men and women, because Iām lucky, but also when youāre an artist youāre trying to figure that out all the time in your work.ā
Figure out what, exactly?
āFigure out what youāre saying, which is: how do I deal with my rage? Or: how do I deal with whatās going on in the world? You can work that out physically, or talking-wise, or you can work that out in art. I will say Iāve been putting that in every single project.ā
Emmy-winning star Jodie Comer reflects on transformative roles, career-defining moments, and the project that changed everything.
So many of Comer's characters across stage and screen tell stories that are deeply rooted in perspective, which she agrees is "so true," and her work inĀ The Death of Robin HoodĀ is no exception. Right when you think you know the extent of Sister Brigid and Robin Hood's relationship, the rug is pulled out, and the entire movie feels different. "I also love that there's quite a big revelation in the film of who Robin is and actually the connection that he has to her own past, and how she's able to transmute her own pain. She doesn't meet violence with violence. She's also at a point where she's connected with this man on a different level. Then she finds out that news. So there's just a lot that she has to deal with in that moment, and I feel like she had a tremendous amount of grace. Which made me question, 'God, would I be able to find that within myself?'"
Phoebe Waller-Bridge, of Fleabag fame, is credited with bringing Killing Eve to life, serving as showrunner and head writer for Season 1. Though the love for and dedication to these characters would only build, the series as a whole didn't have a flawless reception, with some arguing that the tone and overarching narrative felt fractured in the latter half of the series. One of the possible explanations for this could be that each season had a new showrunner, meaning a new captain steering the ship. Season 2 was run by Emerald Fennell, Season 3 by Suzanne Heathcote, and Laura Neal for its final ā and most divisive ā season. "I think it can innately be tricky," Comer says when I ask her about the frequent changes in showrunner. "Each person has their own impression, their own viewpoint of the characters, and so it's always going to be flowing, and it's always going to have a different imprint on it, you know? You want to make sure that that is grounded by an innate sense of truth and loyalty to the characters, but it's inevitable that it's going to shift because we're all so different and we all have different experiences to different things, depending on our own life experiences."
I always wonder, when a series wraps, if the cast and crew keep in touch. "Not for a while, actually," Comer says with an air of melancholy. It's hard to imagine these people, who seem joined at the hip for such a long time, suddenly not speaking anymore. But the reality is that, well, it's a job. "But I've just seen that Sandra is doing a play in London, I think! I have to go see her," she says excitedly. "You're thrust into these very intense situations for, like, eight weeks, and then you feel like, 'This is my life!' and then you're gone. You have to be adaptable, and that doesn't take away from anything that you have experienced with someone," continuing, "You can support someone, but it doesn't mean that you're in each other's pockets."
"When people are spending so much time with these characters, you know there is going to be an expectation. Each individual person will have their own relationship to what they see is right or just, so that is always going to be out of your control," Comer says, before adding, "It's hard though, because, once you're in it, you have to focus on what you're doing and the material that you have. I will say that everyone who worked on it wanted it to be the best that it could be in that moment. It's hard if you feel like people feel disappointed by something. I had the most amazing time on that show. I learned so much. I had so much fun."
āIām not a writer or director, nor do I particularly want to be, but coming deeper into midlife, Iām interested in finding a collaborator where I donāt have to look for what I can fit into. Thereās so much shit that doesnāt fucking fit me. Why should I try to jam myself into the canon? Iāve always felt outside of it. Iāll just create a new canon. I really want to be part of that.ā
--- Sandra Oh for British Vogue.
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