Jodie Comer Movies and TV Shows: The Complete Guide to Her Best Performances, Award-Winning Roles, Stage Triumphs, and Upcoming Projects

Every generation has a handful of actors who seem to vanish into their characters so completely that audiences forget they are watching a performance. Jodie Comer belongs in that group. From a teenage best friend in a Channel 4-era British comedy-drama to a giggling, deadly assassin in a global spy hit, she has built a career on unpredictability. If you are trying to map out the full range of Jodie Comer movies and TV shows, this guide walks through every major credit in a logical order, explains why each role matters, and flags what is still to come.

The goal here is not just a list. A filmography only becomes useful when you understand the story behind it: how the early television work prepared her for her breakout, why her film choices have been so varied, and how a one-woman play turned her into an award-winning stage star. By the end, you should know exactly where to start watching, which roles define her reputation, and which upcoming projects deserve a place on your calendar.

Who Is Jodie Comer and Why Does Her Filmography Matter?

Jodie Comer is an English actress from Liverpool, born on 11 March 1993, who is best known for playing Villanelle in Killing Eve, Marguerite de Carrouges in The Last Duel, and Tessa in the stage play Prima Facie. She has won a BAFTA Television Award and a Primetime Emmy for Killing Eve, along with an Olivier Award and a Tony Award for her stage work. That combination of screen and theatre recognition is unusual, and it explains why searches for Jodie Comer movies and TV shows keep climbing year after year.

What makes her filmography worth studying is its shape. Many actors who break out in television drift toward one type of role and stay there. She has done the opposite, moving between comedy, period drama, true-crime, science fiction, horror, and intimate character studies. A useful analogy is a musician who refuses to be filed under one genre: each new project sounds different, but the technique underneath stays recognisable. Watching her career in order feels less like following a résumé and more like hearing an artist deliberately stretch their range.

Early Television Roles That Built the Foundation

Her career began in 2008 with a guest appearance on The Royal Today, and she followed it with small parts across British television. She turned up in long-running series such as Doctors, Holby City, and Casualty, and she took recurring roles in Justice and Silent Witness. These guest spots may look minor on paper, but they are the actor’s equivalent of sparring rounds: short, pressured, and full of practical lessons about hitting a mark, finding a character in a few scenes, and adapting to different directors.

Her first widely noticed part came in My Mad Fat Diary, the E4 series adapted from Rae Earl’s teenage memoir, where she played Rae’s loyal friend Chloe Gemell from 2013 to 2015. She then appeared in Doctor Foster on BBC One as Kate Parks, and she also played Ivy Bolton in the 2015 television adaptation of Lady Chatterley’s Lover. Looking back, the pattern is clear. Each role asked her to hold her own opposite stronger-billed leads, and each time she made a supporting character feel like she had a life that continued off-screen. That skill, more than any single credit, is what casting directors began to notice.

Thirteen, Rillington Place, and the Step Into Leading Roles

The turning point came in 2016 with Thirteen, a five-part BBC Three miniseries written by Marnie Dickens. Comer played Ivy Moxam, a 26-year-old woman who escapes the cellar where she has been held captive for thirteen years and must rebuild a relationship with the family that kept searching for her. The part demanded fear, confusion, and a strange childlike wonder, sometimes within the same scene, and it gave her the first real chance to carry a series.

Around the same time she took a supporting role in Rillington Place, the BBC One dramatisation of the notorious serial killer case, playing Beryl Evans. She then moved into period drama with The White Princess in 2017, playing Elizabeth of York, the first Tudor queen, in the Starz adaptation of Philippa Gregory’s novel. Also in 2017 she appeared in England Is Mine, a biopic about a young Morrissey, as his colleague Christine. Together these projects show a deliberate climb: from supporting parts to a leading miniseries, then to historical royalty, then to film. That steady progression is the reason her next role felt like an explosion rather than a lucky break.

Killing Eve: The Role That Changed Everything

When Killing Eve premiered on BBC America in April 2018, Villanelle became one of the most talked-about television characters of the decade. The series, based on Luke Jennings’s novellas and launched under Phoebe Waller-Bridge’s creative leadership in its first season, paired Comer with Sandra Oh as the obsessive MI5 officer Eve Polastri. It ran for four seasons until 2022. Villanelle was a sociopathic assassin who could be playful, childish, terrifying, and vulnerable within a single conversation, and Comer played her with a precision that made the role almost impossible to imagine with anyone else.

Critics noticed. The New Yorker’s Jia Tolentino credited the character’s success to Comer’s “mercurial, unassailable charisma,” a phrase that captures how the performance blended menace with magnetism. The show earned her a BAFTA Television Award in 2019 and a Primetime Emmy in 2021. She also became known for her dialect work, slipping between accents and languages as Villanelle moved across Europe. For anyone sampling Jodie Comer movies and TV shows for the first time, Killing Eve is the obvious entry point, because it shows her comic timing, physicality, and dramatic depth in one continuous run.

Major Film Roles That Took Her to Hollywood

After Killing Eve established her name, the film roles arrived. She appeared as Rey’s mother in Star Wars: The Rise of Skywalker in 2019, a small but symbolically important part in a huge franchise. In 2021 she starred opposite Ryan Reynolds in Free Guy, directed by Shawn Levy, playing Millie, also known as Molotov Girl, in a video-game comedy that proved she could carry a mainstream blockbuster. The same year, she took a far more demanding role in Ridley Scott’s The Last Duel.

In The Last Duel, she played Marguerite de Carrouges, a medieval noblewoman whose accusation of assault sets the film’s conflict in motion. The story is told from three perspectives, which means her character is seen differently each time, and the final section belongs to her. Acting alongside Matt Damon, Adam Driver, and Ben Affleck, she held the emotional centre of

a film built around male rivalry, which is a difficult assignment. Her later film work continued the variety: The End We Start From in 2023 opposite Benedict Cumberbatch, where she also served as an executive producer, The Bikeriders in 2024 as Kathy opposite Austin Butler and Tom Hardy in Jeff Nichols’s motorcycle-club drama, and 28 Years Later in 2025 as Isla in the Danny Boyle and Alex Garland horror sequel.

Here is the problem-and-solution logic behind those choices. The problem for any television star is the film jump: studios often cast them in one note because it feels safe. Her solution was to choose ensemble pieces and director-driven projects, where character work matters more than star power. That is why her film career reads like a portfolio of auteur collaborations rather than a string of similar leads.

Doctor Foster, Help, and the Dramas That Show Her Range

Between the big-screen roles, she has continued to choose smaller, sharper television work. Doctor Foster, in which she played Kate Parks, is often cited as a masterclass in domestic tension, because the series turns a seemingly ordinary marriage into a slow-burning thriller and gives its supporting cast plenty to do. That experience helped prepare her for the larger ensemble work that followed.

Help, a 2021 Channel 4 television film written by Jack Thorne, is arguably the most emotionally direct performance of her career. She played Sarah, a care worker, alongside Stephen Graham in a story set in a care home during the early period of the COVID-19 pandemic. Because the film strips away spectacle and relies on small, human moments, it shows how well she works when there is nowhere to hide. If you want to understand why critics call her versatile, watching Help straight after Killing Eve is the quickest way to see the contrast.

Prima Facie: The Stage Performance That Redefined Her Career

Prima Facie, written by Suzie Miller, is a one-woman play about Tessa, a successful young barrister who specialises in defending men accused of sexual assault until her own experience exposes the gaps in the legal system she has mastered. Comer performed the role in London’s West End, winning an Olivier Award, and later took it to Broadway, where she won a Tony Award in 2023. Holding an audience alone for around ninety minutes requires stamina, memory, and emotional control, and reviewers consistently singled out her command of the space.

The production also reached a much wider audience through the National Theatre Live recording, which screened in cinemas worldwide. In 2026 she returned to the role for a sold-out tour of the UK and Ireland that began at Richmond Theatre in January. The stage work matters to a film-and-television guide because it changed the way the industry sees her: she is no longer just a screen actress who did a play, but a proven theatre performer whose stage credentials raise the ceiling on every future casting conversation.

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The Complete List of Jodie Comer Movies and TV Shows in One Table

The table below collects her major credits in chronological order so you can scan the full range at a glance. It focuses on her most notable work and does not attempt to list every minor guest appearance.

Two patterns stand out when you read the table from top to bottom. First, her television work dominates the first half of her career, but the second half tilts toward film and stage. Second, almost every major project pairs her with an established creative voice, whether that is Ridley Scott, Danny Boyle, Jeff Nichols, or Damon Lindelof. A reliable guide to Jodie Comer movies and TV shows should make that visible, because it explains her reputation for choosing material with real ambition.

Which Jodie Comer Movies and TV Shows to Watch First

The right starting point depends on what you enjoy. If you like sharp, dark, fast-moving thrillers, begin with Killing Eve and follow it with Thirteen, since both rely on tension and on her ability to flip between vulnerability and danger. If you prefer cinema with historical weight, The Last Duel is the strongest choice, particularly for its three-part structure and its final, emotionally decisive act.

If you want something lighter, Free Guy is the easiest, most crowd-pleasing entry and shows a playful side that her thrillers only hint at. For a more intimate, emotional experience, Help is the standout, and for a sense of her stage power, the National Theatre Live recording of Prima Facie is the closest you can get to seeing her live. Think of it like choosing where to begin with a musician’s catalogue: pick one recording that matches your mood, then work outward. By the time you have watched four or five of these, the full spread of Jodie Comer movies and TV shows will make far more sense as a connected body of work.

Upcoming Projects: The Death of Robin Hood, Stuffed, and The Chain

Her 2026 slate is one of the busiest of her career. The Death of Robin Hood, released in theatres in June 2026, is a darker retelling of the legend starring Hugh Jackman, with Bill Skarsgård as Little John and Comer as Sister Brigid, alongside Murray Bartlett, Noah Jupe, and Faith Delaney. The story follows a gravely injured Robin Hood who is offered a chance at salvation in the hands of a mysterious woman. It marks another step away from conventional blockbuster roles toward gritty, character-led storytelling.

Stuffed, directed by Theo Rhys, is a British musical horror romance co-starring Harry Melling, in which she plays Araminta; it premiered at the Toronto International Film Festival on 10 September 2026. The film’s unusual blend of genres suggests she remains drawn to risky, unconventional material. On television, HBO’s The Chain is an eight-episode limited series from Damon Lindelof, based on Adrian McKinty’s 2019 novel, with Comer playing Rachel, a suburban mother who faces an unthinkable choice when her daughter is kidnapped. Lindelof has described the book’s premise as “wild

original,” and the project positions her at the centre of one of HBO’s most anticipated thrillers. No premiere date has been announced in the latest reporting, though some outlets expect it to arrive in 2027.

What Makes Her Acting Style So Distinctive

A recurring theme in reviews of her work is control. Whether she is playing a manic assassin or a grieving care worker, her performances tend to be built from small, specific choices rather than broad gestures: a look that lingers a beat too long, a voice that changes pitch mid-sentence, a stillness that feels more threatening than shouting. This makes her unusually good at playing characters who are unpredictable, because the audience is never sure what she will do next.

Her regional roots also matter. She has spoken in interviews about the importance of accent and voice in shaping a character, and her dialect work across Killing Eve, The Last Duel, and Prima Facie demonstrates how seriously she treats it. A helpful analogy is a sculptor who works with very small tools: the finished piece looks effortless, but the craft is in the detail. That attention to detail is also why her theatre work translates so naturally to the screen, since both rely on precise, repeatable choices rather than improvisation.

How to Watch Her Work and Verify Release Details

Streaming rights change frequently, and availability differs from country to country, so the most reliable way to find where a title is playing is to check a current licensed listing service in your region. For new releases and upcoming projects, official sources such as the studio, the broadcaster, or the film festival programme are more dependable than fan forums or social media posts, which often repeat rumours as facts. That matters particularly for titles like The Chain, where premiere dates can shift as production evolves.

For anyone building their own guide to Jodie Comer movies and TV shows, the same trust principles apply as in any research. Prefer sources that cite production companies and named reporters, check the date of each article, and treat unsourced release dates with caution. This guide draws on reporting and reference sources such as Variety, Deadline, Rotten Tomatoes, TMDB, and the festival programming for Stuffed, and it flags uncertain details instead of guessing.

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