{"id":1044157,"date":"2026-06-23T03:22:34","date_gmt":"2026-06-23T03:22:34","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/1044157\/"},"modified":"2026-06-23T03:22:34","modified_gmt":"2026-06-23T03:22:34","slug":"jodie-comer-talks-the-death-of-robin-hood-ending","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/1044157\/","title":{"rendered":"Jodie Comer Talks \u2018The Death of Robin Hood\u2019 Ending"},"content":{"rendered":"

\n\t[This story contains spoilers for The Death of Robin Hood<\/a>.]<\/strong><\/p>\n

\n\tIn 2021, Jodie Comer<\/a>, like so many of us, was completely taken with Michael Sarnoski<\/a>\u2019s Pig.\u00a0<\/p>\n

\n\tThe actor and filmmaker happened to share the same talent agency, so they agreed to have a general meeting over Zoom in order to express mutual admiration for one another. A year later, the two randomly found themselves seated next to each other at a dinner party where they got to know each other some more. But it took until 2024 for the stars to finally align professionally thanks to Sarnoski\u2019s revision tale\u00a0 called The Death of Robin Hood.\u00a0<\/p>\n

\n\tThe slow-burn thriller is partially based on a 17th century ballad in which the heroic outlaw\u2019s cousin, a malevolent prioress, bleeds the older, ailing Robin to death under the guise of the ancient medical treatment known as bloodletting. Comer quickly agreed to play the healer for the writer-director and also share uniquely intimate scenes with Hugh Jackman<\/a>\u2019s Robin Hood, especially since she\u2019d briefly worked with the latter on a musical that didn\u2019t take flight.<\/p>\n

\n\tBut Comer and Jackman\u2019s roles reverse the ballad\u2019s depictions. The prioress, regarded here as Sister Brigid, is as benevolent as one can be, and she shares no familial relation to the famed Robin Hood. Gravely wounded, he\u2019s left on the doorstep of her island priory where she nurses him back to good enough health through bloodletting and therapy. But it\u2019s not until the third act that Brigid catches up to the audience and learns that the man she\u2019s come to know as \u201cRandolph\u201d is actually Robin Hood, the murderous brigand who burned her family alive years earlier. He may have stolen silver from the corrupt upper class to help those less fortunate, but unlike the legends told about him, he caused far more pain and destruction.<\/p>\n

\n\tAs the head of a religious island community that stresses forgiveness, Sister Brigid comes dangerously close to adopting the treacherous nun persona from the source material. She slices Robin\u2019s arm during a bloodletting session, but instead of letting his blood withdrawal become fatal, she stops herself from avenging her family.<\/p>\n

\n\t\u201cWhere has that gotten anyone? Where has it gotten Robin? She\u2019s braced with a moment of, Now you have to practice what you preach,\u201d Comer tells The Hollywood Reporter. \u201cIt\u2019s easy to speak of these things, but it\u2019s actually about how you are able to act on that within your own life.\u201d<\/p>\n

\n\tRobin eventually authorizes her to cut his arm open again so that he can release himself from his personal anguish and also keep Brigid\u2019s house safe from his enemies, old and new. But knowing that voluntary euthanasia is still a hotly debated subject, Comer wonders how the audience will process her character\u2019s assistance in Robin\u2019s suicide. She hopes that they recognize the very different intentions behind the final bloodletting scene and the preceding one that flirted with vengeance. Bear in mind, she attempted to stop the bleeding on the final go-round too, but he used the last of his strength to fend her off.<\/p>\n

\n\t\u201cI don\u2019t know whether there will be, for some people, an ambiguity about her assistance within his death. I don\u2019t know that people will surmise what her motivation is or if it will come across as being pure,\u201d Comer says. \u201cThere\u2019s a massive contradiction that she has to deal with within that, but I was always very struck by the grace that she\u2019s able to find in that moment. She has this ability to not meet pain with pain or violence with violence.\u201d<\/p>\n

\n\tThe Death of Robin Hood shares a couple through-lines with two of Comer\u2019s other recent films, The End We Start From (2023) and 28 Years Later (2025). In all three, her characters spend time in peaceful island communities that serve as exceptions to the harsh worlds that surround them. And each woman goes to great lengths to care for her own children or other people\u2019s children. Admittedly, the thematic overlap never registered with Comer until now.<\/p>\n

\n\t\u201cMaybe I need to become a mother. I don\u2019t know. Maybe I\u2019m living something out in my acting that I should investigate more in my own life,\u201d Comer says. \u201cThey all have themes that I\u2019m always very much drawn to, but I do find it fascinating when people pick up on threads that I am not necessarily aware of in the process.\u201d<\/strong><\/p>\n

\n\tBelow, during a conversation with THR, Comer \u2014\u00a0who\u2019s \u201cexcited\u201d to reunite with Sarnoski on Damon Lindelof\u2019s upcoming adaptation of The Chain for HBO \u2014\u00a0also discusses how revisionist tales are important in the era of remakes and reboots.<\/p>\n

\n\t***<\/strong><\/p>\n

\n\tSo you loved <\/strong>Pig<\/strong> like the rest of us, and apparently, you and Michael Sarnoski had a general shortly thereafter. Who initiated?\u00a0<\/strong><\/p>\n

\n\tWell, we have the same agent, which is lovely. They very kindly introduced us on a Zoom after I\u2019d watched Pig. It must\u2019ve been around COVID time, and it was a bit more formal because you\u2019re meeting someone for the first time with the hopes of working with them. Then, probably about a year later, we sat next to each other at a dinner. So that was a nice opportunity to meet him in a more casual sense and not necessarily talk about work.<\/p>\n

\n\tA couple of years later, the script for The Death of Robin Hood came through, and being a huge fan [of Michael\u2019s], I was so excited. I didn\u2019t receive any sort of premise or log line; I was just sent the script. So I read it, and I thought it was so stunning and surprising. I was enamored by his interpretation and how poetic the script felt to me. So I just jumped at the chance to be able to work with him.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tJodie Comer\u2019s Sister Brigid in The Death of Robin Hood.<\/p>\n

\t\t\t\t\t\t\t\t\tA24<\/p>\n

\n\tI consider this the third film in your \u201cisland\u201d trilogy. <\/strong>The End We Start From<\/strong>, <\/strong>28 Years Later<\/strong> and <\/strong>The Death of Robin Hood <\/strong>each have these isolated island communities, and your characters look after kids in different ways across all three stories. I\u2019m sure you weren\u2019t conscious of these through-lines at the time, but in hindsight, can you recognize why you\u2019re drawn to maternal and caregiving themes?<\/strong><\/p>\n

\n\tMaybe I need to become a mother. I don\u2019t know. Maybe I\u2019m living something out in my acting that I should investigate more in my own life. I can\u2019t say that I was aware of that, but all of those stories feel intimate, tactile and very human. The nuance and emotionality of the human condition, and how we behave with each other, is something I really enjoy seeing and experiencing in my own life. So they all have themes that I\u2019m always very much drawn to, but I do find it fascinating when people pick up on threads that I am not necessarily aware of in the process.<\/p>\n

\n\tYour character, Sister Brigid, is compassionate to no end, but in the source material, the prioress character is truly evil. Would you have still played the role if she was written as such?<\/strong><\/p>\n

\n\tI don\u2019t really know if I can answer that fully because I was never presented with it. There were aspects of Robin Hood that I was aware of, but I wasn\u2019t overly familiar with the folklore, so I wasn\u2019t comparing her to past iterations. But I probably would\u2019ve played that version of her because I wanted to work with Michael. Luckily, I was dealt very different cards, which was beautiful.\u00a0<\/p>\n

\n\t(<\/strong>Spoiler Warning.<\/strong>) <\/strong>I don\u2019t know what people\u2019s experience of the film will be, but there is a revelation of a connection that Robin has to her past. Unknowingly, he has been a huge catalyst in her life, and he has caused a lot of pain. I don\u2019t know whether there will be, for some people, an ambiguity about her assistance within his death. I don\u2019t know that people will surmise what her motivation is or if it will come across as being pure. There\u2019s a massive contradiction that she has to deal with within that, but I was always very struck by the grace that she\u2019s able to find in that moment. She has this ability to not meet pain with pain or violence with violence. She speaks a lot about philosophy and mythology. So I felt that she would consider it almost kismet that she\u2019s meeting him later in her life, especially with him being in the vulnerable situation he\u2019s in, and how she has been bestowed with the role of caring for him in that moment. There was something in that that I really enjoyed.<\/p>\n

\n\t(<\/strong>Spoiler Warning.<\/strong>) Prior to the ending you just alluded to, there\u2019s a dark scene where she tries the treacherous nun character on for size. But then she catches herself because she doesn\u2019t want to further the cycle of violence that led them all there.<\/strong><\/p>\n

\n\tRight! Where has that gotten anyone? Where has it gotten Robin? She\u2019s often sharing stories or giving advice or giving a point of view, and then she\u2019s braced with a moment of, Now you have to practice what you preach. It\u2019s easy to speak of these things, but it\u2019s actually about how you are able to act on that within your own life.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tHugh Jackman\u2019s Robin Hood and Jodie Cromer\u2019s Sister Brigid in The Death Of Robin Hood<\/p>\n

\t\t\t\t\t\t\t\t\tAidan Monaghan\/A24<\/p>\n

\n\tRobin Hood has long been a mascot for social justice, anti-corruption and anti-greed, but this movie posits that there\u2019s a much darker side to the folklore around him. What was your first impression of Michael\u2019s revionist take on this figure that we\u2019ve all been raised to think is a hero?<\/strong><\/p>\n

\n\tWell, Michael went back to the early 14th century poetry to explore something that did feel ancient but also new and real. This exploration isn\u2019t one-dimensional or absolute, but it feels much more real to what you imagine the world may have looked like in that time. There\u2019s nothing fantastical about it. It\u2019s very gritty and grounded, and I just loved it. It\u2019s a perspective that has never been seen before, and it felt wholly original to Michael.\u00a0<\/p>\n

\n\tIn a world where we explore and remake a lot of the same material, it\u2019s actually really exciting and important that we give space for something new to be birthed out of it. Generally, we can get quite possessive about what our interpretation or experience is of a well-known story. So it\u2019s great when a storyteller or a filmmaker comes along with a different vantage point.\u00a0<\/p>\n

\n\tI loved working with Michael because the piece was so of him. He\u2019d spent so much time with it. When you work with a director who\u2019s also written the material, you just want to be in service in a huge way. There\u2019s a cinematic scope to this film that is so breathtaking, but he equally prioritizes emotional arc and character development. I\u2019ve definitely had experiences with directors where one has been more prominent than the other, so it was great to work with someone who was so engaged in all of it.<\/p>\n

\n\tThis is an industry that also creates its own mythical figures. Even Hugh Jackman has a little bit of that reputation at this stage of his long and varied career. Does all of that fade away as soon as cameras roll?<\/strong><\/p>\n

\n\tTotally. You forget that as soon as you meet Hugh. Because of the nature of the business, there is so much projection onto people. We\u2019re always projecting our version of them or who we interpret them to be. But people are people at the end of the day, especially Hugh. What you see is what you get. There\u2019s an energy about him that makes you feel like you\u2019ve known him for a while, and he\u2019s incredibly generous and personable and gentle and engaged. So you take people as you find them, and it\u2019s always wonderful if you\u2019re led by someone who has those qualities. It immediately relaxes everybody.<\/p>\n

\n\tI initially assumed that your history with Shawn Levy and Ryan Reynolds would\u2019ve had something to do with you and Hugh teaming up for this movie, but I didn\u2019t know that the two of you briefly worked together on some kind of musical that never got made.\u00a0<\/strong><\/p>\n

\n\tYeah, we spent a few days doing a writing workshop for something. I came to New York, and I spent three days with him in an office setting, which was lovely. I did work so closely with Ryan and Shawn on Free Guy, and they obviously have a very close relationship with Hugh. So I\u2019m sure that Hugh asked them how I was on set. You always do that if you\u2019re considering working with someone. You\u2019ll ask people, \u201cWhat was your experience with this person?\u201d So I\u2019m sure that happened on some level.<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tJodie Comer, Faith Delaney, Hugh Jackman in The Death Of Robin Hood.<\/p>\n

\t\t\t\t\t\t\t\t\tAidan Monaghan\/A24<\/p>\n

\n\tWhat Michael did so well in <\/strong>Pig<\/strong> and <\/strong>A Quiet Place: Day One<\/strong> was depict characters eating together in a meaningful way. Most movies or shows shoot or cut around it.\u00a0<\/strong><\/p>\n

\n\tActors avoid it too.<\/p>\n

\n\tIt also drives me mad when a character makes an elaborate meal for the rest of their family, and the family barely touches the food before heading out the door. Thus, one of my favorite scenes in Robin Hood is a quiet scene with Brigid, Robin\/Randolph and Margaret eating soup together. Is it pretty rare for you to have a director who cares that much about eating scenes?<\/strong><\/p>\n

\n\tThat\u2019s interesting. And it\u2019s funny, isn\u2019t it? I love to eat. It\u2019s such a big part of our lives, and it\u2019s something we share so much with others. So I\u2019m with you. When there\u2019s a dining scene on screen, I\u2019ll notice the actors flicking their food around their plate.<\/p>\n

\n\tOr<\/strong> they\u2019ll have a huge wad of food tucked away in their cheek.\u00a0<\/strong><\/p>\n

\n\tYeah, I\u2019m like, \u201cYou\u2019ve got to eat the food!\u201d (Laughs.) But that soup scene is quite a big scene within the film, and I\u2019m glad you enjoyed it. What I remember most about that scene was I had to carry the bowls in such a way that my thumbs had to go in the soup to carry them.\u00a0<\/p>\n

\n\tI just had this exact conversation with <\/strong>Rebecca Hall<\/strong><\/a>, only it was Seth Rogen\u2019s thumb in the cappuccino he delivered her on The Studio. It\u2019s so weird that you brought this up.<\/strong><\/p>\n

\n\t(Laughs.) Yeah, it\u2019s like if you were at a restaurant and someone brought you your soup or cappuccino with their thumb in it. The spoon was so large and so wooden as well. It was all very true to the time and very transformative. There\u2019s an intimacy to sharing a meal with someone, and I feel like I\u2019ve done a lot of it, honestly. Villanelle [on Killing Eve] was eating all the time, so I\u2019ll do anything that makes it feel more true to life.\u00a0<\/p>\n

\n\tI don\u2019t know about you, but I live on my own. If I\u2019m home and I\u2019m eating, I eat like a feral animal. I\u2019ve probably eaten half the meal whilst I\u2019m cooking it. There\u2019s something so messy about who we are when we\u2019re on our own.<\/p>\n

\n\t***
The Death of Robin Hood is now playing in movie theaters.<\/p>\n","protected":false},"excerpt":{"rendered":"[This story contains spoilers for The Death of Robin Hood.] In 2021, Jodie Comer, like so many of…\n","protected":false},"author":2,"featured_media":1044158,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[3940],"tags":[4080,77,38111,21681,282330,282331,16,15],"class_list":["post-1044157","post","type-post","status-publish","format-standard","has-post-thumbnail","category-celebrities","tag-celebrities","tag-entertainment","tag-hugh-jackman","tag-jodie-comer","tag-michael-sarnoski","tag-the-death-of-robin-hood","tag-uk","tag-united-kingdom"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/116797280653007749","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/1044157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=1044157"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/1044157\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/1044158"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=1044157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=1044157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=1044157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}