Annie Murphy: The Life Story Behind the Alexis Rose Star

Alexis Rose should not have worked. On paper she was everything a television audience is supposed to dislike: rich, spoiled, famous for nothing, and dropped into a small town she had never heard of after her family lost its money. Annie Murphy played her anyway, and over six seasons of Schitt’s Creek she turned that impossible starting point into one of the warmest performances on television. Alexis learned to work, to love, to run a business, and to apologise, and Murphy made every step of that change feel earned. The audience laughed at Alexis in the first episode. By the last episode they were proud of her, and that shift is a measure of how good the acting was.

Murphy was born Anne Frances Murphy on 19 December 1986 in Ottawa, the capital of Canada, a city of government buildings, frozen canals, and long winters. Ottawa is not a show-business town. It is a town of public servants, universities, and theatres that survive on audiences who come because they love plays, not because they want to be seen. Growing up there gave Murphy a different starting point from actors raised in Los Angeles or Toronto. She learned to act in rooms where the audience was close enough to see a false note, and she learned that a performance has to work without cameras, lights, or editing to save it.

She studied theatre properly, at Queen’s University in Kingston and then at Concordia University in Montreal, and she spent her twenties working on stages and in small television parts in Toronto. It was a slow apprenticeship, and it did not pay well. She did commercials, she took guest roles, and she waited. When Schitt’s Creek arrived in 2015, she was twenty-eight years old and ready in a way that a younger actor could not have been. She knew how to build a character from the ground up, how to keep a performance alive across dozens of episodes, and how to make a funny line land without pushing it. The long wait was not wasted time. It was the training.

What happened after Schitt’s Creek ended is the second half of her story, and it is the part that makes her more than a one-role success. She won an Emmy in 2020, she took the lead in a dark comedy about a sitcom wife who decides to fight back, she appeared in Russian Doll and in a Black Mirror episode, and she spoke openly about depression and about getting help. She did all of that while keeping her home life in Canada private and steady. This is the story of an actor who learned her craft the slow way, used it brilliantly when the big chance came, and then used the freedom that followed to do work that mattered to her.

Ottawa, School Plays and a Voice That Carried

Ottawa in the nineteen eighties and nineties was a quiet capital, a place where winter lasted half the year and where the Rideau Canal froze into the world’s longest skating rink. Murphy grew up in that city, in a family that had nothing to do with show business, and she found her way to performance through school. She liked to act in school plays, she liked to make her classmates laugh, and she liked the feeling of standing in front of a room and holding its attention. It was not about fame. There was no fame to be had in an Ottawa school hall. It was about the work itself, the lines, the timing, the moment when a joke lands or a serious scene goes quiet.

She was a lively child, quick with words and quick to try things, and her teachers noticed that she had a natural ear for how people speak. That ear would matter enormously later, because Alexis Rose is a character built largely out of the way she talks: the rising voice, the drawn-out vowels, the habit of turning every sentence into a small performance. Murphy did not invent that voice overnight. She had been listening to people all her life, collecting the ways they stretch a word or clip a sentence, and the Alexis voice was the result of years of listening, sharpened into a single character.

As a teenager she began to take performing more seriously, joining school productions and local theatre and learning what it means to rehearse. A school play teaches an actor the basics: show up on time, know your lines, listen to the person opposite you, and do not step on their laugh. Murphy learned those basics early, and she learned them in rooms where the audience included her friends and her family, which is a harder audience than strangers. Strangers will be polite. Friends will tell you the truth in the corridor afterwards. That honesty was useful. It taught her to judge her own work without flattery.

Ottawa also gave her a sense of proportion that she has kept ever since. In a capital city, acting is one job among many, and nobody treats an actor like royalty for being in a play. That grounding mattered when fame arrived. Murphy had already spent years being an ordinary person who acted, rather than an actor who expected the world to arrange itself around her. When Schitt’s Creek made her famous, she did not have to learn how to be normal. She already was, and she stayed that way.

Queen’s, Concordia and Learning to Act for Real

After school, Murphy went to Queen’s University in Kingston, Ontario, to study theatre, and later to Concordia University in Montreal. University theatre is where many Canadian actors learn the difference between liking to perform and knowing how to act. The courses asked her to study plays, to understand characters, to work with directors who would not accept a vague performance, and to perform in front of audiences who had paid to be there. She learned the history of the craft, the techniques of voice and movement, and the discipline of preparing a role properly rather than relying on charm.

Kingston is a small university city on Lake Ontario, and Queen’s gave her a community of students who took theatre seriously. She acted in student productions, worked backstage, and learned that a play is a team effort. The person running the lights matters as much as the person saying the lines, and an actor who ignores the crew will not last long. Murphy learned to respect every part of a production, and that respect became part of her reputation. Directors and stage managers remember the actors who treat the whole room well, and they ask for them again.

Montreal added something else. Concordia is a university in a bilingual city, and Montreal’s theatre scene is sharp, political, and unafraid. Studying there exposed Murphy to French-language theatre, to different styles of directing, and to audiences who expect a performance to mean something. She was no longer a teenager doing school plays. She was a student of the craft, learning how a character is built from the inside, how a scene is structured, and how an actor can serve a writer’s words rather than showing off in front of them.

By the time she finished her studies, she had something many young actors lack: a proper education in the work. She could analyse a script, she could take direction, and she could hold a stage for two hours without a camera to cut away to. That foundation would show up in everything she did afterwards. Television acting can hide a lot of weaknesses, because the camera moves, the editing cuts, and the music swells. Stage training hides nothing, and Murphy had it. When the camera found her, it found an actor who was already complete.

Toronto Stages, Commercials and the Long Wait

After university, Murphy moved into the working life of a young actor in Toronto, and that life was mostly waiting. She acted in theatre productions, she auditioned for television, she did commercials, and she took the guest parts that keep a young actor fed while the big roles go to someone else. It was not glamorous. A commercial shoot starts early, involves a great deal of standing around, and pays for a few weeks of rent. A guest part on a Canadian series might mean two days on set and a handful of lines. Murphy did those jobs, and she did them well, because she understood that every job is an audition for the next one.

Theatre remained her home base in those years. On stage there is no second take, and an actor learns quickly whether a performance is honest. Murphy played a range of stage roles in Toronto and elsewhere in Canada, learning how to project, how to hold an audience, and how to keep a character alive for a whole evening. Stage work also taught her stamina. A television actor might shoot a scene for a few minutes and then rest. A stage actor performs for two hours without a break, and the body and voice have to last. That stamina would matter later, when Schitt’s Creek asked her to shoot long days and to keep Alexis vivid across six seasons.

Rejection was part of the routine. For every part she won, there were many she did not, and each one required her to walk out of a room, forget about it, and prepare for the next audition. That is a skill in itself, and it is one that no drama school can fully teach. Murphy learned it by doing it, year after year, and the patience it built became one of her defining qualities. She was not bitter about the wait. She was not desperate for any part. She was willing to keep working until the right part came, and she trusted that the work itself was making her better.

During those Toronto years she also built the relationships that a career in a small industry depends on. Canada’s acting world is small enough that casting directors, writers, and directors remember who was kind, who was prepared, and who did good work in a small part. Murphy was all three, and her name stayed in people’s minds. She also met her future husband, Menno Versteeg, the singer of the Canadian band Hollerado, and began building a personal life that would anchor her when fame arrived. She was not famous yet, and she could walk down a Toronto street without being stopped. That freedom let her live a normal life, make friends, and learn how to be a working adult before the world started watching.

The wait ended in the way it usually ends for actors: with a phone call about a part that nobody yet knew would matter. The producers of a new comedy called Schitt’s Creek were looking for an actress to play Alexis Rose, the daughter of a rich family who lose everything. Murphy auditioned, and the people in the room saw what her years of stage work had made: an actor who could be funny and real at the same time, and who could build a character the audience would want to follow for years.

Alexis Rose Checks Into Schitt’s Creek

Schitt’s Creek began in 2015, created by Eugene Levy and his son Dan Levy, and it told the story of the Rose family, once rich, who lose their fortune and are forced to live in a small town called Schitt’s Creek, the one asset the government lets them keep. Eugene Levy played Johnny Rose, Catherine O’Hara played his wife Moira, Dan Levy played their son David, and Murphy played their daughter Alexis. The premise was simple, and the execution was anything but. The show was warm, strange, and deeply funny, and it treated its small-town characters with respect rather than making them the butt of the joke.

Alexis arrived in town as a young woman who had lived a life of hotels, yachts, and famous friends, and who had never held a job, paid a bill, or done her own laundry. Murphy played her with a voice that became famous: high, lilting, and full of upward swoops, a voice that made every sentence sound like the beginning of a story. The voice was not a trick. It was the sound of a person who had learned to perform her life rather than live it, and Murphy used it to show the audience exactly who Alexis was, and how far she had to go.

What made the performance work was that Murphy never played Alexis as a joke. She played her as a person who was funny, vain, and lost, and who was also intelligent and kind underneath the performance. The audience laughed at Alexis, but they laughed with affection, because Murphy let them see the good in her. When Alexis failed at a job, Murphy showed the embarrassment. When she succeeded, Murphy showed the surprise and the pride. That honesty is what turned a spoiled rich girl into a character viewers loved.

Over six seasons, Alexis changed more than almost any other character on television. She got a job at a veterinary clinic, she went back to school, she started a public relations business, she fell in love and had her heart broken, and she learned to be a friend. Murphy played that growth so gradually that it felt like watching a real person mature. A viewer could watch the first season and the last season back to back and barely believe it was the same character, and yet every step in between made sense. That is the hardest kind of acting there is, and Murphy did it without ever making a speech about it.

The show grew slowly too. It was a hit in Canada first, and then it found a much larger audience in the United States when it arrived on Netflix. People who had never watched Canadian television discovered the Roses, and Alexis became a favourite. Fans copied her voice, quoted her lines, and dressed as her for parties. Murphy had spent years waiting for a part like this, and she had the skill to make the most of it when it came.

A Voice, a Closet and Six Seasons of Growing Up

Much of Alexis was built from the outside in, and Murphy understood that. The voice was the most obvious part, but the clothes mattered too. Alexis dressed like a woman who had left a life of designer labels and was trying to keep the habit alive in a town with one shop. Her outfits were bright, bold, and often slightly wrong for the occasion, and Murphy wore them with a confidence that told the audience Alexis still believed she was the most glamorous person in the room. The humour came from the gap between the outfit and the place, and Murphy played that gap with delight.

The relationships on the show gave Alexis her depth. Her friendship with Twyla, her romance with Ted Mullens, the veterinarian played by Dustin Milligan, and her bond with her brother David gave Murphy scenes where Alexis could be soft, loyal, and funny all at once. The love story with Ted was particularly important, because it asked Alexis to be honest about what she wanted, and to choose between a comfortable life and a real one. Murphy played those scenes without sentimentality, and the audience felt the cost of the choice. When Alexis and Ted parted, it was one of the saddest moments in the series, and it worked because Murphy had made the audience believe the love was real.

The writing also gave her some of the funniest lines in the show, and Murphy delivered them with a timing that came from her stage training. A line like a casual mention of a past romance with a prince or a pop star could have fallen flat in the hands of a lesser actor. Murphy made it land by playing it as if it were the most normal thing in the world, which, for Alexis, it was. That was the joke, and it was also the truth of the character. She had lived a life so strange that the strange had become ordinary to her, and the comedy came from watching ordinary people react to it.

By the final season, Alexis was running her own business, living in her own apartment, and making decisions as an adult. Murphy played that final version of Alexis with a quiet confidence that would have been impossible in the first season, and the audience could feel how far the character had travelled. The show ended in 2020, and Alexis’s goodbye was not a big dramatic exit. It was a young woman choosing her work and her future, and walking towards it. Murphy made that choice feel like a victory, and it was.

The Emmy Night That Arrived by Video Call

In 2020, in the final season of Schitt’s Creek, the show won nine Emmy Awards, including Outstanding Comedy Series, and Murphy won the Emmy for Outstanding Supporting Actress in a Comedy Series. It was the biggest night in the history of Canadian television, and it happened in the strangest possible way. Because of the pandemic, there was no grand hall, no red carpet, no stage. The winners accepted their awards by video call from their homes, and Murphy gave her speech from her own house, with her family nearby, wearing an outfit she had chosen for a night that never happened in the usual way.

The oddness of the ceremony suited her. She thanked the people who had believed in her, she thanked the cast, and she spoke with a warmth that felt like a conversation rather than a speech. There was no distance between her and the audience, because there was no stage. She was simply a woman in her home, holding an award for six years of work, and the simplicity of it made the moment more moving, not less. Fans who watched it remember the joy in her face, and the way the whole cast celebrated together on screen, each in their own home, a family separated by distance and joined by the work.

The win changed her career, but not in the way people expected. She did not use it to chase Hollywood blockbusters. She used it to choose work that interested her, and to take the lead in projects that asked more of her. An Emmy gives an actor freedom, and Murphy spent that freedom carefully. She could have stayed with comedy, where she was safe and loved. Instead she looked for parts that were different from Alexis, parts that would show the audience, and herself, what else she could do. That choice takes nerve, because the audience that loves you for one role does not always follow you to the next. Murphy took the risk anyway.

The award also mattered to Canadian television. Schitt’s Creek was made in Canada, with Canadian actors, Canadian writers, and Canadian locations, and it had won the biggest prizes in American television. That was a proud moment for the whole industry, and Murphy was at the centre of it. She had shown that an actor did not need to leave Canada to reach the top, and that a Canadian story, told with honesty and humour, could win over the world. Young Canadian actors watched that night and saw a path that had not existed before.

Allison McRoberts and the Sitcom Wife Who Fought Back

Her first big role after Schitt’s Creek was Allison McRoberts in Kevin Can F**k Himself, a dark comedy that began in 2021. The show had a daring idea: it followed a woman who lived inside a sitcom, the kind of show where a loud husband makes jokes and the wife rolls her eyes, and it showed what her life looked like when the laugh track stopped. In the sitcom scenes, Allison was bright, cheerful, and patient. In the scenes without the laugh track, she was angry, trapped, and determined to change her life. Murphy played both versions, and the contrast was the whole point of the show.

Allison was a long way from Alexis. She was not glamorous, she was not funny in the same way, and she was not learning to be an adult. She was an adult who had been treated like a joke for years, and who had decided to stop. Murphy played her anger with a restraint that made it more powerful, not less. She did not shout. She went quiet, and the quiet was frightening, because the audience could see a woman who had made up her mind. It was a serious performance, and critics praised it, because it showed a range that many viewers had not seen from her.

The show ran for two seasons, and it gave Murphy the lead role in a series for the first time since Schitt’s Creek. Being the lead is a different job from being part of an ensemble. The camera is on you in almost every scene, the story depends on your choices, and there is nowhere to hide. Murphy carried it, and she carried it while playing a character who was often unlikeable, which is the hardest kind of lead to play. Audiences stayed with Allison because Murphy made her anger understandable, even when her actions were not.

She also appeared in the second season of Russian Doll, the Netflix series about a woman who keeps reliving the same day, playing Ruth, a character from the past whose choices echoed into the present. The part was smaller, but it showed Murphy working in a strange, ambitious story, and holding her own in a cast that was already established. In 2023 she appeared in Black Mirror, in the episode “Joan Is Awful”, playing Joan Tait, an ordinary woman who discovers that a streaming service has turned her life into a television show. The episode was a satire of the very industry Murphy works in, and she played it with a sharpness that showed she understood the joke and the warning inside it.

Saying the Hard Thing Out Loud: Depression, Help and Home

The most important part of Murphy’s story after Schitt’s Creek is not a role. It is the honesty with which she has spoken about her mental health. She has said publicly that she struggled with depression, that the period after Schitt’s Creek ended was difficult, and that therapy and support helped her. She has spoken about it in interviews with a calm that makes it easy for other people to listen, and she has not presented herself as a victim or as a hero. She has presented herself as a person who had a hard time, asked for help, and got better.

That honesty matters, because famous people rarely admit to struggling. The industry rewards the appearance of ease, and an actor who says she is depressed risks being seen as difficult or unreliable. Murphy said it anyway, and the response was not punishment. It was gratitude, from people who had felt the same way and had been afraid to say so. When a person the public admires says that asking for help is a sensible thing to do, it gives other people permission to do the same. That is a real effect, and it is one that no award can match.

Her home life has been a steady anchor through all of this. She is married to Menno Versteeg, and the two of them have kept their life together private, living in Canada and keeping the details out of the press. That privacy is a choice, and it is a wise one for a person who has spoken publicly about mental health. A private home gives a person somewhere to recover, somewhere to be ordinary, and somewhere to be loved without an audience. Murphy has protected that space, and it has protected her.

Looking ahead, she has the freedom that few actors get: an Emmy, a beloved character, a reputation for honesty, and a home life that is stable. She can choose her work, and she has shown that she will choose work that stretches her, whether it is a dark comedy, a science fiction series, or a satire. She can also choose to speak about the things that matter to her, and she has shown that she will do that too. The girl from Ottawa who acted in school plays, studied theatre at two universities, waited through years of small parts, and then made the world laugh as Alexis Rose is now a woman who uses her fame to tell the truth, on screen and off it. That is a fuller kind of success than fame alone, and it is the reason her story is worth telling.

My Take:

When I think about Annie Murphy, the first thing I think about is honesty, and how rare it is for a famous person to be honest about the hard parts of their life. She won an Emmy, she became a star, and then she told the world that she had struggled with depression, and that she had sought help. That takes courage, and it takes a kind of honesty that many people do not have. I admire her for it, because it helps other people. When a famous person says, I had a hard time, and I got help, and I am better now, it gives other people permission to do the same. That is a gift to viewers, and it endures far beyond any award ceremony. Murphy gave that gift, and I am grateful for it.

I think about Alexis Rose, and I think about how hard it must have been to play a character who could have been a joke. Alexis was a rich girl who lost everything, a girl who had been famous for being famous, and who had never had a real job. It would have been easy to play her as a silly girl, and to laugh at her. Murphy did not do that. She played Alexis as a real person, a woman who was funny, who was vain, and who was learning. Over six seasons, she turned Alexis from a spoiled girl into a strong woman, and she did it so slowly and so honestly that the audience did not notice it happening until it was done. That is superb acting, the kind that only comes from someone who has thought long and hard about the character.

I also think about the voice, because Alexis had a famous way of speaking, a high voice and a sing-song way of saying words, that became a signature of the character. Murphy created that voice, and she used it to show Alexis’s personality. It was funny, it was strange, and it was lovable. Fans copied it, they quoted it, and they loved it. I think that voice is a good example of how an actor can build a character from the outside in, from the way she speaks to the way she moves. Murphy did that, and she did it well. She did not just learn lines. She constructed a whole human being, and that human being now belongs to television history.

I think about the Emmy win, and I think about how much it meant. She had worked for years in small roles, she had waited, and she had kept going. When she won, it was for a role that she had played for six years, a role that she had built from the ground up. I think that win mattered because it showed that hard work pays off, even if it takes a long time. Many people give up when the work is hard, and they stop before the reward comes. Murphy did not give up. She kept working, she kept learning, and she kept believing that the right role would come. When it came, she was ready. That is a lesson for anyone who is waiting for their chance. Do the work, be patient, and be ready.

I think about Kevin Can F**k Himself, and I think it showed a new side of her. Allison McRoberts was a woman who was trapped in a bad marriage, and who decided to take control of her life. Murphy played her with a seriousness that surprised people who had only known her as Alexis. She was not funny in the same way. She was angry, she was sad, and she was determined. I admire that, because it is easy to stay in the role that made you famous. It is harder to leave it and to try something new. She left it, she tried something new, and she did it well. That is a brave choice, and it is a choice that has kept her career alive. She is not a one-role actress. She is an actress who can play many kinds of people, and she has proved it.

I think about her theatre training, and I think it is the reason her work is so good. She studied theatre at university, she worked on stage, and she learned how to hold an audience, how to project her voice, and how to keep a character alive for two hours. That training shows in her television work, because she is not afraid of a long scene, and she is not afraid of a quiet moment. She knows how to listen, she knows how to wait, and she knows how to let a scene breathe. That is a skill that many television actors do not have, because they never learned it on stage. Murphy learned it, and it has made her better in every role she has played.

I think about her husband, Menno Versteeg, and I respect the way she has kept her marriage private. She has spoken about him with warmth, and she has said that he has supported her through hard times. That is a good thing, and it is a thing that many people need. A partner who supports you when you are struggling is a gift, and Murphy has that gift. She does not share every detail of her marriage with the public, and that is wise. A marriage needs privacy to grow, and she has given it that privacy. I think her life is better because she has kept it private, and I think her work is better because she has a home to go to at the end of the day.

I consider what a young actress could take away from her example, and the message is plain to see. Study the craft, accept the minor parts, do them properly, and refuse to hurry. Keep patient, keep prepared, and be ready when the major part comes along. When the role comes, own it fully, because it is yours to own. And when it ends, do not try to repeat it. Move on, try something new, and keep growing. Murphy did all of that, and she built a career that has lasted for more than fifteen years. That is not luck. That is a life shaped by intent, and it is worth studying.

When I look forward, I hope she continues working, because she has the talent and the background to tell stories that carry weight. I would like to see her play more women who are strong, more women who are funny, and more women who are trying to do the right thing. She has demonstrated she can handle that work with skill, and I think viewers need more of it. She is free to pick her projects now, and I hope she picks the ones closest to her heart. That is how fine work comes into being, and how a fine career carries on. She holds the background, the talent, and the audience who believe in her. That is a good position to hold, and she has earned it through years of effort.

In the end, I think Annie Murphy teaches us that a funny character can also be a real one, and that a real one can teach us something. Alexis Rose was funny, but she was also a woman who learned how to live, how to work, and how to love. Murphy played her that way, and audiences loved her for it. She was not a joke. She was a person, and that person grew. I admire her for that, and I think her story is worth telling, not because it is perfect, but because it is real. A genuine story told straight is always worth hearing, and Murphy’s is among the most genuine I know.

I keep coming back to the idea of honesty, because it is the word that fits her best. She was honest as Alexis Rose, honest about her mental health, and honest about her work. She was honest when the work was hard, and honest when the work was good. Honesty is not exciting, and it does not make headlines, but it is the quality that makes a career last, and it is the quality that makes people trust you. I would rather be honest than famous, and I think she would say the same. That is why I admire her, and why I believe her story will matter twenty years from now.

One more thought stays with me, and it is about the girls who watched Schitt’s Creek and who saw themselves in Alexis Rose. For many of them, Alexis was the first character who showed them that a girl could be funny and strong at the same time, that she could lose everything and still find herself, and that she could be a good person even when she started out spoiled. Murphy gave those girls that character, and she gave it to them with honesty. That is a gift to viewers, and it endures far beyond any award ceremony. I feel she understands that, and I feel it is one reason she keeps going. She knows stories have weight, and that the viewers matter as well, and she treats that responsibility with care.

I also dwell on how she behaves toward the people beside her at work, because cast and crew always remember that. A warm actor can make a set feel like a good place to spend the day, while an unkind one can spoil it for the whole crew. Murphy has a good name on sets, and people who have worked with her say that she listens, that she is prepared, and that she treats the crew with respect. That kind of standing cannot be bought with money. It is earned, day by day, over many years. She has earned it, and it is part of her legacy. She is not only known for Alexis Rose. Her name stands for professionalism, and that is a fine reputation to carry.

I also think ahead, and wonder what shape her career will take in ten years’ time. She can still take on a wide range of parts, and she has enough experience now to carry a series herself. That pairing is strong, and it gives her a liberty that few performers ever enjoy. She need not wait for anyone to offer her a part anymore. She can pick the work she prefers, and she can tell the tales she cares about most. I hope she keeps doing that, and that she tells more stories about powerful women, about families, and about the world as it truly is. She has the talent for it, and she has an audience ready to watch.

I think about the small town of Schitt’s Creek, and about what it meant to Alexis. She arrived there with nothing, and she left with a business, with friends, and with a sense of who she was. Murphy played that journey with honesty, and it made the show more than a comedy. It made it a story about growing up, even when you are already grown. I think many viewers saw their own lives in that journey, because we all arrive somewhere with nothing, at some point, and we all have to build a new life. Murphy showed them how to do it with humour, and with grace, and that is a gift.

I also think about the way she speaks about getting help, because that is a message that saves lives. When she says that therapy helped her, and that talking to someone made her better, she is telling other people that it is okay to ask for help. That is a brave thing to say in public, where everyone can hear it, and it is a kind thing to say, because someone who hears it might decide to ask for help too. I think that is the most important thing she has done, more important than any award, because an award sits on a shelf, but a kind word can change a life.

Frequently Asked Questions

When was Annie Murphy born?

Annie Murphy was born on 19 December 1986 in Ottawa, Ontario, Canada, and she studied theatre at Queen’s University and Concordia University.

What role did Annie Murphy play in Schitt’s Creek?

She played Alexis Rose, the daughter of Johnny and Moira Rose, in Schitt’s Creek, a comedy series that ran for six seasons from 2015 to 2020.

Did Annie Murphy win an Emmy?

Yes, she won the Emmy for Outstanding Supporting Actress in a Comedy Series in 2020 for her work as Alexis Rose in Schitt’s Creek.

What is Kevin Can Fk Himself?**

Kevin Can F**k Himself is a dark comedy series from 2021 in which Murphy starred as Allison McRoberts, a woman trapped in a bad marriage who takes control of her life.

Has Annie Murphy spoken about mental health?

Yes, she has spoken openly about her struggles with depression and anxiety, and about the importance of getting help and support.

Is Annie Murphy married?

Yes, she is married to Menno Versteeg, the lead singer of the band Hollerado, and the two of them keep their private life away from the public eye.

Did Annie Murphy appear in Russian Doll?

Yes, she appeared in the second season of Russian Doll, a Netflix series about a woman who keeps reliving the same day.