The line between domesticity and danger is a compelling one, and it’s a space that’s seen a surge of interest in recent years. While a new film, Kiss of Death, featuring a wife and mother leading a double life as a hitwoman, recently premiered, the trope isn’t new. In fact, it’s a narrative thread that’s been explored in comics for nearly a decade, most notably in the Dark Horse series Lady Killer.
Created by Joëlle Jones and Jamie S. Rich, Lady Killer debuted in January 2015 and ran for five issues. A second mini-series, written solely by Jones and titled Lady Killer 2, followed in August 2016, concluding in August 2017 after five issues. The comic centers on Josie Schuller, a 1960s housewife in Seattle who expertly balances the demands of family life – a husband, Gene, twin daughters, Jane and Jessica, and her mother-in-law, Greta (affectionately known as Mother Schuller) – with a highly lucrative, and violent, career as a contract killer.
The premise, while seemingly outlandish, is grounded in a specific aesthetic and tone. Jones herself has spoken about the visual inspiration behind the series, citing a “love of vintage advertising and illustration from the 1940s through the 1960s,” and specifically referencing the work of American painter and press illustrator Norman Rockwell. This influence is evident in the comic’s art style, which often juxtaposes idyllic domestic scenes with the brutal reality of Josie’s profession.
Josie doesn’t simply carry out hits; she adopts various disguises to blend in and execute her assignments. The comic details her operating as an Avon lady and even a bunny girl, highlighting the contrast between her public persona and her secret life. This duality is central to the series’ appeal, exploring themes of identity, societal expectations, and the hidden lives people lead.
The success of Lady Killer led to collected editions, including an ISBN-designated compilation, Lady Killer (9781616557577), and a follow-up, Lady Killer 2 (9781506700298). The comic’s popularity also speaks to a broader trend in entertainment: a growing appetite for complex female characters who defy traditional stereotypes. While the recent film Kiss of Death explores similar territory, Lady Killer arguably paved the way for this type of narrative in the mainstream.
Interestingly, the theme of a woman leading a double life, specifically one involving violence, isn’t confined to comics and film. A Facebook post from April 27, 2025, within the Good Housekeeping Book Room group, references Martina Cole’s The Lady Killer as “so gripping.” This suggests a pre-existing audience for stories featuring female protagonists involved in dangerous and clandestine activities, predating the renewed attention brought by films like Kiss of Death.
Joëlle Jones’s work on Lady Killer builds on a collaborative history with Jamie S. Rich. The pair previously worked together on other projects, including Lady Killer for Dark Horse. Rich also has credits on Image Comics’ IT GIRL AND THE ATOMICS, a spin-off of Mike Allred’s Madman. This collaborative background likely contributed to the unique blend of crime thriller and retro aesthetic that defines Lady Killer.
The enduring appeal of the “housewife assassin” trope, as exemplified by Lady Killer and now echoed in films like Kiss of Death, lies in its subversion of expectations. It challenges conventional notions of femininity and domesticity, presenting a protagonist who is both nurturing and deadly. This complexity, combined with the inherent tension of a double life, makes for a compelling and increasingly popular narrative in contemporary entertainment.
While the initial Lady Killer series concluded in 2017, the continued interest in the character and the broader theme suggests that this is a story with staying power. The recent release of Kiss of Death and the ongoing conversation around strong female leads in action thrillers demonstrate that the market is ripe for more narratives that explore the darker side of domesticity and the hidden capabilities of seemingly ordinary women.
