The 15 Best Rhea Seehorn Roles

Rhea Seehorn has built a career across drama, comedy, voice work and limited series, moving between network sitcoms, prestige cable, independent films and streaming originals. Her roles span hard-charging attorneys, corporate operators, journalists, animated matriarchs and more, with extensive credits that track the rise of cable and streaming through the 2010s and 2020s.

Below is a curated look at fifteen notable turns from across her filmography. Each entry lists the project, release year window and character name, followed by concise background on the title and specifics about Seehorn’s role—episode counts where applicable, primary collaborators, and the context of the character within the story.

‘Better Call Saul’ (2015–2022) – Kim Wexler

AMC’s prequel to ‘Breaking Bad’ follows Jimmy McGill’s transformation into Saul Goodman across six seasons created by Vince Gilligan and Peter Gould. The series was produced in Albuquerque, New Mexico, and aired 63 episodes. It integrates court cases, cartel storylines, and law-firm politics, intersecting with ‘Breaking Bad’ characters and timelines in its final stretch.

Seehorn’s character Kim Wexler is introduced as a Sandpiper case associate at HHM who later becomes a partner and co-founds Wexler-McGill. The role spans all seasons, charting Kim’s client roster, her pro bono work, the Mesa Verde account transition, and her eventual separation from the legal profession. Seehorn also directed an episode during the final season while continuing in the role.

‘Whitney’ (2011–2013) – Roxanne Harris

‘Whitney’ is a multi-camera NBC sitcom created by Whitney Cummings, produced over two seasons with a Los Angeles studio audience and a conventional network half-hour format. The ensemble centers on relationships and work life, with recurring sets including an apartment, bar, and workplace interiors.

Seehorn plays Roxanne Harris, a colleague and friend within the main social circle. The character’s episodes include office-centric plots and bar-set scenes, with storylines built around co-worker dynamics, dating, and workplace expectations typical of network sitcom A/B-plots. Seehorn appears throughout both seasons among the core supporting cast.

‘I’m with Her’ (2003–2004) – Cheri Baldzikowski

ABC’s ‘I’m with Her’ is a single-camera sitcom inspired by creator Chris Henchy’s real-life relationship with Brooke Shields, running one season. The series alternates between film-industry settings and everyday Los Angeles locations, with episode arcs built around publicity, scheduling conflicts, and mismatched lifestyles.

Seehorn portrays Cheri Baldzikowski, the lead’s sister whose subplots intersect with public-relations snafus and family obligations. The role places her in family-home and workplace settings, with recurring interactions that connect the celebrity plotlines to non-industry characters, anchoring episodes that contrast ordinary routines with media attention.

‘Franklin & Bash’ (2011–2014) – Ellen Swatello

TNT’s legal dramedy ‘Franklin & Bash’ ran four seasons, following two unconventional attorneys inside a corporate law firm. Production used Los Angeles locations and recurring courtroom sets, mixing case-of-the-week trials with serialized office politics across 40+ episodes.

Seehorn recurs as Deputy District Attorney Ellen Swatello, positioned opposite the defense in courtroom sequences. Her appearances cover multiple seasons, handling prosecutions that frame legal strategies, discovery disputes, plea negotiations, and cross-examination beats. The role adds prosecutorial perspective to case structure and inter-office rivalries.

‘Inside Man’ (2022) – Beth Davenport

‘Inside Man’ is a four-episode limited series created by Steven Moffat, produced for the BBC and released internationally on streaming. The plot cross-cuts between a U.S. prison and a British village, connecting a death-row criminologist, a vicar, and a journalist through an escalating investigation.

Seehorn plays Beth Davenport, an American journalist whose interviews and source-gathering sequences drive episode transitions between U.S. and U.K. settings. The role includes newsroom and prison-interview locations, with scenes tied to case chronology, information handoffs, and ethical decisions about publishing and source protection.

‘The Harper House’ (2021) – Debbie Harper

‘The Harper House’ is an animated comedy from Paramount+ that ran one season, using an ensemble voice cast and a 2D animation style focused on family, school, and neighborhood settings. Episodes center on household finances, school plots, and community frictions.

Seehorn voices Debbie Harper, the family’s overconfident matriarch navigating job loss, rehousing, and parenting logistics. The role spans the full voice-cast ensemble, with episodes featuring school board meetings, home-repair sequences, and neighborhood interactions, aligning the character’s decisions with season-long family arcs.

‘Things Heard & Seen’ (2021) – Justine Sokolov

‘Things Heard & Seen’ is a supernatural thriller feature adapted from Elizabeth Brundage’s novel, released as a streaming original. Production emphasizes upstate-New-York period detail, blending academic settings, art-history references, and a haunted-house framework.

Seehorn appears as Justine Sokolov, an academic colleague whose scenes cover department politics, research work, and mentoring discussions. The character functions within faculty-meeting and campus locations, connecting plot developments about professional evaluations, personal safety, and institutional procedures that frame the film’s non-supernatural stakes.

‘Linoleum’ (2022) – Erin Edwin

‘Linoleum’ is an independent drama-sci-fi feature led by Jim Gaffigan in dual roles, set around a failing local-access science show and an unfolding series of surreal events. The production uses midwestern small-town locations, practical effects, and a timeline that folds personal history into the narrative structure.

Seehorn plays Erin Edwin, a competent professional and spouse whose scenes involve workplace meetings, family logistics, and medical and education systems. The role is anchored in conversations that establish career trajectories, parental responsibilities, and the practical constraints that structure the film’s reality against its speculative elements.

‘Cooper’s Bar’ (2022–2023) – Kris Latimer

‘Cooper’s Bar’ is a short-form comedy series that originated as a proof-of-concept and expanded into an AMC digital series, produced on a compact set centered around a backyard tiki bar. Episodes are designed for short runtimes with ensemble improvisation and guest cameos.

Seehorn plays Kris Latimer, a blunt Hollywood executive whose meetings and feedback sessions frame the show-business satire. The character appears in pitch sessions, notes calls, and set-visit sequences that track project development, representing studio gatekeeping, option discussions, and contract hurdles that drive the comedy mechanics.

‘Veep’ (2017–2019) – Michelle York

HBO’s ‘Veep’ is a political satire created by Armando Iannucci, filmed with handheld coverage and overlapping dialogue, and spanning seven seasons. The series cycles through campaign headquarters, congressional offices, and media studios, charting leadership bids and staff turnovers.

Seehorn recurs as Michelle York, a high-level political operator whose scenes involve consulting meetings, candidate positioning, and staffing considerations. The character participates in strategy rooms and donor-event sequences, contributing to plotlines about personnel decisions, polling responses, and coalition management during election cycles.

‘The Twilight Zone’ (2019) – Anna

‘The Twilight Zone’ revival is an anthology series with self-contained episodes, hosted by Jordan Peele and produced with cinematic single-episode crews. Each installment employs distinct casts, tones, and locations while preserving the franchise’s speculative-fiction format.

In the episode ‘Not All Men’, Seehorn appears as Anna, a family member caught in a community crisis after an unexplained phenomenon alters behavior. Her scenes include home-interiors and town-exteriors that map the escalation of the event, with dialogue and blocking that clarify neighborhood geography, safety planning, and inter-household communication.

‘American Dad!’ (2018–2020) – Various (voice)

‘American Dad!’ is an animated sitcom produced by 20th Television Animation, with long-running seasons and a large roster of guest voices. Episodes are standalone with occasional serial callbacks, set around the Smith family and their community.

Seehorn contributes guest voice roles across multiple episodes, recording in standard animation workflows that separate principal and guest sessions. Her credited parts align with episode-specific character designs and jokes, appearing in A- and B-plots that utilize cutaways, workplace spoofs, and civic settings within the show’s established town map.

‘Better Call Saul: Employee Training’ (2017–2018) – Kim Wexler

This short-form digital companion series to ‘Better Call Saul’ consists of in-universe training modules released between seasons, produced by AMC as branded web content. Segments are filmed on familiar sets and incorporate legal-ethics and customer-service frameworks as part of the show’s extended worldbuilding.

Seehorn reprises Kim Wexler across modules that cover professional conduct, client-intake procedures, and office-policy scenarios. The shorts integrate scripted prompts with mock-instructional graphics, providing additional context for Kim’s firm responsibilities and the legal standards referenced in the main series.

‘Law & Order: Special Victims Unit’ (2004) – Martha Cobb

‘Law & Order: Special Victims Unit’ is a long-running procedural that uses New York City locations and a case-file structure centered on the SVU squad room, precinct, and courthouse sets. Episodes typically follow a discovery-investigation-trial pattern within a single hour.

Seehorn’s guest turn as Martha Cobb places her within interrogation rooms and witness-interview sequences, contributing case details that advance the procedural timeline. Her scenes align with the show’s evidentiary beats—statements, identifications, and legal follow-ups—designed to move the investigation from initial report to courtroom resolution.

‘The Shaggy Dog’ (2006) – Danielle

‘The Shaggy Dog’ is a family-comedy feature produced by Walt Disney Pictures, a modernized take on the studio’s 1959 property. The film uses Los Angeles area locations, animal-performance units, and VFX for transformation sequences.

Seehorn appears as Danielle in supporting scenes connected to workplace and family settings, interacting with principal cast across office and home interiors. The role is situated within the film’s comedic setups, contributing to plot transitions that link professional obligations to the central family storyline.

Have another favorite performance of hers that deserves a spotlight? Share your thoughts in the comments!