Sandra Oh was getting ready to leave her Los Angeles home for Canada when the world appeared to come to an abrupt stop during the coronavirus pandemic.

She was set to shoot Iris K. Shim’s horror movie “Umma” in “the wilds of north Vancouver,” Oh says during an appearance on this week’s episode of the Variety and iHeart podcast “The Big Ticket.” “Hopefully after…COVID-19, we’ll get around to shooting it,” she adds.

However, her schedule is tight. Also on the books is spending the summer shooting “The Chair,” a new Netflix dramedy series co-starring Jay Duplass as well as filming season four of “Killing Eve” in the fall. “This was going to be a tremendously busy year for me,” she says.

For now, the Golden Globe winner is at home in Los Angeles. “I have a meditation practice, and I find that has been a real anchor for me during this time to manage a lot of the interior landscape that is going on,” she says.

I’ve tried meditating but I can never get my brain to shut up, which is the whole point of meditation.

It’s actually not to get your brain to shut up. It’s to just be with it, which is not easier, baby. It is so not easier. Every single time I’m on my cushion, it’s like you’re in the ring. You’re on the mat with your own mind. But I have realized that I need to sit much longer for it to actually chill the noise out a little bit just to be able to be really present.

You’re in Olivia Wilde’s video she recently made to thank healthcare workers and mention that you have a brother-in-law who is an ER doctor in Vancouver.

My brother and my sister-in-law are research scientists so they work in labs, and my brother-in-law is an ER doc. It’s really intense. To have a doctor in the family, it’s always a blessing because you’re always texting them with a weird request. It’s like, ‘Will you please take a look at this rash?’ But with other circumstances, the most important ones, this is the entire reason why you are a doctor.

How do you react when you hear the president calling coronavirus the “China virus”?

You don’t have to look too far in any kind of way to see this president and the administration promoting racism in their policies, and in the choices of words. And something like calling the virus, ‘China virus,’ and not taking any kind of responsibility of seeing what that xenophobia and that hatred provokes in a people is just completely reprehensible. I also think, and really feel, that people know and understand what a global crisis this is. There is no time and no place for racism. We don’t have time for it.

Let’s talk about “Killing Eve.” How did Villanelle leave Eve for dead at the end of the last season but walk away without making sure she was actually dead?

I have my own theory, which might not be in line with the writers or even Jodie [Comer], because I don’t really know what Jodie felt like. What I thought is that [Villanelle] knows. She’s too good at her job. She knows.

When we see Villanelle in that clown costume in season 3, is that “Killing Eve’s” ode to the Joker?

I don’t think so. I think that would definitely be a conversation to have with Suzanne Heathcote, the head writer, but I don’t think so. I think it was really to put Villanelle in an outrageous situation, and then the horror that can happen. No one likes clowns really.

Do you think Eve and Villanelle could ever actually live a happy life together?

No, and I think that’s what makes great drama. I think that’s what makes great romance. It’s the yearning that brings people in. It’s that dramatic storytelling. It’s based on desire and yearning.

Do you ever get to a point in the script and think, “How did the writers even come up with murdering someone this way?”

You always celebrate the kills that you would never think up and the imaginative kills. It’s a terrific, delicious part of the show where you can see the expression of all our writers.

And before we go I have to ask, after I met your parents at the 2018 Emmys, how are they doing?

They’re okay. My mom is really stubborn and independent and won’t let my nieces go grocery shopping for her, which stresses me out really badly.

This interview has been edited and condensed. You can hear it in its entirety below. You can also find “The Big Ticket” at iHeartRadio or wherever you listen to your favorite podcasts.