In the opening scenes the middle-aged characters are getting trashed. “At least we have the weekend” (to recover), they say. Cut!! SATURDAY say the words. Two women walking in a boring government building. They exchange friendly banter. She asks if she got her a croissant. No, I did not. They fight over the remaining bits.
I’d say more but I don’t know how to without spoiling stuff!
The show is good, one of the few I actively look forward to watching each week. Villanelle is just such an amusing assassin, you’re not really sure who you should be rooting for. And given her capriciousness, it sure does make for some very tense scenes!
Her (Sarah Barnett’s) comments about what made the show successful and “buzzworthy” are interesting to note to see how certain things and shows do well or do badly in the fan-driven social media world today, and especially content targeted toward women.
Finally getting into this show and I’m really digging it. It’s still available to watch for 4 more days on the BBC America app (available for Xbox and Amazon Fire, among others). There are only eight episodes, so you can do it.
Sandra Oh as an MI-5 agent is unexpected casting to say the least. Jodie Comer feels like a discovery. And I can’t believe that no one has mentioned yet that the amazing Phoebe Waller-Bridge is the developer of the series.
We watched episode 3 last night. What a stunning ending. Like a lamb to the slaughter. Bill seemed like too experienced a field operative to not have put up some kind of fight. We were aghast at how swiftly and viciously she dispatched him.
Watched it late and went to bed feeling sad. We are so eager to watch the next episode tonight.
Boo! I mean, I’ll show up for whatever Jodie Comer is going to do going forward. But one of my favorite things about Killing Eve is how well Comer and Oh channelled Phoebe Waller-Bridge’s voice. After Fleabag, that voice felt so intimately familiar, even in a spy thriller setting. I’ll miss it in season two.
I think you kind of need it, though. Both women are partly defined by their relationship to their father figures. Eve loses hers, and Villanelle is trying to escape hers.
Besides, this isn’t a procedural. If a character has to do something implausible for dramatic reasons, I’m okay with that in a story like this. Good drama wins out over plausibility. Although what was most implausible was the delightfully avuncular David Haig walking through a nightclub without drawing puzzled stares from everyone he passes. “Who brought their grampa here…?”