Based on Luke Jennings’ Codename Villanelle novellas, Killing Eve (8 p.m. Sundays, AMC and BBC America) was a surprise hit in its debut last year. The wildly entertaining drama centers on Eve Polastri (Sandra Oh), a security operative for British intelligence, and Russian serial assassin Oksana Astankova (Jodie Comer), who prefers the chic moniker Villanelle. Eve’s international hunt for Villanelle evolves into a mutual obsession, bringing viewers along on a sexy cat-and-mouse game packed with twists and humor.
Creator Phoebe Waller-Bridge has handed off head writing duties to Emerald Fennell this season, but the smart, witty dialogue endures, and we’re left with an utterly feminist take on the well-worn and male-dominated spy genre.
Season two picks up right after Eve and Villanelle’s brief but turbulent reunion in the first season’s finale. With Villanelle making a mysterious escape, Eve fears she may be dead. She’s in a complicated position — she’s infatuated with Villanelle and doesn’t truly want this hunt to end, certainly not in death. But if Villanelle is alive, Eve and those close to her could be in serious danger. Their relationship reminds me of Hannibal Lecter’s and Will Graham’s in the excellent NBC series Hannibal — a love that could kill. A tumultuous tango.
Of course, a little stab wound isn’t going to take down our Villanelle. It’s fascinating to watch her not be in complete control of the situation. Last season, even while in a Russian prison, she managed to seem like a total boss. So to see any sign of weakness is something totally new for this character. This is Villanelle without immunity, without a handler and without her typical wardrobe.
Fashion plays a crucial and delightful role in Killing Eve. Villanelle is a wolf in couture clothes. From a cotton candy pink tulle gown to child’s size superhero pajamas, Villanelle’s clothing pops off the screen and works as both a suit of armor and a symbolic middle-finger to anyone who might try to control her. One might expect a pro-assassin to sport something subtle, so as not to stand out. To that, Villanelle essentially says, “It’s called fashion, look it up.” It’s always been her thing. She’s not going to let a kill prevent her from serving looks — and she’s proficient enough at both to get away with it.
Contrastingly, Eve’s wardrobe is muted and functional. She always looks pulled together, but clothing serves a practical purpose for her. We only occasionally see her in a fancy dress. Perhaps that just adds to the attraction to Villanelle. Opposites attract, right?
It’s particularly interesting to see Villanelle’s costume choices this season, when we find her on the run and often times in desperate situations. She doesn’t have the luxury of an armoire packed with enviable ensembles. She doesn’t even have a practical uniform like Eve. She must cobble together an outfit from ordinary stolen items here and there. The juxtaposition of her frumpy finds and swanky statement pieces is a visual delight that just adds to the story.
While Villanelle heals and regains her footing, Eve begins to investigate another serial killer — one that’s completely opposite of Villanelle’s give-no-fucks, showboating style. Dubbed The Ghost, this assassin flies under the radar and makes her marks with incredible discretion. As Eve points out, Villanelle would hate her. Do the two killers share a boss? Is Villanelle willing to share Eve’s attention with another?
Sandra Oh is perfection as the sharp, sassy workaholic spy, having already accumulated a number of awards for her role. Jodie Comer is the breakout for being able to work opposite of such a stellar actor and truly embody an otherworldly character like Villanelle. At times a psychosexual thriller, at times a romantic comedy, Killing Eve is always anchored by committed performances. It’s refreshing to see a series that lets women shine, from its impeccable stars to the creative forces behind the camera.
Recently renewed for a third season, Killing Eve tramples the tropes and stereotypes of spy stories and femininity with bankable style and flair.
This article appears in Apr 17-24, 2019.
