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Killing Eve |OT| A Killer Spy Thriller from the mind of Phoebe Waller-Bridge
- Thread starter berzeli
- Start date
Hell of a cliff-hanger to end the episode on.
When Eve told her husband all he has is worrying about her
Villanelle's scenes with her handler are some of the best parts of the series. Lol @ her dressing up like him and trying to get his birthday out of him.
Then when she hit him with the fact she knew he had a daughter
When Eve told her husband all he has is worrying about her
Villanelle's scenes with her handler are some of the best parts of the series. Lol @ her dressing up like him and trying to get his birthday out of him.
Then when she hit him with the fact she knew he had a daughter
OP
OP
I'm pretty astonished at how consistently good the production values are. Especially with all those locations.
It totally was an accident. But yeah, sleeping with Villanelle seems to be a good way to get killed, just like with Sebastian (RIP, gone too soon).
Comer's facial expressions alone are better than everything in 70% of all other TV shows.
It totally was an accident. But yeah, sleeping with Villanelle seems to be a good way to get killed, just like with Sebastian (RIP, gone too soon).
Comer's facial expressions alone are better than everything in 70% of all other TV shows.
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OP
OP
The show also won the critic's poll of best show currently on television (at the bottom of all that robot talk):
http://www.indiewire.com/2018/05/tv-show-robot-westworld-americans-critics-survey-1201959244/
http://www.indiewire.com/2018/05/tv-show-robot-westworld-americans-critics-survey-1201959244/
Killing Eve killing it, and also breaking a decade-long ratings growth:
https://uproxx.com/tv/killing-eve-ratings-bbc-america/
https://uproxx.com/tv/killing-eve-ratings-bbc-america/
I really like this show but not a fan of Eve being so bumbling. And that last episode with the dude in the fields just sitting there and the long pauses of trying to figure out he has to run away from FUCKING ASSASSINS was excruciating. I soon see myself rooting for Villanelle to kill everyone.
Spoilers on tonight's episode
Vanity Fair: Behind the Scenes of 2018's Most Breathtaking TV Face-Off
Vanity Fair: Behind the Scenes of 2018's Most Breathtaking TV Face-Off
I have not seen last nights episode yet but my wife and I are loving this show. I am glad that is viewers continues to rise week to week. More people need to start watching this.
The people that decides on the kill list, Villanelle wants to know if Konstatine is part of the 12.
The fact she may know more than what her role dictates she should know may complicate things.
OP
OP
Aaaaaaaah. That scene.
Also, me when talking to guys on grindr:
(well, at least some of the time)
Also, me when talking to guys on grindr:
(well, at least some of the time)
Thanks for posting this! It's great.
PW-B the goddess.
Excellent episode this week! Oh and Comer killed it.
She's so good.
She's so good.
Yikes at what Villanelle did to Frank and Eve having to tell her boss in the car.
She does have great taste, the dress looked really good on Eve and I'm sure the perfume smelled lovely. It really is incredible just how entertaining she is to watch, despite being a psychopath. Her fascination with Eve is intriguing as well, not sure what her ultimate end goal is there.
This was the 2nd mention of Anna right? Possible daughter or sister maybe of Villanelle.
She does have great taste, the dress looked really good on Eve and I'm sure the perfume smelled lovely. It really is incredible just how entertaining she is to watch, despite being a psychopath. Her fascination with Eve is intriguing as well, not sure what her ultimate end goal is there.
This was the 2nd mention of Anna right? Possible daughter or sister maybe of Villanelle.
Ah thanks - not sure how I missed that bit.
All caught up, this is so damn good. Even though it's darkly funny, it's really tense which is not what I was expecting from Phoebe.
I'm surprised this thread is so dead. Villanelle was electric again tonight. She's one of my all time favorite tv/movie psychopaths at this point. I was expecting Konstanin to betray her, but is he also out of the picture by the end?
It did look like he left her in the hole at the end of the episode, when she was expecting to get out. No doubt she was find a way out.
I guess it's not too surprising that her handler would actually be connected with the intelligence community.
Villanelle taunting the prison guards was really funny.
Eve's marriage gets shakier and shakier.
It's been hinted here and there that the organization behind Villanelle is sorta done with her. She's been characterized by various characters as supremely self-confident and reckless in her flamboyant style.
If you take a step back from the novelty of the performance, you could argue that she's kinda basic, in a way. She's pretty easily controlled by superficial luxuries that probably don't cost very much when weighed against the value of having a person of interest killed.
She's also pretty juvenile in how impulsive she is, and the way she swings from sexual invites to death-threats of the people who are directly responsible for her level of lifestyle.
I think - and hope - that the writers are keeping this aspect of the character in mind. Villanelle is easy to enjoy since she's so oddly fascinating, but there is a real danger of giving a character you like plot-armor. The show has done a goob job so far at poking fun at the trope of "evil woman is not at fault for her actions, she's forced to do this because of X", and I hope they keep that up.
At this point in the show, it makes sense to deflate the initial infatuation the audience has with Villanelle by applying a bit of internal logic. Why would group that uses assassins keep Villanelle in her current capacity? She's careless, goes off script, is easily distracted and clearly convinced that she's unique, and that the 12 need her more than she needs them (which can't be the case).
Several of the spectacular kills she's done look - on second thought - extremely ill-planned. She cat-and-mouse hunts a guy through a well-lit office complex, and we get direct confirmation that there is at least one witness on the outside to her actions.
In Italy, she blends into a party by borrowing the dress of one of its hosts. This is incredibly risky, and could have been avoided by simply bringing a dress in a messenger-bag. She could have easily been spotted by the wife, or someone else who is familiar with the dress.
In the latest episode, she fumbles with her killing-tool, confronts the target in the most public way possible, creating an enormous scene. (I get that the point was to cause confusion, but in reality, word would very quickly travel as to who the person with a weapon is).
My point is that she wings it in a way that makes her an unreliable asset. It's mentioned that she has a lot of money stockpiled somewhere, but there doesn't seem to be any plan B for her, for her retirement. If she actually was as smart as she thinks she is, she wouldn't put so much blind trust in the 12, and their willingness to keep her around.
I hope future episodes will approach the subject from this angle. So far, Villanelle has gotten a bit of a "badass-terminator-protagonist-edit" that, while being highly entertaining, doesn't really make sense in the long run. There's no reason that the 12 share the love for Villanelle that the viewer has, and from their point of view, she behaves as a highly skilled, but unreliable agent, who sorta acts like a teenager.
Dropping her now would also make sense if you want to maintain a dominate/authority role in the assassin-contractor-relationship. Assassins probably don't have very long careers, as they quickly become a liability. It makes more sense to periodically scout out a new young assassin, keep her/him going for a decade or so, in a similar way that it's been hinted that Villanelle has been maintained.
The show has already showed us that the 12 have several assassins, and actively try to minimize communication between them. Villanelle is supremely talented, but not a singular phenomenon as far as access to young sociopaths who can be utilized as assassins and who nobody will miss if they die. It's a little odd that this connection does not seem to have occurred to Villanelle; that just as she was picked from a rough russian prison, the 12 could do the same to her successor.
Viewers have been enamored by Villanelle, in a way that I fear could lead to bad writing if you lean into it too heavily (see Dexter for one of the worst examples of this relationship between writer and character).
You can subvert that relationship without selling out the character or be vindictive about it (tearing down everything that you established and like about the character). I hope, moving forward, that there will be real stakes for Villanelle, and that sorta has to start with showing that for all her cool-girl-badassery, there is a bigger world outside of her, with their own motives, that will abandon her as soon as she becomes more trouble than she's worth.
Suffice it to say, I really like the vibe of this show, and hope they don't become complacent in the fresh air it has brought. As a side-note, it is a little depressing to realize that so many little scenes in this show feel novel, not because their content is remarkable, but because they are deviating slightly from the norm. The little talk in the car this episode about dry lips, and using lipstick as a substitute for lip-balm is a good example.
It's a super-mundane little thing, but it feels novel and fresh, because that's usually not stuff female characters on tv talk about, and makes you think about how formulaic popular media can be.
At the same time, I can't roll my eyes hard enough at knee-jerk thinkpieces that call Villanelle a "feminist assassin". It's like the most surface-level take on a series that is doing a lot of little actually interesting things, and is such a disservice to both the character, the show, and just general discourse. Talking about Villanelle as a feminist is basically tapping into the same surface-level thinking that the character Villanelle takes advantage of in order to get close to her victims, so I guess there's some irony there.
Maybe I just have come to hate thinkpieces as content-filler in contemporary media, and the perceived need for them.
EDIT: Also, the guy who plays Kenny is kinda cute and has a nice voice. The scenes between Eve and her husband have consistently felt off throughout the show, and I can't tell if it's the way they are written, or the vibe that the husband gives to his character. Their interactions feel like its from a different show, or like the husband is a secret alien or something.
If you take a step back from the novelty of the performance, you could argue that she's kinda basic, in a way. She's pretty easily controlled by superficial luxuries that probably don't cost very much when weighed against the value of having a person of interest killed.
She's also pretty juvenile in how impulsive she is, and the way she swings from sexual invites to death-threats of the people who are directly responsible for her level of lifestyle.
I think - and hope - that the writers are keeping this aspect of the character in mind. Villanelle is easy to enjoy since she's so oddly fascinating, but there is a real danger of giving a character you like plot-armor. The show has done a goob job so far at poking fun at the trope of "evil woman is not at fault for her actions, she's forced to do this because of X", and I hope they keep that up.
At this point in the show, it makes sense to deflate the initial infatuation the audience has with Villanelle by applying a bit of internal logic. Why would group that uses assassins keep Villanelle in her current capacity? She's careless, goes off script, is easily distracted and clearly convinced that she's unique, and that the 12 need her more than she needs them (which can't be the case).
Several of the spectacular kills she's done look - on second thought - extremely ill-planned. She cat-and-mouse hunts a guy through a well-lit office complex, and we get direct confirmation that there is at least one witness on the outside to her actions.
In Italy, she blends into a party by borrowing the dress of one of its hosts. This is incredibly risky, and could have been avoided by simply bringing a dress in a messenger-bag. She could have easily been spotted by the wife, or someone else who is familiar with the dress.
In the latest episode, she fumbles with her killing-tool, confronts the target in the most public way possible, creating an enormous scene. (I get that the point was to cause confusion, but in reality, word would very quickly travel as to who the person with a weapon is).
My point is that she wings it in a way that makes her an unreliable asset. It's mentioned that she has a lot of money stockpiled somewhere, but there doesn't seem to be any plan B for her, for her retirement. If she actually was as smart as she thinks she is, she wouldn't put so much blind trust in the 12, and their willingness to keep her around.
I hope future episodes will approach the subject from this angle. So far, Villanelle has gotten a bit of a "badass-terminator-protagonist-edit" that, while being highly entertaining, doesn't really make sense in the long run. There's no reason that the 12 share the love for Villanelle that the viewer has, and from their point of view, she behaves as a highly skilled, but unreliable agent, who sorta acts like a teenager.
Dropping her now would also make sense if you want to maintain a dominate/authority role in the assassin-contractor-relationship. Assassins probably don't have very long careers, as they quickly become a liability. It makes more sense to periodically scout out a new young assassin, keep her/him going for a decade or so, in a similar way that it's been hinted that Villanelle has been maintained.
The show has already showed us that the 12 have several assassins, and actively try to minimize communication between them. Villanelle is supremely talented, but not a singular phenomenon as far as access to young sociopaths who can be utilized as assassins and who nobody will miss if they die. It's a little odd that this connection does not seem to have occurred to Villanelle; that just as she was picked from a rough russian prison, the 12 could do the same to her successor.
Viewers have been enamored by Villanelle, in a way that I fear could lead to bad writing if you lean into it too heavily (see Dexter for one of the worst examples of this relationship between writer and character).
You can subvert that relationship without selling out the character or be vindictive about it (tearing down everything that you established and like about the character). I hope, moving forward, that there will be real stakes for Villanelle, and that sorta has to start with showing that for all her cool-girl-badassery, there is a bigger world outside of her, with their own motives, that will abandon her as soon as she becomes more trouble than she's worth.
Suffice it to say, I really like the vibe of this show, and hope they don't become complacent in the fresh air it has brought. As a side-note, it is a little depressing to realize that so many little scenes in this show feel novel, not because their content is remarkable, but because they are deviating slightly from the norm. The little talk in the car this episode about dry lips, and using lipstick as a substitute for lip-balm is a good example.
It's a super-mundane little thing, but it feels novel and fresh, because that's usually not stuff female characters on tv talk about, and makes you think about how formulaic popular media can be.
At the same time, I can't roll my eyes hard enough at knee-jerk thinkpieces that call Villanelle a "feminist assassin". It's like the most surface-level take on a series that is doing a lot of little actually interesting things, and is such a disservice to both the character, the show, and just general discourse. Talking about Villanelle as a feminist is basically tapping into the same surface-level thinking that the character Villanelle takes advantage of in order to get close to her victims, so I guess there's some irony there.
Maybe I just have come to hate thinkpieces as content-filler in contemporary media, and the perceived need for them.
EDIT: Also, the guy who plays Kenny is kinda cute and has a nice voice. The scenes between Eve and her husband have consistently felt off throughout the show, and I can't tell if it's the way they are written, or the vibe that the husband gives to his character. Their interactions feel like its from a different show, or like the husband is a secret alien or something.
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I snipped most of your post but it was a good summation of where the show is at the moment. We should remember though that at least some of the future rides on the strength of the novels they're based this off of. I don't know how directly they're drawing from them, as I don't think I've seen anyone say they've actually read them. I would venture to guess that the basic plot structure is from the novels and the small talk moments are pure PWB creations.
That's true, but only true to a certain point. I suspect that the way Game of Thrones became such a phenomenon, and broke away from the source material, is now creating waves in future productions, in the way that it emboldens new interpretations of a narrative.
"Hannibal" is probably also another show that demonstrated that new, idiosyncratic ways of treating "cannon material" could lead to new, interesting products that don't feel like a "course-corrective" of the original source, but more of a "take", in the way a song can be sampled and mixed, and both the original and the new creation offer something distinct, while also being loosely connected.
In this way, moving forward, "well this is what happens in the books..." is probably going to play less of a role than it has before, in terms of adaptations. Whether that's good or not is up to the individual. I think it's great, since the original source will always exist, and you open up for scenes and takes that feel novel because they are informed by contemporary sensibilities, rather than being slavishly devoted to exactly how it was written.
I don't blame you for snipping my text; I'm just word-spilling at this point. Also a little unsure of how much to talk about recent episodes. It has aired, so it should be fair game, but, at the same time, this thread isn't very active, and I suspect that this is one of those shows that will have a lot of LTTP people coming to it well after it originally aired.
I suppose I should learn how to do spoiler text stuff. Will investigate.
"Hannibal" is probably also another show that demonstrated that new, idiosyncratic ways of treating "cannon material" could lead to new, interesting products that don't feel like a "course-corrective" of the original source, but more of a "take", in the way a song can be sampled and mixed, and both the original and the new creation offer something distinct, while also being loosely connected.
In this way, moving forward, "well this is what happens in the books..." is probably going to play less of a role than it has before, in terms of adaptations. Whether that's good or not is up to the individual. I think it's great, since the original source will always exist, and you open up for scenes and takes that feel novel because they are informed by contemporary sensibilities, rather than being slavishly devoted to exactly how it was written.
I don't blame you for snipping my text; I'm just word-spilling at this point. Also a little unsure of how much to talk about recent episodes. It has aired, so it should be fair game, but, at the same time, this thread isn't very active, and I suspect that this is one of those shows that will have a lot of LTTP people coming to it well after it originally aired.
I suppose I should learn how to do spoiler text stuff. Will investigate.
Surprised Villanelle ever agreed to enter that prison. Her employers have been growing tired of her act since episode one, she should have seen this coming a mile away.