One of 2018’s most interesting pop culture phenomenons was the way that TV audiences around the world slowly, and passionately, fell in love with Killing Eve. It was the sort of show that built up such a massive reputation almost immediately, starting conversations around its diverse casting, original writing voice, and genuinely unique tone. It was the sort of show that felt like it absolutely could not be as good as “they” said but, within mere minutes, manages to win you over. Why? Because it simultaneously feels like nothing else on TV and also a combination of a dozen or so stories you already love.
But that creates an enormous set of expectations, which were made even more doubtful when series writer Phoebe Waller-Bridge announced she was stepping down for Season 2. But, miraculously, the first two episodes of season two are not just good: they’re just as good as Season One, and take the show in exciting directions that feel unexpected given how the previous season ended. They should also go completely unspoiled… so we’ll keep specific plot details vague!
One thing that feels safe to say about the second season premiere is that it begins mere seconds after the first season ended, a sequence that feels like it could have been from a series finale, not a season finale. But what’s remarkable about this sequence is that it takes the story in an unexpected direction, and quickly gives the show enough new plot material to carry it on for at least an additional season or two. Killing Eve‘s high concept premise has all the makings of a one-hit-wonder series, a la Homeland or Heroes. The writers are smarter than that, however, and avoid possible plot devices that could lead to a sophomore slump. They’re interesting in expanding the universe, not just one-upping it.
Eventually, once the second season’s main plot and themes are introduced to the series, the show settles into its groove from Season One and jumping between dialogue that’s a joy to listen to and plot twists that are brilliantly executed. Killing Eve, thankfully, has the confidence to keep things fun and entertaining, without going for broader laughs or more generic revelations. Everything feels natural and smooth, and with the exception of one truly shocking moment (which works), the show never feels desperate to keep audiences interested. They know they will be, and they’re bringing everything that made the show a hit in the first place. Including the queer overtones that helped make the show stand out like a more light-hearted version of Hannibal.
Speaking of, the show’s second episode abandons the typical plot-driven narrative of the series and gives Villanelle a unique storyline that essentially serves as half a bottle episode. Again, the details of this episode should go unspoiled, but it provides one of the more thorough and explicit explorations of relationships in the series short history. With a tone and style that’s weirdly similar to the Netflix/Lifetime series You, episode two explores toxic relationships through the lens of a thriller, with a tone that’s surprisingly eerie while also staying funny. It’s a stunning work and one of the best episodes of the series so far, offering viewers a preview of how much the writers can do with an occasional episode that stands (somewhat) alone. And the best part: after the stand-alone plot is finished, the characters are thrown back into the main narrative seamlessly.
It goes without saying, but the performances remain as good as ever here. Much attention was rightfully given to Sandra Oh for the show’s first season, and while she still has great material throughout these first two episodes, it’s Jodie Comer who really gets the chance to shine. On paper, Villanelle should be a really flat, cliched character, but she brings such intense life to every scene and makes every comedic beat work. She’s so compulsively watchable here, and has at least four different scenes across the first two hours of the season that warrant serious Emmy consideration. And, finally, Fiona Shaw remains the series’ secret weapon, delivering some of the best dead pan line readings on the air.
By avoiding the sophomore slump, Killing Eve somehow feels like an even more exciting series. The first season was so fresh, and even the most talented writers would struggle in maintaining that freshness in a whole new batch of episodes. I’m not sure how hard writing this season was, but the whole staff can rest easy knowing that they pulled off the near impossible.
Overall rating: 10 out of 10
