Killing Eve Season Two – Psychosexual Thriller Review | Television and radio

OOne way to avoid this ignominious trap of Peak TV, known as the second year influx, is to open the second season of your show with the title card "30 Seconds Later". It's pretty cleverly how the psychobadual thriller Killing Eve presents her new batch Some episodes, picked up right after our MI6 titular officer, played by the great Sandra Oh in the moxie game, stabbed Villanelle, the ruthless Russian murderer Jodie Comer's theatrical drama. The opening sequence, which consists of one shot, is a killer. The camera follows Eve, then goes down again, and then goes down the spiral staircase of the Villanelle Parisian building as she flees the crime scene. In less than two minutes, there is a subterfuge, streaks of blood, paranoia and a phone that sounds threateningly, covered with a soundtrack muffled and synthesized. In other words: welcome back, Killing Eve!

The series, which earned Sandra Oh a well-deserved Golden Globe at the beginning of the year, returns with a few modifications: Phoebe Waller-Bridge, who adapted the series from Luan Jennings' novels and wrote four of the eight episodes of the first season, took a step back and hired author-actor Emerald Fennell as the main screenwriter.

Luckily, Killing Eve preserves the brilliant dialogue of season 1, with women, inflexible and scabrous, delivering the zingers, and men, generally excited, ferocious and ignorant. More than in the first season, where Eve and Villanelle were often accompanied by games but support characters less convincing, the new episodes, two of which were made available to the public, double what the series produces better: cat and – The suspense in the manner of the mouse, anchored by the main characters crossed stars who feel each other a fascinating mixture of disgust, admiration and badual attraction.

It is therefore a little relieving that after their bloody season, Eve and Villanelle found themselves once again separated, delivered to their model of encirclement tortured. Eyn was rehired by her boss, Carolyn – played by Fiona Shaw (who has a brilliant line of communication on the "pork placenta"), disappearing, to investigate the mysterious pedicure death of a mogul nabob. international technology. When she learns that another serial killer may be on the run, Eve's eyes sparkle with excitement, and not because she's about to "get away from it all." open another case, but because "Villanelle will be furious". Eve is also remarkably badaulted by the post-traumatic stress caused by the stabbing, state of mind. Oh evokes waves of mania and paralysis: in one scene, Eve is motionless in the bathtub, staring at a phone that sounds; in another case, she seems to fall into some sort of diabolical haze as she cuts vegetables dangerously close to her fingers.

Villanelle, meanwhile, continues to wreak havoc by baduming and removing his various characters as a Matryoshka doll. Injured but cunning as always, she spends most of her first episode in a hospital gown, mocking with a young boy from the parish, to whom she refers as a "girlfriend" to a girlfriend. Eve. Villanelle remains captivating and seductive, investing men with her charms, which Comer amplifies with a ridiculous false sincerity that will be perceptible to the public, if not by its bench of victims.

But these days, the question of whether it is constitutionally bad is less ambiguous; her coup de grace at the end of the first episode, which also includes the tropes of suspense, is downright dreadful. And although we desperately wanted to find Eve and Villanelle, I suppose that the public would invest very little in the survival of the latter without the exuberance of Comer.

This is Killed Eve's double-edged knife: the series, with its electric performance and skillful tension, convinced us so much that there is nothing as interesting as the The future of these women (Eve's husband, always the wettest napkins, exists mainly to provide a compelling semblance of domestic chagrin). The dynamics of Eve and Villanelle are charged, coquettish, criminal, like Hannibal Lecter and Clarice Sterling. But this bothers the show in terms of intrigue, perpetuating a feedback loop in which both seem destined to meet and separate again, In the infinite; the last time they came together, someone was stabbed. We are now back to the first stage, with unbelievably high expectations for a redux. Of course, "the circumstances have changed" – a line of dialogue that appears in each of the first two episodes, creating a parallel between the professional lives of Eve and Villanelle – but the cat always pursues the mouse, even if It is not entirely clear who is who.

Nevertheless, the new season of Killing Eve is obsolete, the most challenging minutes of television. Like his badbadin, the show is devious and explosive, shedding blood with a smile. Like her heroine, Eve, it is a deliberate and funny goal, which is consumed by paranoia and which sometimes lacks concentration. Of course, it will be difficult for Killing Eve to finish her first season, but even harder not to watch it.