"The dangerous girlfriend is not dangerous because she's daring or precocious or even ruthless, she's dangerous because she dares to offend you against any logical judgment, makes you please her, even if your own happiness is compromised, and memorizes your head with disconcerting speed and power. "- Andi Zeisler, from the essay" Breaking Up with Smitty "
What happens when two women get together? Do not hit, do not smash or fall in love or like, but merge, fold each other in the life. So what?
"Killing Evening" has spent a whole season answering this question in a number of unpredictable ways through the lives of its main characters Eve Polastri (Sandra Oh) and the assassin known as Villanelle (Jodie Comer). Not once has it come close to a definitive answer, and that's okay gave us an answer, there's no reason to look forward to the second season BBC America gave her before the first premiere.
Perhaps the best way to say that they are two of a kind.
In a world that has betrayed and deceived them at every opportunity, they can trust in the consistency of the other. Even after Villanelle pulled Eva's partner Bill (David Haig) into a spider-and-fly dance that ends with her looking into his eyes and grinning as she stabs him; Even after running over an ex-girlfriend while working sideways, we can trust Eva that Villanelle is back. She can not help it.
But who has Eve? That's a good question. In the penultimate episode of this first season, Eve discovers that her boss Carolyn Martens (Fiona Shaw), the MI6 agent responsible for the Russia counter, may not be up to par. The video shows Carolyn meeting up with Villanelle in the Russian prison, where she is dropped to complete an assassination, and it turns out that it may be deleted. That means Carolyn is at least somehow linked to the conspiracy Villanelle serves, and she lied to Eve.
"Killing Eve" was referred to as a feminist thriller that is accurate but tells only part of the story. It was fascinating to see how it explores the kind of trickiness associated with navigating the world as a woman, in a way that the #Metoo and Time's Up movements are just beginning to reckon.
I do not mean the harassment or the sexism faced by Villanelle and Eve, but the impact of patriarchy on the already delicate complexity of female relationships. #MeToo's narrative, as seen in coverage and on the social media, is characterized mainly by the relationships that men have with women and by boundaries and meanings.
However, in higher profile cases, there is often evidence that women help abusers or benefit from their efforts to silence, disempower, or discredit accusers. What is not illustrated or explored is why these women would choose against the interests of their own sex, apart from offering good old profits.
That's why Carolyn's apparent delusion is such an extraordinary twist and fruitful with possibility. She seems to be the least likely person to leave her own team behind: upright in the extreme, no nonsense and ready to go for her people on the mat. From the earliest episodes, the series depicts Carolyn as the essential mentor to which every professional woman counts, a wise leader who has thrived and climbed the ladder, despite the apparent lack of support from her male counterparts. At the beginning of the season, we thought she was giving Eve a chance because she sees something of herself in her.
But she may have used Eve as bait and brought her close enough to Villanelle to impress, intrigue, and defuse the killer. Maybe Carolyn was only serving herself and her own career. That and perhaps the mysterious cabal that financed Villanelle's jet-set lifestyle and her assassination known as The Twelve. (There always has to be a shadowy cabal running these businesses, how else to justify future seasons of this kind of show?)
Trust is everything we have. Trust connects women who gather in virtual places on the Internet to seek support and seek justice. The trust keeps Eva alive, who and whatever forces her to make Villanelle see Eve alive instead of dead.
Just when we believe that in this drama we can count on a true and solid relationship of trust between two women, that turns away. With Villanelle, these outlines were shocking, even though they were not meant to be. The first time we meet her, she smiles at a little girl she admires in an ice cream parlor, just to swing the baby cup into her lap as she leaves the place because, why not?
Villanelle is happy about the pain of others because that's part of their job, and you should enjoy what you do well. Eve learns this lesson only after she has lost her position in British intelligence, where her intellectual curiosity is unrewarded and underemployed.
Yet Eve remains so attached to the notion of being right and acting right that there is a possibility that a traitor sitting next to her will never come before her.
In this way "Killing Eve" shows the power and the danger of the sisterhood, it is powerful, but also complicated and without guarantees. That was never something the women could explore comfortably, and this show does it without falling into the tropics. About Carolyn and Eve, Villanelle, and every woman she was familiar with, she postulates that a rock-solid sorority, the Bechdel Test passes, still wrong and can be a trap.
with great loveliness, how women can be so passionately attracted to each other, how the long draws to the gripper, how moths go up in flames, and women like Villanelle realize early on that they can attract hungry hearts, and they are aware of this awareness strategically and
Villanelle has no moral shackles to hold her back, but in these last few episodes she has gained little. We've found out much more about her in these seven episodes that she was brought up to death without guilt or worry, but she was also educated without the love or loyalty that would result from it.
Although her handler Konstantin (Kim Bodnia) takes advantage of this and Villanelle soothes her by treating her like his daughter, even if she has a gun in front of her, Villanelle's women are the ones most threatened by her affective deficit. At the moment, Villanelle has Constantine's actual child as her hostage.
Meanwhile, in the latest episode, Eve meets Anna, Villanelle's French teacher, and discovers that Anna's mistake is to take care of the assassin. She stepped up, she explains, where other teachers withdrew in fear. And the kind-hearted teacher was rewarded with loving letters, an obsessed love, and a dedicated student who murdered her husband.
The murder in "Deadly Eve" is a separate form of dialogue; it destroys the desire to see pig-hostile women, what comes to them. Every time a handler mockingly refers to his female charge with an overly familiar animal name like pumpkin, pay attention. Villanelle's new boss, who was recently introduced to hand over her last job, was fired by a bullet in the head.
His mistake was to insist that she sit down and know her place.
For this and many other reasons, "Killing Eve" allows us to love Villanelle as much as Eve. As refreshing as it may be to distinguish each series from the simple protagonist / antagonist binary, it has been particularly satisfying to experience this with a pair of main female characters. Oh's and Comer's performances make it easy to embrace both characters, but the careful awareness of the production of the love languages of fashion, music and setting plays a role in strengthening our affair.
Support, understanding, betrayal, regret, Eve and Villanelle have run aground, away from each other and towards each other. And while relationships around them have proved false in many ways, Eve, the MI5 agent, and Villanelle, the assassin, have proven to be the next, each of whom will achieve his own true cause.
That could of course turn into a breath. We can rely on that.