Killing Eve - Season 3
BBCBy its very nature, Killing Eve is aimless. The relationship at the heart of the series between Eve (Sandra Oh) and Villanelle (Jodie Comer) is built on sexual tension and the tantalising prospect of what might be. Since Phoebe Waller-Bridge’s electrifying first season, the challenge has been finding the right balance between prolonging the anticipation whilst simultaneously shaping the wider picture.
Suzanne Heathcote is the latest creative spark aiming to tackle this problem, being tasked with picking up the pieces from the central couple’s falling-out at the end of the second season. Villanelle, seemingly bored of the limitations that come with being a gun-for-hire, is now under the tutelage of Dasha (a devilish Harriet Walter) as she seeks to work her way up The Twelve’s hierarchy. Eve, on the other hand, has quit the spy business for the meantime, opting to work in the kitchen of a local restaurant; naturally, this sabbatical doesn’t last very long, for Carolyn (Fiona Shaw) has intel in the form of a shady bank account that has suspicious activity.
The bulk of the investigative work is done at the Bitter Pill, an online publication headed by Jamie (Danny Sapani) and Bear (Turlough Convery) that doesn’t always acquire their information legally. It is essentially an intelligent agency in all aspects but its name, serving the same narrative purpose as MI5 and MI6 from the first two seasons respectively; for a low-level publication, the group seem to have very little difficulty in procuring secret information. The only slight alteration is the lack of Carolyn, who is now juggling personal trauma, an insufferably irritating daughter (Gemma Whelan) and a slimy new boss in the shape of Steve Pemberton’s Paul.
With all the main players separated, this season is very much a transitory one, with the characters occasionally being maneuvered around like pawns on a chessboard. This perpetual problem lies in the peculiar production schedule, which involves a revolving door of showrunners for each season. Much like second-season chief Emerald Fennell, Heathcote seems hesitant to push the show in a truly bold direction; though it opens with some surprising twists, proceedings gradually become safer, resulting in a finale that is entertaining enough but ultimately inconsequential.
Thankfully, the show is still engaging on a moment-to-moment basis, with the changing show-runners meaning each season has a distinct tone. Heathcote, to her credit, experiments with structure more than her predecessors, channelling Mr. Robot with its use of gimmicky framing devices. The first such episode, which shows an event from multiple perspectives, is a slick affair, making great use of its brisk 42-minute running-time to create an efficient thriller. The second takes the opposite approach, focusing solely on the exploits of one major character in an attempt to flesh out emerging themes, but it feels like a small subplot padded out to fulfill the traditional quota of eight episodes.
The tone also differs slightly, with Villanelle’s new role meaning the set-pieces and playful antics – though she still finds time to frighten Konstantin (Kim Bodnia) – are scarcer. Heathcote is seemingly much more interested in bringing a degree of humanity to the charismatic roster, trading the globetrotting for problems closer to home. Whilst certain story beats regarding Villanelle feel a little misguided, Carolyn’s arc is well-thought-out, showing a character trying to persevere even when the walls are closing in. Shaw is excellent throughout, retaining the trademark steely sarcasm whilst showing some newfound fragility, often conveying both at the same time with aplomb. Though Oh and Comer are as impressive as ever, Shaw is undoubtedly becoming the star of the show.
For the long-term benefit of the show, it feels like the writer needs to take the limelight again. Laura Neal, who co-wrote the finale, has been announced as the showrunner for the fourth season, and it is pivotal she provides some fresh impetus in what one presumes will be the penultimate instalment. The production design, dazzling visuals and engaging set of characters will always make Killing Eve a worthwhile watch, but what was once shaping up to be a modern great is now at risk of becoming merely good. If Villanelle has taught us anything, it’s not to settle for anything but the best.