Photo: Nick Wall / BBCA
Mourning is a strange bed companion. It mutates, changes shape, surprises. It enters our lives and creates models that reorganize our understanding of ourselves. When my beloved cousin died early last year from an previously undetected heart problem, after the initial shock, I found myself unmoored. It was as if the grief had burned everything down until I could concentrate. Grief takes up space – and in this week’s episode Killing Eve, he does it mainly through the stories of Carolyn and Eve, who find their lives filled with grief in radically different ways.
Mourning is easier to read on Eve, whose expressive face often reminds us of the depth of emotion she wants to hide. Everything is there the first time we see her in “Management Sucks”, standing under a rain-covered canopy in front of Kenny’s funeral service, one hand holding his cigarette, the other an almost empty glass of red wine. After accidentally dropping his cigarette in a puddle, it is exploded by the smoke of a man’s vapor. “You have to switch to electricity,” he says. He continues to talk to her about how she will get drunk before the service ends, about her inability to open the door. He follows her until she calls him cocky. It is only later that she discovers that this man is Jamie (Danny Sapani), Kenny’s boss at Bitter Pill – although that does not warm them up. If anything, she remains suspicious of him and confused by her grief.
What interests me most is the thorny exchange between Konstantin and Eve when they see each other near the bar. He offers her a gin, himself vodka, of course. What he says leaves a sting that turns Eve’s eyes into a glare of a thousand miles: “You know when a bullet has passed through you, it leaves something behind you. “What left the ball that Villanelle shot Eve? In fact, it seems like she’s trying to separate herself from the desire she once felt for Villanelle, but those complicated emotions, forged in Sandra Oh’s multifaceted gaze, remain. Eve makes a thankless exit from the funeral. Wet with alcohol and emotional, she refuses to play by the rules everyone has accepted and says that Kenny jumped. She knows he was murdered. When Carolyn tries to get close to her before she leaves, she shouts “No no no! ” grab the attention of others before she stumbles outside.
Of course, Carolyn does not cope with grief that easily. She keeps her emotions faithfully, much to the dismay of her daughter, Geraldine (Gemma Whelan), who has taken over the house and encourages her mother to feel. But for an attentive observer, the cracks appear. She shows up at work as if nothing had happened. She badly buttons her blouse. She speaks awkwardly to Audrey (Ayoola Smart), who started a workplace romance with Kenny before his death, to ask him if he was happy. In front of the new agent who follows her, Mo Jafari (Raj Bajaj), she has watery eyes in her car. At one point, she said to Mo, “I can’t solve it. I cannot investigate. My hands are tied. It’s my son. And I can’t let it go, ”never turning to meet his gaze, rather letting his eyes become glassy with tears, his voice shrill with regret.
Carolyn tries, in vain at first, to connect with Eve and push her to get back to work on the Twelve. Carolyn visits Eve at work, swinging what she thinks will spark her interest: a picture of last week’s murder of Villanelle. “She’s back, Eve. “
“I don’t work for you anymore. Not after what you did in Rome. I can’t help you, “Eve responds firmly to Carolyn’s efforts. Eve seems mostly composed and purposeful right now, but when Carolyn leaves, she is so overcome with emotion and anxiety that she vomits.
During all of this, Eve still has Kenny’s work phone, which Jamie and his colleague Bear (Turlough Convery) suspect. So Jamie blew up Kenny’s phone, first demanding and then begging Eve to turn it over. Eve remains on the phone until Jamie promises to return the files of what Kenny was working on before his death. Things go wrong when Jamie reveals that the police have Kenny’s USB drive, so she picks up the phone and goes to the only person she knows can help: Carolyn. When Eve visits Carolyn, she comes to the point, “I need to know what happened, who killed him.”
“I miss her smell,” admits Carolyn before Eve launches into a suggestion of what they should do: keep things low-key, get that thumb drive and figure out what Kenny discovered that killed her.
Villanelle’s story is marked by a tonal difference from the gray and painful dynamics of what’s going on with Eve. She is getting used to her wonderful new pad in Barcelona. She exchanges jokes with Dasha over a drink. She is always hungry to become a Guardian, but the road to this new position turns winding as she is entrusted with a new mission: to follow a new recruit and guide him in the art of assassination. The rookie is a nervous, 19-year-old girl named Felix (Stefan Iancu). He is excited about the prospect of traveling; Villanelle tells him hilariously to pay everything in advance. “If you make me look bad, I’m going to kill you,” she also notes.
But Félix is able to touch something under the lacquered facade of Villanelle when he begins to speak of all the people he has killed to return to a tyrant who beat his boyfriend. Such an effort was useless and he was heartbroken looking for the right words to describe what it feels like when someone you love doesn’t love you in return. “Shit,” said Villanelle, finishing his sentence. Despite this brief moment of mutual understanding, the task to which Felix is charged that Villanelle must guide him turns out to be more complicated than it should be.
The reluctant duo disguises themselves as screaming clowns to attend a rich kid’s birthday party, a blanket to get closer to one of the parents Felix is supposed to kill. The murder itself is said to be “clean and clinical,” but Felix’s approach is anything but. After sending him to do the work, Villanelle decides to register when it takes too long. She finds him at the top of the target, beating him bloody in a fight. Not at all as expected. Villanelle does the job herself with a bullet to the target’s head and Felix. “Oh, management sucks. Yes, indeed, Villanelle.
The most intriguing part of Villanelle’s history this week is his brief interaction with Konstantin. When she comes home to her new palace in Barcelona, she finds him on her bed. He is his usual charming self, to which Villanelle responds by kneeling him in the balls. “You can no longer come without an invitation,” she advises brutally. Konstantin and Villanelle have tense conversations about how she trusts Dasha after saying earlier that she wanted to kill her, about her desire to become a caretaker. “If I killed everyone who betrayed me, there would be nothing left,” said Villanelle. Jodie Comer says it almost casually, but there is a weight and a truth in this declaration. Konstantin must tell him that Eve is indeed alive to throw Villanelle out of her game. Konstantin’s voice fades. Gravity changes. A range of emotions crosses Comer’s exquisite face until a single tear drops from his eyes and a frantic laugh escapes his lips.
“Management Sucks” is more like a place for more intriguing developments to come than a strong autonomous story. But after hearing that laugh, I am very curious that the show answers the question of what Villanelle will do now that the object of his obsession is far from being buried.
• I giggled when Konstantin said, “Vodka straight. Do double. Not because I’m Russian, because it works, “at Kenny’s funeral service.
• Konstantin is a delicate guy. This double-decker bus magnet has proven to be more important than it originally appeared. This week, he “accidentally” but totally deliberately ran into Geraldine on the street and they shared a moment, so he gave her the magnet. When we see it later on Carolyn’s refrigerator, the comments that follow indicate that it’s a way to spy on her. What exactly does Konstantin do?
• Best outfit of the week: the first time we see Villanelle in Barcelona this week, she wore a beautiful cerulean dress with a bright floral pattern that has pointed shoulders and puffy sleeves. Coupled with Comer’s living and imposing leg, it’s a sight to behold.