It’s always refreshing in the modern age of film and television to see traditional tropes transcend and progress with ease. Few shows have done this better than BBC America’s “Killing Eve,” taking the often male-dominated genre of the police thriller and putting a vibrantly feminist spin on it. The cat-and-mouse dynamic between M15 agent Eve Polastri (Sandra Oh) and deadly assassin, Villanelle (Jodie Comer), dominates the fore of the series, while the men are relegated to roles women used to assume in this milieu. The television shows that have sustained success in the ongoing Golden Age of TV are the ones that aren’t afraid to be subversive and push boundaries. “Killing Eve,” with its psychological elements recalling the suspense of “Silence of the Lambs,” has the potential to join these ranks of Prestige TV.
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Its second season, like any legendary show whether it be “Lost” or “Breaking Bad,” begins from the cliffhanger of the previous season, where tension appropriately peaked. Now is time for the aftermath, the moment in a show where the characters are no more fresh and new but weathered and affected. The essence of a deadly cliffhanger means that the ante and the stakes can only be elevated from there. It will be exciting to see what maneuvers are pulled from both Eve and Villanelle after their last confrontation.
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Whether it be the superhero genre or the police procedural, patriarchal traditions in the narrative are being modernized to give femininity new voices and opportunities. Yet despite the vitality of this nature, what heightens works like “Killing Eve” is the ability to individually stand alone outside the social context as an engaging piece of drama between two highly-engaging characters, regardless of gender. “Killing Eve” achieved this in its first season, and looks to advance in Season Two.
The second season of “Killing Eve” will premiere on BBC America April 7 at 8/7c.