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Season three of Killing Eve comes with some high expectations (opens in new tab). It earned a strong fan base with a buzzy season one, and then avoided the sophomore slump beautifully (opens in new tab). But, unfortunately, season three is a bit all over the place. The premise of the cat-and-mouse, spy-and-assassin game has been contorted way beyond its original shape, in an effort to fit an ever-fluctuating premise. But, on the other hand, season three also offers some of the most creative, terrifying, and exciting moments the show has ever given us. Some of these moments are what fans have been longing for, and some of them are what we've been dreading all along. Be prepared, from the get-go, to yell "Oh my god! WHAT?" at the screen quite a bit.
Not really a spoiler-alert (it's in the trailer): Despite a pretty fatal-looking gunshot wound, Eve is still alive. Season two ended with the MI6 agent metaphorically going back into the closet, rejecting the electric chemistry between her and her assassin frenemy. And we now know what Villanelle does to people who reject her (and people who love her, and also total strangers). Season three picks up with Eve in rough shape; she's in pain, folding dumplings (opens in new tab) in the back of a restaurant, engaging in a bit of solo day-drinking (opens in new tab). It's devastating. The character longed so badly to go back to her normal life, only for her to realize how empty it is. The fury she feels is palpable, much of it aimed at herself and the utter wreck she's become. She's alive, but she's not particularly happy about it.
Villanelle, on the other hand, is strutting along as always (Jodie Comer (opens in new tab) is especially good this season, which is saying something). The "wealth as female freedom (opens in new tab)" symbolism is still prominent: A bigger, dazzling place to live—European real estate porn has always been one of the most enjoyable aspects of the show—and a new fabulous closet for us to ogle. Villanelle's rebounding beautifully from the "breakup." Or so she thinks, until she learns her ex is still alive. Again, not really a spoiler: Creative vengeance, and some cool deaths, are always in store when the stylish murderer is around.
This season has had to slowly, gently ease its way back from the precipice of season two: not kill its leads, not ruin the dynamic, somehow keep things interesting. The season two finale seemed to promise that the show would fundamentally change structure; the two leads nearly became the couple we've always wanted, then it was cruelly ripped away. They seemed destined to meet again as they fled from the series' big bad (The Twelve). For the show to slide back into the somewhat familiar dynamic of season 1 is a little confusing, not to mention disappointing.
The creators know that we just want to see Eve and Villanelle circle each other, fighting and flirting. In an effort to keep that energy, it feels like the show's bending back over itself. It's also worth noting that each season has someone new at the helm. In season three, the lead writer and executive producer is Fear the Walking Dead writer Suzanne Heathcote—and you can kind of tell. Like Dead, there's some running around, followed by an insane moment, then running around again. But there are hints we're headed to an epic conclusion, and that this old structure might be a vehicle for change. I'm hoping, though I'm not sure, that there's an overarching plan for the show.
The big question lingering in my mind, which only grows louder from season to season: How are these people still alive? No, seriously. Eve and Villanelle have crossed paths with dangerous foes, and each other, to warrant their deaths a hundred times. At this point it just feels like plot armor—they survive because it's important to the story. At one point, regarding the question of "Why don't you just shoot this person?" a character says something to the effect of: "It would be too complicated!" It feels like the writers said it to each other and then put it in the script. Granted, screeners were only available through episode five, and the show has always had a way of bringing things around brilliantly. But if you're looking for some kind of immediate resolution to that particular problem, you'll have to wait.
Another lingering quandary is the overarching villain. To me, The Twelve haven't historically felt real or scary, with the exception of an employee or two (RIP Raymond!) and hints of a vast network. This is in contrast to Luke Jennings' original book (opens in new tab), which the series is based on but has now diverged completely. To her credit, Comer's Villanelle does the impressive work of both antihero and villain. She's an assassin for other people, but she has a brain. She kills without a scruple in the world, except when she has a flicker of quasi-conscience. Here, especially this season, we get more information about why Villanelle is the way she is. And the "resolution" to it could only have come out of her twisted mind.
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Despite its challenges, the complexity still makes Killing Eve deliciously watchable. The show doesn't treat the viewers like idiots. It won't hold our hands or show its cards before it's ready, even on the little stuff. Some plot points aren't explained at all this season in favor of a "just keep up and see what happens" attitude; so unpacking the shifting allegiances and twists within the show seem wearying at this point. Instead, just sit back and let the experience wash over you.
Ultimately, watching Killing Eve season three is like trying to date Villanelle. It's sexy, it's confusing, it's infuriating at times. Then, in half a heartbeat, it's the most twisted, devastating, compelling thing you've ever seen.
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Katherine’s a Boston-based contributor at Marie Claire who covers fashion, culture, and lifestyle—from “Clueless” to Everlane to news about Lizzo. She’s been a freelancer for 11 years and has had roles with Cosmopolitan and Bustle, with bylines in Parents, Seventeen, and elsewhere. It’s “I go to dinner,” not “Her huge ego,” but she responds to both.
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