‘Still Got It’ is as dark as it is captivating. It opens on Niko delivering bread to villagers in his native Poland having left Eve and the UK behind. Obviously, this being Killing Eve, the peace doesn’t last, and Nico is quickly reminded of reality with Eve’s constant messaging, which he ignores. Eve herself is haunted and conflicted. She has taken to sleeping in the Bitter Pill office as opposed to her flat, presumably due to Villanelle’s latest ‘gift’. Dejected and guilt-ridden, she has a few crotchety interactions with Kenny’s ex co-workers before receiving yet another reminder that Villanelle is still fixated on her: a birthday cake in the shape of a red bus. This acts as a stark reminder of the pair’s brawl and subsequent kiss in the previous episode. The build-up and release of tension as Eve throws the cake off the building’s roof is satisfying to watch, and Sandra Oh captures Eve’s range of emotions flawlessly.
In Barcelona, Villanelle is found attempting to bake an awful-looking cake in her lavish apartment, before being interrupted by Dasha, who tells her to throw it away. The scene is so domestic and light-hearted that it’s difficult to remember both women are trained assassins. It’s a testament to Jodie Comer and Harriet Walter’s acting abilities. Villanelle is told she will be promoted to Keeper, prompting some ridiculous dancing. This comes scenes before she brutally murders a woman with a garden hose in exchange for information from Konstantin about her family. The rapid changes in tone are enough to give any viewer whiplash, and are part of what makes Killing Eve so entertaining.
Meanwhile, Dasha is told by another member of The Twelve that Villanelle’s ‘skittishness’ can only be resolved if Villanelle and Eve are forced apart. Enter Dasha in disguise, stealing Niko’s phone and luring Eve to Poland before impaling him on a pitchfork while Eve watches. Dasha cunningly leaves a note framing Villanelle. In one of the most horrific murders of the series, Eve watches Niko die in front of her, dashing any hopes of reconciliation. The death was partially expected, given Niko’s proximity to Eve (and therefore Villanelle), but is gruesome all the same. Eve’s horrified reaction makes it all the harder to watch. The implication is that Eve will blame Villanelle, who is seen alighting a train in Russia, with the location screen reading ‘Home.’
Taking a detour from the usual format, episode four of Killing Eve season three is forty-five minutes of exquisite build-up to one pivotal event in the way Killing Eve does so well, infusing dark comedy with drama. The Villanelle scenes are beautiful and decadent as ever, and the Eve scenes get more and more difficult to watch, as the titular character sinks into traumatised despair. The ending also leaves viewers anxious to learn more about Villanelle’s past and her sudden obsession with reuniting with her family. Indulgent, flamboyant, shocking and dark, Elinor Cook delivers in a harrowing, gripping watch.
Featured Image Source: Still via Killing Eve / BBC iPlayer