As Killing Eve’s Villanelle, she pulled off perhaps the most fascinating performance: a vicious sociopath so cheeky we couldn’t help but root for her.
A strange man sitting at the table next to — and apparently within smelling range — of Jodie Comer has just leaned a little farther in, his sense of smell activated by an odor wafting his way. “Excuse me,” he murmurs into her ear, unsure if he should. “What perfume are you wearing? Is it … it smells so familiar.”
Comer is delighted. “Oh, it’s a bit strong, innit? It’s Santal 33! I doused myself in it when I got ready,” she exclaims in a dense Liverpudlian accent. As they exchange some niceties about sandalwood and cedar and Le Labo, a feeling hovers just outside of my rational thought. Villanelle, the assassin Comer plays on Killing Eve, once used perfume as a fatal nerve agent. Watching this scene now unfold in real life, it’s not that I think, Will she assassinate him? But there is something about the exchange that feels lifted directly from the show’s script. [ . . . ]
Continue at THE CUT: Killing Eve’s Jodie Comer Is TV’s Most Captivating Assassin
Fans have dubbed it “possibly the sexiest screen kiss”
*Warning: spoilers ahead for Fleabag season two episode four*
Fleabag‘s sinfully good second season has centred on our eponymous anti-heroine’s lustful, forbidden feelings for The Priest (played by Sherlock’s Andrew Scott) — and his apparently reciprocal feelings for her.
After almost four episodes of sexually-charged verbal sparring and will-they-won’t-they, we finally saw the pair get it on — right outside a church confessional, no less, with Fleabag struggling to remove The Priest’s vestments (“Is this a skirt andtrousers?”).
However, Scott’s character freaked out at the last minute after a painting fell down inside the church, in a nod to the series opener (after Fleabag confirmed she was an atheist in episode one, a picture fell down with The Priest smugly referring to it as a sign from God).
In the end, both Fleabag and viewers were left hanging.
After the kiss, viewers immediately took to social media to, well, freak out. “I need a lie down,” Derry Girls creator Lisa McGee posted on Twitter. [ . . . ]
Continue at RADIO TIMES: Fleabag episode 4: Viewers ‘need a lie down’ after THAT kiss – Radio Times
Fleabag was one of the best television series in years. Based on the one-woman play by Phoebe Waller-Bridge I was lucky to see years ago in the Soho Theatre, it married comedy and tragedy better than anything since the heights of Alan Bleasdale, Dennis Potter, Mike Leigh or Victoria Wood. But those guys were just messing around at the edges compared to the first episode of the second series of Fleabag that has just hit the BBC iPlayer and will be playing tonight on BBC1. Continue reading
There is something extraordinarily precise about Jodie Comer’s performance in Killing Eve, Phoebe Waller-Bridge’s brutal and unexpected entry into the spree-kill genre that took our top spot as the best TV show of 2018. Comer’s petrifying psychopath, Villanelle, is chillingly playful – like a mastiff that will take your throat out just as soon as it has finished with its ball – with the face of a schoolgirl. In real life, Comer is a wholesome 25-year-old scouser who, when she is not working, still lives at home. Yet she does something to the role to give it an oddly comic texture. Some combination of Comer’s humour – even the muscles in her face have comic timing – and her turn-on-a-sixpence quickness, mental and physical, makes her performance absolutely mesmeric. You are desperate to know what will happen next, even when you know full well that it will just be someone else ending up dead.
Her nonchalant psychopath transformed Pheobe Waller-Bridge’s blood soaked drama into our TV show of the year. The actor on why we’re obsessed with violent women – and why she wants to punch herself in the face
“What I loved about the kills, though,” Comer says, “was that it was always something you’d never, ever think. It was never ‘someone gets stabbed’. Continue reading