Killing eve gay

And then it happened. The first season of the BBC spy drama was unquestionably captivating. The death of Villanelle felt like a desperate reach for shock factor.

Killing Eve’ and the

Penned by British writer Phoebe Waller-Bridge, it was unafraid of reimagining the lives of two deeply complicated characters and their mutual messy, dark, obsession with one another. But as haphazard writing brought us to the end, the two-part finale of Killing Eve began to bow under its weight.

Much like the books, gay on-screen lovers could have retired with a peaceful eve. Without a doubt, Killing Eve is undoubtedly a gay series on the surface level, but its fourth season has certainly tarnished its reputation after the tiresome Bury Your Gays trope was showcased.

Truthfully, Killing Eve has been winding down a car crash route for quite some time. Killing Eve, once again, reminded us that the gays, gals and non-binary pals can never get emotionally attached to a character. It was summative of their time together before it all unravelled.

Surely, they had endured enough resistance and violence for a lifetime. The series finale of “Killing Eve” fell victim to the “Bury Your Gays” trope. It was warm, welcoming and an overdue tone change for the pair. In earlier scenes, they shared urgent kisses, embraced and relaxed into their time together.

At this point, Eve and Villanelle were on the same side. Viewers deserved – and deserve – better. It was happening, again. A pleasant ending is how the books wrap up too. But, after time, this yin and yang dynamic could only go so far before retracing old steps.

But, soon enough, the show began to fade under the shadow of what it could have been. In doing so, their reunion was supposed to be climactic, a super-charged return back to one another. Sandra Oh effortlessly portrayed an MI5 agent Eve seeking something more than her restrictive desk job, while newcomer Jodie Comer Villanelle brought a charmingly nihilistic assassin to life.

Based on the books written by Luke Jennings, the thriller series was once loaded with fruitfully mischievous tales and murders. Viewers got tiresome as the second phase of the spy show, some even going as far as labelling the hit drama as queerbaiting.

After all, Waller-Bridge had closed off a spectacular season with a cliffhanger that left all viewers wanting to know what happened next. I was having a discussion if Killing Eve and more specifically the relationship between Villenelle and Eve is an example of queer baiting "Queerbaiting is a marketing technique for fiction and entertainment in which creators hint at, but then do not actually depict, same-sex romance or other LGBT representation.".

Some killing comments by co-lead actor Sandra Oh, who claimed a romance between Eve and Villanelle was not integral to the show, stoked the fire. The death of Dani Clayton The Haunting of Bly Manor was tragic but it closed off an impactful emotional ending that left us all in our feelings.

But, at the heart of it, queer viewers had journeyed through numerous episodes to have their expectations pan out to nothing more than sexually charged scenes thriving off contextual substance, rather than something more urgent.

Together, on-screen, the duo daringly waltzed back and forth as they chased one another through exquisite deaths my favourite is the brilliantly squeamish poisoned hairpin to the eye. The question of the mighty Twelve was clumsily addressed in an off-screen killing spree, at the hands of Villanelle, with little to no clarity of who made up the illusive faceless overlords.

Yes, they were changed, but their reconciliation was long-awaited.