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what-do-1000-swords-look-like · 2 years

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Bury Your Gays: Villanelle vs Lexa

I've now been checking out all of the Killing Eve finale reactions on YouTube and here on Tumblr. And there was one thing that kept popping up that just made me kind of go 'hmm'...

Fyi, this is just my personal opinion. If you don't like or you think it's going to upset you, please do not read.

Lexa was definitely a Bury Your Gays. Her death did not make sense within the story or for her character. While there were obvious reasons for the character to be written out due to circumstances going on bts, the way they wrote her out was terrible. She didn't need to die, and even if she did for " story reasons" (she didn't), it shouldn't have been done the way that it was. It should have been handled a lot better. Lexa was a Grounder, a warrior, and for her to die by a wayward gunshot meant for Clarke by one of her own lackeys -- that was just stupid. (and as we see, the caliber of writing only got worse from there) There were many other ways for that character to die that was worthy of her character and her story line, to the massive impact she had on Clarke's story and this alliance/interaction with the Sky People and the Grounders (alongside the story lines of Octavia, Lincoln, and Indra) that ends up heavily influencing and impacting the rest of the story of the series. They killed her that way because JRoth has a massive ego and is an idiot the writing got lazy and they thought it would be a shocking twist that 'oooo no one would see coming'. Yeah, no one saw it coming because it was stupid and made no sense, but I digress.

Moving on.

I don't think Villanelle was a Bury Your Gays and certainly not similar to what happened to Lexa. Villanelle's death (whether you agree with it or not) made sense within the story, for her character. While I don't necessarily agree with the show going the death route, those who have watched since season 1 I think always kind of knew that there was a possibility of Villanelle dying before the show was over, Eve dying, or both. Villanelle was an assassin and the organization she had been a part of was just eradicated. First Helene, then Konstantin, then the Twelve. It didn't surprise me that the last remnant of that organization was the last to go. (some may claim Pam was a part of the Twelve, too, but the show purposely chose her to end Konstantin and to turn down the job Carolyn offered her and walk away)

I guess my point is that ending was viable within Killing Eve's story line, within Villanelle's trajectory as a character, while Lexa's was not. That's the difference.

I admit, I was reluctant to check out any articles on the response to the finale at first, especially seeing Tumblr posts about Laura Neal's comments (yeah, sometimes I wonder if these showrunners are drinking the same water as the rest of us), but I'm so glad I read this one where Sandra Oh and Jodie Comer also chime in. (they're the two I care about tbh) I really agreed with their takes on their characters' endings and I respect the hell out of them.

I will say, I'm so glad they didn't have Eve dying and Villanelle surviving because that to me would not have made sense. Realistic if they both took on the Twelve, but definitely more tragic, and would have made me wonder what the whole point of Eve's story was. To me, this end result makes way more sense.

Do I wish showverse!Villaneve got an HEA? Absolutely. But I also really like everything we were given and that nothing was wrapped up in a neat little bow. But I also like that not everything was left open-ended (other than Eve's question of moving on in her life). To me, that was the right semblance of tragedy that made sense with the show. But that's just my personal opinion.

I'm sorry for people who are hurting. I really am. I mean, GoT, SPN, The 100, Lexa, Dean...trust me, I get it. My heart goes out to you all and I just know the fans are going to create some amazing masterpieces of fanfiction and fanart and fan videos while also some are now going to read the books (not giving away any spoilers but they are not the same, I will just say that). And I hope that all of that can ease some of the pain. <3

#villanelle #killing eve #killingeveposts #killing eve finale #when compared to lexa #lexa

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anevolutionarynecessity · 4 years

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The 2020 Emmys didn’t “Teach Killing Eve A Lesson”, You’re Just an Immature, Mean Spirited, and Entitled Dickswab

In the aftermath of last night’s Emmy award ceremony, I’ve seen post after post blaming Suzanne Heathcote (and Sally Woodward Gentle) for Killing Eve not winning a single award.

What’s worse, almost all the posts are written in an incredibly mean spirited way, which essentially amounts to the posters’ expressing their glee that Killing Eve was somehow “taught a lesson.” This ridiculous perspective is not only immature, it’s also stupid and reveals how vindictive this bewildering fandom has become.

I’m calling out @villaneve-bridge specifically because they’ve made one of the most outright worst posts (here). You should be ashamed of yourself. You encapsulate the toxicity that has been brewing in this fandom since Twitter harassed Jodie Comer. More to the point, your posts exemplify two key problems.

Firstly, how on earth can anyone call themselves a fan of Killing Eve then in the same breath turn around and be gleeful that the show didn’t have a successful award night?

This is absurd. It reeks of entitlement too. To even be nominated for such prestigious categories is an immense success of its own. But success is apparently defined by this fandom as Killing Eve sweeping every category and anything less than that is racism or the singular fault of Suzanne Heathcote. Which brings me to the second problem.

The hostility this fandom has directed at Suzanne is the by product of a few, unfortunately very vocal individuals who think that bitching and moaning about how Season 3 didn’t live up to their projection of success means that they have license to harass, insult, and otherwise disrespect content creators. Who, by the way; literally create for our collective entertainment.

You can disagree with creative decisions, narrative choices, casting, editing, soundtrack, and whatever else. That’s not the point. The point is that I haven’t seen a single respectful, decent, well informed, and reasonable disagreement with the vision Suzanne Heathcote executed for Season 3.

All this fandom has done is blame and attack Suzanne for perceived failures, now the latest example being the 2020 Emmys.

Personally, I think Suzzanne is brilliant and she rejuvenated a show that was in a very bad place after Season 2. Besides that Suzanne Heathcote is an incredibly accomplished writer and showrunner (along with the cast, crew, producers, and co writers). Trust me, she knows what she’s doing.

This fandom loves to dismiss Suzanne as if she did something terrible. I’d like to emphasize that Suzanne accomplished so much, so much, with Season 3:

Made bold creative decisions (supported by co-executive producer Sandra Oh, by the way) that take a lot of nerve, creativity, leadership ability, and the entire Killing Eve team to get behind. Some decisions include: Kenny’s death to kick off the Season and galvanize Eve back into the fray, interesting new title cards, highly engaging and fresh pacing for Episode 4, a “bottle” episode (a series first) that focused on the mystery of Villanelle’s past, and a finale that wasn’t mired in bloody violence.

Gave both Eve and Villanelle character development, so they could reach an place of mutual acceptance.

Developed Carolyn, Konstantin, Irina and Niko, because the show is not solely about Eve and Villanelle to the detriment of side characters (although Villaneve is the heart of Killing Eve)

Introduced new side characters such as Dasha and Geraldine

Finally gave us more insight into The Twelve, thanks to the menace of Hélène

Made Villaneve Canon

Nothing that Suzanne has done was meant to degrade this show or be offensive to its wide, loyal fanbase. And yet...the most toxic members still found (or made up) reasons to be offended. They still trash Suzanne instead of being grateful and celebrating the significant strides this Season made. The Emmy nominations being part of that.

In fact, instead of being “taught a lesson” Killing Eve continues its momentum of success with high viewership, and breaking records:

“The BBC America-AMC thriller is the only cable drama this season to top its prior season average in two key demos.”

Not to mention that Jodie Comer won best actress awards in other categories and Fiona Shaw has gotten plenty of press as Best Supporting actress for Season 3.

Let’s not forget that this show has already been renewed for Season 4. Killing Eve’s success isn’t slowing down, no matter how much this asinine and vindictive fandom wants it to.

And if toxic fans are so keen to blame Suzanne for Season 3’s “failings” perhaps we should also extend that blame to the rest of the producers too. After all, Suzzane’s decisions are not solely her own; she’s held accountable by her team.

So how about we blame Phoebe Waller Bridge? Sally as well, of course, who has been supportive of Villaneve. Maybe we should just blame Sandra Oh while we’re at it, because she was nominated at this year’s Emmys not only for Outstanding Actress In A Leading Role, but also nominated again as best co-executive producer for Outstanding Drama Series.

If Killing Eve was not produced and realized with a high level of quality by Suzanne and Sandra (as well as Laura Neal for the amazing writing) it wouldn’t even be nominated or achieve the level of success it already has.

The reality of why Killing Eve lost at the 2020 Emmys cannot be blamed on Suzanne Heathcoate.

There are a myriad of factors influencing who won awards and why. Some may include the fact that Killing Eve isn’t “new” anymore, it’s a very niche show (the world of spies and assassins isn’t exactly mainstream popular), the fandom drama surrounding Jodie has tarnished the show’s public reception and PR, the current political climate is tense and grim (and Killing Eve is certainly dark, tense and grim too) and plenty of other industry shifts that I cannot possibly be privy to.

Instead of blaming and tearing down content creators for a show fans claim to love, I challenge the most toxic fans to take a step back, have a strong dose of humility, and perhaps re approach Killing Eve from the standpoint of offering respectful suggestions about how our beloved show can be improved in Season 4.

But being immature, mean spirited, and entitled won’t get Killing Eve anywhere good. It definitely won’t make this fandom an enjoyable space for anyone. Somewhere along the way, this fandom lost its class and enthusiasm. I know we can do better than this.

Of course, having more Eve and plenty of direct Villaneve interactions is a wonderful, necessary basis going forward. The script is already written, the vision of Season 4 realized, regardless of whether Killing Eve won Emmys or not. I have deep faith that Laura Neal will continue to give us what we want, as Suzanne Heathcoate did.

So instead of the 2020 Emmy’s teaching Killing Eve “a lesson,” perhaps the toxic fans will take this as a lesson learned that their own small-mindedness amounts to nothing at all.

#god I'm sick of this fandom's idiocy and toxicity #Killing Eve #Villaneve #Jodie Comer #Sandra Oh #Villanelle #Eve Polastri #Season 3

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prepxn · 4 years

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You were never a happy person.

That’s not true.

The beauty of 3x05 lies in Villanelle’s insistence on finding “home.” In Russia, home suddenly becomes a tangible place rather than a person: a well worn house strewn with cookery, knick-knacks, loose pieces of clothing, handmade Elton John paraphernalia - all the little, subliminal things that represent active existence. Normal stuff.

There is also an air of dysfunction about the house, which is nothing out of the ordinary (especially for a family wherein the matriarch has paraded in multiple marriages). It is a strange and somehow isolated setting, almost like a microcosm of something completely unknown. There are a lot of different influences banging around in the house, lots of distilled resentment and a general distaste for what all their respective lives have turned out to be. (Boris’ love for Elton John is intense and obsessive, representing a childish, yet genuine longing to get out.)

It is exceptionally off-putting to see Villanelle in this environment, surrounded by people; some of whom have some conception of who she actually is or was. There is some brotherly acceptance obvious within both Boris and Pyotr, but there is none within her mother, and it doesn’t seem like there ever was.

I hate to make the comparison, but at this point it’s common knowledge that Villanelle is controlled by one brain cell and that brain cell is a Mommy Issue™, and there are blaring similarities between her mother and Eve. Villanelle has known so much rejection from the very start of her life, that the whole Rome sequence in 2x08 now seems to hold even more meaning.

I love you.

No.

I do.

You don’t understand what that is.

And maybe she doesn’t - maybe she’s never had a chance to. But she so obviously wants to be accepted to the point of being worthy of love. Villanelle’s mother even goes so far as to claim that she saw a darkness in her from a very young age. Essentially, it seems as though Villanelle has been told she is unable to love from the very beginning - suffocated by this myth of “darkness” that no one can actually define apart from the fact of her difference. And no one wants to deal with difference.

Until Eve, of course. Feeling trapped in practicality and all of its binding obligations herself, Eve identifies a bare, unaffected, and raw authenticity in who Villanelle is. It’s entirely intoxicating, and we’ve seen how Eve barely knows how to handle it, or if she even wants to at all.

Both Sandra Oh and Jodie Comer have hinted at Eve and Villanelle achieving a mutual acceptance by the end of season 3:

“...in some ways, they can only find solace and understanding from each other.“ - Sandra Oh

“...with Eve, she knows what Villanelle is and has always been kind of accepting of that.” - Jodie Comer

So, no, Villanelle has not always been a happy person. But one day in Paris someone sat her down and told her, “I just want to know everything.” Happiness, and love, have a lot to do with paying attention. Eve actually sees Villanelle, she always has, and her sight can only get sharper.

#apologies that this analysis is barely coherent #i think my killing eve brain cell is starting to disintegrate #please please please leave oksana astankova alone for the love of all that is holy #let this person feel worthy of love #killing eve #killing eve analysis #killing eve 3x04 #killing eve spoilers #villanelle #eve polastri #oksana astankova

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rorykillmore · 4 years

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You've written some of my favourite Killing Eve season 2 meta so forgive the sudden question, but, would you rank it above or below season 3 now?

oh thank you!! my answer is..... complicated. i don’t want to like... understate season 3′s flaws or pretend like i don’t care about them because there IS a lot that i think was sloppily handled narratively and in particular the biggest disappointment was the removal of focus from eve to benefit some of the side characters (sometimes in plots that didn’t even really go anywhere!) but. genuinely, at the end of the day, i don’t have a reason to think there was anything more malevolent at play than just... mismanagement and an inexperienced writers room. sandra oh and jodie comer have both said that they enjoyed working with suzanne heathcote because she was incredibly receptive to their ideas, and i think that as a writer of individual episodes, suzanne heathcote was quite talented (whether or not you like villanelle’s backstory ep it is a genuinely nuanced take on abuse and hereditary mental disorders, actually moreso than i was expecting), but she had also (afaik) only been a showrunner on one other season of one other show before, and written for the stage before that (which is incredibly respectable but just very different from mapping out a season of television) and structurally the season suffered a lot from the decision to try to give carolyn and konstantin considerably more screentime and prioritizing the wrong things in too little amount of time.

season 2, in comparison, is somewhat cleaner and better paced and certainly makes better use of sandra oh (although i know i did have some complaints about eve’s treatment even then that i’m too scatterbrained to dig up now, but i’ve definitely made posts about it), but i am going to be completely frank about it: i am less willing to give emerald fennell the benefit of the doubt. just like. in general. for me she is not an “okay, do better next time” writer but a “haha please don’t touch anything i like ever again” writer which may seem harsh (though you sound like you’re already familiar with my dislike of her) BUT HEAR ME OUT. there was a lot about season 2 that was difficult to dissect especially at the time it was airing because with the structure of television hierarchy, you as the audience oftentimes just do not know which decisions can be rooted back to which people -- but stuff like. the way men are written in that season. the way villanelle and eve are sometimes TREATED by those men (this is going to become more relevant in a second). the quite frankly awful and very very damaging things it had to say about psychopathy and personality disorders.

this is speculation, but i did not get the sense that season 2 made a lot of the cast very happy. i haven’t seen sandra oh or jodie comer praising emerald fennell the way i’ve seen them praise phoebe or suzanne, and it just seems like there was a LOT of frustration coming off that season and that that fed into a lot of the re-structuring that happened in season 3, and the shift in eve and villanelle’s relationship.

but the hardest thing for me to swallow ended up being not even something directly related to killing eve, but instead a film that emerald fennell wrote called “promising young woman”, which. dear god if i get into that here this ask will be twice the length that it already is, but suffice to say it made a lot of rape/sexual assault survivors (myself included) uh, PRETTY upset for pretty good reason, and just like. in hindsight for me it cast a lot of doubt on season 2. things that i thought were perhaps arbitrary or accidental suddenly seemed more insidious (ie the thing w the men i mentioned earlier). and just, if i could go back in time and influence it or something, she is Not the person i would want making executive decisions for killing eve or really any female-led show.

i still don’t HATE season 2 or 3 for that matter, there are things i enjoy about both of them, but the way i approach my criticique to both of them is... different.

#killing eve

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hostingnewsfeed · 5 years

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Best TV Scenes (2018): 'Killing Eve,' 'Atlanta,' and More

New Post has been published on http://naturalanxietyremediestips.com/best-tv-scenes-2018-killing-eve-atlanta-and-more/

Best TV Scenes (2018): 'Killing Eve,' 'Atlanta,' and More

Was there anything more all-consuming in 2018 than television? In addition to the ever-churning 24-hour news cycle, the streaming services all increased their output wildly, cranking out more shows than anyone could ever possibly watch. Cable networks, too, kept releasing incredibly original content. There was so much out there it was almost impossible to get through a good binge of The Great British Baking Show. (We found time.) But in the vast sands of Peak TV’s beachhead, where were the diamonds? No need to keep searching—we’ve got a few right here.

Homecoming Gets Ratioed

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Sam Esmail‘s Amazon adaptation of the popular podcast wasn’t notable simply because it lured Julia Roberts to episodic television, or because it surrounded her with a remarkable cast that included Stephan James and Bobby Cannavale. It made a mark because it let you know, in no uncertain terms, that you were watching something special. The writer-director is no stranger to visual flair, having made Mr. Robot look as skitteringly paranoid as it felt, but on Homecoming he shifted gears, using overhead shots and creative crops to enhance the sense that not everyone knew the whole story. And when Roberts’ Heidi Bergman finally visited the site of the mysterious Homecoming program where she’d worked years prior, and finally turned her head to look in just the right direction, her perspective at last fell into place and everything resolved—from the black-barred 4:3 world she’d been living in to a glorious, relieving 16:9. A variation of Vertigo‘s famous dolly zoom, it may not have been something you’d never seen, but it was certainly something you’d never appreciated quite so much. —Peter Rubin

Killing Eve Takes You to the Hole

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Was there a better single season of TV this year than BBC America’s Killing Eve? No, there was not. (See you in the comments!) But in a series that gave us an excellent game of cat-and-mouse between assassin Villanelle (Jodie Comer) and MI5 agent Eve (Sandra Oh), the greatest part was a single line delivery. Villanelle, surrendering herself to a Russian women’s prison in order to take out a former accomplice, has gotten one step closer to her prey but knows she needs to be sent to solitary confinement to complete the task. So she does what any self-respecting killer would: She shivs her cellmate. As the authorities close in on her, bloody and still bruised from a previous fight, she pulls the shank out, raises her hands in the air, and screams “Take me to the hoooole!” with an expression typically reserved for wide receivers who just scored an impossible touchdown. It sums up everything you need to know about Villanelle in one moment—her ruthlessness, her childlike glee at killing, her downright black sense of humor—and cemented Comer’s as one of the breakout performances of the year. —Angela Watercutter

Donald Glover Makes His Late-Night Breakthrough

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Before Atlanta, before Community, before anyone had heard of Childish Gambino, Donald Glover auditioned for Saturday Night Live. He was writing for 30 Rock at the time and doing sketch comedy, but fate (and, really, Lorne Michaels) decided that Studio 8H would remain Gloverless for the time being. Ten years later, fate reconsidered, and in May Glover pulled double duty as guest host and musical guest for one of the last episodes of the show’s 43rd season—and one of the best in years. Even setting aside the music performances (he performed “This Is America” for the first time, releasing the now-famous video on YouTube directly afterward), Glover showed that his assured stewardship of Atlanta was no fluke; he committed to one weirdo role after the other, from ’80s R&B sendup Razz P. Berry to Jurassic Park’s embattled/insane defense lawyer. But nothing reached quite so high as the digital short “Friendos,” in which Kenan Thompson and Chris Redd joined Glover to drag the tropes and machismo of Migos-style trap music into therapy. The result was a master class in parody, performance, and pacing, teasing an actual emotional arc out of what could have been an empty send-up. It was more than a skit—it was a skrrt skrrt. —P.R.

Sharp Objects Saves the Best For Last

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Sharp Objects is a show about the details: The moments of clarity, the things we remember (and how we remember them), the actual hidden words sprinkled throughout the show’s lush frames. But in an extremely deft move, it saved its best detail for the final seconds (if you don’t count the post-credits scene, that is). Camille Preaker (Amy Adams), thinking that her mother Adora (a stone-cold Patricia Clarkson) has rightfully gone to prison for the deaths of multiple young girls in Wind Gap, Missouri, settles into a new life with her sister Amma (Eliza Scanlen) in St. Louis. It’s there, in Amma’s room within the model of their mother’s Wind Gap house that Amma has been curating for years, that Camille sees what her younger sister has been using to recreate the elephant-tusk floor in the model’s parlor: human teeth. Specifically, the teeth of the girls Amma has killed. As the younger sister enters her room and sees what Camille has found, she near-whispers “Don’t tell mama.” It’s a moment both cruel and childlike and left fans of HBO’s miniseries dead in their tracks. —A.W.

Succession Becomes Everyone’s Number-One Boy

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I admit that when I first saw the promo spots for Jesse Armstrong’s HBO family-feud drama, my first reaction was fatigue: oh, hey, squabbling rich people, great. I must not have been the only one; Succession seemed to take everyone by surprise, a refreshing acid bath in a summer of sameness. Armstrong may be British, but his experience—co-creating the truly dark sitcom Peep Show and writing for Armando Iannucci’s scathing The Thick of It—translated perfectly, making the tale of an Rupert Murdoch-like aging paterfamilias and his preening progeny a little like Veep, just if everyone was both evil and competent. (Well, except Kieran Culkin’s Roman. And Tom Wamsgans. But Cousin Greg is coming around!) The race to inherit a media empire is a marathon, not a sprint—but even running from a traffic jam to a vote of no-confidence gets tough when there are so many knives waiting for you to turn your back. —P.R.

Atlanta Finds the Horror in Show Business

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TV’s most self-defined and self-propelled series has always expertly balanced on the edge of horror. Not outright horror a la Hereditary or Halloween, but the cruel, creeping horror of the everyday: of, say, being a washed-out, left-for-dead, past-his-prime singer trapped by the cage of the past. Before “Teddy Perkins”—the sixth and most terrifyingly unforgettable episode of Season 2—Donald Glover’s appetite for dark farce unraveled in purposefully uneven bouts. Though viewers had come to occasionally expect it, life for Earn (Glover), Paper Boi (Brian Tyree Henry), Van (Zazie Beetz) and Darius (Lakeith Stanfield) wasn’t a constant cycle of doom and dread. With the audacious “Teddy Perkins”, Glover and director Hiro Murai crystalized a tale so perversely dark and wonderfully disorienting into a 40-minute k-hole of showbiz horror that one will never look at ostrich eggs in quite the same manner again. As standalone episodes go, it was a nifty repackaging of genre expectations, a stylistic trick as much as it was a shock to the series’s instinctive movement. “Teddy Perkins” was Atlanta at its most deliciously unafraid: refusing, as always, to be made small by the constraints of the medium. —Jason Parham

Hugh Grant Gets Scandal-ous

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No ’90s-borne movie star has aged quite as impeccably as Hugh Grant, who not only starred as a egomaniacal thespian in this year’s wondrous Paddington 2, but also played an impeccably amoral politician in BBC’s crisp three-part mini-series A Very English Scandal (now streaming on Amazon Prime). Based on real-life events, Scandal casts Grant—his movie-star smile transformed into a polite smirk—as Jeremy Thorpe, a Member of Parliament who winds up having an affair with a desperate, rather daft drifter (an excellent, almost fawn-like Ben Whishaw). As Thorpe’s secret past threatens to become public, Grant’s confident and quietly scheming politico decides to have the young nuisance killed. What follows is a ripping, upscale bit of pulpy non-fiction, full of dim-witted goons, painfully oblivious spouses, and careerist government creeps—a little bit Coen brothers, a little bit Patricia Highsmith. And it’s all led by Grant, whose ambitious MP speechifies with confidence, yet whose expressions discreetly detail his many years of loneliness, sadness, and sacrifice. It’s his keep-calm-and-carry-on performance that allows Scandal to indulge in its sumptuous twists and turns, making for a very unmissable time. —Brian Raftery

Pose Celebrates Mothers’ Day

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Beyond being a story about 1980s New York ball culture and family, Pose is also a Cinderella tale: It literally begins with Blanca Evangelista (the enthralling Mj Rodriguez) being harassed by her sisters while her house mother, Elektra Abundance (Dominique Jackson), laughs in the wings. But while that trope necessitates that Blanca have her princess moment, it happens in a far different kind of fairy tale. Done with suffering abuse under Elektra’s roof, Blanca sets out to form a house of her own—adopting dancers Damon (Ryan Jamaal Swain) and Ricky (Dyllon Burnside), exotic dancer Angel (Indya Moore), and former foster kid (and sometimes drug dealer) Lil Papi (Angel Bismark Curiel). After nearly a year struggling to keep her family together—amid Papi’s drug dealing, Damon and Ricky’s relationship, and Angel’s affair with a married Trump employee—Blanca brings everyone home and defeats her rivals in the House of Abundance in the season’s final ball. She also, naturally, gets crowned Mother of the Year, a better crown than that given to any fairy tale princess. —A.W.

American Crime Story ‘Drive’s You to the Edge

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The trick of The Assassination of Gianni Versace—as well as its American Crime Story predecessor, The People v. O. J. Simpson—is that you already know the ending: Andrew Cunanan killed fashion icon Gianni Versace. What the show does is lay out the groundwork for his murder. And those moments, thanks to the Emmy-winning performance of Darren Criss as Cunanan, make for far more drama than the eventual outcome. Like, for example, the scene where Cunanan and his lover David Madson (a heartbreaking Cody Fern, who would go on to play the antichrist in showrunner Ryan Murphy’s American Horror Story this year) head to a bar on the road trip Andrew has forced them to go on. As they walk into the small watering hole, none other than Aimee Mann begins singing a cover of the Cars’ “Drive,” and a series of moments of resignation set in. David, attempting an escape through a busted out window in the bathroom, realizes he’ll never get away and that Andrew might very well kill him. (He does.) Andrew, listening to Mann croon “You can’t go on/thinking nothing’s wrong,” realizes David’s fear and his own fright at being left alone and steadily cries listening to Mann in an unbroken 90-second shot. Ryan Murphy shows, including Pose and Glee, are known for their musical moments, but this went far beyond song and dance and cut to the bone—and probably is the scene where Criss secured that Emmy. —A.W.

Queer Eye Comes Out Swinging

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Literally every episode of Netflix’s reboot of Queer Eye is a tear-jerker. (There’s a reason they advertised Season 2 with tissues.) However, the episode in Season 1 where AJ, a gay man living in Atlanta, comes out to his stepmother—”To Gay or Not Too Gay”—is the one that inspired the most reach-out-and-touch-someone levels of bawling amongst Queer Eye fans. And with good reason. The crux of the episode is that AJ has a good job, a cool (if messy) apartment, a sweet boyfriend, and good pals. He’s also in the closet when it comes to his family. His father passed away a few years prior and when he tells his dad everything he wanted to say via a letter he reads to his stepmom, well, the floodgates are opened. He chokes back sobs; she cries and hugs him; the audience, including the Fab Five, sit in damp-eyed awe. It’s wonderful and heartbreaking. It does, however, have a very happy ending: AJ and his boyfriend got married shortly after the episode aired. —A.W.

Forever Goes Bananas

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Amazon’s Forever is a weird show. Co-created by Master of None producer Alan Yang, it deals primarily in the deep, dark corners where relationships thrive and get dirty. Focused on the afterlives of June (Maya Rudolph) and Oscar (Fred Armisen), it peels back the layers of a failing relationship to unveil what really went wrong in the first place. As with many struggling couples, no one was really at fault—they were both just stuck. This all comes to a head in the first season finale when June and Oscar realize that they agree on one thing: Bananas are the perfect beach food. (They are self-contained, filling, come in a fairly sand-proof wrapper … you get the idea.) It is, as Vulture noted they, and the audience, realize “they are exactly strange enough for each other” and have perhaps their first honest conversation ever. It was often hard to figure out what Forever was building towards. The fact that it was this made it all the more perfect. —A.W.

Netflix Becomes Nanetteflix

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On Tuesday, June 19, seemingly out of nowhere, Netflix released Nanette. By itself, this wasn’t surprising; Netflix drops comedy specials willy-nilly all the time. But the performance from Hannah Gadsby—one hour and nine minutes of comedy, searing social commentary, and a little bit of art history—crashed the party with aplomb. By the following weekend, it was the one comedy special on the streaming service that no one could shut up about. With good reason. Gadsby’s brand of humor, which tackles the machinations of comedy, male privilege, and her own attack at the hands of a homophobe, had the kind of bite unseen in comedy in a long time. And for that, we’d like to express our gratitude to Gadsby through the metaphor of a clap. —A.W.

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tkjers · 4 years

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The Most Famous Cat Meet the cast of Killing Eve season 3 #internationalcatday #amazingcat #famouscat #funnycat #cutecat #bestcate #sweetcat #persiancat #anggoracat #localcat

However, it’s now been confirmed that Jodie Comer and Sandra Oh are respectively reprising their roles – alongside a star-studded international cast. Read on for all you need to ... Eve became ... source https://soviralfull.com/amazing-international-cat-day-8th-august-beloved-pets-all-over-the-world/#80ef9cc7a14ef462f6d67bc761ce01b5

#international cat day #amazing cat #famou scat #funny cat #cute cat #best cat #sweet cat #persian ca

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presidentclaireunderwood · 6 years

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2018 Emmy Predictions

Find under read more. Ranked from most to least likely to be nominated imo.

Best Comedy Series:

Atlanta (FX)

The Marvelous Mrs. Maisel (Amazon)

Silicon Valley (HBO)

Barry (HBO)

GLOW (Netflix)

Curb Your Enthusiasm (HBO)

Will & Grace (NBC)

Black-ish, Unbreakable Kimmy Schmidt, and Modern Family can totally get in though since they were all in last year and dropping three seems dangerous. The Good Place is a possible spoiler as well. Dropping Black-ish is my biggest risk here, but I feel like it’s time could be up.

Best Actor - Comedy:

Donald Glover on Atlanta (FX)

Bill Hader on Barry (HBO)

William H. Macy on Shameless (Showtime)

Anthony Anderson on Black-ish (ABC)

Larry David on Curb Your Enthusiasm (HBO)

Zach Galifianakis on Baskets (FX)

Eric McCormack can totally show up, but I don’t see the show really doing as well as people are predicting. Thomas Middleditch is on the bubble as well, but him not getting in last year is a bad sign. Finally, Matt LeBlanc and Ted Danson could be spoilers if Episodes or The Good Place happens this year.

Best Actress - Comedy:

Rachel Brosnahan on The Marvelous Mrs. Maisel (Amazon)

Allison Janney on Mom (CBS)

Lily Tomlin on Grace & Frankie (Netflix)

Alison Brie on GLOW (Netflix)

Jane Fonda on Grace & Frankie (Netflix)

Pamela Adlon on Better Things (FX)

Tracee Ellis Ross is the most obvious exclusion here, but I’m sticking with Black-ish having a bad yeah tbh. Ellie Kemper and Debra Messing are the other potential nominees I’m skipping. I don’t feel confident about anyone outside my top three though.

Best Supporting Actor - Comedy:

Sean Hayes on Will & Grace (NBC)

Marc Maron on GLOW (Netflix)

Alec Baldwin on Saturday Night Live (NBC)

Tituss Burgess on Unbreakable Kimmy Schmidt (Netflix)

Louis Anderson on Baskets (FX)

Brian Tyree Henry on Atlanta (FX)

Anyone can miss here and I wouldn’t be surprised lol. Henry Winkler and Tony Shalhoub are the only ones I can see sneaking in in anyone else’s place (maaaaybe Lakeith Stanfield if Atlanta is really loved). But any combination of 6 out of those 8 is possible. I’m just going with these 6.

Best Supporting Actress - Comedy

Kate McKinnon on Saturday Night Live (NBC)

Megan Mullally on Will & Grace (NBC)

Alex Borstein on The Marvelous Mrs. Maisel (Amazon)

Leslie Jones on Saturday Night Live (NBC)

Betty Gilpin on GLOW (Netflix)

Rita Moreno on One Day at a Time (Netflix)

McKinnon is the only safe bet, but I still feel cautiously optimistic about my top four. Gilpin is more just what I’m hoping for, but she’s definitely on the bubble and can totally happen. I’m very concerned about Moreno since she didn’t happen last year, but there’s really no better options. Laurie Metcalf could happen, but I think Roseanne is too hated and Emmy voting was when all the shit went down. I also think a random Saturday Night Live woman could replace Vanessa Bayer (and I’m thinking that would be Aidy Bryant or Cecily Strong).

Best Guest Actor - Comedy:

Donald Glover on Saturday Night Live (NBC)

Bill Hader on Saturday Night Live (NBC)

Lin-Manuel Miranda on Curb Your Enthusiasm (HBO)

Bryan Cranston on Curb Your Enthusiasm (HBO)

Katt Williams on Atlanta (FX)

Jon Hamm on Unbreakable Kimmy Schmidt (Netflix)

I’m very confident on the top four and the last two are just kinda hopeful. Williams and Hamm’s episodes of their shows were so acclaimed I hope they can sneak in. If not, I expect Will Ferrell, Sterling K. Brown, Leslie Jordan or Bobby Cannavale.

Best Guest Actress - Comedy:

Jane Lynch on The Marvelous Mrs. Maisel (Amazon)

Tina Fey on Saturday Night Live (NBC)

Tiffany Haddish on Saturday Night Live (NBC)

Molly Shannon on Will & Grace (NBC)

Blythe Danner on Will & Grace (NBC)

Laurie Metcalf on The Big Bang Theory (CBS)

I might be crazy discounting Wanda Sykes, but yeah...I’m completely destroying Black-ish here. The top three women are pretty much locks and the bottom three are just well respected women that they’d love to nominate. Sykes is certainly possible, maybe Elizabeth Perkins for GLOW, but I’m sticking with these six.

Best Drama Series:

The Handmaid’s Tale (Hulu)

Game of Thrones (HBO)

The Crown (Netflix)

Stranger Things (Netflix)

This Is Us (NBC)

The Americans (FX)

Westworld (HBO)

This category is such a lock it’s not even funny. Killing Eve is really the only spoiler here, but I think it happened too late to really gain momentum. If it aired in the fall, it’d certainly be a contender. Maaaaaybe Homeland comes back but I doubt it.

Beat Actor - Drama:

Sterling K. Brown on This Is Us (NBC)

Milo Ventimiglia on This Is Us (NBC)

Matthew Rhys on The Americans (FX)

Jeffrey Wright on Westworld (HBO)

Liev Schreiber on Ray Donovan (Showtime)

Kit Harington on Game of Thrones (HBO)

The nominations barely matter because it’s pretty much down to those top three men fighting it out for the win. Wright should comfortably move up to lead and Schreiber always gets nominated so I can’t imagine him missing now. Harington is rocky and if I had to guess someone would replace him, I’d say Ed Harris. Freddie Highmore could happen, but his show was too blah. Maybe Jason Bateman, but I think him showing his ass during the Arrested Development press tour killed his Ozark chances. Jonathan Groff is a huge longshot, but maybe the Emmys really loved Mindhunter idk.

Best Actress - Drama:

Elisabeth Moss on The Handmaid’s Tale (Hulu)

Claire Foy on The Crown (Netflix)

Keri Russell on The Americans (FX)

Evan Rachel Wood on Westworld (HBO)

Mandy Moore on This Is Us (NBC)

Emilia Clarke on Game of Thrones (HBO)

This category is competitive as hell. The top two women are 100% locks and Russell is an extremely safe bet. After that, anything goes. Wood had a dominant season so the fact that she got in last year makes me feel pretty good about her chances. Moore shockingly missed last year so that could happen again, but she was all everyone was talking about after that huge Super Bowl episode. Clarke is nowhere near safe, but the Emmys just adore Game of Thrones. Sandra Oh is the obvious spoiler here and I might be crazy discounting her because if she gets a nomination, she has potential to win. I’m sticking with my gut that Killing Eve just became big too late. Viola Davis is a goddess and could obviously happen. Laura Linney is an awards show favorite, Jodie Comer could happen if Killing Eve is a hit, Tatiana Maslany won for Orphan Black a few years ago and this is her last year, Claire Danes could always return...Hell Maggie Gyllenhaal could happen for her flawless performance on The Deuce. There’s so many options, but I’m gonna go with these six but feel like an idiot if Sandra Oh gets nominated tomorrow.

Best Supporting Actor - Drama:

David Harbour on Stranger Things (Netflix)

Peter Dinklage on Game of Thrones (HBO)

Justin Hartley on This Is Us (NBC)

Mandy Patinkin on Homeland (Showtime)

Joseph Fiennes on The Handmaid’s Tale (Hulu)

Anthony Hopkins on Westworld (HBO)

This category is so open-ended with only Harbour and Patinkin as possible returnees from last year. Harbour and Dinklage are 100% locks. I think Hartley worked his ass off to get nominated so I’m throwing him in there and I’m keeping Patinkin in. I literally just put Fiennes in right now. He missed last year which concerns me, but I feel like Handmaid’s Tale is only getting bigger and bigger. I feel terrible about my Hopkins prediction since he did nothing and I hope he doesn’t happen, but he got a lead actor nomination last year and he’s just beloved. I have Noah Schnapp in seventh place and I’d love to see him happen because he killed it on Stranger Things but I’m not sure. Max Minghella, Matt Smith, Nikolaj Coster-Waldau, and Noah Emmerich are on the bubble as well and can easily snatch a spot from any of the bottom four.

Best Supporting Actress - Drama:

Thandie Newton on Westworld (HBO)

Ann Dowd on The Handmaid’s Tale (Hulu)

Lena Headey on Game of Thrones (HBO)

Millie Bobby Brown on Stranger Things (Netflix)

Chrissy Metz on This Is Us (NBC)

Yvonne Strahovski on The Handmaid’s Tale (Hulu)

I’m very confident on my top three (though no one seems to be a 100% lock). I feel good about Brown and Metz since they got in last year, but I wouldn’t be surprised if they missed. Strahovski is kinda what I’m hoping for so I’m just trying to send those good vibes out there. It’s either gonna be her or Bledel and I think Strahovski kinda deserves it more (though Bledel won guest actress last year). I’d love to see Vanessa Kirby happen, but I’m scared she’ll miss. Maisie Williams and Uzo Aduba are totally in the running too, but I’d be pretty shocked to see them.

Best Guest Actor - Drama:

Gerald McRandy on This Is Us (NBC)

Ron Cephas Jones on This Is Us (NBC)

Peter Mullan on Westworld (HBO)

Michael C. Hall on The Crown (Netflix)

Jimmi Simpson on Westworld (HBO)

Matthew Goode on The Crown (Netflix)

Idk, I only feel confident with the This Is Us men. If they’re watching Westworld both those men will get in, but maybe they’re not watching and neither of them are really super famous. Cameron Britton is on everyone’s predictions for Mindhunter but I just don’t think they’re watching it and the only chance that show happens is for David Lynch in directing. I’m terrible with guest and I have no idea who else could get in. Beau Bridges or F. Murray Abraham for Homeland? Alan Alda for The Good Fight? Who knows.

Best Guest Actress - Drama:

Diana Rigg on Game of Thrones (HBO)

Samira Wiley on The Handmaid’s Tale (Hulu)

Marisa Tomei on The Handmaid’s Tale (Hulu)

Rinko Kikuchi on Westworld (HBO)

Cicely Tyson on How to Get Away with Murder (ABC)

Pam Grier on This Is Us (NBC)

This category’s more fun than Guest Actor. Anyway, the top two women are 100% locks and Rigg probably has the win locked up unless something crazy happens. I feel pretty confident with Tomei, even if her role was kinda underwhelming for some, her name should secure the nomination. Kikuchi is a risk, but like with Mullan and Simpson in Guest Actor, if they’re watching the show she should be good. Tyson and Grier are both strong, beloved black women and I’d be happy to see them happen. Cherry Jones could maybe happen for The Handmaid’s Tale, but that would suuuuuck because she literally did nothing. Laverne Cox is in the running too just because she’s loved. Maybe Jodi Balfour or Elizabeth Perkins but I doubt it.

Best TV Movie:

Black Mirror: USS Callister (Netflix)

The Tale (HBO)

Paterno (HBO)

Flint (Lifetime)

Electric Dreams: The Commuter (Amazon)

Oh God this category is soooooooo tragic. The top three are the biggest locks ever, no chance they miss since they were actually decent. Everything else is a crapshoot since nothing good aired lol. Flint got a WGA nomination so that’s literally the only reason I put that in there. Electric Dreams has Philip K. Dick’s on it which helps it. So yeah. Fahrenheit 451 had the hype and the prestige but flopped so bad I don’t want to put it in. It might sneak in for a lack of better options even though it was awful. The Child in Time, Cocaine Godmother, Notes from the Field, and I Am Elizabeth Smart are floating around there too in the running since the cateogry’s so tragic.

Best Limited Series:

The Assassination of Gianni Versace: American Crime Story (FX)

Godless (Netflix)

Twin Peaks (Showtime)

The Looming Tower (Hulu)

The Sinner (USA)

This category’s not as tragic as TV Movie, but there was no Big Little Lies breakout really. The top two are pretty safe I’d say. Twin Peaks has the passion votes which should help it, but I wouldn’t be surprised if it was so inaccessible it missed. The Looming Tower has prestige but idk if anyone watched it. The Sinner has the ratings and some buzz thanks to Jessica Biel, but idk if it has the prestige. There’s a ton of options that could sneak in though...Patrick Melrose, Genius: Picasso, Top of the Lake: China Girl, Howards End, American Vandal, The Alienist are all in the running. And if there’s a God, Alias Grace will happen but I know it’s not gonna (Netflix isn’t even really campaigning it which is stupid since it was the best limited series of the year BUT WHATEVER).

Best Actor - Limited Series/TV Movie:

Darren Criss on The Assassination of Gianni Versace: American Crime Story (FX)

Al Pacino on Paterno (HBO)

Benedict Cumberbatch on Patrick Melrose (Showtime)

Kyle MacLachlan on Twin Peaks (Showtime)

Antonio Banderas on Genius: Picasso (NatGeo)

Jeff Daniels on The Looming Tower (Hulu)

I am feeling pretty confident with these six. Michael B. Jordan was a safe bet for a long time till his movie actually aired and completely flopped. Maybe Jesse Plemons sneaks in but I think these’s too many big names he’s going up against. So yeah, I’m feeling good with this six.

Best Actress - Limited Series/TV Movie:

Laura Dern on The Tale (HBO)

Jessica Biel on The Sinner (USA)

Elisabeth Moss on Top of the Lake: China Girl (Sundance)

Michelle Dockery on Godless (Netflix)

Sarah Paulson on American Horror Story: Cult (FX)

Cristin Milioti on Black Mirror: USS Callister (Netflix)

This category feels kinda bleak, the top two are the only two locks. Hayley Atwell could get in, but I’m not sure anyone actually watched Howards End. Catherine Zeta Jones and Edie Falco starred in stuff that no one really cared about, but their names alone could get them in. I’m holding out hope for Sarah Gadon because she fucking deserves it, but I’d be shocked if she actually happened.

Best Supporting Actor - Limited Series/TV Movie:

Edgar Ramirez on The Assassination of Gianni Versace: American Crime Story (FX)

Jeff Daniels on Godless (Netflix)

Jason Ritter on The Tale (HBO)

Bill Pullman on The Sinner (USA)

Brandon Victor Dixon on Jesus Christ Superstar: Live (NBC)

Peter Sarsgaard on The Looming Tower (Hulu)

I’m taking like a million risks here but that’s okay. The top two are totally locks. After that it’s a bit of a mess. The Tale was beloved and Ritter’s performance was fantastic. In such a bleak category, I don’t know why he’s expected to miss. I know he was creepy as hell, but Alexander Skarsgård just won despite that. Ricky Martin, Jimmi Simpson, Michael Shannon, Bill Camp, Michael Stuhlbarg or Cody Fern could totally sneak in, but I’m just not really seeing it. I don’t think anyone watched The Looming Tower and I can’t believe I’m even predicting one of them. Simpson & Fern aren’t famous enough, Martin was barely on the show and didn’t really do much. I would love to see Fern get in though, he totally deserves it.

Best Supporting Actress - Limited Seres/TV Movie:

Penelope Cruz on The Assassination of Gianni Versace: American Crime Story (FX)

Laura Dern on Twin Peaks (Showtime)

Angela Lansbury on Little Women (PBS)

Judith Light on The Assassination of Gianni Versace: American Crime Story (FX)

Ellen Burstyn on The Tale (HBO)

Nicole Kidman on Top of the Lake: China Girl (Sundance)

Like with most these Limited Series categories, I don’t feel good about this at all. I don’t think there’s a single lock. I feel very good about Cruz and Dern, but I also could see them missing. I really, really want to predict Merritt Wever, but I don’t think she’s that beloved yet (even though she won a few years ago lol). It just feels crazy throwing her in there over Nicole fucking Kidman. Jennifer Jason Leigh and Elizabeth Debicki are my other backups.

#Emmys #2018 Emmys #Alex's 2018 Emmy Ramblings

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jamessandersweb · 6 years

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Every Catchy Song You Hear in Killing Eve's First Season

How does one score the antics of a psychopathic assassin killing her way through Europe? We couldn't begin to tell you, but fortunately the creative forces behind BBC America's Killing Eve have got it handled. The phenomenal thriller stars Sandra Oh and Jodie Comer as an MI5 operative and a deadly professional killer, respectively, and the soundtrack could not be more fitting for the series' often cheeky tone. Modern pop hits such as Julia Michaels's "Issues" are mixed in with French songs from the '60s, resulting in a mixed bag of tunes that we can't get enough of. If you feel the same way, keep scrolling to see all the music that plays throughout the first season.

I'll Just Come Right Out and Say It: Killing Eve Is the Best Show on TV Right Now

Every Catchy Song You Hear in Killing Eve's First Season published first on https://filmstreaminghdvf.tumblr.com/

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wearevillaneve · 4 years

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Some people think s4 will be the last season of KE and I don’t think so. The creator of my other favorite show, when his show was renewed for a sixth season, he decided to end the show & sent an announcement via social media saying that the show was renewed for a sixth & final season. KE would have already announced s4 being the last season when they announced its renewal. I think s5 will be the last season. I want sandra to work on a project where her character is respected & properly developed

There’s two points here and I’ll get to your first one first. Nothing has been publicly stated by the stars or producers whether or not the next season of Killing Eve will be the last one. There are and were reasons to think it might. In the U.S. the third season debuted to solid, if not spectacular ratings. There’s no danger to the show being canceled by BBC America and AMC as it is both a critical darling (though not so much in S3), and has taken up residence as an award magnet for the BAFTA’s, Emmys, Golden Globes among others. Don’t believe for a minute that these networks don’t enjoy showing off trophies in their offices. What hasn’t received much attention from the KE fandom is the departure of Sarah Barnett as president of the AMC Networks. Barnett, a British expatriate, has been with AMC since 2008 and was a champion of Phoebe Waller-Bridge’s gender bending subversive little take on the tired spy vs. assassin trope. With filming for Season 4 indefinitely delayed due to the global pandemic and Barnett gone, will the new president of AMC be the same champion for Killing Eve that Barnett was? We don’t know what goes on behind the curtain at AMC, but the longer the shooting schedule is up in the air, the greater the pressure is going to be to fill that 9:00 pm time slot with something. Killing Eve’s European locations makes it more authentic, but also more expensive than Unnamed Show X that shoots in the U.S. or Canada and all the talent in front and behind the camera is homegrown.

(Sarah Barnett and Sandra Oh in 2018/ photo credit: Getty Images for BAFTA LA )

Do not think for one second there are not other producers of other shows waiting for Killing Eve to delay its 2021 return so they can grab that sweet prime time spot. Should Unnamed Show X be a ratings and critical juggernaut KE was in 2018, do not be shocked if when Season 4 does finally drop, it ends up in a different time slot, or worse, an entirely different day than it’s previously occupied. Most KE fans wouldn’t know Barnett if they bumped into her on the street, but being where she was and doing the job she did meant a lot when it came to getting behind a TV show shot in Europe produced by a showrunner who never had done the job before and starring an Asian lead who had never held that spot previously and and a talented young Scouser who had established herself in England, but was a total unknown in Hollywood.

Barnett might never have been the most powerful television executive in Hollywood, but that was never her game. Her programming philosophy was always about risk, discovery, and resisting the obvious. It’s the kind of philosophy that flourished during the Golden Age of TV, and it’s now out of fashion. Scale is everything, data is king, and the streaming wars must be fought at all costs. Where Barnett goes next is a mystery, but her tenure at AMC will fondly be remembered as we reminisce a now bygone era of television.

There’s always competition for a prime-time slot, so you might have to ask yourself it you would be in your feelings should Killing Eve 2021 aired at 9:00 pm on Wednesday and not Sunday? It never hurts to have a powerful ally in the suites, and KE has lost one. I tend to agree with you that it will get a fifth (and hopefully final) season. To repeat myself, I hold firm to my belief most TV shows hit their peak at five seasons. After that, contracts expire, actors move on, and the churn of talent exiting behind the scenes begins to show up on-screen.

Let’s look at this way: do you really want to watch Killing Eve when it reaches’ 22nd seasons like Law and Order: SUV?

To your second point, I too want to see Sandra Oh move on to other projects beyond playing a bisexual mouse chasing a bisexual cat. Not that she’s bad at it, but Oh’s talents were squandered in S3. Killing Eve would be better cutting the cord than seeing its lead actress treated as an accessory to the co-lead a second time.

The pandemic has reset the clock for nearly every form of entertainment and with it the best laid plans of Jodie Comer and Sandra Oh’s agents. Clearly, Comer is aching to respond to Hollywood’s calls. She won’t continue to blow off opportunities like Death On the Nile and a chance to raise her profile to an international audience for eight episodes of a TV show that eats up months of her time. She’s going to have to eventually choose her exit strategy should KE go beyond a fourth season.

She hasn’t asked for my advice and she’s got well-compensated pros she can do it far better, but should J.C. drop me an anonymous question, my answer would hinge upon when her KE contract expires. If it ends after Season 4, then demand a hefty pay raise (especially should she score a second Emmy) and then head for the exit as soon as Season 5 wraps.

This is business. Not personal, and there’s zero chance Comer is at all interested in playing Villanelle for a decade. Her future is too bright to be limited to simply playing a fashionable assassin for too long.

Oh’s career opportunities diverge from Comer’s and there aren’t a lot of feature films in the future for a 49-year-old Korean Canadian actress. I know it, you know it and you best believe she knows it better than we do.

Beyond The Chair, her Netflix comedy produced by Amanda Peet, there’s nothing else upcoming on her schedule besides voice overs in two animated projects. Despite her equivalent skills, due to her ethnicity and age, Oh will never receive the same opportunities as Comer. That’s not a complaint. This is an indisputable truth.

Oh will never stop working in TV and films as long as she is willing to take parts as the best buddy to the White lead, as Season 3 of KE reduced her to, but she isn’t going to pivot toward directing or writing. Sandra Oh is an actress. It’s really that simple and she is respected as a damn good one as her 12th Emmy award nomination and third consecutive for perfectly playing the hot-ass mess than is Eve Polastri.

I share with you the hope that Oh will find roles in a post-Killing Eve world that honors and validates her incredible acting chops. “Hope” is a vague word and more than likely Oh will find her career arc is similar to than of one of her contemporaries and one of my queens, Viola Davis when she said, “The only thing that separates women of color from anyone else is an opportunity.”

Oh and Comer have vastly different opportunities.

The post-Killing Eve path for Comer is far clearly defined and brightly lit because the world reacts in radically different ways to a 27-year-old White woman than a 49-year-old Asian woman, and anyone who wants to claim otherwise can kindly fuck all the way off because you don’t know what you’re talking about and I got nothing for you but scorn and contempt.

The pie is not cut in equal slices for Actresses of Color. Never has been, and there’s little reason to believe that will change in any of ours lifetime. Women of Color in the entertainment industry are still fighting battles thought long won decades ago.

Yet here we are. Knowing the playing field ain’t close to being level and not particularly giving a shit as long as our needs are being met.

Sorry for going so long, Anonymous. You caught me stuck in a moment I wasn’t quite ready to get out of. U2 fans will get the reference and everybody else will have to use their Google-Fu.

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