Greta Gerwig was deep in the American Wing of the Met, searching for signs of modern life. She wound her way instinctively through the halls, bobbed between throngs of tourists, waved an arm and leapt impulsively into a closing elevator: “Maybe we’ll go in here! Sorry. Hi!”
One of the thrills of “Killing Eve,” which returns Sunday for Season 2 on BBC America, is that it is not simply a thriller. The show careens between genres, at once an office sitcom, a police procedural and a screwball romance between the stylish assassin Villanelle (Jodie Comer) and the unlikely spy Eve Polastri (Sandra Oh). And although the source materials for “Killing Eve” are nominally Luke Jennings’ slick novellas, the show was built on a jumble of pop culture inputs.
One of the thrills of “Killing Eve,” which returns Sunday for Season 2 on BBC America, is that it is not simply a thriller. The show careens between genres, at once an office sitcom, a police procedural and a screwball romance between the stylish assassin Villanelle (Jodie Comer) and the unlikely spy Eve Polastri (Sandra Oh). And although the source materials for “Killing Eve” are nominally Luke Jennings’ slick novellas, the show was built on a jumble of pop culture inputs.
In December 2017, theater director Tina Satter was stuck at a desk, temping as a receptionist, when she fell down an internet rabbit hole. After reading the New York magazine profile of Reality Winner — the 20-something military contractor charged with leaking a single top-secret document about Russian election hacking — Satter clicked a link to a blog post about Winner’s pantyhose, and then another link to a grainy PDF of an official FBI transcript.
Last December, theater director Tina Satter was stuck at a desk, temping as a receptionist, when she fell down an internet rabbit hole. After reading the New York magazine profile of Reality Winner — the 20-something military contractor charged with leaking a single top-secret document about Russian election hacking — Satter clicked a link to a blog post about Winner’s pantyhose, and then another link to a grainy PDF of an official FBI transcript.
It’s not nearly as revered as “When Harry Met Sally” or “Sleepless in Seattle.” The film reviewers of 1998 were kinder to “Bulworth” and “Primary Colors.” But to me, it is the $250-million-worldwide-gross version of a cult classic.
How did you spend your summer vacation? I spent mine in a dissociative fugue of materialist excess, lying prone on my couch and watching all four seasons of “Queer Eye,” the Netflix makeover show reboot. Once an hour, I briefly regained consciousness to feverishly click the “next episode” button so that I wouldn’t have to wait five seconds for it to play automatically. Even when I closed my laptop, the theme song played on endless loop as Jonathan Van Ness vogued through my subconscious. The ...
There is a three-second shot in Hulu’s “Shrill” that lingers. Annie, a tenderly insecure young journalist played by Aidy Bryant, is at her first Fat Babe Pool Party.
Finally Katherine (Emma Thompson) pulls an inexperienced “diversity hire” named Molly Patel (Kaling) into her all-male writers room to quell the suspicion that she “hates women.”
(Critic's Notebook): One of the greatest pleasures to be found on Broadway is the illusion of the past being magically transported into the present. We get the feeling whenever a classic is capably revived, though these days Broadway seems to want to conjure it from everything — ’80s movies, a children’s cartoon about an underwater sponge, the extended musical catalog of Cher.
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