“Killing Eve” Episode 402 Recap: Dangerously Hot

Hello my little murder babies and welcome back to Autostraddle’s Killing Eve coverage! In this Killing Eve 402 recap, I shall attempt to write something other than just HOT HELENE IS KILLING ME, but know that pretty much my entire mental state during the writing of this recap could be summed up as HOT HELENE IS KILLING ME. “Don’t Get Eaten” (one of my favorite title episodes to date) was, as with the premiere, written by Laura Neal and directed by Stella Corradi. Read last week’s recap of the season premiere if you missed it and also check out my recent update to the goofy lesbian knifeplay list that I originally wrote in 2019 and have expanded to include, well, a lot more Killing Eve moments! On with the show!

“I think reinvention is a form of avoidance.”

When Eve asks Martin — the “therapist for psychopaths” we’ve met in previous seasons — if he thinks it’s really possible that Villanelle has changed, that her whole Christian good girl thing could be real, this is his response.

Eve goes to Martin because she wants a second opinion on whether her plan to confront Helene by herself head-on is a good idea or not. Her coworker-slash-hookup Yusuf thinks it’s a very bad idea and that she’s acting like the kind of person who adopts a lion cub and thinks surely it will never grow into something that will harm her. I gotta say: I’m with Yusuf here. We’ve seen this side of Eve before, this self-destructive egotism that makes her believe she’s untouchable. I like this recklessness in Eve. It’s what usually brings her back to Villanelle.

Also, for the record, while I — like any other Killing Eve obsessed dyke — want Villanelle and Eve to consummate their seasons-long tango, I like Yusuf! I like Eve and Yusuf’s whole thing! When he tricks her into thinking he booked a romantic trip to Paris in this episode and she over-reacts by RIPPING the tickets up and reminding him of their situationship rules (no sleepovers, no gifts/trips, etc.) and he’s like CHILL I’m JOKING? It’s so good! This is far from the first time Eve has used men in her life as kinda sexual standins. Back in season one, interactions with Villanelle would get her so riled up she’d come home horny for Niko, but it wasn’t really him she wanted but the idea of him, the version of him that fit into this whole power game in her head. In season two, she used Hugo, too, leaving her earpiece in so that Villanelle was almost part of things. With Yusuf, everything’s on the table in a way it wasn’t really for those other men in her past. He seems to perfectly understand their casual arrangement and also be exactly what she wants — a cipher for her to project onto. She’s most interested in him when he can give her something she wants. It’s all very transparently transactional.

Which ties back to this brief but meaty scene with Martin. Eve wants to know how to get something out of a psychopath. Martin says that they basically need to be given something they want or at least perceive that they are getting something they want. I like this scene because neither of them are really talking about the same things. Martin assumes Eve is talking about Villanelle. Eve is talking about Helene but also maybe Villanelle a bit and maybe herself, too.

I was also struck by this: When Eve shows up outside his work, she offers a bottle of alcohol as a gift. He immediately grabs it, opens it, and starts chugging. It’s such a small but telling moment. Martin’s work means that he’s constantly confronted by the ugliness of humanity. He’s an expert in monsters. It’s similar but also different from Eve, who thinks of herself as an expert of psychopaths but isn’t, not really. Martin gets up close to killers because it’s his job. It was once Eve’s job, too, but now it’s more than that. It’s a passion, an obsession. Martin chugging booze in the middle of a work day suggests he doesn’t leave work at the door so easily. Being so close to fucked up shit fucks you up.

“I’ve got five minutes until my cannibal,” Martin says matter of factly. “Don’t get eaten,” Eve warns at the end of the scene. There’s a jokiness to this casual banter about a literal cannibal, but there’s also something more there. These are Martin and Eve’s realities. They get close to the things most people would run away from.

“Don’t Get Eaten” follows the threads of reinvention for both Eve and Villanelle that the premiere introduced. They spend the episode apart but on parallel tracks. Indeed, Martin’s words ring true for both of them. They’re reimagining themselves so that they can avoid answering any hard questions about who they are or what they want. This is a recurring theme for Eve, who has been on what I see as an extended identity crisis since season one.

“Maybe I’m more of a them these days than a you,” Eve says to Martin when he points out to her that there are a slew of safety protocols in place to protect him from his patients. Neither seems fazed by that statement, because I think neither believes it entirely.

Similar to the premiere, the opening sequence of “Don’t Get Eaten” is exquisite. In it, we get to see Eve as a full-on spy, dressing in elaborate and fabulous costumes (ugh seriously that look at the bar!!!!!) while trailing Hot Helene who, blessedly, spends part of this opening making out with a random spiky-haired woman in a bar bathroom and then on an elevator with, to which I say 👅. ANYWAY, I love rogue spy Eve. I love her undercover looks and her sneaky tampon tracking device and her certainty that she can just walk up to a serial killer recruiter’s door and play some power games and get away with that. I love it all, and I’m also not buying it. Or, at least, I don’t think Eve is any more certain of her self and her motivations just because she’s running around like a glamorous and confident spy these days.

I still think Eve doesn’t know who she is and what she wants. I think that, much like Villanelle trying on goodness as if it were a costume, she’s faking it til she makes it. She’s focused on the mission at hand, but gun to her head, I’m not sure she would be able to really explain why she’s going after The Twelve and what she’s really doing. She’s biting off more than she can chew and then biting off some more.

On the way to Paris to confront Helene (Yusuf thinks they’re just doing recon and clearly doesn’t know Eve well enough to know that she’s obviously going to follow through on the most reckless version of her plan), she wants steak. She wants to keep up the international spy vibe. In Paris, she deflates. Her steak is overdone. Yusuf says she went from being the Girl In The Dragon Tattoo to being Eeyore. She says she could die. But I don’t think it’s her own mortality that has Eve in a funk, and it’s clearly not the overdone steak either. I think she’s starting to see the precariousness of this supposed reinvention of herself. The things she’s avoiding are bubbling to the surface. She’s still not sure who she is and what she wants!

Villanelle, similarly, struggles with her own reinvention. She wants to be good, and she considers the fact that she didn’t actually kill May a win. The congregation heads out to the woods for a little Bible camp, and Villanelle tries to get May back on her good side, reciting a Bible verse about repentance and even being somewhat honest with her by saying she’s a bad person who is trying to be good.

She’s also still being visited by Villanelle-Jesus. Jodie Comer gets a lot of great comedy to work with in this dual performance as Villanelle and Jesus. Again, it’s all so absurd in the best way. Villanelle sits on Villanelle-Jesus’s lap; Villanelle and Villanelle-Jesus hold hands and spin in the woods; Villanelle and Villanelle-Jesus even kiss before Villanelle attacks and strangles Villanelle-Jesus (but can’t follow through on fully killing Villanelle-Jesus). Each of these images is strange and funny and alluring. It’s like a dance and a conversation between Villanelle and herself. It’s a self-eroticization, too. Villanelle-Jesus critiques Villanelle but also enables her. And it all climaxes with a violent outburst that feels earned.

May confides in Villanelle that her mother died in a car crash and that Paul was drunk and driving the car. Villanelle sees this as an opportunity to get rid of Paul and also further ingratiate herself with the rest of the congregation. She wants to be their savior, to win at the game of being good. She exposes Paul, and it backfires spectacularly. So Villanelle kills again, brutally. She uses a tent peg and a hammer to bludgeon and stake May and Paul to death in their tent, the whole scene shown in silhouette from the outside of the tent like some horror shadow puppet show. Just like Eve is falling back into old patterns of taking risks and thinking of herself as immune to killers, Villanelle falls back into her old pattern of responding to rejection with murder. She can’t handle not being loved and adored.

The thing is: I actually do think Villanelle thinks she’s doing a good thing by exposing Paul. I think she wants this good vs. bad stuff to be clear cut. I think she wants to be the best at being good.

Being good is more than Villanelle bargained for. Being in control is more than Eve bargained for. She doesn’t end up being wrong about her conviction that Helene wants to be challenged. The power play works. But it comes at a cost, too. Eve shows up at Helene’s and says she wants to cook her dinner. Helene is intrigued enough by this tactic that she lets Eve push right on past her and snaps her switchblade closed.

Eve starts aggressively making shepherd’s pie but doesn’t get very far before accidentally slicing her finger. Helene takes her fingers in her mouth. This is also right after Helene says she caught the tampon tracking device because she doesn’t use applicator tampons because she doesn’t understand anyone who can’t insert their own fingers inside them. It is all!!!! Very!!!!! Erotic!!!!!

Eve on Killing Eve says "I like holidays, dogs, long walks on the beach"

I love first date small talk

And that thin line between danger and seduction, between violence and arousal doesn’t stop there. Nope, Helene takes Eve’s fingers out of her mouth and slams them against the electric stovetop burner. She turns up the heat. Eve doesn’t flinch. When Helene asks if it hurts, Eve repeats Helene’s own words from the episode’s opening back to her: Only if I let it.

Just before the burn can get too bad, Helene frees her and gives her a frozen lobster tail to ice her wound. Amid all this, Helene confesses she has been the one torturing members of The Twelve. Eve says she wants to cut off the head of the beast, go all the way to the top. Their missions are, perhaps, aligned, but they’re not really allies of course.

This show is wildly good at these erotic thriller moments. Sex is so infrequently shown outright on the show, but so many scenes drip with sexual tension, with power dynamics, with strange human desires and impulses. I don’t think it’s as simple as Eve and Helene wanting to spoonfeed some shepherd’s pie to each other and then fuck on the kitchen island or anything (though I would…read that fic). But there’s a charge between them that’s electric and yet hard to define. It’s that same heat that crackles between Villanelle and Eve, too. They want something from each other, they need something from each other. Seduction is often a manipulation. It’s presenting yourself the way you want to be seen by another. It’s demanding the gaze of another, figuring out what they want, and giving it.

I also don’t think things are as simple as Eve moving on from Villanelle and onto Helene. I think Eve is desperate to convince herself she doesn’t need Villanelle, and I think Villanelle is desperate to get Eve’s attention, as she often is. They spend the episode apart, but they’re never really that far from each other’s minds.

Back in Hot Helene’s kitchen, gears shift when Helene’s daughter interrupts the women. But Helene and Eve both keep trying to outmaneuver one another while also trying to figure each other out. Eve leaves. They say they’ll have dessert another time. I look forward to it.

My apologies to Fiona Shaw, but I simply am so uninterested in what’s going on with Carolyn so far!!!! It feels so peripheral to the main story, and I prefer anything to do with The Twelve when it’s distilled into its most basic premise as a globe-spanning chaotic evil organization. The second it starts to take up too much of the storyscape, it starts to feel meandering and overly convoluted. That’s where I am at right now with Carolyn, who has to prove herself to Vlad by providing useful information about several agents, including Hugo. I’m just not that interested!

On the other hand, I’m actually extremely interested in the idea of Eve and Helene both working — separately, for now — to take down The Twelve. There’s a straightforwardness to that.

Helene and Eve both seem to think that they’re being calculating and targeted in their approaches but really they’re just being kind of messy and almost purposeless! Helene is out here torturing members of The Twelve one-by-one, and Eve’s out here thinking she can dismantle the whole thing on her own, too. These are not very good plans! They’d be more powerful together, and yet that’s not how either of them wants to operate. They want to use each other, they want to play these power games over and over. They’re practically getting off on it.

I think Eve, Helene, and Villanelle are all dangerously focused and yet untethered at the same time, flinging themselves at targets they can’t even see. They’re obsessed with power. They’ve got trust issues for days. There’s a controlled chaos to these first couple of episodes, everyone acting in their own self-interests while also self-sabotaging.

These first two episodes of the season have been very character-driven, which is a space I like Killing Eve to live in. I know there are a lot of things to wrap up on a plot level, but I like that Killing Eve is taking its time, wandering down strange and indulgent tangents like drag Jesus. Killing Eve is at its best when cultivating vibes, and these episodes are full of vibes. The Christianty imagery continues. The erotics are super queer and super steeped in power dynamics. The humor is acerbic and original. And for the most part, the focus is on these characters and their identity crises rather than the plot machinations. Villanelle’s bloody outburst is inevitable, and yet the way it unfolds is specific and captivating, almost playful.

For me, Villanelle kissing the drag Jesus version of herself before driving tent pegs through drag Jesus’ arms lives in the same place as that burner moment between Helene and Eve. You’re not really sure if you should be laughing or looking away or turned on or afraid. Killing Eve titillates in these peculiar moments. There’s an allure to the absurdity and to the danger. Killing Eve actually feels its most grounded when it burrows into dynamics, relationships, and stakes that are hard to define, that blur boundaries, that are a little uncomfortable. Keep making me feel weird, show!


  • I love the use of the aquarium as a recurring image in these first two episodes. Last time, Eve and Villanelle saw each other through it. And this time, Eve stops by it and dumps some fish flakes in it but does so in this weird, impulsive, twitchy way as if she doesn’t even know exactly why she’s doing it or whether it’s against the rules. It’s an odd moment, and I like that Killing Eve so often features odd moments.
  • Okay, so I’ve decided to headcanon the fact that Martin’s cannibal is Misty Quigley and Yellowjackets and Killing Eve take place in the same universe. Prove me wrong! You can’t!!!!!
  • Jodie Comer is so fucking funny in this episode. I assume this is the last we’re seeing of drag Jesus though.
  • Eve wore the fuck out of this casual look:Eve (Sandra Oh) wears a gray hoodie and gray slacks while leaning against a brick wall on Killing Eve
  • Thinking about her (Hot Helene’s hot hookup).
  • Much like the sunburst mirror framing from last episode, this framing at the fire is great. Villanelle’s thinking she’s delivering the group from evil, but she’s looking like the devil coming out of hell.Villanelle (Jodie Comer) wears a fluffy jacket and a pale purple t-shirt and sits behind a fire
  • Have y’all seen the trailer for the upcoming Sandra Oh-starring horror movie Umma? It looks!!!! So good!!!!!!
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Kayla Kumari Upadhyaya

Kayla Kumari Upadhyaya is the managing editor of Autostraddle and a lesbian writer of essays, short stories, and pop culture criticism living in Orlando. She is the assistant managing editor of TriQuarterly, and her short stories appear or are forthcoming in McSweeney's Quarterly Concern, Joyland, Catapult, The Offing, and more. Some of her pop culture writing can be found at The A.V. Club, Vulture, The Cut, and others. You can follow her on Twitter or Instagram and learn more about her work on her website.

Kayla has written 869 articles for us.


    • It’s so very annoying, and completely ridiculous. My plan tho is to stay with the broadcast schedule until the penultimate episode, then activate the AMC+ free trial to get the finale a week earlier than the air date.

    • hard same. if it’s any consolation, episode 3 is better!

      (mild spoilers for episode 3 below)

      at least, it’s more interesting plot-wise and it’s kind of gay and also Villanelle wears a suit. hoping this means a return of Fashion Villanelle and good riddance to Church Villanelle and those hideous outfits they put her in in ep 1 & 2!

      • I agree, ep 3 is much better but it still makes me miss Season 1 and 2. Honestly I don’t care about the 12 plotline. I miss the characters and their interaction with one another, snappy one liners, humor (dark and light), aesthetic and stunning cinematography.

        And yes, it was great to see Villanelle in a suit again

  1. it’s so wild to read these positive reviews after reading others, and the subreddit, where the majority of people are NOT enjoying this season. sadly I’m in that camp and disagree with most of the takes in this review, but I appreciate the humorous and poetic way you write about the show!

    I’m just bored – the show’s wit, style, plot and most importantly the characters all feel like a shell of their former selves, IMO. with the exception of Helene and MAYBE Pam, I just don’t care about any of the new characters and wish the big four – Eve, Villanelle, Carolyn and Konstantin – had more scenes together. why they’re keeping everyone apart and exiling Carolyn to Russia is a mystery to me. but I enjoyed episode three, and I’m still hoping the season continues to pick up in the last five episodes.

    • I am loving these recaps and absolutely loved both these episodes. Season 3 (not to mention Season 2) felt very plot-driven to me in a way that didn’t always create the space to delve into each character’s psyche, or did so in a fleeting way that felt superficial to me. These deeper dives have me on the edge of my seat, especially all the ways that erotic tension and kinky power plays are incorporated into Eve. I agree that she is still lost but I’m curious if she has convinced herself otherwise. As for Villanelle, as an ex-vangelical I’m reveling in the richness of the biblical imagery and references, not to mention the hilarity of the fact that of course her only way of conceptualizing god is a quirky version of herself. I’m excited to see where the rest of the season goes but hope it doesn’t lose this richness of character development for the sake of flashier plotlines. Looking forward to the rest of your recaps to Kayla!

      • I definitely made a point of saying how much I enjoy Kayla’s writing and will always read her recaps, even if we have different opinions about a show! Her Yellowjackets recaps are the best on the whole internet.

        I’m also an ex-evangelical, and the two-episode arc of Villanelle performing christianity to try and convince Eve (and herself) that she’s Good Now had so much promise, but it just made me feel bored and annoyed. I love absurd humour when done well, but Drag Villanelle Jesus didn’t work for me (not because I found it offensive, I just didn’t think it was funny or interesting)

  2. My theory after this episode: The Twelve doesn’t exist. Or at least it doesn’t exist as a real terrorist organization. They’re all like Helene, women infiltrating other women, or like Konstantin, working for multiple organizations. It’s personal – whether it’s sex or parenthood, they’re all playing, and that’s a real scheme. Structurally, it’s a bit like Chesterton’s The Man Who Was Thursday but with women and their desires. (Konstantin is the Smurfette, obviously).

    I love Anjana Vasan. She is so good in We Are Lady Parts – the series I liked but not loved – and here she really impresses me. On paper, her character is just a mirror for Villanelle, but Vasan makes Pam interesting in her own way, very distinct and weird.

    And the last thing: Stella Corradi, who directed these two episodes and as I believe the big finale, co-directed (with Athina Rachel Tsangari) Trigonometry, probably the most critically overlooked British series of the last few years, so queer and horny that it’s still makes me sad that it wasn’t a big hit.

  3. I’m also rewatching season 1, because this season (so far) being add on top of last years’ really makes me miss it. With how this season is coming so far, I don’t know if we will ever get conversational scenes like, “You should never tell a psychopath they’re a psychopath” or “I think about you all the time”. Almost every line was iconic!

    (ALSO EP 3 SPOILER – although it was in the trailer)

    “Have you heard the fable” comes the closest so far, but it’s just not the nuance that made Killing Eve so delicious! Post-PWB (sorry I’m going here), the closest we got in season 2 was “You’re Mine” and in season 3 was “Are You Leading”. And they’re both the last episodes. :( Yes, I want VillanEve to smash! But it was the nuance in those words and how Sandra/Jodie got to delivered them that made VillanEve so damn good! And the kills!

    I don’t know if that magic will spark again, and so far, not. Sandra is killing it with the micro-acting though. Either she is just so good with little materials, or Eve is actually telling us a lot so far. I also, still have faith in Laura Neal for another “Are You Leading,” but it will have to be with explanations from what happen after the bridge and some smashing. Did Villanelle tell Eve about her Mother? We have so little time and everything that doesn’t make sense now, I need it to make sense!

    (Honestly, I would be down for another season of VillanEve being cute/Bonnie N Clyde like season 2.)

  4. As much as I want to see more of villanelle and eve together, I am loving this extended look at them each grappling with who they are and what they want. As far as the plot goes, I’m really only interested in finding out what happened between the bridge scene last season and the start of this season. I have no idea what is even going on with Carolyn—mostly because I don’t care enough to pay attention at the moment.

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