Like pretty much everyone in the latter half of 2018, I was gripped by Killing Eve. I watched it (savouring it weekly rather than bingeing, taking my time over it) and I read the first book, struck by the difference in tone to the series. It was, I reasoned, a product of a male novelist being adapted by a female screenwriter. After all, I spent a decade of my life looking at the representation of gender in minute detail as part of my role as an A-level Media Studies teacher. This was my bread and butter, something I was deeply interested in. I threw a tweet out about how I felt there were differences and then sort of forgot about it.
Until I got an email asking whether I would like to write a short piece about it to mark the publication of the second book in the States and the upcoming second series. Oh, and it was for The Washington Post- a paper I’d long admired right back to my uni days when, as a journalism student from a very working class background, working for newspapers like it seemed like an unreachable dream. Of course I said yes.
And so I set about researching everything I could about Killing Eve and its print counterpart, the Codename Villanelle books. I read the latest book and watched Fleabag, to better understand Phoebe Waller-Bridge’s writing style and how this had shaped Killing Eve into the phenomenal success it was; it struck me that as a spy novel (a genre traditionally very male-dominated), it had amazing resonance with women and seemed to be coming as part of a shift in TV drama. We’re now seeing more female-led writing rooms, with showrunners such as Shonda Rhimes, Tina Fey and Phoebe Waller-Bridge becoming more prominent and a move towards female led shows.
I spent hours re-watching Killing Eve, taking a whole notebook of notes on minutiae that I would never use but that helped me formulate my essay. I even took apart the fireplace in our living room to rescue a birthday card that had fallen down the back in an attempt to procrastinate. To me this was the most important piece of writing I’d ever done. THE ACTUAL WASHINGTON BLOODY POST.
I had 850 words. I had to keep it to the bare bones. I had to decide if ‘thrush cream’ would translate to an American audience (not really. Stephanie, the commissioning editor, explained that in the States ‘thrush’ is usually considered to be passed between mother and baby during breastfeeding. Nice.) I wanted to write about Fleabag and Phoebe Waller-Bridge’s weirdness around parent/child relationships and how this transferred to Killing Eve. I wanted to write about how the mostly female soundtrack made us feel that this was a more feminine environment than traditional spy dramas and how the attempt to make Charlie, in the recent adaptation of Little Drummer Girl, a fashion icon in the mould of Villanelle didn’t work. I also could have legitimately mentioned Olivia Colman twice, but I resisted the urge.
Anyway. I submitted my piece a week and a half early- despite my best efforts with a screwdriver and the mantlepiece. Mainly because once I started writing, I couldn’t stop. I remembered that I love writing and I love pop culture. Also, I can now actually say I’m a proper writer who has written for The Washington Post. And that’s really cool