Tales from the Crypt: Demon Knight (1995)

Who we are is a mystery that often an entire lifetime isn't enough to solve, let alone why we are the way we are. And sometimes, it's during that never-ending quest that a piece of the puzzle comes along that was never there, but seems to fit. Not all connections can be articulated, but some transcendental attributes stay hidden under the intimidating cover of the unknown confusion in those once-in-a-lifetime chance encounters. Eternal yet ephemeral, it's inexplicable, how the very thing that's seemingly threatening to rob all stability, also offers the liberty which the caged heart always beats for, without essentially spelling it out, lest the constant heartbreak in a mundane existence simply stops it from running altogether. Principles clash, perspectives collide, and philosophies contradict as the war between the immediately familiar and the spiritually familiar rages on. Lines are crossed and new ones are drawn, and while the world sleeps, the soul wakes up. It's got to run to the flame of freedom.

After I tried articulating them, turns out those were my thoughts on seeing Villanelle (Jodie Comer) and Eve (Sandra Oh) turn back to each other after walking away from the middle of the bridge in the season finale of Killing Eve Season 3. In that moment, I felt an ominous yearning, a touch of sadness but mostly a sense of fulfillment, accompanied by an unquenchable thirst for their bond to turn more serious. The sexual tension is possibly more enjoyable unresolved, but let’s face it – the tumultuous kiss on the bus in the middle of a fight, was definitely satisfying, to say the least. I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.

It was predictable in a way that Villanelle and Eve’s relationship would cross barriers but the acknowledgment has come in forms of fleeting moments, always ending in disappointment for those sitting in anticipation for the moment when all conventions are thrown away and the undeniable connection between a psychopathic assassin and the secret agent on the mission to bring her to justice is finally confessed. Unlike Season 2 ending with Eve getting shot, the ending of season 3 practically does commit to the baffling attraction, but the subtlety in the longing looks makes it more a soft, emotional moment than the explosive scene one may come to expect for what should be a momentous scene.

The Biblical element is introduced early in the second scene when Villanelle leaves an apple as a clue for Eve. However, the spiritual connection of the two women keeps the element in subtext throughout. The ‘forbidden’ nature of a same-sex relationship in the Catholic view, juxtaposes well on the forbidden nature of their bond as criminal and cop. The power dynamics themselves are reflective of Biblical references because Villanelle is the one who strays more. The woman named Eve leads her astray. Villanelle literally agrees to assist the team hunting her and even becomes a team member as a law-abiding agent for a couple of episodes, and she is also not able to shoot Frank or Eve when Eve shows up. So the biblical fable of Eve leading Adam to sinful temptations is ever-present in their dynamic. Villanelle also goes out of her way to gift Eve clothes and is quite immediately less lethal when Eve’s present.

Another way of reading their dynamic is interpreting Villanelle as Lilith. It’s definitely a bit of a stretch, but Eve got fired from a majorly male-dominated department, by a man, after over-stepping boundaries, some of which could be gender biased. It’s clear she can hold her own, but she’s not given her due in a patriarchal world until another woman in power comes to her with an offer. It can be said this is like her deriving power, instead of yielding it, just like Eve was derived from Adam instead of being naturally equal. Lilith, on the other hand, was made equal and refused to bend, just like Villanelle commands the man who is in charge of her, and is totally in control in any situation. She doesn’t wait for someone to make her important. Further, Lilith was banished, and is considered a villainous figure, which is exactly how the world would perceive Villanelle given that she’s an assassin. To Eve, Villanelle represents ultimate freedom, the liberated fierce woman she maybe feels she could be too if she wasn’t deriving her power from superiors. That’s possibly why she approaches Eve independently outside her professional capacity on the bridge.

Horror Noire: A History of Black Horror moves chronologically through Black representation in horror films, as told and viewed by Black filmmakers and actors in this genre. I think it is important that the perspective is given solely to Black actors and filmmakers and is not counterpointed or discussed with White people. This film is about the Black experience as it relates to Black horror films. This is important for two reasons — #1 It will give non-Black viewers some perspective on the Black experience in representation or lack thereof; #2 As mentioned by Rachel True (actor in The Craft), sometimes the racism is so normalized in America (even to people of color) that its presence is often ignored. We all need to acknowledge the history of representation so positive change occurs.

Because of laziness, I will be abbreviating Horror Noire: A History of Black Horror as HN:HBH.

First, horror movies are profitable. Beyond that, a common theme throughout the horror genre, as articulated in many interviews in HN:HBH, is that Black history is Black horror. This message is weaved through the film and through the genre. The phases of Black representation in horror relate directly to the political and social climate of the time. As you will see in the timeline below, the first film mentioned, Birth of a Nation, is not a typical horror film. To Black viewers, however, it definitely reads as horror. The heroes in this film are the KKK! Birth of a Nation was screened at the White House and ENDORSED BY THE PRESIDENT! That doesn’t seem as shocking today as it might have seemed ten years ago, but still unacceptable. What message must have that sent to Black Americans? The only representation of Black people in films was meant to incite fear and demonize Black people.