Was the Daily Mail, and wreaks of having been made up.
If she comes back, it’ll have been a lucky guess. The rest of the article was backtracking their cursed crap in case the film’s good.
Yes, absolutely agree there. There might be a modicum of truth in there but as you say, more likely to be guesswork than anything, and I doubt the producers have a lot of time to be thinking about B26 right now!
To be fair to Marcos, when he tweeted that he also tweeted that “to be honest, I don’t believe what the source told me, but I thought I’d share it” but everybody left that part out when it hit the forums…
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Indeed, I’m aware she didn’t work on the pretty diminished 2nd series. She may well have had her fun doing the female spy-twist and wants new pastures, hence not doing series 2 of Eve.
But from Eon’s POV, having the talent de jour in the family must seem like an opportunity too good not to pitch for. I’d put money on informal chats taking place to that effect.
Let´s face it: she is now the flavor of the, well, not month but this year.
And “Fleabag” obviously is her thing. But I feel bad for the two other executive producers of “Killing Eve” who kind of get lost in this whole hype, when it is just mathematically (2:1) mostly their achievement to translate the source novels (people also attribute the whole idea of the show now to Waller-Bridge when it actually is an adaptation of existing material).
I came around on “Fleabag” a bit, watching the two seasons a few weeks ago and actually liking a lot of it, despite still thinking that the breaking of the fourth wall is an overblown and overused gimmick the series could have done without. I also watched "Killing Eve"´s first season, and I must say, while I stuck with it and wanted to know how it ends, I did not enjoy it as much. And in hindsight I also do think it wants to appear more clever than it is, trying to insert gags and smug jokes into the very brutal murder scenes. And the ending of Season One, for me, really jumped the shark. I mean, the killer is a total psychopath, and why does Eve feel attracted to her at all? Also, the show wants to have it both ways: Eve wishing to take revenge but also not?
The worst thing for me about “Killing Eve” is probably that it wants the viewer to feel for both characters, and I really have no sympathy for the killer, and I think Eve is a totally unrealistic character just designed to get to the next plot twist.
Why am I blabbering on about this? I hope that Waller-Bridge did not charm EON and Craig into thinking that her kind of humor would work perfectly with Bond (it didn’t with “Solo”, by the way) and that the characters would benefit from that kind of ambivalence which, IMO, is rather constructed from a very limited toolbox for shock-comedy.
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She’s brilliant; if they can get her it’s all good.
It’ll be hard to know what she’s brought to NTTD of course.
I’m with you on all your notes on Eve.
With Fleabag I think the whole premise is built on the 4th wall gimmick and without it it’d be just another cynical sitcom.
I see the weaknesses of Eve as PWB trying to exercise her wit without being able to rely upon the direct-to-audience shortcut of Fleabag’s 4th wall breaking. Breaking the 4th wall works a little like have a narration/voice over; you get to tell the audience what to think, rather than hoping they work it out for themselves. If you’ve ever made a documentary you’ll know it’s a far easier job when it has voice over. When you have to depend upon the content alone telling the story it needs to be great content.
But she’s obviously very talented and she’ll discover her tools sans 4th as she goes.
But I completely agree that bond shouldn’t become the glib, uber cynical pseudo intellectual pretence that belies Eve’s shallow ‘cleverness’.
As a wit she’s ideal for polishing Bond, but she needs to be a more rounded writer to take it from scratch. Having said that she may well be that already, but all we can judge her on is her work so far.
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I don’t really see it as a gimmick: it was built from a one-woman stage show- the idea of seeing into this woman’s mind is literally the very starting point of it and the whole show is built around that. To call it a gimmick is really to miss the point of it.
Exactly. And never more so than in the final scene when she appears to say goodbye to the inner demons, and the audience is no longer privy.
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No, to call it a ‘gimmick’ is simply a shorthand term to convey a meaning when pushed for time because I should be editing rather than CBN’ing.
It’s a gimmick, a trope, a device and sometimes a cliche. I’m like the way PWB used it, but it’s by no means her creation. Fleabag is indeed built on it (as I said, so we agree )
But apologies for any trauma the word may have caused 
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Okay; no one is claiming she invented it, but you don’t have to invent something to use it brilliantly. It’s not a cliche here.
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Absolutely not - it’s a masterclass!
I saw all three hours of the first series of Fleabag and - besides the revelation at the end, which was admittedly different - was utterly unmoved by it. Not only did I not laugh or smile, I didn’t notice any humour at all, and I’m about the biggest comedy fan you can meet. I practically breathe sitcom. It seemed to strive for profundity, or - according to the interviews I’ve read from PW-B - to show us how a person of her generation, in these fractured times, really thinks and feels. But, really, I couldn’t see how being the beautiful, young (and, presumably, privately-educated) daughter of a rich man, living in London, was such a problem.
When you think there is real difficulty and conflict in this country, with people who work full-time having to go to food banks just so they can avoid fainting from hunger. I’ve heard of one London woman who fled domestic violence only to be made to wait for twenty hours at a social security office where she became so hungry she had to drink her child’s milk. Others have had to sell their bodies for shelter. The UN’s expert on extreme poverty and human rights said it was “not just a disgrace, but a social calamity and an economic disaster." And this in the city which has more multi-millionaires than any other city in the world. So, I know a story has to have conflict, but the one in Fleabag is nothing compared to what so many other Londoners her age are going through.
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Is she supposed to turn around and go “oh well, there are people eating out of food banks; my life isn’t so bad” when her best friend dies? I presume you never experience any stress or anxiety in your life because, y’know: there are people eating out of food banks and they don’t have a computer and time to complain about sitcoms on internet forums.
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The latest 007 shoot is being called cursed because of a number of accidents. Are you scared of going on set?
I’ve filmed in Jamaica and a bit in London and I’ve got to say, I was having a ball. I’m really looking forward to finishing some scenes after Westworld. There have been a couple of hiccups on set but nothing to worry about. It’s been great to return to the series because although there’s a lot of expectations, and these films are huge undertakings, there’s a close-knit community among the people who work on them. It has the atmosphere of an independent film but with much bigger bells and whistles.
Who should replace Daniel Craig as the next 007?
People are way ahead of themselves on this. We should all just chill for a bit. Let’s enjoy this film before we cast the next one.
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I see your point, and maybe that is what had irked me, too: the main character is kind of a whiner with first world problems, acting out like a malicious child, yet Waller-Bridge wants us to love and empathize with her.
I detect the same problem in „Killing Eve“. And while despicable protagonists or anti-heroes have become the new normal, Waller-Bridge goes one step further and wants the audience to feel her heroine is charming and more worthy of compassion than the others. Look at me, me, me - others are just so boring and uncool.
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For those of us perhaps not quite as perceptive as others, what is the arrow pointing to?
I presume it’s supposed to be the kid. Y’know: the flashback Madeline when she was a kid 
You call bereavement a ‘first world problem’? Bizarre.