Killing Eve's final season was an insult to the talents of Sandra Oh and Jodie Comer as well as the audience itself

Vulture

"The fourth installment to the series, but particularly its last two episodes, demonstrates how far the show has fallen from the dizzying heights of its premiere," says Angelica Jade Bastién. "Gone is the delicious fashion pivoting on moments of transformation in the manner of fairy tales. Gone is the supremely precise characterization, replaced with a confused internal logic that jockeys the characters according to the needs of its threadbare espionage plotting. Gone is the spry presentation, achieved through blocking, editing, and costume and production design. But most important, gone is the tense cat-and-mouse game between Villanelle (Comer) and Eve (Oh) that acted as the engine. Killing Eve is a study in how jumping from different showrunners each season can leave a series without a profound singular voice — and it is evidence that a shallow understanding of representation and the female gaze isn’t enough to create a memorably good, cohesive story that gives a damn about the women onscreen. It amounted to a finale that gave once perpetually ravenous viewers a paltry version of what they wanted before snatching even that away."