The episode sees Villanelle (Jodie Comer) continue on her killing spree despite a troubling psychiatric assessment and the knowledge that intelligence services are hunting her down; Eve Polastri (Sandra Oh) quickly forms a task force of bright young agents.

In Paris, Villanelle is told by Konstantin (Kim Bodnia) that there are concerns over her mental state due to her recent behaviour, and that she needs to undergo a psychiatric assessment before working again.

Villanelle wears a pink tulle dress in a scene where she attends an informal psychiatric assessment at the request of Konstantin, who is concerned that she may be getting too sentimental.

2] Madeleine Davies of The Muse describes it as a "cotton candy fantasy",[3] and Melania Hidalgo of The Cut calls it a "pastel-colored confection".

[7] De Gaye says that the key to making the outfit work was Jodie Comer, that "you couldn't put that dress on any actress and bring it off.

[5][12] The writing team had originally envisioned something more classical,[12] an idea they returned to throughout production, but eventually went with the Molly Goddard dress proposed by costume designer Phoebe de Gaye.

— Phoebe de Gaye, costume designer[12] De Gaye believes that the dress is "a very strong statement on camera" and also "a big opportunity for [Villanelle] to do a sort of very girly thing, but undercut it by putting it with boots", saying that she "thought that Molly Goddard stuff was just perfect for that more insouciant, putting two fingers up, rather subversive [moment]".

[10] Sharkey, and Hahn Nguyen of IndieWire, agree with De Gaye's assessment that Villanelle's dress choice is deliberately childish.

Chloe Foussianes of Town & Country says that it is subversive in how "it channels Villanelle so well: flamboyant, unapologetically feminine, and utterly unconcerned with squeezing into society's rigid boundaries".

[14] In a slightly different assessment, Sonia Saraiya of Vanity Fair believes that it is subversive because of how it contrasts the feminine with the masculine, as "[the dress is] paired, rebelliously, with punky Balenciaga boots".

[9] Yotka agrees that the boots were a good contrast, and also writes that the dress is a deliberate statement, saying that when "Villanelle [...] stands in Paris's Place Vendôme in that very outfit, [she is] rivaling Rihanna in statement-making style".

[6] Agreeing that "[Villanelle] has to add a twist by pairing the overtly feminine style with tough Balenciaga biker boots", Sharkey also uses another interpretation in noting that it reflects Villanelle's other choices in extravagant murder outfits and that "by dressing angelically yet powerfully, she draws in her victims almost by hypnotising them", suggesting that nobody would suspect a girl in a pink dress of being an assassin.

[7] "For anyone who watched hit series Killing Eve in 2018, starring Sandra Oh and Jodie Comer, you'll be familiar with that pink dress moment.

[...] Clearly taking inspiration from Villanelle's defiant attitude in her Molly Goddard babydoll, this year's Oscars red carpet guests are showing their fearlessness in the face of a giant pink frock."

There are no blunt bobs and leather dusters like in last summer's Atomic Blonde, nor any drab and utilitarian cargo pants or knits like those once worn by Jason Bourne.

Club likening it to murder as Villanelle treats it as "nothing but another way for her to peer into someone's eyes at the exact moment of transformation";[39] Ariana Romero of Refinery29 praises both how the episode puts Sebastian into the Bond girl and caretaker role, and how it gives Villanelle the dominant sexuality more associated with men that leaves her powerful and calm throughout the scene in which Sebastian is overwhelmed and "performatively" vocal.