Still on the hunt for Frank Haleton (Darren Boyd), Villanelle (Jodie Comer) confronts Eve Polastri (Sandra Oh) at her house.

The episode was Sandra Oh's pick to support her nomination for Outstanding Lead Actress in a Drama Series at the 70th Primetime Emmy Awards.

[1] With Frank and Elena (Kirby Howell-Baptiste) in the car, Eve begins to drive away, while Villanelle gives chase and shoots after them.

Frank reveals he was approached by a group called "The Twelve", who offered to pay for his dying wife's medical treatments in exchange for information, including Eve's investigation.

Villanelle takes Eve's phone and dress and leaves through the front door as an unsuspecting Niko and Dom come in.

Of this moment, Oh said that "Jodie [Comer] flew from England to LA, we laid it down, and immediately, I felt like we could both feel, 'Oh, this is my dance partner.

'"[2] Inkoo Kang of Vulture writes that the creation of Frank is a successful depiction of a misogynist with sympathetic troubles but who still has committed unforgivable atrocities, comparing him to a character in Waller-Bridge's Fleabag; Kang also suggests that his motivations may be a satirisation of a British political anti-NHS group, but that she doesn't know enough of British politics to understand this.

[3] Hanh Nguyen for IndieWire wrote that the episode is "built on" the two main face-to-face interactions between the main characters, who have not knowingly met the other before, which hold much significance: at the start of the episode when Eve steps out of her car to talk to an armed and angry Villanelle, who responds negatively and takes control of the situation, and at Eve's house where she now has more trepidation, though Villanelle instigated this meeting.

[4] Steve Charnock, for Dead Good, compares the kitchen meeting to the diner scene in Michael Mann's Heat, saying that it is "arguably the most tense, heart-stopping and thrilling five minutes of the series to date".

[6] Nguyen instead suggested that even at the dinner, confronted with her enigma, Eve "can't quite capture who Villanelle is as a person", which is what gives the scene its impact.

After commenting on the use of the kitchen scene to pace the episode and draw on realism, say that it is a good example of "including notes of mundane absurdity during objectively terrifying moments", she suggests that being a "thoroughly domestic scene", where the characters "eat shepherd's pie heated up in the microwave" has made Eve apologise for not expecting Villanelle, showing that "how she's been socialized to behave as a woman bubbles up" in the location, taking precedence over spy training and survival instincts.