Phoebe Waller-Bridge is god. So it isn’t possible to care about the follower of the lesser god, God, as we are asked to do in Fleabag season two. The priest was hot. Yes, yes, very hot hottie priest, and diffident, out-of-control, smart, and funny, just like Fleabag. But there is no priest in the entire history of priests who has ever resembled this man. His actual faith and Fleabag’s flirting with comprehending faith, I just don’t give a fig, a fug, or a fuck. The sister act is brilliant from start to finish. The bad haircut and the projected torture of bad haircut hell is so funny. I would like to do nothing but watch these two women exchange dialogue until the thing that is happening stops happening. Waller-Bridge’s eyebrows should get their own billing for acting. Without her running the second season of Killing Eve, her other current show, Jodie Comer, Sandra Oh, Fiona Shaw, and Kim Bodnia are left flapping like popped balloons. The other day I quoted the daughter of David Milch, the great creator of Deadwood, expressing one of her father’s touchstones of dramatic narrative: “The emotional response of the character is the plot.” What’s missing from season two of Killing Eve is not a better thriller story or explanation of who the bad guys are. No one cares. It’s like caring about how a story ends. We don’t, not really. We care about how we were brought to a moment of rest, where the author says, “Goodbye, I have something else to work on now.” What’s missing from season two of Killing Eve is the dialogue in mid-experience. In narrative art, we follow the mind of the narrator. We don’t care about what happens. We care about what the narrator makes of what is happening. The narrator in a moving image piece is partly the camera and the construction of montage, and partly the way the characters compare the way they feel in a current moment with the way they have felt in the past. They are in a moment, and they look around, and something catches their eye, and they are reminded of a past desire or pain, and the thing that is happening comes to exist in two dimensions of time. This doubleness sends the character on to the next decision, or moment of indecision, or reflection, or whatever you want to call the momentum of a story. The characters in season two of Killing Eve stay in present time all the time. They are advancing an arc determined for them without discovering anything about themselves or how the world works along the way. We will care only about their changing sense of things inside an action. This is why backstory is unnecessary. Everything we need to know about a character should be able to be gleaned, for example, from whether they think something scary is funny or vice versa. Fleabag won’t be returning for season three, a good decision. There will be a season three of Killing Eve with a third show runner. To do justice to a Waller-Bridge creation, you probably need Waller-Bridge, but she has said goodbye and is doing other things.