Honey, a new television series starring Ann Skelly, Nate Mann, and Jannis Niewöhner, has launched as a prequel to the hit drama Killing Eve. The show transports viewers to 1980s East Berlin, offering a visual delight filled with cold war chic and comic twists. It blends danger, absurdity, and exotic kitsch to create an irresistible narrative atmosphere.
The opening scene introduces British spy handler Graham Anderson, played by Rory Kinnear, as he nervously crosses back into East Berlin. He desperately avoids a car search by a chortling border guard who recognises his wife, Anne, played by Sonita Henry. The guard taunts him, saying: “Good luck for your smear test on Thursday, Mrs Anderson!”
Anderson successfully smuggles young agent “Martha” into the city through a car chase and a disguise involving a sheepdog costume. Two years later, in 1982, Martha is shown working as a waitress in a dive bar under cover. She performs low-level honey-trap assignments, photographing middle managers in their underpants to generate kompromat.
Ann Skelly delivers a confident performance as Martha, a woman who refuses to accept her place in patriarchal hierarchies. The series features distressed browns and deep greens in its interiors, alongside era-appropriate European pop music. The opening title sequence is soundtracked by the Inner Space, adding a deliriously hip touch to the production.
The show subverts familiar spy scenes with new comic twists, such as Martha and Anderson foiling a bugged room by playing a tape of sex noises. Martha’s reckless curiosity leads her into a fractious alliance with CIA agent Kurt Fischer, played by Nate Mann. She also forms a perilous symbiosis with Stasi traitor-hunter Friedrich Baumann, played by Jannis Niewöhner.
They double-cross him without his realisation, though the narrative settles into predictable comedy-thriller rhythms. Martha’s character is somewhat undermined by the story requiring her to lust helplessly after both new men in her life.
The series is described as much straighter and more conservative than its initial impressions suggest. While it may not fully follow through on its early promise to deconstruct the spy-thriller genre, it remains very entertaining throughout. Viewers are treated to naughty visual gags, eccentric supporting characters, and distinctive knitwear items.
Friedrich Baumann brings a sharp hint of the bleakness seen in Lives of Others to the proceedings. He obsesses over other people’s lives without living one of his own, adding a layer of psychological depth. This character dynamic provides a counterweight to the lighter, comedic elements of the espionage plot.
Honey is nominally a prequel to Killing Eve, a connection that serves as a superficial selling point. Martha is the deep-cover identity of Carolyn Martens, the character played by Fiona Shaw in the original series. However, the two series are not especially similar in tone, and Martens never required a long backstory.
The comparison often drawn is with the unjustly cancelled series Ponies, which ran for one fantastic season this year. While the similarities are likely coincidental due to the time taken to produce television, Honey ends up as a slightly less funny clone. Nevertheless, there is always room for more cold war cool in the television landscape.
The production captures the chilly ennui of oppressed citizens and the flagrant risk-taking of secret agents. These elements are liberated by an existential inner emptiness that makes the premise inherently fun. The aesthetic of the iron curtain thriller remains one of the most alluring in screen fiction.
Other shows dealing in 1980s cold war chic, such as Deutschland 83 and Kleo, share this irresistible mix. They feature moustaches, wigs, leather trench coats, and rigid patterned fabrics. Cassette players and boxy cars further enhance the period authenticity and visual appeal for modern audiences.
The series effectively pitches viewers straight into premium frosty paranoia from the very first moment. The interaction between Anderson and the border guard sets the tone for the blend of tension and humour. It establishes the high stakes and lowbrow comedy that define the early episodes.
Skelly’s portrayal of Martha is central to the show’s appeal, anchoring the narrative with strong character work. Her refusal to be passive drives the plot forward and challenges traditional spy tropes. This performance ensures the series remains engaging despite its predictable later developments.
The use of music and sound design plays a crucial role in establishing the era and mood. The daringly brief opening titles and specific needle drops contribute to the show’s deliriously hip atmosphere. These artistic choices help distinguish Honey from other period spy dramas.
While the middle of the season may feel less fresh, the show never becomes boring. The relentless pace and constant visual gags keep the audience engaged. The eccentricity of the supporting cast adds further layers of entertainment to the core espionage storyline.
The link to Killing Eve may not add significant value, but it does not detract from the standalone experience. Viewers familiar with the original series may find the connection interesting but ultimately unnecessary. The show stands on its own merits as a piece of period drama and comedy.
It provides a fun, visually rich experience for fans of cold war settings. The combination of sharp writing, strong performances, and period detail makes it a worthwhile watch.
Reporting verified from official briefings and primary coverage by www.theguardian.com.
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