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While Despicable Me continues its unstoppable and inexplicable reign as the most popular title on Netflix, there’s a new entry in second place. Too Hot to Handle, a reality show that “puts to the test whether these hot singletons can find emotional connection without the sex,” isn’t a fake 30 Rock series come to life — it’s a genuine hit. Considering the trashy premise (which, again, boils down to whether hot people can refrain from boning or, uh, self-pleasuring themselves for four weeks), it should not surprise anyone that Too Hot to Handle was inspired by masturbation. What is surprising, however, is the show’s connection to the masturbation episode (or lack thereof) of Seinfeld.

“None of them can actually do it, and so they actually all lose the money. And I thought, ‘There’s a TV format in that.’ Why don’t we get some of the hottest people on planet to try and see if they can hold themselves back for cash?” creative director and show developer Laura Gibson told Oprah magazine about where the idea for Too Hot to Handle came from. She’s referring to the Seinfeld season four episode, “The Content,” where Jerry, George, Elaine, and Kramer compete to see who can go the longest without masturbating; the winner is… not Kramer (it’s Jerry, as we learn in the series finale).

So, that’s Too Hot to Handle‘s origin story. But did you know “The Contest” was inspired by an actual contest that Seinfeld co-creator Larry David took part in. “I would say there was only one other person involved [in the actual contest],” he told New York magazine. “I don’t remember what the bet was. There must have been some money involved. I think it was a small amount. [The contest lasted] two days. Maybe three. I just remember it didn’t last very long. I was surprised at how quickly it ended. I won handily, yes.”

The reason Too Hot to Handle exists is because Larry David didn’t masturbate decades ago. Something to think about.

(Via Oprah)

In February of this year, WWE announced that 2021’s WrestleMania 37 will take place at Sofi Stadium in Inglewood, California. Now the coronavirus pandemic and the restrictions placed on gatherings in order to stop the spread of COVID-19 reportedly have the wrestling company considering an alternative location for its biggest show of the year in 2021.

Construction of Sofi Stadium has continued through the stay-at-home orders in California, even as two construction workers were diagnosed with the virus. However, when the building will open isn’t totally certain. The two Taylor Swift concerts that were supposed to open the venue in late July have been canceled, but so far the Kenny Chesney concert scheduled in the stadium for August 1 is still on. NFL preseason games will most likely still take place in Sofi Stadium as well, though possibly without fans in attendance.

Uncertainty over when California will allow large gatherings again has WWE thinking further in the future, according to WrestleVotes. The wrestling insider Twitter account posted that “WWE has begun researching a ‘plan B’ on an alternative site to host WrestleMania 37 if the state of California is not allowing large gatherings and/or SoFi Stadium is not finished on time.”

Los Angeles Mayor Eric Garcetti recently stated that L.A. might not allow large events until well into 2021, but Inglewood is in a different jurisdiction.

If all else fails and stay-at-home orders continue across the country for another full year, WWE could always run the Performance Center again next spring, as long as they’re still an essential business.

A24’s The Lighthouse managed to solidify Robert Pattinson (even before the Batman casting) as a master of reinvention, but the movie could have been even stranger than what materialized from being trapped in a lighthouse with Willem Dafoe. Stranger than the “ferocious masturbation” scene that Pattinson claimed left director Robert Eggers “a little in shock” after shooting? Yes, but this time, Eggers is the one doing the talking, and he reveals that the movie would have been more sexually graphic as originally pitched.

The film, which is now available to stream on Amazon Prime, also dabbled heavily in the art of flatulence in addition to all that madness, given that A24 was keen to embrace the weird with Eggers. However, A24 did draw the line on talk of graphic nudity and a visible “erection” from one of the male leads. Which one? That’ll remain a mystery, but here’s what Eggers said during a Film Independent-hosted Q&A session (via IndieWire):

“There wasn’t much of a pitch, really. There was convincing to do it on 35mm black-and-white negative, and there was also some full-frontal male nudity, an erection, and they were kind of like, look, it can be black and white and weird and all this stuff, but it can’t be rated NC-17.”

The Lighthouse was never meant to even vaguely resemble a blockbuster, but an NC-17 rating wouldn’t have fared well for this art house film either. So, A24 made the wise call because, who knows, a full-frontal shot might have ruined that cinematography Oscar nod in a movie that some feel was already snubbed to some degree. It was just delightfully weird enough without a naked Pattinson or Defoe strutting around onscreen. Still, Eggers also told the Q&A session that A24 was “happy” to make a movie with him following The Witch, and for solid reason, so yes, please go enjoy it on Amazon Prime if you haven’t seen it already.

(Via IndieWire)

For the last few weeks of the government mandated self-quarantine, Chicago’s Chance The Rapper has been sharing videos of his favorite performances on Instagram, giving fans the — ahem — chance to relive some of his most beloved appearances on late-night television, award shows, and more. For the most part, they’ve all been sets we’ve seen before, from Saturday Night Live and Stephen Colbert to the NBA halftime show, but today, he decided to do something a little different, sharing a “brand new” performance from a movie he filmed during the Coloring Book era and hopes to put in theaters.

The performance features a medley of songs that includes “Windows” from The Social Experiment’s Surf with Nico Segal on trumpet and “Same Drugs” and “Summer Friends” from Coloring Book. In the caption, Chance explains the complexity of the shoot, writing, “You can’t really see it but I designed a huge crazy multi dimensional stage to perform on and then invited a bunch of my biggest fans in Chicago to come see.” He expresses his hope that the film will eventually come out, but that due to the uncertainty of coronavirus precautions, he’s not sure that it ever will. However, he praises the “hundreds of awesome people that helped me put this together, and I hope one day this piece comes out the way it deserves.” Check it out below

Watch Chance’s moving performance above.

ESPN debuted the first two parts of The Last Dance, its highly-anticipated docuseries on the 1997-98 Chicago Bulls, on Sunday night. Episodes 1 and 2 were a joy, and instead of doing any sort of tradition recap, we decided to borrow an idea from our own Brandon Stroud and do this up in a Best and Worst format. Of course, head on over to With Spandex if you’d like to see how this format is done in the wrestling world by the folks who have mastered it.

For our purposes, these Bulls were the kind of larger-than-life personalities that usually only exist in the wrestling, while Michael Jordan is perhaps the greatest singular character in the history of sports, so taking that format and using it here is appropriate. And now, let’s get into this week’s Best and Worst.

BEST: Interview Introductions

The opening episode goes through the process of introducing the main characters we will see throughout the documentary, namely the members of the Bulls that will be most heavily featured. That list includes Michael Jordan, Scottie Pippen, Dennis Rodman, Phil Jackson, and Steve Kerr, and they allow the first three of those to introduce themselves as if someone may be watching this, unaware of who they are. The result is Michael Jordan giving an all-time undersell of who he is.

“Hi, my name is Michael Jordan. I played for the Chicago Bulls from 1984-1998, with an 18-month vacation/hiatus.”

Scottie, meanwhile, eschews basketball completely in his, simply noting he is “Scottie Maurice Pippen, from Hamburg, Arkansas.” Then there is Rodman, who gives the most appropriate introduction of them all.

“Dennis Rodman. Wassup?”

I am glad to report the wild underselling of who interview subjects are continues throughout the documentary.

BEST/WORST: Really Leaning In On Michael Jordan’s Early Basketball Career

So I want to be clear: I could spend the rest of my life watching clips and hearing stories about the early days of Michael Jordan’s basketball career. He is the single-most interesting athlete of my lifetime. There has never been an individual who blended being a cultural phenomenon and being the absolute, undoubted, clear-cut best at their profession as well as Jordan has — this applies for sports, for entertainment, for business, for literally anything. I won’t say we’ll never experience someone like this again, because plenty of people get propped up as gods just by nature of how we consume culture in 2020, but it’s hard to imagine anyone ever melding those two things as well as Jordan did.

Still, the first two episodes of the docuseries about the 1997-98 Chicago Bulls felt, at times, more like two parts in a documentary about Jordan’s life. It gets a best because, as I mentioned, I am extremely here for this sort of thing, but the worst stems from the fact that that Bulls team does kind of feel like an afterthought at times to the sheer awesomeness that was Jordan. So much time is spent on his time at North Carolina and his first few years in the league that it can take away from the look inside the 97-98 Bulls. Hell, more time is spent on his backstory in episode two — which starts as The Scottie Pippen Episode and then just kinda gets away from Scottie Pippen for a while — than anything else.

This isn’t a bad thing! It rules watching stuff about the single-coolest athlete of my lifetime (or, for that matter, your lifetime), the backstory on him is important context as we move forward about the mythology surrounding the dude, and everything we see about Jordan rules — I may write a book about about the face he made when he’s asked about playing golf with Danny Ainge before Game 2 against the Boston Celtics in 1986. I am sure these first two episodes are outliers with regards to how Jordan’s past shaped this particular Bulls team, it just relies quite heavily on that early on, is all. Having said that…

BEST: Michael Jordan And Scottie Pippen Highlights, Especially From College

Dude, watching Michael Jordan and Scottie Pippen play basketball is so cool. It’s a funny thing, we’re living in a golden age of Good Basketball right now, but when Mike and Scottie were in their primes, the two were capable of unhinging their jaws and consuming people whole in a way that no one can really do today. There was a ruthlessness to their games, with the pair being the two-best athletes on the floor in every single game that they played and Jordan’s unmatched competitiveness setting a bar that Pippen tried his best to reach. The result was watching a pair of sledgehammers bash their opponents on a nightly basis.

That was particularly true in the clips where the two were in college. Jordan, of course, was an alpha dog at North Carolina, but the clips of Pippen in college are way better. He had a monstrous growth spurt, shooting up from 6’1 as a freshman to 6’7 by the time he left, and mixed that with freakish strength/athleticism. As a result, the poor NAIA students who went up against Central Arkansas got stuffed into lockers without Pippen ever looking like he was ever trying that hard.

I am not a marketing wizard or anything, but ESPN should really fill its airwaves over the next week or so with old Bulls/Carolina/Central Arkansas games involving these two. I already do not have anything to do, but even if I did, I would cancel all of my plans to watch every second of these games.

WORST: Jerry Krause

One of the main characters of the documentary is former Bulls general manager Jerry Krause, who ran the team from 1985-2003 and was the villain of the 1997-98 season because he was the leading voice in the organization looking to break up the team and enter a rebuild. Krause is the antagonist of just about everyone. He’s constantly yelled at and taunted by Jordan, who prods him about being short and overweight, and Pippen, who hated him for entertaining trade talks and then later demanded a trade himself. The only reason Phil Jackson returns for one final year was a meeting with owner Jerry Reinsdorf, who brought him back on a 1-year, $6 million deal after Krause scoffed at the notion of paying a coach that much. You can still sense some of the animosity decades later over how it all went down and that he was the driving force in breaking up the dynasty.

What’s interesting is the complicated nature of how the central figures of this documentary remember Krause, who died in 2017. Jordan, who famously was infuriated by the Charles Oakley trade in 1988, now admits that was the right move and gives credit to Krause and the front office for building the team. Still, he feels Krause’s famous “Organizations win titles, not players alone” line, which is contextualized a bit further in the doc, was disrespectful to the players. “The Last Dance” only happens because of Krause, both in making it the definitive last season of the Bulls run because he publicly made it known they would be changing things after the year, and in that the dynasty doesn’t look the same without the team he built around Jordan — from trading up for Pippen to trading for and signing other key pieces. He is the villain of this story, but much like with the heroes, everything in this is a bit complicated.

What’s not complicated is that the players seemed to genuinely hate the man and routinely dunked on him in front of everyone.

WORST: Roy Williams Getting Free Recruiting Material He Will Never Use

North Carolina coach Roy Williams is in this a decent amount, as he was a Tar Heel assistant during the time that the program recruited and, eventually, coached Jordan. He doesn’t really bust out any Royisms — he doesn’t say MJ was as quick as tadpole getting out of the sun or whatever — but he brings that classic aw shucks attitude that everyone loves. I also know that North Carolina was very bad last year, and that Roy isn’t exactly the best daggum recruiter on Tobacco Road. Please use all of this in recruiting and try to get more one-and-dones, Roy. Program Players are nice, but my goodness, it would be a bad look to not go on a recruiting tear after being in the Michael Jordan documentary.

BEST: David Stern!

When he showed up on screen the first time, I reflexively said “Commish!” aloud. David Stern was hardly a perfect commissioner, but I’ll be damned if I don’t miss that guy. No one seemed to take more joy in twisting a knife than Stern did, he is, was, and always will be the Lucille Bluth of sports commissioners.

WORST: This Guy

Asking for an autograph while you mic someone up? Be a professional, sir.

BEST: The Bulls Traveling Cocaine Circus

One of the funniest moments of the first episode is when Michael Jordan learns the Bulls of the early 1980s were sometimes referred to as “The Bulls Traveling Cocaine Circus,” which elicits an honest to god outburst of laughter from him and a knee slap. He then launches into a story of being a rookie and being unable to find his teammates at the team hotel until he finally knocks on the right door, only to enter and find, as he says, “lines over here, weed smokers over here, and women over here.” Jordan, who at the time didn’t even drink, says he left quickly out of fear that if that room got raided he’d be as guilty as anyone. The NBA in the 1980s was a wild place.

BEST: Milwaukee Bucks 1984 Warmups

Bring them back. I need Giannis in these ASAP.

WORST: Wasted Suit Fabric

I am the worst person on earth to ever discuss anything of/related to fashion — since quarantine started, I have rotated through the same 3-5 hoodies and shorts/sweatpants, and yes, I am using quarantine as an excuse to justify what my slovenly ass would have worn anyway — but my god, the suits are stupendous in this. Every single person wears a jacket that would look baggy on the guy who played The Mountain, while every pair of pants is like a 34×17,000. Imagine what else could have been done with all this fabric if wearing the “after” suit from a weight loss commercial wasn’t a trend in the 1990s. I am glad I was six while this was in style.

BEST: Bob Costas’ Hair

Bob Costas has looked exactly the same since the first Bush was president, with the exception being that time he had pink eye. However, there is a clip in this from Costas’ time as a newsman in Chicago during Jordan’s early years with the Bulls where he looks like this.

I really want to listen to Sgt. Pepper’s Lonely Hearts Club Band with this version of Bob Costas.

BEST: “Sirius” By The Alan Parsons Project

The ending of the first episode is the ring ceremony that starts the 1997-98 season and is a reminder that there has never been, and likely will never be, a better intro than what MJ the Bulls had in the 90s. “Sirius” by The Alan Parsons Project is synonymous with this era of Bulls basketball and it still gives me chills hearing those chords hit as the Bulls PA announcer says “6’6, from North Carolina…”

WORST: Scottie Pippen’s Timing

The second episode focuses heavily on Pippen, with a heavy focus on how he was wildly underpaid by the time the 1997-98 season — the last on his contract — arrived. Pippen had signed a 7-year, $18 million deal in 1991 that left him as the league’s 122nd highest paid player by that 97-98 season. It was a deal that even Bulls owner Jerry Reinsdorf advised him against.

“I do recall it was a longer contract than I thought was smart for him,” said Reinsdorf. “I said to this guy the same thing I said to Michael, if I were you I wouldn’t sign this contract. You may be selling yourself short. It’s too long of a contract that you’re locking yourself into.”

However, Pippen saw it as necessary to take longterm stability over the possibility of making far more coming from a poor family from Arkansas with 11 brothers and sisters, and his father stuck in a wheelchair since he was 12 due to a stroke.

“I felt like I couldn’t gamble on myself getting injured and not being able to provide,” Pippen said. “I needed to make sure that people in my corner were taken care of.”

It’s a situation that a number of athletes have found themselves in and it’s more than understandable why he would take that approach. Pippen’s brother, Billy, notes in the documentary that he bought their parents a house and sent them money each month, ensuring they were taken care of. However, the league saw exponential revenue growth and Pippen’s contract was quickly undervalued and had many years remaining — and Reinsdorf refuses to renegotiate contracts.

By the time he reached his contract year, he was incredibly underpaid and was dealing with a ruptured tendon in his ankle. Out of spite for the Bulls organization and Jerry Krause, he put off surgery until right before the season. As Pippen said in the documentary his mindset was, “I’m not going to f*ck my summer up rehabbing for a season.” That led to additional tension and, eventually, a trade request while he was still rehabbing due to frustrations with Krause for trying to trade him — something Reinsdorf shut down.

What’s fascinating about the Pippen situation is, without Pippen massively undervalued as the sixth highest paid player during the Bulls run, they might never have the opportunity to win six rings. On a personal level, it diminished his earning potential significantly. His timing on signing that deal was miserable, given that the league’s salary cap more than doubled from $12.5 million to $26.7 million over the life of his deal. At a team level, though it gave them flexibility within the salary cap to build a stronger roster than they may have otherwise if Pippen had been appropriately compensated.

BEST: Barack Obama: Former Chicago Resident

That is, indeed, how everyone refers to former American president Barack Obama.

Last week, the legendary Willie Nelson announced that today (April 20, aka 4/20), he will be hosting “Come And Toke It,” a weed-themed variety show that will run for four hours and 20 minutes. The event was said to “[bring] together artists, chefs, comedians, educators and more for 4 hours and 20 minutes of cannabis-centric entertainment hosted by Willie Nelson himself — all from the comfort of quarantine.” Nelson also shared a quick video message, in which he takes a hit of an electronic smoking device and says, “Happy 4/20 out there, y’all. Y’all have a hit for me, and pass it on.”

Now, the full lineup of guests has been shared, and there are some real heavyweights involved. From the music world, the lineup includes Kacey Musgraves, Billy Ray Cyrus, Angel Olsen, Toby Keith, Ziggy Marley, Hiss Golden Messenger, Kevin Morby, and others. Also appearing are Matthew McConaughey, Tommy Chong, Jeff Bridges, Bill Maher, Beto O’Rourke, and “so many more.”

It’s not confirmed if the guest musicians will be performing during the livestream, but it wouldn’t be the first time Nelson linked up with Musgraves, as the two performed “Rainbow Connection” at last year’s CMAs.

The broadcast kicks off today at 4:20 p.m. CST (5:20 p.m. EST), of course, and will be shown on the Twitch page of Nelson’s Luck Reunion festival.

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No Time to Die, the 25th entry in the James Bond franchise, was originally scheduled to come out this month, but it was pushed back to November due to the ongoing coronavirus pandemic. To make up for the lack of 007, Esquire UK hosted a “watchalong” of 1995’s GoldenEye with special guest Pierce Bronsan on Sunday night.

One of the more interesting revelations to come out of the screening was Bronsan saying that after GoldenEye became a huge hit (and inspired one of the greatest video games of all-time), he met with Quentin Tarantino, who has talked about making a James Bond movie for years. “It was after Kill Bill Vol. 2, and he wanted to meet me, so I went up to Hollywood one day from the beach, and I met him at the Four Seasons,” he said. “I got there at 7 pm, I like to be punctual. 7:15 came around, no Quentin, he was upstairs doing press. Someone sent over a martini, so I had a martini, and I waited until 7:30, and I thought, ‘Where the heck is he?’ Word came down, apologies, so I thought, OK, I’ll have another martini.” Who knew Pierce Brosnan was a method actor?

Eventually Bronsan and Tarantino met, and when they did, they were both “fairly” drunk:

“He was pounding the table, saying you’re the best James Bond, I wanna do James Bond, and it was very close quarters in the restaurant and I thought, please calm down, but we don’t tell Quentin Tarantino to calm down,” said Brosnan. “He wanted to do James Bond, and I went back to the shop and told them but it wasn’t mean to be. No Quentin Tarantino for James Bond.”

I’m going to slap so many “No Quentin Tarantino for James Bond” bumper stickers on so many cars. Anyway, of the 25 James Bond films, only one has been directed by someone who was born in America, and that’s the one that hasn’t even come out yet (Cary Joji Fukunaga is from California). By the time Bond 26 comes around, Tarantino might be retired. Oh well, at least he can always make his Star Trek movie.

(Via Esquire)

BBC America’s ‘Killing Eve’ first framed itself as procedural: a show about assassins and the UK’s Secret Intelligence Service that attempts to take them down. More than that, though, the show tangoed through an elaborate cat-and-mouse game between Jodie Comer’s assassin and Sandra Oh’s MI6 agent. This season, that game evolves for the better, and our weekly coverage will keep an eye on how this show’s transforming, and it (along with those kills) is only growing bolder with the passage of time.

This week’s Killing Eve episode, “Management Sucks,” takes its title from a Villanelle declaration when she realizes that being a keeper-in-training isn’t all that she’s cracked it up to be. This takes place during the episode’s central showcase of assassin-clowns — move over, Stephen King’s Pennywise — but there’s another clown (more of a jester, really, and he’d better hope that he keeps the powers that be happy) maneuvering in the background. That would be Kim Bodnia’s Konstantin, who we first got to know in his capacity as Villanelle’s handler, though he’s also a father figure to her, even after she tried to kill him. It’s one hell of a bond that these two have, so we’ll talk about Konstantin, but we should probably get on with this literal clown business first.

Worst clown ever, or the best?

Maybe a little bit of both. However, there’s no time to dwell on details when another killer clown is not-so-killer after all.

Oh, Felix. We hardly knew him, and Villanelle already couldn’t stomach how he botched what should have been a simple kill. Yet it’s not as though Villanelle wasn’t warned. Dasha (Dame Harriet Walter is so good in this role) attempts, during a spectacular conversation, to warn her charge of the downside — “watching someone do a worse job than you sucks” — of not being on the assassin frontlines. Will Villanelle decide to continue pursuing career advancement? She loves the perks of being a star player, although there’s something inside her that’s dissatisfied, and she’s chasing something.

That’d probably be acceptance and love (even sociopaths need affection), and although Villanelle still thinks that Eve is dead at this point, she’s clearly still hung up on the ex-MI6 agent. Despite some real talk from Dasha on how assassins can’t do date nights or normal relationships. I don’t think Villanelle will settle for this, but the matter’s clearly left wide open for now. One thing we do know for sure, thanks to this conversation with Dasha? Villanelle’s maker loves the spice kill, which she views not as one-upmanship but as “a hallmark to Dasha.” However…

Who else is clowning around? Konstantin, who (sadly) isn’t juggling three phones this week, but he’s still quite the player. Later on in the episode, he reveals that he’s still been working for the Twelve, but he’s clearly still all up in the M16 business, so essentially, he’s lurking about everywhere, in plain sight and otherwise. First up, he’s annoying the hell out of a boozy Eve at Kenny’s funeral service.

Eve’s not about to be charmed by Konstantin praising her as a “walking miracle” and remains convinced that he isn’t thinking about anything else than his own goals. And naturally, he’s insisting that Kenny killed himself, but Eve knows damn well that the poor young man must have been taken out by The Twelve. Before we can hear any more about that subject at the funeral, Carolyn’s daughter, Geraldine (Gemma Whelan), lets the audience know that Konstantin’s been hanging around family events for a long time. Not only that, but Konstantin the Trickster later “bumps” into Geraldine outside a shop and feigns an act of kindness by giving her that bus magnet from last episode. Geraldine’s apparently the kind of person who wants to believe in the kindness of “strangers,” and she’s so touched by the gift — which contains a damn microphone because of course it does — that she completely falls for this skeevy smile.

This encounter takes place after we saw Konstantin meet with a mysterious party (representing someone higher up in the Twelve, no doubt, although we don’t see the messenger’s face), who’s instructing him to stay in London. I imagine there’s more on this to come, but the bugged-out magnet does the trick later on in the kitchen where Eve reveals that she’s game to help Carolyn figure out who killed Kenny.

In lovelier and more genuinely heart-warming moments, however, Konstantin’s reunion with Villanelle was everything that I hoped it would be.

There’s a nice little war of words going on between these two, and Konstantin’s winning this round. Villanelle should have known that Eve was still alive because (as Konstantin knows first hand) she can’t manage to actually shoot and kill someone that she loves. Their father-daughter relationship also leads to some jealousy on Villanelle’s part here, given that she takes a shot at his family, and he chides her for being sloppy enough to not make sure Eve was dead. That’s part of why he’s so amused at the idea that Dasha claims to be helping Villanelle become a keeper — a higher status than both Konstantin and Dasha — but one can sense the competitiveness that’s oozing from his words. He wants Villanelle back under his wing, so let the games begin there.

A few loose ends here:

– What should we think of Carolyn’s new boss? He doesn’t seem like a good guy, though we don’t know too much about him yet, other than him (quite obviously) shutting Carolyn down at every opportunity so far.

Well, maybe Carolyn does need a few days off.

– In better-boss land, Kenny’s editor, Paul, did a swell job of getting Eve onboard an investigation after calling her out for obsessively keeping hold of his phone while still attempting to justify not doing any leg work. Perhaps Carolyn will need to thank Paul for all of his insight later down the line. That is, if Eve and Carolyn can get to the bottom of the murder business before the Twelve catches up with them. Thanks to Konstantin’s bugging of that fridge magnet, the race is on for next week.

BBC America’s ‘Killing Eve’ airs on Sundays at 9:00 PM EST with simulcasting on AMC.