Our flying practices are among the most extreme causes of a changed climate, yet the ways in which citizens of western societies travel the globe for work and pleasure remain, primarily, a matter of personal responsibility and morality in a time of ever-increasing plane traffic.1¹Killing Eve (BBC America, 2018– ) studiously avoids the ecological impact of air travel, repressing and romanticizing mobility through frequent location shifts and contrasting locales. In a variation of the urban detective plot, series leads American MI6 operative Eve (Sandra Oh) and Russian assassin for hire Villanelle (Jodie Comer) chase each other through a multitude of European cities, highlighting their ability to commute among cities as well as navigate urban settings. The show narratively, aesthetically and conceptually evokes a form of European ‘city hopping’ associated with low-cost airlines, at a time when some of its viewers struggle to justify the ecological impact of their own flying practices. I seek to explore the ‘banal Anthropocene’s’ relevance to the show in three of its dominant tropes – the plane, the city and the chase – which connect in Killing Eve’s take on European aviation culture. These three aspects form the structure of my argument: first, while characters are never shown to board planes, air travel is implicit in and normalized through rapid location shifts between European cities; second, aviation serves as an invisible ‘climate unconscious’2² in Killing Eve and is the foundation for the show’s connected themes of urban tourism and the gendered chase of detective fiction; third, the invisibility of carbon-emitting and city-hopping flights runs parallel to the series’ other, more remarked-upon theme of female professionalism and its ironic deployment.

中文翻译：

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飞机，城市，追逐：杀死夏娃与欧洲航空文化

我们的飞行习惯是造成气候变化的最极端原因，但西方社会的公民周游世界以寻求工作和娱乐的方式仍然是主要问题，这是在飞机流量不断增加的时代的个人责任和道德问题.1 ¹ Killing Eve（BBC America，2018–）巧妙地避免了空中旅行的生态影响，通过频繁的地点变更和不同的地理位置来抑制机动性并使之浪漫化。在城市侦探情节的一个变体中，系列影片带领美国MI6特工夏娃（Sandra Oh）和俄罗斯刺客聘用维拉内尔（Jodie Comer）在众多欧洲城市中互相追逐，突显了他们在各个城市之间进行通勤的能力城市以及在城市环境中导航。该节目从叙事，美学和概念上都唤起了一种与低成本航空公司相关的欧洲“城市跳跃”形式，而此时一些观众正在努力证明其飞行实践对生态的影响是正确的。我试图探索“平凡的人类世代”与该节目的三个主要对立面-飞机，城市和追逐-的相关性，这些对立面与《杀戮前夕》对欧洲航空文化的理解息息相关。这三个方面构成了我的论点的结构：首先，虽然从不向登机平面显示角色，但通过欧洲城市之间的快速位置转换，航空旅行就隐含了并得以规范化；第二，在杀戮前夕，航空是一种看不见的“气候无意识” ^{2 2}。并且是该节目与城市旅游主题和侦探小说的性别追逐相关联的基础；第三，碳排放和城市跳跃飞行的隐蔽性与该系列的另一个更为突出的女性职业精神及其讽刺意味的主题平行。