Component 2, Section A: Television in the Global Age – Option 3: Spy Thrillers (Killing Eve and Tehran) — Eduqas A-Level Media Studies

This topic explores how television spy thrillers reflect and critique contemporary global anxieties, focusing on two key texts: *Killing Eve* (BBC America, 2018–2022) and *Tehran* (Apple TV+, 2020–). You will analyse how these series use genre conventions—such as cat-and-mouse chases, surveillance, and moral ambiguity—to engage with issues of identity, nationhood, and gender in a post-9/11, digital age. The component requires you to compare and contrast the two shows, considering their industrial contexts (e.g., transnational co-production, streaming platforms) and how they target global audiences while retaining specific cultural markers.

Studying these texts matters because they exemplify the shift from traditional, male-dominated spy narratives (like James Bond) to more complex, female-led stories that interrogate the politics of espionage. *Killing Eve* subverts the spy genre by centering on the obsessive relationship between MI5 officer Eve Polastri and assassin Villanelle, while *Tehran* offers a gritty, realistic portrayal of an Israeli Mossad agent operating undercover in Iran. Both series raise questions about loyalty, surveillance, and the ethics of state violence, making them rich for analysis in terms of representation, narrative structure, and ideology.

This topic fits into the wider Media Studies A-Level by building on your understanding of genre, narrative, and representation. It also introduces key concepts from the 'Global Age'—such as cultural imperialism, hybridity, and the role of streaming services in shaping content. You will apply theories like Stuart Hall's encoding/decoding, Laura Mulvey's male gaze (and its critiques), and David Gauntlett's work on identity to deconstruct how these texts construct meaning for diverse audiences.

• →Genre hybridity: How *Killing Eve* blends spy thriller with dark comedy and psychological drama, while *Tehran* mixes espionage with political thriller and family drama.
• →Representation of gender and nation: Analyse how female protagonists challenge or reinforce stereotypes (e.g., Villanelle as a queer, glamorous assassin; Eve as a desk-bound analyst; Tamar in *Tehran* as a skilled but vulnerable agent).
• →Globalisation and transnational production: Consider how both shows are co-productions (BBC America/Sid Gentle for *Killing Eve*; Kan 11/Apple TV+ for *Tehran*) and how they balance local specificity with global appeal.
• →Narrative structure and audience engagement: Use of cliffhangers, multiple perspectives, and moral ambiguity to create suspense and encourage active viewing.
• →Ideology and hegemony: How the texts reflect or challenge dominant ideologies about the 'war on terror', surveillance, and the 'other' (e.g., Iranian characters in *Tehran*).

• Analysis of media language and genre conventions (repetition vs. variation/change)
• Comparison of representations of events, issues, individuals, and social groups
• Evaluation of the impact of industry contexts on production, distribution, and circulation
• Application of theoretical perspectives to explain audience targeting and interpretation
• Construction of a sustained, coherent, and substantiated line of reasoning in extended responses
• Use of specialist subject-specific terminology
• Integration of relevant media contexts (social, cultural, economic, political, historical)

• 💡Ensure you explicitly reference the required theories (e.g., Neale, Butler, Hall, Hesmondhalgh) in your analysis
• 💡Use the 'global age' context to discuss how these products are distributed and consumed internationally
• 💡Focus on how genre conventions are used, challenged, or subverted in both programmes
• 💡Structure extended responses to ensure a balanced comparison between the two set products
• 💡Use specific examples from the set episodes (Series 1, Episode 1 of Peaky Blinders; Season 3, Episode 1 of The Bridge)
• 💡Always compare and contrast the two texts explicitly. Use connectives like 'similarly', 'in contrast', 'whereas' to show the examiner you are synthesising ideas across both shows.
• 💡Integrate media theories and concepts (e.g., genre theory, representation theory) into your analysis of specific scenes or characters. Don't just name-drop; explain how the theory illuminates meaning.
• 💡Use evidence from the texts—specific episodes, scenes, or character arcs—to support your points. For example, discuss the use of costume in *Killing Eve* (Villanelle's pink dress in the first episode) or the tension in *Tehran*'s opening sequence at the airport.

• Failing to compare the two set products effectively in extended responses
• Describing the plot rather than analyzing the media language or industry context
• Neglecting the specific theoretical requirements (e.g., failing to apply Butler to The Bridge)
• Treating the products in isolation from their global industry and regulatory contexts
• Lack of focus on the 'global age' aspect of the topic
• Misconception: *Killing Eve* is just a 'cat-and-mouse' thriller. Correction: While it uses that trope, the series is more about the psychological obsession between the two leads and the deconstruction of the spy genre itself. You must analyse its metatextual elements and dark humour.
• Misconception: *Tehran* is a straightforward 'good vs evil' narrative. Correction: The show presents complex moral dilemmas where both Israeli and Iranian characters are shown as flawed and human. Avoid simplistic readings; instead, discuss how it challenges binary oppositions.
• Misconception: The 'global age' means all TV is the same. Correction: Both shows retain distinct cultural identities—*Killing Eve* is distinctly British in its settings and humour, while *Tehran* is deeply rooted in Iranian culture and politics. You must discuss how they negotiate global vs local elements.