Eve Myles says Katherine Kelly is “absolutely a sensation” in The Crow Girl season 2, a sharp vote of confidence for a series now streaming on Paramount+. The endorsement lands as the second season reaches back into Sophia Craven’s traumatic childhood while the present-day story tightens around DCI Jeanette Kilburn and Sophia Craven.
“I cannot give you a single scene where K-Kelly is not extraordinary,” Myles said, adding that Kelly’s work is “bold, ambitious, tender, [and] beautiful”. That kind of language is more than cast camaraderie; it signals a performance doing the heavy lifting in a crime drama built on momentum, unease, and a story world that keeps turning darker.
Eve Myles and Katherine Kelly
Myles and Kelly sit at the centre of the show as DCI Jeanette Kilburn and Sophia Craven, also known as Victoria Burkeman. The season is built around the pressure on those characters, with Myles describing her own role as “swimming against the tide, right to the end” while also saying, “There’s a relentless tsunami of things coming at her the entire time.”
Eve Myles praises Katherine Kelly’s season 2 turn in a way that makes the performance feel like the season’s organising principle. That matters because this is not a static detective story: season one established the mystery behind the death of the asylum seekers, and season 2 moves deeper into the consequences rather than resetting the board.
Describing Katherine Kelly
The season’s praise for Kelly sits alongside a story world that is still populated by horrific murders, a befuddled police force, and evidence-munching pigs. That mix keeps the series from drifting into neat procedural territory; the atmosphere is deliberately uglier, and Myles’ comments suggest Kelly’s performance has to hold both the emotional damage and the plot mechanics at once.
Myles put it plainly: “She’s absolutely a sensation in this show and I can’t wait for people to see what she’s done in it.” For viewers, that means season 2 is not just another chapter but a character-led escalation, with Kelly carrying the part of the story that reaches back into Sophia’s past and shows how it still shapes the present.
Comparing the season two
Katherine Kelly drives The Crow Girl season 2 with a sharp turn that gives the new episodes their edge, even as Myles says of Jeanette, “she doesn’t breathe.” The result is a season that leans on performance as much as plot, and that is the right gamble for a series streaming now and being brought to a close on Paramount+.
What the show still withholds is the exact shape of Sophia Craven’s season 2 arc beyond that return to childhood trauma, and that missing detail is part of the draw. The broad movement is clear: the past is not being treated as backstory but as the force driving the present, and Kelly’s work is the reason that engine has weight.
