Kinnaman’s The Killing co-star Mireille Enos stars as the cold, ruthless, and very determined Marissa Wiegler. The cat to his mouse, Wiegler is the kind of person who will chase a baby across the eastern European countryside with no qualms about who she hurts or kills along the way.

We catch back up with Baby Hanna roughly 15 years later, when she is coming-of-age in the middle of the Polish wilderness, with only her withholding father for company. They spend their days doing the necessary work of wilderness survival, as well as training young Hanna in all of the skills a spy might need to succeed in the world beyond the borders of the woods they live in.

However, while Hanna may know how to kill a man in multiple different ways and the population of most European cities, she doesn’t know so much of the basic knowledge most teen girls take for granted. When Hanna is forced out of the wilderness she has always called home and separated from her father, she is on her own and meeting new people for the first time in her life.

Hanna, by giving the eponymous teen girl the point-of-view, challenges the efficacy of the Papa Wolf trope, as Erik’s insistence to keep Hanna in the dark about her past causes more and more problems. The TV adaptation really uses the extra screen time to make more complex the relationship between father and daughter. Erik is simultaneously more frustrating and more sympathetic than his cinematic counterpart, as the character gets a much more developed backstory here, and a more nuanced relationship with his daughter.

Of course, this is Hanna’s story, and we stick close to her fish-out-of-water perspective as she searches for clues about her own mysterious birth and the role her father played in it. Like Ronan before her, Esme Creed-Miles anchors the story in vital ways, and truly is the star here. (Kudos also to Rhianne Barreto, who plays Sophie, Hanna’s first real friend her own age.) Without a solid lead, this story would not work, and Creed-Miles is more than up for the challenge—as convincing in Hanna’s moments of childlike curiosity as she is in her moments of steely-eyed killing.