One of the claims I often noticed made when comparing the Peta Wilson La Femme Nikita to its successor, Maggie Q’s Nikita, is that it is both considerably more dark and more gray than its successor. After finishing season one of Femme, I have to agree with the first part of that assessment: while Nikita is a story that is fundamentally about the possibility of fighting impossible odds and winning without having to give up one’s soul—even if that soul has plenty of red in its ledger—the earlier show, or at least its first season, is about the futility of even trying. It makes for a work that is fascinating, yet unpleasant to watch, particularly since the writers and showrunners appear to have no idea of just how dark the story they’re telling actually is.
Both versions of the story, like all versions of the Nikita story, feature at its center a quasi-legitimate black-ops group which forces their “recruits”, including Nikita, to become spies and assassins—spyssassins—at gunpoint. Femme‘s is called Section One, and is, the show wants us to believe, mostly involved in legitimate counterintelligence—stopping terrorists, procuring WMD’s before they fall into The Wrong Hands, etcetera. Nikita‘s organization, on the other hand, is called Division, and is explicitly presented as a group which, unbeknownst to the rank and file, has been almost wholly corrupted by its director, who basically uses it as a way to accrue money and power for himself. The difference in the way the organizations are portrayed are largely a result of the two different stories each series is trying to tell: La Femme Nikita is a story about Nikita when she is inside, and therefore needs her to be doing arguably good work for Section One, while Nikita is about a Nikita who is on the outside trying to bring down Division, and therefore needs the organization to be a bad guy.