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Nadia’s native East Village, a nocturnal den of artists and eccentrics, feels like a relic of pre-Bloomberg New York. Lyonne’s rasping delivery is often compared to a Borscht Belt comedian, a doe-eyed young woman with the voice and bemused worldview of a kvetching old man. Russian Doll has always had a throwback feel. And on a routine trip downtown, a southbound 6 train somehow brings Nadia not just 40 blocks south, but 40 years into her own past. Nilsson gives way to Depeche Mode, whose “Personal Jesus” perfectly matches Nadia’s Goth-adjacent wardrobe and stomping gait. (Nadia’s day job as a game designer helped inform her pragmatic approach to getting repeatedly run over by a taxi.) Our heroine is just a week shy of her 40th birthday, a more widely acknowledged milestone than Season 1’s 36th-the point at which Nadia officially outlived her mother Nora (Chloë Sevigny), a troubled soul responsible for her daughter’s unstable upbringing. We open four years after Alan and Nadia fixed their first bug in the universe’s code. For its second act, Lyonne-now acting as showrunner and frequent director after the departure of cocreator Leslye Headland-keeps tinkering with time. Russian Doll has already repeated itself, many times over. In this context, it’s largely a reminder that Russian Doll isn’t the only recent award-winning hit to try to find out if lightning can strike twice.
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How The Flight Attendant tackles that mutual challenge is a subject for another review. The pure plot (time travel caper, espionage thriller) may be addictive and easy to crave more of, but the deeper themes (a volatile childhood, family history of alcoholism) demand intention and restraint, lest stretching the story out sap some of the emotional punch. Unlike Russian Doll, The Flight Attendant was announced as a limited series, only to backtrack after its initial success. The series, another comedy about a messy, 30-something woman whose extreme circumstances force a look in the mirror, already paired well with Russian Doll even before their proximate premieres. This week, The Flight Attendant takes off for a second season on HBO Max. But the freedom to make these decisions also comes with scrutiny toward their outcomes. Once-limited series, like Big Little Lies, can come back for more established shows like Curb Your Enthusiasm can take extended breaks between seasons hits like Atlanta can choose to end on their own terms.
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Thanks to the flexibility of streaming formats and the increased leverage that comes with “prestige,” TV has never been less bound to strict schedules or categories. The issues raised by Russian Doll’s reappearance may be fitting given the show’s premise, but they’re increasingly shared across television.
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Nadia’s no stranger to taking things from the top. But now, it’s back-or rather, back again. By the time Nadia and fellow traveler Alan (Charlie Barnett) brought their vicious cycle to an end, Russian Doll appeared to reach the end of its specific, finite story. Russian Doll’s first incarnation felt as sui generis as its cocreator and star, Lyonne the plot used a time loop to weave together Harry Nilsson, roast chicken, unprocessed grief, and New York’s East Village. They’re also the questions that face the show itself, with new episodes streaming on Netflix after a three-year hiatus. These are the questions that face existential explorer Nadia Vulvokov (Natasha Lyonne) in the second season of Russian Doll. When you manage to create a perfect closed loop, how do you open it back up again? And should you?