A sequel to Russian doll (VF of Russian Doll), really ? Wasn’t everything wrapped up in the jubilant black comedy starring Natasha Lyonne at the height of her earthiness in the skin of Nadia Vulvokov, a New Yorker seeking to escape her repeated death? The doubt was allowed, but it is swept away, and this, from the first episode of this second surprise season, which leaves on a completely different temporal and existential tendril, which proves perhaps more wildly breathtaking than the first. That is to say.
To those who care: yes, the death circle has been defused. Groundhog Day is well and truly over for Nadia, who enters more frontally into the nesting spirit at the origin of the series by pulling more frankly than ever on the inconstant thread of filial transmission. We won’t say more. The keen pleasure that we derive from letting ourselves be carried along by Nadia’s incredible whims (and those of Alan, who echoes the same experience) is largely due to the perpetual state of surprise in which his three creators keep us. .
In complicity with the hilarious Amy Poehler and Leslye Headland, Lyonne is once again drawing a golden score here. Beneath their playful lightness, metaphysical reflection deepens. Several currents—original guilt, ineluctable destiny, necessary reparation, blissful redemption—emerge, pass and die. There are threads that roll up, open doors that are never closed, but the whole remains prodigiously alive and irresistible.
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