CHANNEL 366: “RUSSIAN DOLL” (2019)

There was a time when we could dance until a quarter to ten
We never thought it would end then
We never thought it would end

–Harry Nilsson

DIRECTED BY: Leslye Headland, Jamie Babbit, Natasha Lyonne

FEATURING: Natasha Lyonne, Charlie Barnett, Greta Lee, Elizabeth Ashley

PLOT: After dying in a car accident the night of her 36th birthday, video game programmer Nadia finds herself alive once more, back at her party; a series of sudden and violent deaths demonstrate that she is trapped in a time loop, and increasing complications make it more challenging and essential that she understand why this is occurring and how she can emerge with her life and soul intact.

WHY IT WON’T MAKE THE LIST: “Russian Doll” is technically a TV series rather than a proper movie, and only slightly weird. It’s worth discussing, however, because it takes a shopworn premise and injects it with a combination of energy, quirk and unabashed heart that makes it feel fresh and worthy of the urge to jump into the next chapter.

COMMENTS: To even hear the plot to “Russian Doll” is to directly confront the woodchuck-shaped elephant in the room. Yes, it’s the recurring time loop, matched up with the repeated attempt to “get things right”. There may be hundreds of examples of the device across every medium, including some that ought to be listed somewhere. But one looms monolithically above the rest, the highest order of high-concept storytelling. The trope is even named after it. So if you’re gonna come at Groundhog Day, you best not miss.

It’s a measure of what a delightful experience “Russian Doll” is that not only does it not miss, it transcends this starting point to become very much its own clever, compelling creation. It does this through a combination of techniques and tricks, but the fulcrum of the whole enterprise is the impossibly-good Natasha Lyonne. With her Muppet-pelt hair, aggressively over-the-top Noo Yawk accent, and the attitude of a barely functional alcoholic with a permanent middle finger extended to the world, Nadia should not be tolerable even in eight compact episodes of television. But Lyonne has natural charm that quickly makes it apparent why her put-upon friends and rejected paramours remain drawn to her. She’s very funny (at a bar, her simple demand of the bartender is “More drunk, please”) and fiercely loyal, so much so that she frequently hurts others to spare them the greater pain she knows she tends to inflict. So once she realizes the nature of her predicament, we’re invested in her because we like her, not just because we’re eager to solve the puzzle. It helps that her redemption arc doesn’t shave off her sharp edges. (In addition to creating the show, Lyonne scripts and directs the final episode, putting her firmly in charge of her own story.) Nadia is still Nadia—sarcastic, impulsive, damaged at her very core—but she’s finding out how to be a better version of herself.

With the series’ focal point in strong hands, the show can invest in its other strengths, like a deep bench of interesting characters, a rich and absorbing lower Manhattan milieu to occupy, and a series of twists that compound the time-loop and lift the show out of the shadow of that Punxsutawney rodent.

The full shape of the streaming revolution is not yet clear, as shows have to hit a narrow sweet spot of buzzy and gimmicky just to hold on to the public’s attention. In some cases, this has resulted in series that rely on familiar brands, adapt controversial source material, or drop famous names into offkilter plots. (To say nothing of wild entries from across the sea.) What is has certainly done is inject a whole lot of why-the-hell-not bravery into a TV landscape dominated by procedurals, game shows, and rich people being awful. Streaming TV is making the tube safe for the weird, or at least the different, and while “Russian Doll” may not be the strangest thing you can find on Netflix, it goes a long way toward mainstreaming the fund of offbeat choices and audience challenges that have traditionally lived only on the fringes.

The series was co-created by Lyonne, Leslye Headland, and Amy Poehler. A second season has been promised, which will be quite a trick. Season 1 is a shining little jewel box of a show. Having seen what I’ve seen, I’m confident in Lyonne’s abilities. But the risk is out there that the delicate balance of weird and palatable will be upended. But if they screw it up… well, I guess they can always start over.

WHAT THE CRITICS SAY:

“It’s funny, warm, and strange, growing deeper and more resonant across its eight episodes.”–Ned Lannaman, The Stranger (contemporaneous)

6 thoughts on “CHANNEL 366: “RUSSIAN DOLL” (2019)”

  1. This show’s been hovering on the periphery of my “intend to see some day” mental list; your review has just tipped it into the “must” category. Regarding pertinent Nilsson, I reckon the lines “Gotta get up, gotta get out” would also hit the nail on the head.

    I’m reminded of a short film from last year’s Fantasia thing that also went over this trope, and did it very well: “Exit Strategy”.

    https://www.youtube.com/watch?v=Dczdt1CvAwI

  2. Probably worth a “recommended” rating.

    There’s a great bit in the final episode where you see Nadia’s old character and her fully developed character side-by-side and it’s obvious how far she’s come. It’s very cleverly done.

    Shane is right about the new age of streaming entertainment, and it’s causing a bit of consternation for us here at 366. “Russian Doll” is really a long (3-4 hour) movie that’s been split into 8 episodes. If it were weirder, it probably should be considered eligible for the Apocrypha List, despite being formally presented as television. The best (or must frustrating) example of this dilemma is “Twin Peaks: The Return,” which some (David Lynch included) consider an 18 hour movie (with frequent scheduled intermissions). Shane is also right in that creators are experimenting with new freedom (and challenges) offered by streaming services, and it’s generating some exciting innovation at the moment. Does the future belong to longform film? Will the format become the novel to the feature film’s novella?

    I also like Shane’s suggestion of using the heading “channel 366” for television productions and we’ll be using it from here on out.

    1. Not to put myself too much on the hook, but I’ve done some research on the Oughts Oddity, “the Mighty Boosh”, that’d fall under the new Channel setting.

      We got some award or designation for television in the toolkit? Both that and the Matt Berry vehicle “Snuff Box” are meritorious of some pip from 366.

  3. I wouldn’t consider a self-contained multi-part tv show “really a movie”, just a better use of the tv format than most people are used to. And it’s certainly existed long before the modern day, just mostly in niche forms (I’m thinking of certain 13-episode or less anime; the kind of show that Twin Peaks’ storytelling style resembles more than any other).

    1. Depends on the series, I guess. Something as relatively short as “Russian Doll” can easily be binged in one session, skipping over the intros and credits to make it even shorter. With full seasons released and creators expecting users to binge streaming options, there’s less incentive to create firm arcs for each individual episode as there would be on an old school TV show, where you’re expected to wait a week for the next episode. “Russian Doll” feels like a long movie to me, other series maybe not so much.

Leave a Reply

Your email address will not be published.