Russian Doll

Following follows the first season.

The creators Leslye Headland, Natasha Lyonne and Amy Poehler are onto something. The idea isn’t just a hot trending topic in the bar or internet- as the kids call it- anymore but a thoroughly satisfying world blending plenty of unexpected genre in these New York streets. From neo-noir to horror to sci-fi to mythology, Natasha– and it remains to be her and her show only, in every possible way, she is fully in command of every single hair floating about– has invested all of her experience in show business over the decades to pitch in the almost perfect scenario one can only dream of; there are few twists and turns and decisions that you expect and the series delivers, in gripping narrative arcs. The series is also incredibly hefty, to-the-point and easily hard to swallow. It whirls around speedily and contradicts its and yours theories to move forward step by step. And this is the best way to tell a fictionally motivated tale that relies a lot upon newly formed laws and self-created boundaries. For it could be easy to get distracted from the force that actually binded all of it, in the first place. Natasha smartly keeps it all together with a busy environment that dictates us to be engaged with frowned eyes and skeptical vision. Russian Doll is a well written, shot, performed and skillfully attached show. There is humility, innocence and on the other hand, tools that breaks those barriers in a fashionably comic way. Natasha’s performance balances the dramedy genre that remains pure like some pulp between the fast paced and hyphenated conversations and the reactions that conducts the hidden meaning and reasonings of the existence of theirs, ours and the show.

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