Noah Berlatsky: The second season of “Russian Doll” doesn’t follow the blueprint of Butler, Spiegelman or Atkinson, though. Instead it tries to treat grim material with the same freewheeling kinetic hopefulness that powered the first season. -NBCNewsTHINK
April 20, 2022, 10:18 PM UTCThe first season of “Russian Doll” in 2019 was a time-scrambling absurdist comedy about how broken people can change. The second season, just released, is a time-scrambling absurdist comedy about how they can’t. That’s a significant shift in focus, and one that, unfortunately, doesn’t really work.
Season 1 was about coping with personal pain, an individual struggle that, with the help of friends, can be addressed on an individual level. Season 2 is about generational trauma, which is a lot harder to heal or address in one’s own lifetime. Stories about the relentless grinding of fate and injustice, and the inescapable reproduction of harm, are generally, as you’d imagine, downbeat. Octavia Butler’s novel “Kindred,” about a Black woman who inadvertently time travels back to the slave-holding South, is about how the past brutally and bitterly scars the present.
Jumbled narrative and the relentless and glib ironic distancing robs the series of much of its emotional force.
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