There’s a fine line between “passion project” and “vanity vehicle”. You’ve really got to love Natasha Lyonne’s shtick to fall for Russian Doll, her undoubtedly original and committed half-hour eight-part comedy / drama on Netflix that may also be outrageously indulgent. I was out after two episodes; your mileage may vary, and I would warrant, on your love for Lyonne’s vibe.
She plays Nadia, a hard-partying Manhattan-based video game coder having a strange episode that may be drug-related, a mental illness, or supernatural. Essentially, she’s suffering from Groundhog’s Day Disease; she keeps dying and coming back to life at exactly the same moment. Naturally, this is freaking her out, and rather than use her endless loop to woo a pretty girl as Bill Murray did, she seeks professional help.
Lyonne plays Nadia as an old Jewish comedian from the Catskills would. Seriously. It’s an outrageous, very big, very bold performance that is so loud and intense it wore me out. As did the repetitive party scenes which Nadia keeps returning to. The series has a definite voice, utilising its vibrant Manhattan streetscapes well and plenty of intriguing music choices, but by the end of ep two it felt more exciting for the creators than for me.
Netflix’s Derry Girls will tire you out, but after a breather I warrant you’ll be back for more. Set in Northern Ireland – specifically, County Derry – in the early 1990s, it follows the daily trials and tribulations of a group of four sixteen year old girls and one of their male cousins as they navigate (very Catholic) school, family, and The Troubles. The girls’ performances are all big big big – especially Nicola Coughlan, whose face never stops twitching – and the humour is as broad as the River Foyle, but it works in small doses. The dialogue is the fastest on television, and for every gag that doesn’t land there’s one that does. The whole thing is also very sweet; by the end of ep two, I felt not only for these girls, but for their friendship, and that’s the key to the show. The milieu is also fascinating, and fascinatingly used; soldiers, guns, bombs and fear are ever-present, but as such, also somehow everyday, mundane, and often the source of humour. Great fun.
For easy-going good times in a mellow tone, Foxtel’s The Other Two goes down like a butterscotch candy. It’s a show-business satire with warmth and colour but very little bite. Heléne York and Drew Tarver play adult siblings whose younger brother, 13 year old Chase (Case Walker), has become an overnight YouTube sensation a la Justin Bieber. Since their own artistic aspirations are mitigated by total failure, they’re ripe for a spot of jealous intrigue and possible career sabotage, but so far the show is sweeter than that. Rather than make Chase a monster, so far he’s a very nice boy, and his older siblings, now stuck in his shadow, still adore him. It’ll be interesting if things are allowed to go a little off the rails; if not, the show’s sweetness may be its undoing. It’s not funny enough to get by on laughs alone. Interestingly, the siblings’ dynamic (and the Manhattan setting) recall the recently and tragically cancelled Difficult People, which really did have an edge.
Julia Davis’ work certainly has edge; her 2016 show Camping was uncomfortably brilliant (NB: not the recent US remake). But her new one, Sally4Ever (also on Foxtel) is outrageously and unforgivably indulgent. Davis plays a truly awful compulsive liar, Emma, who worms her way into the life of mousy Sally (Catherine Shepherd, doing surprisingly subtle work) and upends it. Sally is discovering same-sex sex for the first time and seems absolutely obsessed with it; there’s no other real way to justify her continuing acceptance of Emma, who is the most obnoxious screen character since David Brent (and who exists in his shadow). Essentially the show provides one set-up for Davis to improvise after another, and once we “get it” – that Emma’s the worst – it becomes terribly wearing. If you really still love to cringe, that’s all this show is about; after five eps I really couldn’t take it anymore.