The setup for this Netflix series is pretty simple. Nadia keeps dying at various points, then restarting from her most recent birthday party. The Groundhod Day mechanic has been used mainly in sci-fi (ARQ was solid) but here we have more of a black comedy. Well, given Natasha Lyonne’s past issues, perhaps this is more of a twisted biography.
Nadia is not a sympathetic character in the hero sense. She’s a messed up addict, with some pretty freaky friends, and generally wants to be left alone. She has a mouth that makes sailors blush. She’s not even an anti-hero, since her drives are nearly entirely self-preservation. But, and this part is what makes the series, she’s human and makes reasonable decisions. I mentioned this in the previous post about Dragon Prince season 2, how there was no growth, and only the plot made the story move. That is not the case here. Really solid.
Nadia certainly has a loner persona, and that this only effects her makes it all the more odd. What’s really interesting is that if you pay attention, you start noticing details. Those details become much more explicit as the story progresses. More than that, and it’s spoiler territory. Let’s just say that as much as it’s binge-worthy, you still need to pay attention.
I’d be remiss to not talk about the soundtrack. It’s a crazy eclectic mix of genres – Beethoven, Cults, John Maus – add just the right amount of mood to the scenes.
Interesting side note is that Amy Poehler is involved as a series co-creator. You can see the influences in the absurdist in-your-face dry humor. Natasha Lyonne’s sarcastic wit is in every scene, and her drive to explore every relationship, multiple times, is refreshing. Greta Lee in particular…she’s the Ned Ryerson and her delivery of the same line, multiple times, doesn’t ever seen to get under the skin.
There are plenty of things to watch on Netflix, most of them mediocre. It’s nice to be able to find something that really does a great job all around. Solid recommendation. Just not with the kids.