In a medium thick with electrifying performances by actors who created and wrote juicy lead roles for themselves, nlyonne towers above the rest. mattzollerseitz writes
Natasha Lyonne. Photo-Illustration: Maya Robinson/Vulture and Netflix “Fun is for suckers, Max,” says Nadia Vulvokov, the cosmically imperiled heroine of Netflix’s Russian Doll, talking to the friend who threw her a 36th birthday party she can’t enjoy because she knows she’s going to die immediately and repeatedly after leaving it.
All of these sources and more are reflected in Nadia, and in Lyonne’s performance, a fusion of artist and character that feels both carefully constructed and wholly spontaneous, confessional and liberating, and immediately vivid and memorable, as if she had always existed. Like a handful of other recent lead TV performances, including our 2016 winner, Rami Malek as Elliot on Mr.
The scripts build the story around Nadia’s fraught relationship with her own mother , who was mentally ill and had a fear of mirrors, and whose chaotic stewardship of her daughter’s life gave Nadia a fear of relationships and motherhood. She jokingly characterizes Oatmeal, the deli cat she’s obsessed with finding, as a clichéd single-woman substitute for a child.
A Closer Look at Natasha Lyonne’s Performance “A Communal Experience” .youtube[data-uri="www.vulture.com/_components/youtube/instances/cjy0jclri001n3a67ycq33gs5@published"].border-top:before { content: 'Watch'; } During the second of Nadia’s innumerable 36th birthday parties, Max fires up a projector that casts stars onto the room and tells them she’s looking for a “communal experience and not a solo performance.
Perhaps more than any other self-contained sequence in the show, this one gives us a clear picture of how this woman works through her problems and gets through her days. When you think about how this sequence was shot, you realize how much control Lyonne has over her instrument . Maintaining continuity of thought and feeling within a single moment is difficult when you’re pretending to be someone else. That’s why actors study in order to learn how to do it.
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