WAfter the release of the next sequel to the Happy Day of Death 2U, followed by the popular new comedy Netflix Russian Doll, viewers can be tangible for the show, not for these characters.
The Russian doll follows the surrealistic odyssey of Nadya Vlvkov, a live designer of videogames in New York, who is experiencing the last night in her life (which also coincides with her 36th birthday), while Happy Death Day 2U a deeply suffering female treasure Tree Gelbman thrown into an alternative universe and forced to survive its own birthday / death again (unlike Nadya, who is the victim of a casual series of fatalities, the tree is constantly pursued and killed by a mask early killer known as Babyface).
The Russian Doll and 2U Happy Death Day are the latest in a long line of large and small screen features that use the structure of the recurring day that has been popularized since the 1993 Basement Day. While stories about closed time contours can be traced back to a few earlier examples – mostly short science fiction stories, doubled and doubled by Malcolm Jameson in 1941 and 12:01 by Richard Lapoff in 1973, and in 1984, Japanese anime film Urusei Yarsura 2: A beautiful dreamer – this was Harold Ramis-Bill Murray's comedy, which cemented this trot into public consciousness and gave birth to a whole podjar. Interestingly, the authors and producers of the second adaptation at 12:01, Fox Network's premiere in the same year as Groundhog Day, threatened to sue Columbia Pictures, although they never went through it.
Repeatedly, as these films can be (by design), their intrusive self-conceit lends itself to almost every genre and tone: a slapstick comedy (2000 Swedish film Naken and its American Remake 2017), a Cat and a Mouse (Source Code) Edge of Tomorrow, teenage melodrama (Before I Fall). Like other podcasts that usually adhere to a strict framework – the filming movie, the outsider's sports film, the weak film – knowledge is a major part of their attractiveness, which gives the audience what they want, and also enables storytellers stories to put their personal possibilities to review the case. For the singer, not the song, as they say.
But these stories also talk about underground issues. Like a series of movies and TV series that pass through time through parables and allegories – Christmas songs, this is a wonderful life, different twilight episodes – they try to understand man's connection with dueling forces of fate. and chance. While these other examples contained a fatalistic look that highlights the inability to change the past, the films in the time chain in the Groundhog Day mold take the opposite.
Like Phil Connors, the ego-based television meteorologist at the center of Darkness, most of the main characters found in the movies of the time begin as egoistic movements – Before I fall, keeping the Happy Day of Death is a member of the school's school clichés, Edge of the Hero of Tomorrow is Coward, Russian Nadya Nali is a solipsist who is not interested in how her actions affect others. Through repetition, they are able to perceive an objective view of their toxic influence and make the necessary adjustments that will gain them from their existential prisons (which are sometimes based on a pseudo-scientific explanation – quantum physics, multiverse theory, butterfly effect – but which are equally often mysterious).
That the answer to their conundrum usually comes down to such obvious methods of self-improvement and inspirational supremacy – they live for the moment, put others in front of you, embrace your mortality – make them something like a bestial version of Sisyphus, Sisyphus for the modern era in which the thought of eternal labor simply does not coincide with our ingrained sense of individualism and self-esteem.
Examined through this lens, the contradiction in the heart of these stories becomes even clearer: despite the parallels of eastern spirituality that many people are quick to point out, each one of them portrays their individual heroes – gifted because they have many, even endless chances. to change the past until it produces a result that they like – as the literal center of their universe. (His credit day, Happy Death Day 2U openly recognizes this idea.)
Still, despite their inherent hypocrisy, these films and series often succeed in their own conditions. The use of the Russian Doll device makes a really profound and stunning study of the character, giving it a chance to juggle with a variety of different tones – humor, passion, amazing hits of Cubrian horror (all this while serving as a long awaited showcase for Lyonne), Happy Death Day 2U, though not quite successful (there are a few too many places and sometimes too comedy too wide), is a completely fun, admirably expansive companion of the original, filled with many great moments (mostly the installation of gangbusters that serves as cent tragedy of the whole franchise so far).
The Dark Day formula will not disappear soon: the future seasons of the Russian doll and the future sequences of the Day of Death (as well as the edge of tomorrow) are already on the horizon, and BP tracking of the 1993 comedy is also the way. We hope that they will push the genre into a new territory and open it to deeper exploration, but even if that does not happen, is it not quite appropriate for these stories to appear again and again and again and again over and over?