DISCLAIMER: This recap of the Russian Doll episode “Exquisite Corpse” has spoilers. Proceed at your peril.
Welcome, time prisoners! Russian Doll‘s fifth outing, “Exquisite Corpse,” kicks the time-bending action up several notches, weaving a trippy, sci-fi-warped narrative through the groundedness of Nadia’s familial trauma. The end sequence wherein Nadia runs through the decades by simply changing subway cars is profound in its execution and on a thematic level.
Nadia learns the harsh, cold truth: She can’t change the past. History will repeat itself, just as intergenerational trauma is often cyclical. Nadia must break the cycle of pain. It’s a deeply resonant truth that’s universally relatable.
Ready to dig deep into “Exquisite Corpse”? Let’s get to it.
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We open with Nadia (Natasha Lyonne), disembarking the train in Budapest in 1944. She catches a glimpse of her reflection in a mirror — she’s young Vera! Nadia speaks fluent Hungarian like her grandmother, so she asks a nearby soldier about the Nazi on her grandfather’s itemized receipt.
Suddenly, a woman refers to her as “Erzebet” and yanks her away from the soldier. She chastises Nadia for not flying under the radar and revealing her real name. Nadia, a.k.a. Vera, is a widower, and that’s her story. The woman warns that if Nadia/Vera’s not careful, she’ll wind up like her mother. So, Vera’s family didn’t survive World War II.
After encountering this woman, Nadia ventures out into Budapest and returns to her grandmother’s apartment building. Nadia enters said apartment to find it mostly empty, save for a few belongings haphazardly strewn about as someone packed and left in a hurry.
Someone calls out to Nadia, and she follows the noise to another woman wearing all black. It’s young Delia (Franciska Farkas), and she invites Nadia to join her in a secret compartment behind a mirror. Delia as a youngster is still cooler than I’ll ever be.
The pair trade swigs from a flask while Nadia asks her questions in English about the gold train. However, Delia reveals that all of their possessions reside in a warehouse courtesy of the Nazis. The Soviets haven’t arrived in Budapest yet. Nadia plans to break into the building and take back her family fortune.
Then, Nadia finds the warehouse, and it’s chock full of Hungarian-Jewish possessions that are up for sale to the general public. Nadia wanders downstairs and searches through countless crates and containers; all labeled numerically.
Finally, she discovers her family’s belongings, including the duffel bag housing the Krugerrands. Nadia swipes it and stuffs the bag with as many jewels as she can carry before departing.
Later, we see Nadia concealing the duffel bag of possessions in a hole in a wall in an abandoned subway tunnel. She sketches a map to presumably leave for the real Vera so that she can find it.
Next, Nadia wakes in a church, still in 1944 Budapest. She encounters Father Laszlo (Ákos Orosz), the priest whose grave Maxine and Nadia find in the previous episode. Father Laszlo’s tombstone had pebbles sitting atop it, a Jewish burial custom.
Anyway, Nadia approaches Father Laszlo, knowing he’s down with the Jewish community, and asks him to mail the map to the family treasure to Vera Peschauer in New York. Father Laszlo suggests they meet outside the church later that evening.
So, Nadia waits at the train station for Father Laszlo. Unfortunately, she drops the map. One woman retrieves it, calling out for Vera Peschauer. Nadia quickly grabs the map and shoves it in Father Laszlo’s hands, who arrives just in the nick of time. Nadia hops aboard the train before the soldiers get to her.
Then, we see Vera (Irén Bordán) excavating the spot in the subway tunnel where Nadia hid the duffel bag. She later boards the train with Delia (Athina Papadimitriu) and relishes her victory. It’s 1968 in New York, and the duo plans to trade their prized jewels and riches for gold.
Next, Nadia/Vera and Delia are at the bank while the employees examine the jewels to determine their worth. Delia reveals they want Krugerrands as payment. However, this declaration gives Nadia pause. By accepting the Krugerrands, she’s repeating history. Nadia tells Delia they need to obtain a different currency, but Delia insists that Krugerrands are the most stable currency.
Feeling deflated, Nadia heads home to her grandmother’s apartment. Young Nora dances for Nadia, and she regales the former with a tale of cyclical trauma. History repeats itself. She did precisely what Vera did all those years ago to secure the Krugerrands. This scene is heartbreakingly poignant, with a touching performance from Lyonne.
After dancing with young Nora, a.k.a. dancing with her mother, Nadia returns to 2022 NYC. She watches while a mother and young daughter gleefully chat together. When Nadia overhears a passerby saying something rude, she follows him into the next car.
We see it’s the 1980s, and Vera, Delia and Ruth (Annie Murphy) greet a confused Nora (Chloë Sevigny), who continues walking past them. Nadia waltzes into the next car, and she transforms into a younger Vera in the 1960s. Then, Nadia wanders into the next car, morphing her into the Vera we met in 1944 Budapest. This sequence might be one of my favorites in the entire series thus far. It’s so seamless in its execution.
Finally, Nadia returns to 2022, but she continues the cycle again by revisiting 1982. Suddenly, Nora’s water breaks, and it’s time to give birth to Nadia! Ruth, Vera and Delia surround Nora.
RELATED: Catch up on all the time-traveling madness with our Russian Doll Season 2 recaps!
“Exquisite Corpse” takes us on a whirlwind adventure through the decades and years of history, from Nazi-occupied Budapest in 1944 to New York City in 2022. It’s quirky, eclectic and darkly funny, much like our redheaded, gravelly-voiced protagonist.
Do you think Nadia will break the cycle of trauma within her family? Where’s Alan? Keep your eyes glued to this space while I recap Russian Doll, only on Geek Girl Authority.
Russian Doll Season 2 is now streaming on Netflix.
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What I do: I'm GGA's Managing Editor, a Senior Contributor, and Press Coordinator. I manage, contribute, and coordinate. Sometimes all at once. Joking aside, I oversee day-to-day operations for GGA, write, edit, and assess interview opportunities/press events.
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