A Dizzying Dive into Desire and Academia: Exploring the Complexities of ‘Vladimir’
In the deliciously unbridled comic-drama that is ‘Vladimir’, Rachel Weisz delivers a tour-de-force performance as an unnamed protagonist, a professor within the English department of a prestigious American university. This character, whom we might affectionately dub ‘the Professor’, possesses a unique directorial flourish: she frequently breaks the fourth wall, directly addressing the audience. She is a figure of erudition and charm, exuding an outward confidence that belies her internal anxieties about ageing into her 50s and the perceived waning of her attractiveness. Compounding these internal struggles is a potent, unrequited desire for a younger colleague, Vladimir, played by Leo Woodall. This direct address creates an intimate connection, positioning her as a confidante or perhaps even placing the audience in the role of her jury.
Adapted from Julia May Jonas’s 2022 novel of the same name, ‘Vladimir’ is a series that revels in presenting juicy, uncomfortable choices. Weisz’s performance is nothing short of a bravura display, constantly shifting and reframing our understanding of her character. The show masterfully blends thought-provoking playfulness with pulse-raising carnality. It delves into a multitude of themes, including the peculiar spark that ignites creativity, the inherent conflicts between generations, and the delivery of droll, incisive observations. A particularly relevant thread woven through the narrative is the investigation into the Professor’s husband and fellow academic, John, portrayed by John Slattery. He is being scrutinised for his past affairs with students, a history that his wife was, of course, aware of. Their relationship operates on a peculiar, mutual “arrangement.”
One of the series’ greatest strengths lies in its portrayal of these adult characters. They are depicted as intelligent and capable, yet prone to infernal missteps. They are sensitive, yet willing to indulge in selfishness. These are presented as rounded individuals, grappling with the dawning realisation that they may soon have to face consequences for their actions. These are the Gen X rebels, now finding themselves in need of the very systems they once challenged. The narrative plunges into the messy depths of their collective pathologies, but its pace is too fleet and its spirit too fearless to linger and deliver a definitive moral judgment.
Navigating Moral Ambiguity
While viewers might find themselves disagreeing with the social mores of the Professor and John, or even Vladimir and his wife, the hopeful academic Cynthia (played by Jessica Henwick), it is virtually impossible to dismiss them outright. The series comprises eight half-hour episodes, a format that proves enjoyably concise and allows for a heightened, almost operatic, pitch to the storytelling. Each encounter between the Professor and Vladimir is punctuated by her fantasies, which surge and overwhelm reality. The intensity of these feelings leads her to believe she must act upon them. The Professor, driven by a “horny propulsion” as she writes anew, invokes “the spiritual imperative of desire.” Yet, the show manages to imbue even complex literary theory with humour.
John Slattery serves as a terrific foil to Weisz’s Professor. His character, John, has a particularly memorable scene in a supermarket checkout aisle involving a discussion of ‘Tess of the d’Urbervilles’ that is destined to become an all-timer. Leo Woodall also shines as the seemingly baby-faced Vladimir, who remains an enigma. It’s unclear whether he is entirely oblivious to the Professor’s intentions or subtly encouraging them. For nearly every facet of this show, including its sharp academic satire, there are interpretations – often contradictory, but always compelling to watch.
‘Vladimir’ whisks the viewer along at a rapid pace, constantly threatening calamity even as the Professor relentlessly pursues her own version of nirvana. This outstanding series is ripe for discussion and debate. Binge-watching ‘Vladimir’ is a must, followed closely by finding someone with whom to dissect its myriad complexities. The show undoubtedly deserves nothing less than a thorough and passionate engagement.
‘Vladimir’ is available for streaming on Netflix from March 5th.
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