How to dash a “Bond Girl” fantasy

PRAGMATIC Svetlana (Lilia Nova) in The End of the Line. Photograph courtesy Twitter.

THERE’S A DISARMING pragmatism about “Svetlana”, the seventh episode in the podcast series The End of the Line, which focuses on the stories of contemporary women who have elected not to have children. Svetlana’s narrative is about living in a world that hasn’t been taken care of, and the complicated mess of what ‘home’ means to her, a London-based woman, close to 30. It’s also about betraying your own mom’s grandmother aspirations.

Played by Lilia Nova, the work contains shards of the bitterness of being an immigrant in a new society, but is also darkly funny in its sense of hyperbole and the feisty way in which she portrays and pokes holes in the oft nakedly one-sided wishes of her mum, on the telephone from Bulgaria.

Blending the “what will people think” motif, with another that laughs in the face of young men who finds her compelling because of her Russian-sounding accent, Svetlana’s no “Bond Girl” wannabe. She’s fighting to keep her grasp on being an adult in a society which is broken and staggering with the results of poor ideas from previous generations. With a smidgeon of credibility. Not a mewling cretin on her hip.

Svetlana’s lines offer a strong face for the first a new season of episodes of this interesting and compelling project, which flies in the face of convention, as it paints a portrait of a society with all its dusty old imperatives still intact, even though everything else seems to be imploding. Listen here.

  • Svetlana is a story conceived by Lilia Nova and Mark Heywood. Written and directed by Mark Heywood and featuring technical input by Hetty Hodgson, it has music by Daisy Chute and Cerian of the Heard Collective and is performed by Lilia Nova, the seventh in a series of podcasts produced by Ink Jockey collectively called The End of the Line.

3 replies »

    • Read the blog, please: the Russian allusion is part of the narrative. She is acknowledged as being Bulgarian.

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