Of course, viewers are able to tell that she is often lying. Sometimes the camera even gets in on the fun of proving her wrong. In Vladimir's first episode, she boasts that her fellow faculty members devoured the "fuck-you salad" that she brought to a department meeting. As she exits, the camera pans down to reveal the salad, untouched. It's a clever technique, one that allows us to inhabit the role of the many skeptical students the professor will cross paths with. Yet Vladimir rarely returns to it. Instead, as the series progresses, the protagonist's asides stray from professorial monologue to panicked, mid-conversation interjections about her talks with Vladimir. Here, the Fleabag similarities become overbearing, and the lighter tone chafes oddly against the show's more intense subject matter.
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Hall began working in the jail a few months after Friedmann arrived. They didn’t meet at the time, but their lives intersected in other ways. Like Friedmann, Hall had a difficult relationship with his emotionally distant father, a salesman and a Nashville city councilman. And, like Friedmann, he liked a good crime thriller. He’d been inspired to go into law enforcement after reading Vincent Bugliosi’s “Helter Skelter: The True Story of the Manson Murders.” He reread it many times, always coming away fascinated and frustrated. “I kept thinking, If I keep reading this, it’s going to say, ‘And he was born with twelve toes,’ ” Hall recalled. “I really thought there was going to be an answer to why he did it.” But Manson was inscrutable. Hall couldn’t accept that. He kept asking why. Why do people end up in jail? Why do they so often return to it? He took girls on dates to the Nashville night court. Hall told me, “The ‘Why?’ is who I am.”