{"id":408436,"date":"2022-02-21T15:16:09","date_gmt":"2022-02-21T12:16:09","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/how-sharp-objects-ended-with-a-perfect-dose-of-poison\/"},"modified":"2022-02-21T15:16:09","modified_gmt":"2022-02-21T12:16:09","slug":"how-sharp-objects-ended-with-a-perfect-dose-of-poison","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/how-sharp-objects-ended-with-a-perfect-dose-of-poison\/","title":{"rendered":"#How ‘Sharp Objects’ Ended with a Perfect Dose of Poison"},"content":{"rendered":"

“#How ‘Sharp Objects’ Ended with a Perfect Dose of Poison<\/strong>”<\/p>\n

     <span class=\"mx-1\">Prestige mystery series<\/a> don\u2019t get much darker than \u2018Sharp Objects,\u2019 and \u2018Sharp Objects\u2019 doesn\u2019t get much better than its sickening finale.<\/span>\n<\/p><div id=\"\">\n\n\n\n                <figure class=\"sf-entry-featured-media<\/a> \">\n            <img width=\"800\" height=\"600\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2018\/08\/sharp-objects-amy-adams.png\" class=\"articlethumb wp-post-image\" alt=\"Sharp Objects Amy Adams\"\/>                                    <p>\n                    <span class=\"sf-entry-flag sf-entry-flag-creditline\">HBO<\/span>\n\n                        <\/figure>\n\n    <!-- START BYLINE -->\n    <div class=\"row align-items-center justify-content-center my-4 text-center medium dark-gray\">\n        By\u00a0Valerie Ettenhofer\u00a0\u00b7 Published on February 21st, 2022 \n        <\/div>\n    <!-- END BYLINE -->\n\n    In the limited series <strong><em>Sharp Objects<\/em><\/strong>, a sickly green light hangs over the fictional town of Wind Gap, Missouri. At first, series director <strong>Jean-Marc Vall\u00e9e<\/strong> focuses on the greens of the local forest, which are as mysterious and untameable as the three women at its heart. But by the time the series reaches its dark endpoint, its yellow-greens have become lurid, reminiscent of much more stomach-churning imagery. The bare, mildewed bulb of a street lamp. A bitter tonic. Bile.\n<\/code><\/pre>\n
Sharp Objects<\/em> is, after all, about sickness. Everyone in this psychological slow burn is either relaxing into the placid peace of sickness or trying to claw their way out of it. There\u2019s Camille Preaker (a career-best Amy Adams<\/strong>), the self-harming alcoholic who\u2019s tormented by memories of a childhood gang rape and her long-dead sister. There\u2019s Adora (Patricia Clarkson<\/strong>), Camille\u2019s Munchausen-by-proxy mom, who is a deadly nightshade disguised as a wilting flower. And then there\u2019s Amma (Eliza Scanlen<\/strong>), Camille\u2019s unpredictable sister, who submits to her mothers\u2019 drugging as if she\u2019s a baby doll to be played with.<\/p>\n
In the secret-keeping South of author Gillian Flynn<\/strong> and creator Marti Noxon<\/strong>\u2019s dark imaginations, all of this goes unspoken for seven of the series\u2019 eight hours. Until the show\u2019s final episode, \u201cMilk<\/strong>,\u201d Sharp Objects<\/em> communicates its essential information through jarring, silent scenes that app<\/a>ear on screen like intrusive thoughts. In his last completed project before his death, Vall\u00e9e uses the precise language of his filmmaking to communicate the depths of this dark mystery without saying a word.<\/p>\n
In \u201cMilk,\u201d though, the truth finally bubbles up. John Keene (Taylor John Smith<\/strong>) has just been arrested for the murders that brought journalist Camille back to Wind Gap, but she\u2019s not convinced he\u2019s guilty. In the series\u2019 penultimate episode, Camille learns that her sister Marian, whom she remembered having a childhood illness, actually died as a result of Camille\u2019s overtreatment of non-existent ailments. Camille has been trying to kill herself in small doses throughout the series, so it\u2019s no surprise that she heads straight back into the den of a killer when she begins to suspect her own mother.<\/p>\n
\u201cMilk\u201d begins with one of the weirdest family dinners imaginable. Amma, already dosed half to unconsciousness, sits dressed as Persephone. She wears a flower crown over her unkempt hair, and a white nightgown. She whispers to Camille that \u201cthe living are afraid of Persephone because of where she\u2019s been.\u201d Meanwhile, Camille\u2019s stepfather, Alan (Henry Czerny<\/strong>), speaks nonchalantly about the problems Missouri has been having with its lethal injection mixture, noting pointlessly that they\u2019re importing fluid from Romania. The scene reads like something out of a Shirley Jackson novel, but Adora\u2019s only concern, as usual, seems to be how Camille represents the family. Hopefully, Adora says, she\u2019ll write something more upbeat now that the murderer\u2019s behind bars.<\/p>\n
The evening takes a sharp turn when Camille proposes that Amma come stay with her. It\u2019s clear, then, that she came back not to confront her mother, but to save her last remaining sister as discreetly as she can. It doesn\u2019t work. Adora suddenly mutters that Amma\u2019s \u201ccolor is high\u201d \u2014 this series weaponizes Southern turns of phrase like no other \u2014 and takes her away from the table. When Camille gets up to leave, she stumbles in pain, and it\u2019s clear her food or drink has been laced. This is the part of the whodunnit where most heroes would make a break for it, but the Preakers\u2019 dynamic is a sticky web that\u2019s not easy to escape.<\/p>\n
Instead, Adora puts Camille to bed. She feeds her daughter a spoonful of something thick from an unlabeled bottle. \u201cDo you see how nice it is not to have to worry or fight? Just to let yourself be looked after?\u201d she insists. Camille doesn\u2019t fight, but lays back under the covers. As with so much of the series, the filmmakers don\u2019t let us into our protagonist\u2019s mind, and they don\u2019t have to. She may be bleary, but the show captures her moment of submission with clear-eyed focus. The word \u201ctranquilizer\u201d carries in it the word \u201ctranquil,\u201d after all. It doesn\u2019t matter whether traumatized and avoidant Camille intends to finally give up control to her mother in this moment: she just does.<\/p>\n
Sharp Objects<\/em> is a mystery, but it\u2019s less about who killed whom and more about what made these people this way. Adora gave Camille and Amma their most crucial wounds, and here, she reveals her own. \u201cI\u2019ve waited for this for so long. For you to need me,\u201d she says, before revealing that her own mother once purposefully left her in the woods when she was a little girl. This, then, is her dysfunctional attempt at tenderness.<\/p>\n
This series is scary. Its darkness is like a void. On the spectrum of cable mysteries, it\u2019s closer to the existential terror of True Detective<\/em> than to any of the women-led contemporaries critics often compare it to. Camille, Amma, and Adora are all scary in their own ways, but in the 11th hour, no one is scarier than Alan. The man is an enigma. For most of the series, he\u2019s a blandly uninterested stepdad who, like his wife, cares more about not making a scandal than anything else. Here, though, his culpability becomes clear. When Detective Willis (Chris Messina<\/strong>) comes to check on Camille, Alan blatantly lies, telling him she\u2019s out with friends. When Camille rouses herself enough to send Amma for help, he sends her back to her room and tells her not to interfere. We never get to know why Alan is the man he is, but we know that his crime isn\u2019t passivity or ignorance.<\/p>\n
Luckily, Detective Willis doesn\u2019t believe him. Along with Camille\u2019s boss, Frank (Miguel Sandoval<\/strong>), he pushes into the house, where he finds Camille crawling across the floor upstairs. When Adora gets hauled away in handcuffs, it\u2019s not a triumphant or cathartic moment. Instead, the camera focuses on Willis noticing the cross-hatched scars Camille tried to hide from him, and on Amma\u2019s paradoxical screams for her mother. Sharp Objects<\/em>, in its heart of hearts, wants us to feel bad.<\/p>\n
In the book on which this series is based, Flynn writes that \u201ca child weaned on poison considers harm a comfort.\u201d This may as well be Sharp Objects<\/em>\u2019 thesis statement. The show\u2019s heaviness is somehow all the more suffocating because it doesn\u2019t seem to come from a place of nihilism but from a place of realistic understanding of the million different ways the world can make women hurt. If this wasn\u2019t clear from the series\u2019 first eight hours, it\u2019s clear from its absolutely gobsmacking last five minutes.<\/p>\n
Amma moves to St. Louis with Camille. She makes a friend, and the two roller skate together. Camille files her essay, in which she talks about her fear that any care she shows is really her mother\u2019s sickness reborn. Adora is in prison for the murders now, after a pair of pliers matching the ones used to pull teeth from victims was found in her possession. Camille calls Adora\u2019s problem a particularly feminine brand of rage, sublimated into overcare.<\/p>\n
It\u2019s possible to guess where Sharp Objects<\/em> is headed in its last moments, but it\u2019s not possible to foresee its wry, breathtaking execution. Amma is out somewhere, enjoying the freedom she rarely had under Adora\u2019s care. Her friend\u2019s mom stops by and mentions offhand that the two got in a fight \u2014 classic teenage girls! When she leaves, she closes the door and it causes a photo to fall off the wall. In a lesser series, Camille would look at the photo and have a sudden realization, but the picture doesn\u2019t actually matter here. She puts it back, then wanders into the next room, where she finds a piece of Amma\u2019s dollhouse in the trash.<\/p>\n
Amma\u2019s dollhouse is an exact replica of the austere, ivory-floored Preaker home. In Wind Gap, it was creepy, but taken from that context, it seems like an innocent coping mechanism for a traumatized teenager. That is until Camille lifts up the roof and notices a human tooth on the house\u2019s bedroom floor, alongside a figure that\u2019s posed just like Amma\u2019s murdered friend. Sharp Objects<\/em>, ever-more trusting of its viewers than most TV, doesn\u2019t signify this moment with an intense musical cue or a sharp gasp. Camille looks at the tooth and then down at the dollhouse floor. It\u2019s made entirely of teeth. Amma steps through the doorway at that moment, looking flushed and more alive than she ever has before. \u201cDon\u2019t tell Mama,\u201d she whispers, and the show cuts to black.<\/p>\n
In one of the greatest prestige television power moves of all time, Sharp Objects<\/em> reveals its killer in the mid-credits scene of its final episode. For a few seconds, we\u2019re left stupefied while the credits roll, then another silent scene comes into focus. Hands on a chain link fence. Amma\u2019s new friend, Amma\u2019s old friends, all of them writhing in turmoil as she brutalizes them. It\u2019s too quick to take in the icky details. Before we can even breathe, the sequence ends with a shot of Amma\u2019s face, triumphant and powerful as she reels back after taking a life.<\/p>\n
In the time since it\u2019s aired, I\u2019ve become convinced that Sharp Objects <\/em>can never be replicated. Aside from featuring Vall\u00e9e\u2019s unique touch, the series is beautifully unconcerned with what mystery miniseries tropes dictate it should be and deeply confident in what it actually is. We don\u2019t need words for what happened to Camille in the woods, because the images are more than enough. We don\u2019t need to be told about the direct line between Adora\u2019s parenting and her daughters\u2019 self-destruction, because it\u2019s made clear as day.<\/p>\n
And by the time we learn that Amma is the show\u2019s real killer, and are left to sit with our blunt astonishment, we don\u2019t need that explained to us, either. Sharp Objects<\/em> tells its story almost entirely through the language of emotive visual storytelling and high-caliber acting. Its slow-burn character study is so watertight that its twist ending doesn\u2019t necessitate any closure or epilogue.<\/p>\n
Sharp Objects<\/em> is an actual bold, dark, character-driven mystery series in a sea of comparative lightweights. Its commitment to hopelessness, too, already seems like a relic of a bygone era. Last year\u2019s great mystery miniseries, Mare of Easttown<\/em><\/a>, for example, ends its bleak run on a vaguely optimistic note. Sharp Objects<\/em>, on the other hand, is happy to leave us feeling like we might never be okay again. In the end, there\u2019s no sweet here, only bitter. The series leaves us feeling queasy by design, and like Amma gulping down her poison, it somehow makes us feel thankful for it.<\/p>\n
    Related Topics: Episodes, Sharp Objects\n    <!-- AUTHOR BOX -->\n<\/code><\/pre>\n
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\n            Valerie Ettenhofer is a Los Angeles-based freelance writer, TV-lover, and mac and cheese enthusiast. As a Senior Contributor at Film School Rejects, she covers television through regular reviews and her recurring column, Episodes. She is also a voting member of the Critics Choice Association’s television and documentary branches. Twitter: @aandeandval<\/a> (She\/her)        <\/div>\n<\/p><\/div>\n<\/div>\n
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“#How ‘Sharp Objects’ Ended with a Perfect Dose of Poison” <span class=”mx-1″>Prestige mystery series don\u2019t get much darker than \u2018Sharp Objects,\u2019 and \u2018Sharp Objects\u2019 doesn\u2019t get much better than its sickening finale.<\/span> <\/p><div id=””> <figure class=”sf-entry-featured-media “> <img width=”800″ height=”600″ src=”https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2018\/08\/sharp-objects-amy-adams.png” class=”articlethumb wp-post-image” alt=”Sharp Objects Amy Adams”\/> <p> <span class=”sf-entry-flag sf-entry-flag-creditline”>HBO<\/span> <\/figure> <!– START BYLINE…<\/p>\n","protected":false},"author":1,"featured_media":408437,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2018\/08\/sharp-objects-amy-adams.png","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-408436","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/408436","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=408436"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/408436\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/408437"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=408436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=408436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=408436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}