Sharp Objects: Episode 3 "Fix"

Previously: Episode 2 "Dirt"

by Ilich Mejía

In this week's installment of Let's Obscure Patricia Clarkson's Face To Visually Storytell, we barely get to make out Patty's moneymaker. In all fairness, while obscured, Patricia's unreasonable Adora still gets to crush common sense with pastels and Southern charm in front of characters outside her own family this week. Out of a familial context, her obsession with perception is amplified to a chilling perversity as she willfully obstructs her daughter Camille's attempts at finding the murderer of two young girls because *gasp* what will people say! We see how even at home, protected from the scrutiny of people outside of her circle, she prioritizes presentation: heels with nightgowns before bed, suede sandals while gardening, a maid never seen without her uniform. She’s no different with less familiar acquaintances, winning over the local police chief and the grieving father with her facetious attention and sweetened coffee...

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Sharp Objects: Episode 2 "Dirt"

Previously: Episode 1 "Vanish"

Go report somewhere else. Let these people be"

by Nathaniel R

Team Experience has decided to pass the baton each week on Sharp Objects for different perspectives / takes on the show. Two episodes in I think that seems fitting. While the show is focused on one woman's perspective, albeit not in a first-person narrative way, its shard-like editing is disorientingly multiple in feeling, as if Camille (Amy Adams) can't shake any of her past selves but also can't just be in any moment with herself. The communal self, the incestuously local population of depressed sweaty Wind Gap, Missouri, isn't any easier for her.

The second episode "Dirt" revolves around the funeral of Natalie Keene, a young girl murdered by an unknown killer. Detective Willis (from Kansas City... and our dreams) fears it's a serial situation given a similar early crime in Wind Gap. Willis and Camille do their own individual digging while Adora (Patricia Clarkson) continually bristles at her daughter Camille's reporting...

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Sharp Objects: Episode 1 "Vanish"

By Spencer Coile 

It’d be easy for audiences to tune into Sharp Objects with considerably high expectations. It stars Amy Adams and Patricia Clarkson, is the latest “prestige” piece of television from HBO, and is directed by Jean-Marc Vallée – who is coming off of a fantastic year with the success of HBO’s 2017 phenomenon,Big Little Lies. Add in source material from Gone Girl’s Gillian Flynn, and you have yourself an unsettling, binge-worthy summer series to watch. 

Yet, while Big Little Lies was fantastic, those drawing comparisons between it and Sharp Objects are evaluating HBO’s latest all wrong. Its first episode, “Vanish” demonstrates this perfectly by introducing a story and a leading lady who are so detached, so cut off from reality, that it’d be difficult to compare it to anything else. 

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Celebrating 10 Years of "Sex and the City: The Movie"

By Spencer Coile 

I remember being 15-years-old, sitting in an empty theater on the opening night of Sex and the City -- precisely 10 years ago. I had just finished watching the series for the first time, and was ready to continue on with the stories of Carrie, Miranda, Samantha, and Charlotte. The tagline for the film was “Get Carried Away,” and I absolutely did. It was so easy to slip back into this dream-like, romanticized version of Manhattan – where money is endless, where relationships come and go, but friendship (and shoes) are forever. 

Was the movie adaptation perfect? Absolutely not. Was the sequel unnecessary and borderline insensitive? Completely. Still, that first film left me beaming from ear-to-ear. It’d be easy to pick out all the problems with the plot, the length, the way it treats Jennifer Hudson’s character (there’s no way her email password was seriously “love”). But even watching it today, I go back to when I was 15; feeling hopeful, giddy, and gay. Those are the movies that stick with you.  

Happy Birthday, Sex and the City! But most importantly: do you identify as a Carrie, a Miranda, a Samantha, or a Charlotte? 

A Reflection on "The Tale"

By Spencer Coile 

I intended for this to be a formal review of Jennifer Fox’s autobiographical HBO film, The Tale. I was going to dive into the Sundance darling and discuss it, celebrate it, and critique it the way we do most movies. I was going to conclude with the film’s Emmy chances, where it will no doubt be a worthy contender for Best Made for TV Movie and Laura Dern in Leading Actress. And it’s no wonder – it was critically lauded as a timely reflection of the #MeToo movement.  

But a "review" would be doing Fox’s story a disservice. This is, first and foremost, a personal story about Fox's reconciliation with the past as a means of understanding her present and future. The Tale was acclaimed coming out of Sundance, and was quickly scooped up by HBO. Gone were Dern’s Oscar chances, but this decision ensured that the film would reach an audience, which according to Fox, was the point all along.

Dern plays Jennifer Fox at 48-years-old – a documentarian, a professor, engaged. On the surface, she seems to be living a completely fulfilling life. But when her mother (Ellen Burstyn) finds a story that Jennifer wrote at 13, her world begins to crumble...

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