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| Scene from Sharp Objects |
Welcome to a new column called Channel Surfing, in which I sporadically look at current TV shows and talk about them. These are not ones that I care to write weekly recaps for and are instead reflections either on the episode, the series, or particular moments. This will hopefully help to share personal opinions as well as discover entertainment on the outer pantheon that I feel is well worth checking out, or in some cases, shows that are weird enough to talk about, but should never be seen.
Last year proved to be a big moment for HBO with their limited series Big Little Lies. The series would go on to win several Emmys as well as general acclaim for being one of the best representations of women on TV. Most of all, it was a symbol of how hard it was for actresses to get significant roles and were flocking to TV. It seems like Sharp Objects is looking to follow suit, most notably with the return of Big Little Lies director Jean-Marc Vallee, who is in charge of all eight episodes of the series based on Gillian Flynn's eponymous crime novel and featuring such heavyweight actresses as the Oscar-nominated Amy Adams and Patricia Clarkson. The series also seems ripe for major consideration in a time when the Me Too and Time's Up movements have lead to the depiction of women becoming more complex, and often addressing tougher questions about the moral fabrics that have been taken for granted.
Considering that Flynn's work has generally been considered controversial for its depiction of women in distress, the series had a compelling start with a story that features Adams returning to a life of abuse to uncover some traumatic mysteries. While this would be an easy place to end the drama, for Vallee and crew it is exactly where things start. What is the relationship between Adams and her mother, played by Clarkson? A lot of mystery is set up as Adams returns to her old town, uncovering a past memory in which she notices the problems inflicted on her psychologically. There's a curious tone that makes everything a bit uncomfortable. Still, it's the perfect starting point for a series that will take a psychological dive into the character as well as Adams.
All things considered, it's exciting to see Adams return to TV with a meaty role that in one episode already reflects her charisma. She is able to hold her own in a dramatic sense as she gets answers while caging herself off from the harm. There's nuance in every choice that she makes as Vallee shoots her dancing manically in her car to Led Zeppelin. As just a character, there's a lot to unpack with her, and Adams gives just enough to get the audience started. By the end when her scars are revealed, there's even more literally to unravel and discover what drew her to this career decision. It definitely is an odd case, and one that doesn't seem pleasant for sane people. There's a lot to wonder about from the series, but already Adams is giving a performance with layers and power that should lead to some fascinating revelations.
The bigger question is going to be whether Flynn's writing is a one trick pony. Gone Girl proved to be an engaging and fun adaptation that captured an Oscar nomination. However, there's been conflict with her other adaptations, most notably the underwhelming Dark Places that saw the story fall to familiar tropes. All things considered, the pedigree around Sharp Objects at least looks to have more promise than Dark Places, and over the course of its run may help to establish Flynn as one of the better crime drama novelists of the contemporary era. It's hard to tell now, but at least the set-up is in place and it's all full of questions and secrets. It looks to be darker than Big Little Lies, so one has to wonder if it will be as successful. Only time will really tell whether that is true or not.
Considering that Flynn's work has generally been considered controversial for its depiction of women in distress, the series had a compelling start with a story that features Adams returning to a life of abuse to uncover some traumatic mysteries. While this would be an easy place to end the drama, for Vallee and crew it is exactly where things start. What is the relationship between Adams and her mother, played by Clarkson? A lot of mystery is set up as Adams returns to her old town, uncovering a past memory in which she notices the problems inflicted on her psychologically. There's a curious tone that makes everything a bit uncomfortable. Still, it's the perfect starting point for a series that will take a psychological dive into the character as well as Adams.
All things considered, it's exciting to see Adams return to TV with a meaty role that in one episode already reflects her charisma. She is able to hold her own in a dramatic sense as she gets answers while caging herself off from the harm. There's nuance in every choice that she makes as Vallee shoots her dancing manically in her car to Led Zeppelin. As just a character, there's a lot to unpack with her, and Adams gives just enough to get the audience started. By the end when her scars are revealed, there's even more literally to unravel and discover what drew her to this career decision. It definitely is an odd case, and one that doesn't seem pleasant for sane people. There's a lot to wonder about from the series, but already Adams is giving a performance with layers and power that should lead to some fascinating revelations.
The bigger question is going to be whether Flynn's writing is a one trick pony. Gone Girl proved to be an engaging and fun adaptation that captured an Oscar nomination. However, there's been conflict with her other adaptations, most notably the underwhelming Dark Places that saw the story fall to familiar tropes. All things considered, the pedigree around Sharp Objects at least looks to have more promise than Dark Places, and over the course of its run may help to establish Flynn as one of the better crime drama novelists of the contemporary era. It's hard to tell now, but at least the set-up is in place and it's all full of questions and secrets. It looks to be darker than Big Little Lies, so one has to wonder if it will be as successful. Only time will really tell whether that is true or not.
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