Sharp ObjectsLatest News and Opinion
Posted Monday 10/22/18 at 10:25PM EDT
Get Out and Halloween horror production company Blumhouse is trying to conquer TV
Source: The New York Times
Blumhouse has found big-screen success with horror films Paranormal Activity, The Purge, Get Out and, most recently, Halloween. But it's failed so far to generate the same enthusiasm for horror shows on TV. Its new horror anthology series Into the Dark barely got any attention when it recently premiered on Hulu, especially when compared to Netflix's new horror series The Haunting of Hill House. Blumhouse has found some success with non-horror fare like HBO's The Jinx and Sharp Objects, but many of its TV offerings have been forgettable.
Posted Friday 8/31/18 at 10:58PM EDT
Here are summer TV's winners and losers
Source: The Hollywood Reporter
Sharp Objects, Yellowstone and Who Is America? are among summer's winners, while Fear the Walking Dead and the World Cup were losers.
Posted Thursday 8/30/18 at 10:02PM EDT
Why the Sharp Objects finale felt so unsatisfying
"Its gimlet-eyed curiosity about the damage women can wreak initially felt fresh," says Inkoo Kang. "It’s too bad that’s all Sharp Objects was interested in." ALSO: Watch the Sharp Objects-Full House opening credits remix.
Posted Thursday 8/30/18 at 1:33AM EDT
Sharp Objects' music supervisor explains the Easter egg in the opening credits
Source: Harper's Bazaar
"If you watch all of the opening title sequences, it’s the same piece of music re-interpreted in a different genre every time, always starting with the record player," says music supervisor Susan Jacobs. "We start off in Episode 1 with an old 1950s melody from Alan’s music, which is a piece called 'Dance and Angela.' In subsequent episodes there’s a solo piano version, a dance version, a hip hop version, but they are all interpretations of the same basic melody."
Posted Monday 8/27/18 at 10:30PM EDT
Sharp Objects was the perfect #MeToo era series, busting the myth of the pure victim
"In real life, one bad thing happens, and more bad things follow," says Emily Peck. "And Sharp Objects chases this idea right up until its closing credits, when the true horror of what Adora has done makes itself known. It’s an idea that resonates in this moment, perhaps more than any other, as victims of sexual harassment, abuse and assault come forward with their stories ― and then face backlash when it’s revealed that, well, they’re not perfect. Ultimately, no one escapes trauma without damage, without scars — literal ones in Camille’s case. Not all victims harm only themselves. Monsters aren’t born; they’re created, as Sharp Objects shows us."
- What did Gillian Flynn mean when she tweeted "more soon"?
- Sharp Objects got women right: "We love each other, but we hurt each other, too, with a knowingness no man can really understand," says Lindsey Romain
- Production designer John Paino reveals the inspiration for the Preaker mansion and dollhouse
Posted Monday 8/27/18 at 3:09PM EDT
Sharp Objects' final scene made the frustrating series great because it avoided the "offputting cuteness" of other limited series finales
Source: Entertainment Weekly
"There’s an offputting cuteness toward the end of some of the most acclaimed short-run dramas, a sudden-onset finale instinct to wrap everything up on a good note," says Darren Franich, referring to everything from True Detective to Fargo. But with its nasty, brutish and short ending, Sharp Objects went in a different direction. "I didn’t always love Sharp Objects, will always wonder if it would’ve been twice as good half as long," says Franich. "But the final moments ascended to greatness by, paradoxically, descending toward B-movie cheap thrills: A cadaverous DIY art project, a redemption exploded, that climactic 'Don’t tell Mama!' suggesting the crowdpleasing catchphrase in a family sitcom broadcast straight from Hell. You’re left with one twisted epiphany."
- A finale should come with closure: Sharp Objects ended with too many questions left
- Sharp Objects managed to be one of the year's most daring and complex shows without begging for attention like other prestige TV shows
- In the end, Sharp Objects was able to have its cake and eat it too
- Why Sharp Objects isn't just another "Dead Girl Show" like Twin Peaks, Veronica Mars and The Killing
- The last 10 seconds made the entire series frustrating, undoing the majority of the season
- Led Zeppelin's lyrics teased the twist from the very beginning
- The ending reads as if the show has given up on making sense of its own plot
- The twist ending felt cheap and the finale felt unearned
- Director Jean-Marc Vallée explains why he went with that shock ending
Posted Monday 8/27/18 at 7:52AM EDT
Sharp Objects wanted its finale to avoid being too explanatory and too expository
Source: Entertainment Weekly
Creator Marti Nixon says "we were trying to honor the emotion of reading the book," but the ending "was something we all struggled with." Author Gillian Flynn adds: "It was a really tricky balance because what feels correct in the book doesn’t always have the same balance on the screen — you can explain more on the page and get away with it." Asked how people who didn't read the book would have a different view of the ending, Noxon says: "I think that anything is up for grabs, but to me it just came down to the emotional truth of this story, which is that for these women — Amma, Adora, and Camille — you can change your reaction to the past, but you can’t change the past."
- On the post-credits ending, Flynn notes that with DVRs "you have an opportunity to go back and look for it a second time"
- Patricia Clarkson on playing Adora Crellin: "The depth and breadth of this character in eight parts, the exploration, and the complicated persona and the façade—and the crumbling of the façade—was very demanding"
Posted Friday 8/24/18 at 10:43PM EDT
Sharp Objects has mounted an inadvertent case for binge-watching
Source: The Ringer
There seems to be a disconnect between viewers and TV critics of the Amy Adams limited series. Viewers seem to slog through it as if they have an obligation to watch the prestige drama even though they don't want to, says Alison Herman. Meanwhile, critics gave Sharp Objects great reviews after receiving seven of the eight episodes in advance. "I’m convinced part of the answer to the problem of vibe versus viability lies in a show’s format," she says. "Because HBO provided every episode of Sharp Objects except Sunday’s finale in advance, I and many other members of the media imbibed the show through long, sustained gulps, enveloping ourselves in hours of story at a time. What registers as painfully slow or teasing in a week-to-week broadcast feels more like a pleasant airiness when taken in as a batch. Sharp Objects favors depth over breadth, putting down roots over rolling onward." ALSO: Warning: Watch the Sharp Objects finale to the very end.
Posted Monday 8/20/18 at 10:18PM EDT
Sharp Objects is the latest TV series to portray female journalists as unethical
Source: The Atlantic
"For some reason, and despite all assurances from reporters to the contrary, Hollywood is stuck on the idea that female journalists are having sexual relationships with their bosses, their sources, or both," says Sophie Gilbert, pointing to Zoe Barnes on House of Cards, Rory Gilmore on Gilmore Girls: A Year in the Life and, especially, Amy Adams' reporter character Camille Preaker on Sharp Objects. Gilbert notes that "the trope of the unethical female reporter has persisted for several decades, throughout fiction, film, and television." Gilbert points to Showtime's The Fourth Estate, which documents New York Times reporters, as showing the reality of female journalists: "When documentarians do follow female reporters around, what they capture is the opposite of the charged Hollywood fantasy. Instead, it’s visibly tired, multitasking women working relentlessly because they know the stories they’re reporting are stories that need telling. The reality might not indulge the fantasies of male writers and directors in quite the same way, but as The Fourth Estate shows, it can still make for enthralling television."
Posted Monday 8/13/18 at 9:39PM EDT
How Sharp Objects landed four Led Zeppelin songs
Showrunner Jean-Marc Vallée was rejected by the legendary band for the use of one song for his 2011 movie Café de Flore. So when he approached Jimmy Page and Robert Plant for Sharp Objects, "we went for four tracks, and we sold the idea to them that they will be the sound of this series, so of course that was something special and different.... We sent the script and very specific descriptions of how we’re using their music, and the in-scape element coming from Alice. And it worked." Vallée also admits having a backup plan to go with another rock band. ALSO: Vallée and music supervisor Susan Jacobs explain the clues in the soundtrack.
Posted Thursday 8/02/18 at 3:05AM EDT
Amy Adams: I was fired from three different TV shows for three very different reaasons
The Sharp Objects star recounted her TV firings to Seth Meyers. One was for being bad in a role. Another role she lost due to another actress' availability. And finally, she says she was fired from a role for not being sexy enough.
Posted Saturday 7/28/18 at 12:28AM EDT
Why doesn't Amy Adams' Sharp Objects character know the basics of being a journalist?
Any reporter knows they need to take notes, but that's something that Adams' HBO character doesn't do when practicing journalism in the first episodes of Sharp Objects. "I know that Camille is a mentally unwell alcoholic who doesn’t even remotely have her life together," says Brian Moylan, "but this is something that she would have learned at her first city council meeting as a cub reporter. You need to record everything, spell people’s names correctly, and take notes so that if you forget any details when you sit down to write your story (or if someone accuses you of making things up after it’s published), you have a record of what went down. Her boss Frank Curry has faith she can do this job, so she couldn’t have proven herself totally inept in the past, right?" ALSO: Here's a rundown of all the journalism mistakes made on Sharp Objects.
Posted Wednesday 7/25/18 at 4:06PM EDT
Sharp Objects definitely won't return for Season 2
“We’re not talking about a Season 2,” says showrunner Marti Noxon. “This is it, so bask in it while you can.” Questions about the future of Sharp Objects were raised because limited series like Big Little Lies end up returning for another season. ALSO: Amy Adams had "insomnia and anxiety" filming Sharp Objects, but it "belonged to Camille."
Posted Tuesday 7/17/18 at 9:09PM EDT
Sharp Objects took care not to exploit an "incredibly taboo topic"
"We had to be very mindful of how we showed it and not to be exploitative in any way," showrunner Marti Noxon says of the scene that led to a special warning after the first episode. She adds: "In fact, the consequences of it are all over the show."
Posted Friday 7/13/18 at 11:36PM EDT
Sharp Objects is probably the biggest offender in "TV dramas are too quiet" trend
"The dialogue on Sharp Objects is occasionally so inaudible that it’s a very real distraction from an otherwise gorgeous show. It’s time to talk about this problem!" says Kathryn VanArendonk, adding: "It happens in important expositional moments...It happens in vital character-development scenes...It happens in big revelatory moments." Sharp Objects isn't the only too-quiet show. Fargo, Mr. Robot, Dietland, Ozark, Mindhunters, The Americans and The Handmaid's Tale are also offenders. "If quiet dialogue were just a problem for Sharp Objects, this would be a small-scale grievance," she says. "But in its general disregard for audibility — in its commitment to a range of volumes that prioritize slammed car doors and vodka glugs above spoken words — Sharp Objects feels like one of an increasingly noticeable cohort."