There’s nothing like watching a crime thriller at night. Every little jump, or flash to something eerie sends chills all over. But if I don’t watch Sharp Objects immediately, when else will I have time? Cue Sunday night nightmares.
After a helpful friend sent me a Vulture article detailing every word spotted in last week’s episode I couldn’t think of anything else. I was searching the entire time, and only found two, but we’ll get to that.
Last week’s episode made it clear that Camille has a history with self harm, and “Dirt” only established that it’s an addiction she’s constantly fighting. Like she says to Jackie, “My demons are not remotely conquered, they are just mildly concussed.” I believe her, but it’s strange to hear Camille address her problems so casually, when it seems like all she does is avoid them.
This episode was generally hard to watch, and I’m willing to bet impossible to watch if you have any trauma similar to Camille’s. I can’t speak to the portrayal of Camille’s habits with self harm, but it felt real enough.
The cinematography of Sharp Objects is stunning, though I think it’s what we all expect from HBO now. Within the first five minutes, I was afraid for Camille. Her visions or flashbacks are haunting and effortless. The girl, bloodied in her doorway, was horrifying. I’ll have nightmares of that, for sure. Not to mention, her vision of the Woman in White in the woods. It’s all too unsettling.
The camera follows Camille’s mind, and we know she’s unreliable. The mixed reality Camille lives within, forces us to actively pick apart what is real and what is fake. It’s a lot of work, and I hope the payoff is worth it in the end. It serves as a form of misdirection. While we wonder if something is real or imaginary, another conflict arises in front of Camille.
So far, I’ve noticed a parallel between Camille and her mother, and Richard and the chief of police. Richard and Camille are both out-of-towners who want to know the truth about the deaths, and their superiors are telling them to back off. Neither of them will stop to get to the truth, but it certainly creates some tension.
I’ve grown to dislike Adora already, but I’m interested to see what they reveal about her as the season goes on. Like Flynn’s other novels, I expect a major plot twist is in store for Camille.
It’s strange to me that Adora still heavily grieves for her daughter who supposedly died of an illness. Camille remarks that her mother shuttered the house for a year after Marian died, and so clearly she never aired out her grief to the public, and suffers in silence. There has to be more to it, though.
One aspect I don’t like about Sharp Objects is Camille’s editor. All of the scenes over the phone feel forced. He wants her to face her issues so she can be the best investigative reporter possible, but I don’t buy it. These scenes are too structured in comparison to the others. They’re solid and intentional, and something is up!!
The two words I spotted were SCARED and WHATEVER. The first was scratched into her car door, and there were two shots of it. The second was in Natalie’s house, a pink shirt hanging from a coat rack by the door. Both were at the Keene’s house for the reception, a high stress situation for Camille. Before she walks into the house, she pokes a needle from a sewing kit into her finger, but never draws blood.
She brings the needle with her throughout the episode, but only gives in at the end of the episode. Amma is downstairs with her parents screaming “It’s not right,” and when Camille comes down to ask what is wrong, Adora turns it on her. That’s her breaking point.
“Dirt” left me with just a few questions. What’s wrong with Amma? Why does Adora hate Camille so much? Did she hate her before Marian died? Why is Adora still so upset about Marian? It’s as if she died yesterday.
Did you notice any other words in the episode? Let me know in the comments below!
[Photo courtesy of HBO]