Sharp Objects, episode 6, recapitulation "Cherry": Amma is the killer?

Sharp Objects, episode 6, recapitulation "Cherry": Amma is the killer?

One reason you can be sure of HBO Sharp objects It's a true Southern gothic that when your debutant gloves do not come off, you do not as soon as get an outpouring of secrets and darkness and a lot of deeply buried social dysfunction. In episode 6, "Cherry", once passive-aggressive courtesy begins to give way to tell the truth, you also get some wild wildness: biting your ears, some light incest, some heavy sociopathy and a well literal shit.

Yes, the intensity and memories are increasing for Camille as she revisits her hometown of Wind Gap, Missouri. But in "Cherry", there are also some significant developments in the case, in case you were so distracted by all the sociopathy and the incest you forgot, there were murders to be solved.

Of course, we do not learn much on the murders. But what we learn is heavy.

The intertwined family ties between Amma and Camille become even more intriguing

Like every previous episode, "Cherry" puts a strain on the resolution of the crime of the court cases and offers juicy dramas, reams of gossip and subtitles thicker than the summer heat in a wake of the tent. In this go-round, director Jean-Marc Vallée focuses on Amma's relationship with Camille, as our favorite fatal teen lure her older sister in a typical party in a suburban house, where Amma makes a brief fight with John Keene (brother of murder victim No. 2, Natalie) and his girlfriend Ashley on mutual mutual suspicions.

We receive a brief kiss sis-on-sis, then a rare moment of fraternal bonding it does not do it feeling completely manipulative by Amma – at least until she asks Camille to bring her back to St. Louis with her.

It is a revealing moment for both sisters. Amma, who openly admits that none of her friends like her, but knows how to control them, calls Camille her "soul mate", then laughs, saying that this is perhaps what feels like a sisterhood bond. Camille, drugged and feeling pretty good, continues to receive flashbacks for all the dead girls she loved first – her dead younger sister, Marianne, and her roommate in the hospital – but she lets herself go to Amma.

Meanwhile, Camille's shabby relationship with his mother is almost exhausted; after the icy declaration by Adora last week that she has never loved her daughter, this week mom wants her daughter out of the house. Camille is dragging her feet, though, partly because new facts about crime are emerging, and partly because of her feelings of development for Detective Willis, who is doing a little investigation into Camille's foolish fate in the world. hospital where his roommate died suicide. And probably there is also a lot of reluctant love for Amma.

And we also have some important clues to murder! Camille notes that someone seems to have bite off a huge piece of Ashley's ear, which is disturbing to watch in the episode as it is to be written. When Camille confronts her for this, asking if Natalie could have done it while being killed, Ashley hisses that if Camille wants to know about Natalie, she should ask the girl's mother.

And speaking of another dead girl, we still do not know how Camille's sister, Marianne, died, even if in this episode someone finally asks if anyone has ever conducted an autopsy. "Of course not," Adora's best friend, Jackie, tells Detective Willis; Adora would not allow her to be "sculpted". (At this point I think we can probably go on and put "the best friend" in quotes, yikes, Jacks.)

Finally, the biggest clue: the workers of the Adora pig farm take the bike from Ann Nash, the first victim – who was riding when she disappeared – from a slurry pond. Later, one of the workers claimed to have seen John Keene bury him there. Of course, this does not seem good for John. First, it is Bob Nash's truncated assertion from a previous episode that saw John up to suspicious behavior while working on the pig farm; and there is Adora who fires him quickly from the farm for unknown reasons.

But we also know another suspect who likes to walk around the slaughterhouse: Amma. And given this Sharp objects He leaned very hard on pointing out that the killer is a woman, it is probably time that we look at the evidence for and against our favorite budding Machiavellian.

It's probably not Amma!

I'm about to share with my colleague Alex Abad-Santos and say so not I think it's Amma, even if I'm on agreement highly saying that no one suspected (except John Keene, who clearly thinks he is a criminal).

For one thing, since you are the only current suspect, we know who has been super-friendly with the murder victims, she is the obvious trailblazer. But more importantly, I do not believe that Amma's toolbox tools – armed femininity, emotional manipulation and secret knowledge – are really united with sociopathy.

True, we saw manipulating and deceiving Camille and her friends throughout the series, and we saw her manipulate and lie to her mother as she actually created a double life for herself. And apparently Machiavelli reads, that, okay, Amma, it's you, girl.

But her manipulation of her mother has been, up to now, to create that double life and get an unhealthy recreational escape, all because she's bored. It's a typical rate for teenagers.

And while his ugliest moments – the lollipop in Camille's hair, his forcing Camille to reveal his body in the previous episode, and his choice to create a giant drama running in the woods at Calhoun Day – they were all very ugly, in fact, they also revolved around his need for love and attention from Camille. He puts the lollipop used in Camille's hair after seeing her with Detective Willis and reacted by jealousy; he runs into the woods after realizing that Camille is not paying attention to her performance because she is chatting with Willis instead of looking at her. He steals Camille's clothes in the dressing room because of the rage that Camille did not share her article with her before publishing it for the whole city.

Although we have no reason to believe that Amma is sexually attracted to her older sister (apart from the fact that she would not be Gothic without her small incest), she clearly became possessive of her, fast. This makes sense, because until now he has lived a life as a doll for a terrifying mother, among superficial friends who do not understand her. Of course he wants Camille to idolize her as much as she idolizes Camille. But this sociopathy or simply loneliness? My money is on loneliness.

But this does not mean that Amma is not dangerous

I think so too Sharp objects he tried to present a clear distinction between the types of weapons that give power to a woman in a city like Wind Gap and the type that does not. Amma's weapons (her femininity, a growing cache of secrets) give her power over the people around her, and make her dangerous – as well as vulnerable to anyone who knows more than she does.

But we have also seen the kind of weapons that do not work. Ashley's attempt to manipulate the narrative of the killings on John's behalf fails because he does not know enough; she tells Camille that they will not be "marginalized" but will eventually be laughed at by the teenage home party. And the internalization of the trauma and abuses suffered by Camille is literally written on her, but her turning towards and withdrawing from Wind Gap has made her a target for gossip and judgments about her return to home. Trying to make the power move too early in the secrets game will not help you win, but hiding what you know forever leaves you vulnerable.

It is significant, therefore, that Sharp objects he throws the completely linear, bird's eye view, which we saw in the last episode of Calhoun Day to get deeper into Camille's state of mind, masterfully modified, nervous. While Camille's relationships crumble, the same goes for his memory; when Amma's history teacher – who is also one of the football players who raped Camille series years ago – tries to apologize to her, she reacts, with horror, as if she barely remembers what she is talking about.

When he comes out with his old cheerleader friends, now all predominantly suburban conservatives, he tries to apologize to the only black cheerleader of the team for how they treated it, only to be swept away in turn. Memory is another deceptive weapon that Camille is still learning to handle; without it, he can not control his narrative. And it is clear at this point that the narrative of Camille is linked to the murders of Ann and Natalie – and those of Marianne.

Is Camille repressing her sister's murder knowledge? Adora wants her to get agitated because she's digging too deep and getting too close? Amma wants to be more than just a sister?

I'm guessing (hoping?) The answer to all these questions is yes, and with only two episodes, I can not wait to see how Sharp objects offers.