‘SHARP OBJECTS’ – Episode 2 “Dirt” Review

Unsurprisingly, “Dirt,” the second of eight chapters in HBO’s latest mini series does little to progress the primary mystery, other than introducing some clues and potential suspects. It does, however, develop compelling characters and the odd small town we met in episode one. If you haven’t already hopped on this show, check out the original review.

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Like in the debut, music is important to the show’s mood and storytelling, especially as an effective way to express Camille’s state of mind. This episode also continues the use of diegetic music to develop her step-father, Alan, whose large record collection haunts his favorite room of the family home.

The soundtrack, however, does little to alleviate one of my only concerns about the show. Minorities continue to have such a small voice on the show, that Wind Gap may as well exist in the mid-18th century. The silence of black characters may be intentional, especially when contrasted with Barbara Eve Harris’s strong performance as Eileen Curry in the occasional scene. Even as commentary, there’s little to excuse the minimal diversity, much like the homophobia the dialogue continues to express.

The second episode opens up the narrative point of view of Sharp Objects, paving the way for effective dramatic irony, although this episode specifically pulls that punch. One character in particular shares the key detail of a surprising scene in a later exposition exchange with Camille. Since so much of the show’s style and themes revolve around Camille’s psychology and past, this willingness to develop the ensemble rather limiting the audience to her eyes reduces the tension, but increases the uncertainty about what’s actually going on in Wind Gap. Such as . . .

The following questions and comments involve spoilers for the first episode of Sharp Objects.

We’ve had at least two shots of a mysterious blonde in white standing in the doorway of the red train car in the center of Wind Gap, in both the 90s (or at least a dream of them) and the present day setting of the story. The latest episode introduces a clue as to who, or what, that figure may be, but it’s unclear as to whether it even exists, or if it’s only in Camille’s imagination.

Similarly, we briefly see a girl (who wasn’t there moments before) sitting outside Amma’s room in the first episode. It’s unclear if this is Amma, since Adora doesn’t seem to see her. Again, it’s possible that this figure isn’t actually present, but since Camille isn’t in the scene, supernatural interpretations are valid. Sharp Objects, and even the first episode alone, is setting itself up to be one of those shows that is experienced completely differently once all is revealed.

The significance of the disappearing words and odd signage is more clear, especially since we know about Camille’s particular experience with self harm. They echo her obsessions while also extending the eerie style director Jean-Marc Vallée and crew have established. Episode two continues this motif, both in both more subtle and obvious ways. The effect is rewarding to those watching closely, but communicates to more casual viewers as well.