Into the fire: A crime re­porter is drawn home in ‘Sharp Ob­jects’

Albany Times Union - Sunday - - TU TV - By Fran­cis Babin TV Me­dia

In re­cent years, we’ve seen a real re­nais­sance of the tele­vi­sion minis­eries. Th­ese lim­ited se­ries dom­i­nated the ‘70s and ‘80s, with such heavy hit­ters as “Rich Man, Poor Man,” “Roots,” “Shogun” and “North and South” win­ning nu­mer­ous awards and draw­ing view­ers by the mil­lions.

The for­mat fell out of fa­vor in the ‘90s, how­ever. It was nearly re­vived in the new mil­len­nium with “Band of Broth­ers,” “An­gels in Amer­ica” and oth­ers, but its real come­back ar­guably wasn’t un­til 2012, with His­tory’s mega hit “Hat­fields & Mccoys” rul­ing the air­waves. Since then, we’ve seen many qual­ity lim­ited se­ries, and on Sun­day, July 8, HBO’S “Sharp Ob­jects” looks to join this pres­ti­gious group.

Since break­ing onto the scene with her de­but novel “Sharp Ob­jects” in 2006, best­selling au­thor Gillian Flynn has been a force to be reck­oned with.

Her sopho­more novel,

“Gone Girl,” was adapted for the big screen in 2014 by Academy Award-nom­i­nated di­rec­tor David Fincher to great ac­claim from crit­ics and au­di­ences alike. The adap­ta­tion was a smash suc­cess and turned Flynn into a house­hold name.

The fol­low­ing year, her third and most re­cent novel, “Dark Places,” was suc­cess­fully adapted into a fea­ture film star­ring Academy Award win­ner Char­l­ize Theron (“Atomic Blonde,” 2017). It was just a mat­ter of time be­fore Flynn’s only un­adapted novel was given the big screen — or in this case, small screen — treat­ment.

The eight-episode se­ries fol­lows St. Louis-based jour­nal­ist Camille Preaker (Amy Adams, “Ar­rival,” 2016), who re­turns to her home­town of Wind Gap, Mo., to in­ves­ti­gate the grisly mur­der of two young girls. This is her first as­sign­ment af­ter a stint in a psy­chi­atric hos­pi­tal as a re­sult of years of self-harm­ing, and the home­com­ing isn’t all roses. Although some el­e­ments of this story sound a tad fa­mil­iar, like all of Flynn’s works there’s much more to it.

While au­thor­i­ties are still try­ing to solve the heinous crime, a new body is dis­cov­ered, and Preaker finds her­self iden­ti­fy­ing with the vic­tims a bit too closely. Her re­turn home has forced her to con­front some per­sonal demons.

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