by Chris Feil

Sharp Objects has come to its conclusion, bringing with it some scratched heads and hesitant praise wondering when we would be served some real clues on the identity of its killer. Meanwhile it built it’s own slow burn reveals from the inside of Amy Adams’ Camille, leading to a firestorm of consequence and context in its final few episodes that had nothing and everything to do with who killed those girls.

For those of us who had already read Gillian Flynn’s source novel, we also watched the unfamiliar audience as we waited for the rug to pulled out from under them. We knew this was never to be a show built on closing cliffhangers to maximize bingeability and serve standard genre water cooler moments. But its bombshell final moment did just that and cruelly so, giving a conditioned audience the moment it craves the very second it completes; there is nothing more to come, we just have to reconcile its cruel dispatch. In some ways, Sharp Objects has challenged the serialized medium, or at least how we consume and engage with it.