Talk:Sharp Objects/GA1

GA review

The following discussion is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

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Nominator: Pamzeis (talk · contribs) 03:52, 5 September 2026 (UTC)

Reviewer: Vestrian24Bio (talk · contribs) 10:52, 11 September 2026 (UTC)

Hi! I will be reviewing this article for WP:GARC, expect the initial remarks soon! Vestrian24Bio 10:52, 11 September 2026 (UTC)

@Vestrian24Bio: Can I get a status update, since it's been almost two weeks? Pamzeis (talk) 10:24, 24 September 2026 (UTC)

Comments

Sharp Objects (as of this rev)

• Add an appropriate ENGVAR template to the page.
  •  Done. Pamzeis (talk) 05:15, 27 September 2026 (UTC)
• WP:DUPELINK - Publishers Weekly in the Reception section.
  • Fixed. Pamzeis (talk) 05:15, 27 September 2026 (UTC)
• In the lead, "A domestic noir, mystery, psychological thriller, and Southern Gothic novel, it explores femininity, trauma, and abuse." should come before the plot synopsis..
  •  Not done: I'm inclined to disagree here. The plot is ultimately (one of) the most fundamental part(s) of a novel, and I'm not keen on repeating "novel" in such quick succession. Pamzeis (talk) 05:15, 27 September 2026 (UTC)
• Shouldn't the Background section come right after the Plot..?
  • I just followed the order set out in MOS:NOVEL. Pamzeis (talk) 05:15, 27 September 2026 (UTC)

Vestrian24Bio 11:19, 25 September 2026 (UTC)

That's all I got.. Vestrian24Bio 11:46, 25 September 2026 (UTC)

Source spot-check

• Initial check: will do.
• Proper check: This table lists 4 random passages from throughout the article (2.9% of 140 total passages).

  These passages contain 4 inline citations (2.4% of 170 in the article). Reference numbers refer to this revision. Generated with the Veracity user script. Vestrian24Bio 11:45, 25 September 2026 (UTC)

Reference #	Letter	Source	Archive	Status	Notes
Themes
She craves admiration, leading her to become controlling to ensure her image as the perfect mother remains intact. Miller compares her behavior to the folk tale tradition vagina dentata and Julia Kristeva's interpretation of the symbolic figure of the archaic mother.
25		Miller 2019, pp. 495–496.			"Adora, as the name suggests, is compelled by a need to both adore and be adored, inhabiting a performative space in which she is “Wendy Darling all grown up” (Flynn 41): “She was like a girl’s very best doll, the kind you don’t play with” (40). As a distorted girl-woman, Adora’s monstrosity is trapped within an equally warped dialectic of harm and care by way of Munchausen by proxy: “Marian is such a doll when she’s ill, she dotes on me terribly…I love wiping away her tears” (379). Like Eva, Adora insists on control, yet does so in order to ensure a nightmarish vision of the sanctity of motherhood in which she is always central. The image of a mother who produces a child so as to consume it evokes Julia Kristeva’s notion of the archaic mother, who is defined by a “fear of her generative power” (77) but who also, as Barbara Creed notes, is a figure which signifies the primeval “black hole,” a “force which threatens to reincorporate what it once gave birth to,” associated with death and the “obliteration of self” (28). Indeed, such imagery further conjures an association with the vagina dentata as an expression of the “dyadic mother; the all-encompassing maternal figure of the pre-Oedipal period who threatens symbolically to engulf the infant” (Creed 109)." Pamzeis (talk) 03:36, 27 September 2026 (UTC)
The literature assistant professor Marco Petrelli argues that Sharp Objects depicts the American South as a region caught between its modern, industrialized reality and its idealized antebellum past. He asserts that Wind Gap's attempts to preserve its distorted vision of the past lead the town to "devour itself in an effort to get out of this cul-de-sac".
38		Petrelli 2024, pp. 175, 181, 184.			"Wind Gap is thus a completely dis-placed town: the traditional land-based Southern ethos has been swept away by industrialization – and Camille’s family is the main force behind this change. ... both the novel and the series depict white Southern society as trapped in an inescapable existential paralysis. I previously defined Sharp Objects’ post-South as a hybrid space equally composed of a Midwestern post-industrial reality (more tangible in the novel than in the series) and sudden openings upon an antebellum undertow that is both dormant and powerful at the same time in the way it shapes the characters’ lives, or better, in the way it swallows them up in a past that turns into a tomb. ... But, as I mentioned before, the whole town seems to be haunted by the ghosts of its past, turning the story into an uncanny phantasmagoria that repeats itself, directed towards its own demise. It is a South defined by its “submission to empty repetition of past cultural modes,” by the performance of “past citations of what signifies southernism” (Anderson et al. 5). ... In light of this consideration, the death drive at the heart of Sharp Objects I have discussed in the previous section can also be understood as the symptom of a contemporary South that, forced to exist in an era dominated by capitalistic modes of consumption and deprived of a direction forward, is now trying to devour itself in an effort to get out of out of this cul-de-sac." Pamzeis (talk) 03:36, 27 September 2026 (UTC)
Background
Flynn wanted to write about "darker side of the female psyche", exploring why women act immorally; this became the genesis for Camille's character.
40	c	npr.org	web.archive.org
Adaptation
but she ultimately dropped it. In 2012, Alliance Films purchased the rights for Jason Blum, who intended to produce a film.
110		deadline.com	web.archive.org

@Pamzeis: could you transcribe the source texts for the offline sources into the Notes column. Vestrian24Bio 11:45, 25 September 2026 (UTC)

• Source spot-check: Pass. Vestrian24Bio 10:48, 29 September 2026 (UTC)

Final review

• EARWIG shows 23.7% - violation unlikely. Vestrian24Bio 11:40, 25 September 2026 (UTC)
• According to link-dispenser (permalink),
  • 44 refs need archive URLs.
    •  Done, except for sources (e.g. Newspapers.com) that can't seem to be archived. Pamzeis (talk) 05:15, 27 September 2026 (UTC)
  • 12 refs that might be down, don't have archive URLs; and 3 are marked as live..
    • None of them are down from what I've checked. Pamzeis (talk) 05:15, 27 September 2026 (UTC)

  Vestrian24Bio 11:40, 25 September 2026 (UTC)

• Plot summary word count: 525 words. Vestrian24Bio 11:40, 25 September 2026 (UTC)
• Media usage:
  • File:Sharp-objects-book-cover.jpg - missing alt text.
    • Fixed. Pamzeis (talk) 05:15, 27 September 2026 (UTC)
  • File:Hans Andersen Brendekilde - Hans og Grete ved heksens hus - 1887.png
  • File:Gillian Flynn 2014 (cropped).jpg
  • File:Marti Noxon 2016 (cropped).jpg
  • File:Amy Adams (29708985502) (cropped).jpg

  All files have proper copyright tags, captions and alt texts; except noted. Vestrian24Bio 11:40, 25 September 2026 (UTC)

  @Vestrian24Bio: Responded to your comments. Pamzeis (talk) 05:15, 27 September 2026 (UTC)

All else good, passing for GA. Vestrian24Bio 10:48, 29 September 2026 (UTC)

Good Article review progress box

Criteria: 1a. prose () 1b. MoS () 2a. ref layout () 2b. cites WP:RS () 2c. no WP:OR () 2d. no WP:CV () 3a. broadness () 3b. focus () 4. neutral () 5. stable () 6a. free or tagged images () 6b. pics relevant () Note: this represents where the article stands relative to the Good Article criteria. Criteria marked are unassessed

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.