The specter of Jocelyn’s (Lily-Rose Depp) mother’s death will loom large throughout Sculpture, eclipsing the star’s efforts to revive his now stagnant career. It’s clear that Jocelyn – whom her record company would undoubtedly prefer as a mindless automaton that produces hits on demand – hasn’t been given enough time or space to grieve. As Jamie Lee Curtis has said many times: such a play is always a shock and it would seem obvious, even SculptureThat at least, an attempt was made to give life to a moment of greater reflection and complexity.
the problem of Sculpture, The upshot, however, is that he is unable to express delicate feelings and brutally overpowers them, just as Tedros does with Jocelyn in the first minutes of the third episode. In fact, Jocelyn’s pain is handled with extreme superficiality, shown only in great moments of tears, such as during the second episode, in which Jocelyn melodimatically calls the recording session of a music video to her mother. interrupts, and falls to the ground.
Here, then, he, in the third episode, dawn, Jocelyn dropped a bombshell. During dinner with her team (now under the nefarious control of Tedros, as always thin the day he arrived), the girl actually revealed that her mother used to abuse her, beating her with a hairbrush, where the sun does not shine” barrel to educate “a bit like dogs”.
That hairbrush, for some uncanny reason, claims to have it as its own. So Tedros pressed on: “You have to turn trauma into inspiration”. (No, it’s not a hallucination, it means it’s real. Go back and check. It’s about 39 minutes and 30 seconds). “Do you still have that hairbrush? Well, go get it.”
Tedros, after cornering him on all fours, as is often the case during the series, among his own cliques (without Rachel Sennot’s Leia, who is actually the only character), savagely beats him. Levinson shoots this scene with a dreamlike lucidity. The camera remains glued to Jocelyn’s face both during and after estimating the first shot. She screams, then silence and flowing tears. Just before reaching for the hairbrush, Tedros whispers in Jocelyn’s ear, “This is really going to hurt.” “But if you can get over the pain, it will be beautiful.” It is the rhetoric of the victim artist who is literally tortured here in a scene that amounts to an idle provocation, which is completely meaningless. Wouldn’t it make more sense to take a nice walk or see a counselor?