It just happens to place as much importance on its blank spaces as the ones that are filled in fully. It’s a small-town murder mystery with multiple suspects, some fine performances, and the dimly lit, indie-style intimacy that is typical of Soderbergh’s less Ocean’s Eleven–ish work. #SchumerShutdown.) But Mosaic is not a political series, nor is it, at its core, something wildly new. The idea that the truth is a construct as opposed to something firm and undeniable is a timely premise for a series given how easy it has become for Americans to look at a blue sky and see something either purple or green. By creating a Mosaic app that provides an alternative, vaguely Choose Your Own Adventure–esque way to experience the narrative, the minds behind this thriller - which debuts tonight on HBO and airs all week, concluding with a two-part broadcast on Friday - imply that viewers will and should interpret what they learn from their own perspectives. The guiding two-part question of this intriguing, sometimes frustrating mystery is, what did they know, and when did they know it? That applies not only to the men and women who exist in the fictional version of snowy Summit, Utah, envisioned by Soderbergh and writer Ed Solomon (both Now You See Me movies), but to the audience as well. In Mosaic, the Steven Soderbergh–directed limited series about the events leading up to and following the murder of a children’s author, practically every character possesses pieces of a puzzle they aren’t quite sure how to put together. L-R: Garrett Hedlund and Sharon Stone in Mosaic.
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