Mohamed Salah opened his account for the new campaign as Liverpool backed up pre-season hype they can challenge champions Manchester City for the Premier League title by sweeping aside West Ham 4-0 at Anfield.
Sadio Mane scored twice and Daniel Sturridge added a late fourth in an impressive display by Jurgen Klopp’s men as £65 million goalkeeper Alisson Becker kept a clean sheet on debut.
Liverpool haven’t been crowned champions of England since 1989/90 and finished 25 points behind City last season.
But after reaching the Champions League final last season and spending more than anyone else in the Premier League in the off-season, there is palpable belief that near three-decade wait can come to an end in May.
Midfielder Naby Keita and Alisson were the only debutants to start from a reported £170 million summer splurge in the transfer market as Fabinho and Xherdan Shaqiri had to make do with a place on the bench.
However, there was little tinkering for Klopp to do up front after Salah, Mane and Roberto Firmino combined for 91 goals last season, and they again provided the firepower to outclass a sorry West Ham despite their own near £100 million outlay on nine new players.
Salah and Mane’s pain at international level was Liverpool’s gain as early exits at the World Cup with Egypt and Senegal meant they could join the club’s pre-season tour of the United States, unlike a host of Premier League stars who returned to training just last week after their exertions in Russia.
Salah starts over
A revelation in his first season at Anfield with 44 goals in all competitions, Salah is now a marked man.
Yet, he was given the simplest of tasks to tap home the opener into an empty net on 19 minutes from Andy Robertson’s pinpoint cross after he was freed down the left by the impressive Keita.
Salah should have had more as he was well picked out by a bursting run by Firmino only to place his shot too close to Lukasz Fabianski, who also made a brilliant save to turn Trent Alexander-Arnold’s free-kick behind.
Fabianski was by far the busier ‘keeper with Alisson making just one comfortable save and impressing far more with his feet to launch a series of Liverpool attacks.
The hosts finally doubled their lead to give the score the half-time reflection it deserved when another teasing Robertson cross was pulled across goal by James Milner and Mane left unmarked to side-foot home.
Mane produced a fine finish for his second eight minutes after the break after good work by Firmino, but had the linesman to thank just as much for the assist as he somehow wasn’t flagged offside before firing past Fabianski.
Former City and Real Madrid boss Manuel Pellegrini is used to competing at the top of the table.
Yet, despite the vast investment in the East Londoners, on this evidence Pellegrini will do well to better West Ham’s 13th-placed finish last season as the visitors were happy to limit the damage after the break.
Sturridge inflicted the final blow two minutes from time with his first touch after replacing Salah.
Swara Bhasker: Sharp objects has to be on the radar of every woman who is tired of being “nice”
The actress weighs in on what she loves about the show.
This article has been written by award-winning actor Swara Bhasker.
All women growing up in India, South Asia, or anywhere in the world frankly; will remember in some form or the other that gentle girlhood admonishing, “Nice girls don’t do that.” I kept recalling that gently reasoned reproach as I watched Sharp Objects (you can catch it on Hotstar Premium). Adapted from the author of Gone Girl, Gillian Flynn’s debut novel Sharp Objects has been directed by Jean-Marc Vallée, who has my heart since he gave us Big Little Lies. It stars the multiple-Oscar nominee Amy Adams, who delivers a searing performance as Camille Preaker; and Patricia Clarkson, who is magnetic as the dominating and dark Adora Crellin. As an actress myself, it felt great to watch a show driven by its female performers.
The series is woven around a troubled, alcohol-dependent, self-harming, female journalist Camille (single and in her thirties incidentally) who returns to the small town of her birth and childhood, Wind Gap, Missouri, to report on two similarly gruesome murders of teenage girls. While the series is a murder mystery, it equally delves into the psychology, not just of the principal characters, but also of the town, and thus a culture as a whole.
There is a lot that impresses in Sharp Objects — the manner in which the storytelling gently unwraps a plot that is dark, disturbing and shocking, the stellar and crafty control that Jean-Marc Vallée exercises on his narrative, the cinematography that is fluid and still manages to suggest that something sinister lurks within Wind Gap, the editing which keeps this narrative languid yet sharp and consistently evokes a haunting sensation.
Sharp Objects is also liberating (apart from its positive performance on Bechdel parameters) as content — for female actors and for audiences in giving us female centric and female driven shows that do not bear the burden of providing either role-models or even uplifting messages.
Instead, it presents a world where women are dangerous and dysfunctional but very real — a world where women are neither pure victims, nor pure aggressors. A world where they occupy the grey areas, complex and contradictory as agents in a power play, in which they control some reigns too.
But to me personally, and perhaps to many young women viewers across the world, what makes Sharp Objects particularly impactful, perhaps almost poignant, is the manner in which it unravels the whole idea, the culture, the entire psychology of that childhood admonishment “Nice girls don’t do that.” Sharp Objects explores the sinister and dark possibilities of what the corollary of that thinking could be.
“Nice girls don’t do that.”
“So I’m a bad girl.”
“You shouldn’t be a bad girl.”
“Bad girls get in trouble.”
“What trouble? What happens to bad girls?”
“What bad things?”
“Very bad things.”
A point the show makes early on is that both the victims of the introductory brutal murders were not your typically nice girly-girls. Camille, the traumatised protagonist carrying a burden from her past was herself not a nice girl. Amma, her deceptive half-sister manipulates the nice girl act to defy her controlling mother. But perhaps the most incisive critique on the whole ‘Be a nice girl’ culture, in fact the whole ‘nice’ culture — nice folks, nice manners, nice homes, nice towns — comes in the form of Adora’s character and the manner in which beneath the whole veneer of nice, a whole town is complicit in damning secrets and not-so-nice acts. At one point early on in the show, Adora tells her firstborn Camille, with whom she has a strained relationship (to put it mildly), “I just want things to be nice with us but maybe I don’t know how..” Interestingly it is this very notion of ‘nice’ that becomes the most oppressive and deceptive experience of young Camille, and later Amma’s growing years.
This ‘Culture of Nice’ is in fact the pervasive ‘Culture of Silence’ that women all over the world, particularly in India, are all too familiar with.
It takes different forms, but always towards the same goal — to silence the not-so-nice details of what the experiences; sometimes intimate experiences of women might be. This Culture of Silence is propagated from the child’s earliest experience of being parented by society in general. Amongst the values that girls receive in our early years — apart from those of being obedient, dutiful, respectful, homely — we also receive the twin headed Chimera in the form of shame and guilt.
“Have some shame!”
“Oh for shame!”
“Do not bring shame upon…”
Different phrases in different languages, but always with the same implication. Shameful things happen to girls who are not nice and that brings ‘shame’ on the family or everyone associated with the girl. And nice folks do not talk about these things. Nice folks go on as if nothing has happened.
It is this culture of silence that women across the world today, are calling out in many different ways. Whether it is the #MeToo movement or a show like Sharp Objects; or on a lighter and happier note, even a film like Veere Di Wedding punctures this culture of silence, quite simply by refusing to be silenced and saying the not-nice things, or depicting the so called ‘unspeakable’ things that could happen to girls. By talking about the unspeakable, you rob it of the power to shame you; you disallow the ‘Culture of Nice’ to erase your experience. You stand up for yourself and you build your own identity.
And this to me is the most liberating aspect of being an actor, and even just a girl at a time when shows like Sharp Objects and Big Little Lies (another great show on Hotstar Premium), and films like Veere Di Wedding and Anaarkali Of Aarah are being made.
The next time I hear someone say, “Nice girls don’t do that!”, I know what I’m going to say — I don’t give a shit about nice. I’m just a girl! And that’s okay!
Swara is a an award winning actor of the Hindi film industry. Her last few films, including Veere Di Wedding, Anaarkali of Aaraah and Nil Battey Sannata have earned her both critical and commercial success. Swara is an occasional writer of articles and opinion pieces. The occasions are frequent :).
Watch the trailer of Sharp Objects here:
This article was published by the Scroll marketing team with Swara Bhasker on behalf of Hotstar Premium and not by the Scroll editorial team.