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‘Twist, drop and push': Rowing like a Venetian

‘Twist, drop and push': Rowing like a Venetian

CNN11-05-2025
'Twist, drop and push': Rowing like a Venetian
In 'Saving Venice,' CNN's Erica Hill speaks with a collective of locals interested in promoting a more ethical tourism industry with respect for Venice's unique and delicate environment. She learns about the innovative ways a new generation of Venetians are working to preserve the city's traditions, mitigate the effects of climate change, and taper the city's dependence on massive amounts of tourists. 'Saving Venice' for 'The Whole Story with Anderson Cooper' premieres Sunday at 8p ET/PT on CNN.
01:12 - Source: CNN
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'Twist, drop and push': Rowing like a Venetian
In 'Saving Venice,' CNN's Erica Hill speaks with a collective of locals interested in promoting a more ethical tourism industry with respect for Venice's unique and delicate environment. She learns about the innovative ways a new generation of Venetians are working to preserve the city's traditions, mitigate the effects of climate change, and taper the city's dependence on massive amounts of tourists. 'Saving Venice' for 'The Whole Story with Anderson Cooper' premieres Sunday at 8p ET/PT on CNN.
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The Twisted Tale of Amanda Knox on Disney+ review: twists itself in knots
The Twisted Tale of Amanda Knox on Disney+ review: twists itself in knots

Yahoo

time40 minutes ago

  • Yahoo

The Twisted Tale of Amanda Knox on Disney+ review: twists itself in knots

'Story is a powerful thing,' intones the voiceover during an episode of The Twisted Tale of Amanda Knox, a new TV miniseries produced by Amanda Knox herself alongside Monica Lewinsky. Who has the power to tell their story – or others' – is the issue at stake. Knox has described Lewinsky as her comrade in their 'sisterhood of ill repute'; this eight-part show on Hulu (streaming on Disney+ in the UK) is their attempt to set the record straight over what exactly happened almost two decades ago. But when the story has become so tangled in its retellings, can anything unpick it? Knox, 37, was wrongly convicted of murdering her British roommate Meredith Kercher in 2007, along with her boyfriend of just a week, Raffaele Sollecito. Excoriated in the British press as the she-devil Foxy Knoxy, she spent eight years on trial and four in prison. Two memoirs and a Netflix documentary later, she's still attempting to clear up the smear campaign against her. Is a TV show up to that mammoth task? Doubtful, but you can empathise with Knox here. Hollywood has already had so many bites of her apple – the pulpy Amanda Knox: Murder on Trial in Italy in 2011, then Matt Damon's Stillwater (2021), which Knox claims fictionalised her experience without her consent. Everyone's told her story on screen except her, until now. Grace Van Patten is fantastic as Knox, capturing not just her mannerisms but her unfortunate blend of brash Americanism and kookiness that gave the police and the press so much room to twist the knife. Each episode requires multiple emotional nadirs, yet you feel the fear, the distress, the choking grief with every micro expression. It's an all the more impressive performance given Van Patten came to the table late in production, after Margaret Qualley bowed out in 2024 due to scheduling conflicts. The whole cast is rock solid but too often the narrative eats the plot. Kercher's killer, Rudy Guede, is only alluded to in the second episode and doesn't appear until the fourth. By immersing the viewer in the confusion of the case as it unfolded in real time, those unfamiliar with the facts may lose their way. It should have been cut and dried. Guede was a drifter with a history of armed burglary and violence against women, who had previously been invited into the downstairs neighbour's home. His fingerprints and DNA alone were all over the crime scene. The jaw-dropping mishandling of the case feels like an exaggeration on screen. The phone tapping, physical assault during interrogation, a faked HIV test to weasel a list of sexual partners out of Knox. Sometimes the truth is so much stranger than fiction it is hard to comprehend. Blink and you miss the cross-contamination between evidence items alluded to in a quick panning shot. Kercher's role is handled sensitively – we never see her dead, only vibrant with life – but the show lingers over Knox's discovery of the crime scene, rather than the tragedy of a young woman losing her life. Understandably, Kercher's family were against this show ever being made. I doubt they will see this portrayal as anything more than another self-centred episode from Knox. Twisted Tale also extends more grace than it should to Giuliano Mignini (Francesco Acquaroli), Knox's prosecutor, who came up with the sordid and deranged theories about sex games gone wrong based off little more than a vibrator and Catholic guilt. Yes, Mignini felt persecuted by the public humiliation he experienced over his theories on the Monster of Florence case. The man sees satanic sex and death cults everywhere – that's far weirder than anything Knox said or did. I found Knox's memoir of her choice to make peace with Mignini incredibly moving. This show just re-ignited my petty loathing for him. Twisted Tale takes some interesting creative swings that brings Knox's oddball personality to life. Travel leaflets come to life with animations beckoning her to Europe. Subtitles for rapid-fire Italian fall away when she becomes confused during an intense legal meeting. A jury member pops his own ears clean off his as the bizarre trial set-up is explained via voiceover. Knox and Sollecito (Giuseppe De Domenico) were tried at the same time as Patrick Lumumba's case against Knox for her false confession – made under extreme duress – that implicated him in the crime. More of this zany energy would have been welcome, instead of the noir-ish police rooms where no one seems to have been able to locate the overhead light switch. The Italian investigators are cartoonishly evil, brooding in shadows as they come up with obviously stupid theories. But then again, the British media did swallow those lies whole. Tabloid hacks get off lightly in comparison, as brainless bottom feeders dashing off salacious copy on the hoof. For true accuracy, there should have been some cuts back to newsrooms where top editors salivated over slut-shaming front pages. Ultimately, Twisted Tale never seems quite sure of its audience. Americans will enjoy its hero's journey and cliffhanger true crime drama moments, but may falter at the hurdle of subtitles. Italians will baulk at the way their countrymen are portrayed, despite so much of it happening in their language. Brits will shudder at the melodrama of it all. A different edit would have made this show excellent. As it is, it gets tangled trying to escape the morass of all that's already been said about Knox. Even if the story has been told by the person who lived it, there will be plenty who refuse to see it as the definitive edition. The Twisted Tale of Amanda Knox is streaming on Disney+ in the UK and Ireland

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Yes, Amanda Knox was maligned and mistreated – but you still won't like her
Yes, Amanda Knox was maligned and mistreated – but you still won't like her

Yahoo

time4 hours ago

  • Yahoo

Yes, Amanda Knox was maligned and mistreated – but you still won't like her

'It is difficult to understand how this serves any purpose,' said Meredith Kercher's sister, Stephanie, when The Twisted Tale of Amanda Knox (Disney+) was announced last year. It is a fair summary of this wayward drama, a luridly stylised, queasily whimsical and aggressively didactic recounting of the events that began in November 2007 with Kercher's murder. Save for a superb central performance from Grace Van Patten, the series offers little but a litany of reasons to feel sorry for Knox, who was wrongly found guilty of the crime. At times, it has the feel of a bad TV movie. KJ Steinberg's eight-parter is based so closely on Knox's memoir, Waiting to Be Heard, that it's a surprise that Knox is credited only as executive producer. This is, soup to nuts, the Amanda Knox show. It begins in 2022, with Knox huddled in the back of a car, secretly revisiting Perugia with her mother, husband and baby daughter, to confront Giuliano Mignini, the public prosecutor who put her behind bars. The scene, which bookends the series, shows us Knox's ability to forgive those who have wronged her, as well as providing the sort of narratively neat moment of closure that Kercher's family will never be able to have. On Nov 2, 2007, Kercher's body was found at her flat in Perugia. The 21-year-old British exchange student had been raped before having her throat cut. Suspicion instantly fell on Kercher's American housemate, Knox, a 20-year-old student from Seattle, and Raffaele Sollecito, her Italian 'boyfriend' (the pair had met only eight days previously). During questioning, Knox, whose Italian was relatively poor, implicated herself and her employer, a local bar owner named Patrick Lumumba, while Sollecito removed his initial alibi for Knox. On Nov 6, all three were arrested on suspicion of murder, though Lumumba was released following a strong alibi. Instead, the bloodstained fingerprints of another man, Rudy Guede, were found on Kercher's bed and he was charged with murder alongside Knox and Sollecito. The prosecution alleged that the killing happened during a violent sex game instigated by Knox. Despite fleeing the country, Guede was arrested and, in 2009, found guilty. In 2021, Guede was released from prison, having served 13 years of his 16-year sentence. In 2009, Knox and Sollecito went on trial, with a second (bizarrely concurrent) trial taking place regarding Knox's false accusation against Lumumba. By this point, the public idea of 'Foxy Knoxy' had taken hold, with the American publicly painted as a sex-crazed sociopath. Knox and Sollecito were found guilty of faking a break-in, defamation, sexual violence and murder, with sentences of 26 and 25 years respectively. In 2011, after having spent four years in prison, an appeal court found them not guilty of murder, with serious doubt having been cast on the DNA evidence that tied them to the scene and to the whole police investigation. The false accusation against Lumumba was upheld, but as Knox had already served adequate time in prison, she was free to return home to America. Knox did not only have to endure frenzied media and public interest, but, in 2013, another trial. Italy's Supreme Court set aside the acquittal and ordered a retrial, for which Knox did not have to return to Italy. In 2014, a verdict of not guilty was returned, although the case was not definitively finished until March 2015, when the Supreme Court ruled that Knox and Sollecito were innocent. A more recent appeal to overturn the defamation of Lumumba was dismissed. The Disney+ drama shows its hand from the start, with Knox telling her fretting mother (Sharon Horgan, struggling with the accent in a leaden role) that 'there's no way we're going back'. Only she isn't looking at her mother, she is looking straight down the camera, with a smirk on her face, at us. 'Well,' announces Van Patten's bouncy voiceover, 'maybe we'll go back a little', before the show treats us to a misguided David Copperfield-esque montage involving a crow hitting Magnini's office window in 1986 and Meredith Kercher's first steps. Knox's initial weeks in Perugia are marionetted in front of us as a mix of Emily in Paris and Amélie. To add to that unpleasant taste at the back of your throat – the night Kercher was violently raped and murdered, Knox and Sollecito were watching Amélie. The best work is done early on, with the horribly throat-tightening scene in which Knox and Sollecito slowly begin to realise something is wrong, as Kercher does not answer her phone or open her locked bedroom door. This is compounded in the hellish first few hours in the police station, with Knox pressed and cajoled by detectives who she barely half understands. The show makes a good fist of portraying the Kafkaesque nightmare that Knox lived through and Van Patten is truly believable, capturing Knox's oddball goofiness and brittle ego. Yet the thing that holds it back is Knox herself, as the show borrows the memoir's propensity for vaguely philosophical mulch, allowing the voice-over to indulge in gnomic blabber such as 'does truth exist if no one believes it?' or 'in the haze of tragedy, I was a deer in the headlights'. Everything is shown through Knox's filter – the police are cruel dunderheads, the media are braying hyenas, Kercher's British friends are pearl-clutching prudes. Worst of all is how those who cared for Kercher are portrayed. Sollecito is a lovelorn artist, unable to live if he does not have her devotion. The prison chaplain is a saintly grandfather figure who adores her and, at one stage, implores her to sing. (Yes, in the Amanda Knox Story, Amanda Knox gets a song.) It's an oppressively solipsistic work, with various characters speaking Knox's truth for her. The chaplain tells her that people don't see her, rather they see 'something they fear in her'. Knox's sister Deanna (Anna Van Patten), chastises their parents for making Amanda see the world the way they do. Steinberg has failed to translate the earnestness of a memoir on to the screen, and moments that should be powerful come across as plain cheesy. When Knox is freed from prison, everyone, from inmates to guards, all but bear her aloft on their shoulders, cheering and crying. At one point we get a literal trapped bird metaphor. It's just bad art. It's all rather astonishing. To take a story in which an innocent 20-year-old is not only found guilty of a murder she did not commit but is also portrayed globally as a conniving slut, and somehow make her slightly unsympathetic is some achievement. So much of what the drama tells us is true – Knox was maligned and mistreated, she was wronged and slandered, she had her life ripped away from her and transformed into something beyond her control and was courageous throughout it all. And yet by shoving these ideas down our throats, by turning her accusers into pantomime villains or bungling idiots, the drama does Knox a disservice. It would be wrong to say that the series forgets about Kercher. But The Twisted Tale of Amanda Knox makes her a sideshow to Knox's act of redemption and forgiveness. 'Telling your own story is a sticky, tricky thing,' says Knox. You can add icky to that, on this evidence. The Twisted Tale of Amanda Knox is available on Disney+ now Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more. Solve the daily Crossword

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