My goodness. This is a Jerry Springer mess. Anytime reenactments look as much like the legitimate documentary footage as possible, intentionally causing confusion in viewers is bizarre. First, the series uncritically adopts the perspective of the Barnetts, creating reenactments that encourage viewers to believe their version of what happened. Then, it offers up the "twist" that Natalia sees things very differently, presenting reenactments that tacitly endorse her version. The Curious Case of Natalia Grace isn't a production that cares much about establishing the truth. Instead, the producers prioritize making the story seem as grotesque and unfathomable as possible.
At least two of the sources interviewed at length in The Curious Case of Natalia Grace seem to be suffering from emotional disturbance. Natalia, who spent her early childhood years in a Ukrainian orphanage and was surrendered by the first American family that adopted her, has clearly survived significant trauma, and Michael- well, it's impossible to watch his labile dramatics in both seasons of The Curious Case of Natalia Grace without suspecting that something is wrong with the guy. Really wrong! Beth Karas - a "legal analyst" who has apparently never met or spoken to the people involved in Natalia's case - gets plenty of screen time to speculate about their motives. Anyone could do this, short of a monkey. Never once are any perspective of a mental health professional involved. When the filmmakers engineer a present-day meeting between Natalia and Michael, no therapist is present to help the participants cope with the volatile emotions the encounter is guaranteed to kindle. Instead, Natalia's new adoptive father, a pastor named Antwon Mans, launches into a diatribe about "profanity" when Michael uses the word hell, triggering a drama queen tantrum from Michael as Natalia sobs in the background. It's a scene straight from the Jerry Springer playbook, not even reality television but an engineered spectacle.
The Curious Case of Natalia Grace allows people to accuse others of crimes yet seldom attempts to actually substantiate them. This effectively forces the accused to defend themselves against charges impossible to refute. At times, The Curious Case of Natalia Grace: Natalia Speaks comes across as a flagrant attempt to bait Kristine Barnett out of her silence.
That final twist at the end of Natalia Speaks is a voicemail message Mans left for the filmmakers, played over the closing credits. The previously doting and paternal Mans announces, "Something ain't right with Natalia. This girl is tweakin'. I feel like she's the enemy in the house." What does it mean? Several other sources not embroiled in the Barnett family soap opera have described witnessing troubling behavior, such as sexual overtures toward grown men and prepubescent boys, from Natalia. It would be surprising if she didn't occasionally act out. But there isn't anyone in The Curious Case of Natalia Grace to explain why this might happen and what it means, you know mental health professionals. There is just an endless cycle of trumped-up demonization, encouraged by exploitative filmmakers to repeat itself over and over again, regardless of whom it hurts.
At least two of the sources interviewed at length in The Curious Case of Natalia Grace seem to be suffering from emotional disturbance. Natalia, who spent her early childhood years in a Ukrainian orphanage and was surrendered by the first American family that adopted her, has clearly survived significant trauma, and Michael- well, it's impossible to watch his labile dramatics in both seasons of The Curious Case of Natalia Grace without suspecting that something is wrong with the guy. Really wrong! Beth Karas - a "legal analyst" who has apparently never met or spoken to the people involved in Natalia's case - gets plenty of screen time to speculate about their motives. Anyone could do this, short of a monkey. Never once are any perspective of a mental health professional involved. When the filmmakers engineer a present-day meeting between Natalia and Michael, no therapist is present to help the participants cope with the volatile emotions the encounter is guaranteed to kindle. Instead, Natalia's new adoptive father, a pastor named Antwon Mans, launches into a diatribe about "profanity" when Michael uses the word hell, triggering a drama queen tantrum from Michael as Natalia sobs in the background. It's a scene straight from the Jerry Springer playbook, not even reality television but an engineered spectacle.
The Curious Case of Natalia Grace allows people to accuse others of crimes yet seldom attempts to actually substantiate them. This effectively forces the accused to defend themselves against charges impossible to refute. At times, The Curious Case of Natalia Grace: Natalia Speaks comes across as a flagrant attempt to bait Kristine Barnett out of her silence.
That final twist at the end of Natalia Speaks is a voicemail message Mans left for the filmmakers, played over the closing credits. The previously doting and paternal Mans announces, "Something ain't right with Natalia. This girl is tweakin'. I feel like she's the enemy in the house." What does it mean? Several other sources not embroiled in the Barnett family soap opera have described witnessing troubling behavior, such as sexual overtures toward grown men and prepubescent boys, from Natalia. It would be surprising if she didn't occasionally act out. But there isn't anyone in The Curious Case of Natalia Grace to explain why this might happen and what it means, you know mental health professionals. There is just an endless cycle of trumped-up demonization, encouraged by exploitative filmmakers to repeat itself over and over again, regardless of whom it hurts.
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