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Something is missing in Pam and Tommy : a sensuality and savviness that is impossible to mimic with lip-liner or a wig. Something, though, is missing, impossible to recreate with lip-liner or a wig, or by studying YouTube videos to get her tics and mannerisms just right. If cinema did not benefit to quite the same degree as it did from the day a teenage Lana Turner was first scouted at a soda counter, Anderson still quickly, cleverly parlayed her golden, more-American-than-American beauty into a modelling gig for Labatt, an extensive Playboy shoot and a career in television off the back of that first brief flash of exposure.
In a sense, though, they do not really make them like Pamela Anderson now, either. More important than exactly resembling the celebrity at hand is the ability to channel, medium-like, their particular charisma, offering a reminder to the audience as to why they became so famous in the first place.
The theft and the distribution of that sex tape was, it is clear now, a genuine sex crime, leaving Anderson completely traumatised. Flattening Anderson into a soft and sympathetic outline, Pam and Tommy manages to nix the minxish joie de vivre that made her, however much silicon she added to her body, feel entirely real. She feels so violated to this day. It brings back a very painful time for her. Those seven words, even if they had been provoked by something awful, somehow managed to distil the real Pamela Anderson better than all eight hours of the Hulu series had.
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