Alexander Skarsgård's non-human romantic lead in the new romcom Wicker has provoked more than swooning among viewers: it has prompted a chorus of commentary from basketmakers and craft specialists who say the on-screen construct does not reflect traditional basketry practice.
Craftspeople who noticed the character's appearance have asked why the figure is plaited rather than woven, and why willow, a material commonly associated with wickerwork, does not appear to have been used. Those questions have circulated widely on social media, where images and clips from the film have been shared and dissected by makers and enthusiasts.
The reaction underlines how closely practitioners watch popular representations of their trades. For people who work with natural fibres and traditional weaving techniques, on-screen depictions that diverge from established methods can prompt technical critiques as well as humour and astonishment.
Wicker, as a term, is used broadly in popular culture to describe woven plant-fibre objects, and cinematic costume and prop departments often adapt or reimagine materials for durability, aesthetics, or practical effect. The debate sparked by Wicker shows that such creative choices can attract attention beyond typical film criticism, drawing specialist scrutiny from the communities whose skills are being portrayed.
While the discussion has become part of the wider internet reaction to the film and its unusual central figure, it also demonstrates a recurring dynamic: artisans and hobbyists frequently use social platforms to correct or contextualise craftwork shown in mainstream media, turning a moment of pop-culture buzz into a conversation about technique and tradition.