#I actually like this sort print line look if I'm gonna do it again might do cyclonus next like this so whirl has a buddy

[baryonyxclaws]

my favorite crab armed, stork legged, one eye alien robit 

made another version with a few color changes cause I didn’t know which one I liked more so have both.

[night-unfurls-its-splendour]

The Critique of Manners Part VI

~Or~

An Attempt at an Objective Review of Emma (2009)... VOLUME TWO

Haha, bitches you didn't think I could wait a whole week did you? Nah, not me. and guys, I added to it--all total, it's 9,023 words now. this half of the review is 5,214. HOW DO I HAVE SO MANY WORDS FOR THIS THING? I'm not gonna split it into a third part, because I don't need to for picture limit purposes, but buckle in.

If you didn't catch it, read part 1 here

Here it is, the stunning conclusion to my Emma Adaptation Review series (but this isn't really the end because I plan on doing some rankings later). In this half of my review of BBC'S Emma (2009) we'll discuss Costumes and all the very specific things that I love about this version, and some things I don't like, and some things I'm here to defend.

Let's dive in!

Costumes

Generally I liked these costumes pretty well. They were designed and facilitated by Rosalind Ebbutt, also known for her work on PBS’s Victoria and Vanity Fair (1998). And her work is, as her filmography would suggest, by turns, great and so-so.

These costumes are definitely in line with the adaptation’s general aesthetic: warm pinks and golds, with mints emeralds and blues to cool it off a little, are the order of the day. I really appreciate that every character has a definite color palette. The tradeoff is that this adaptation is the WORST EVER offender for the Jane Fairfax Blue™ trope.

Daywear

Emma’s daywear is full of warm and muted colors. Salmon and magenta are commonly seen. I love that most of Emma’s daywear consists of sleeveless or short-sleeved gowns with wide-sleeved linen blouses underneath. It’s not a commonly seen aesthetic so it feels light and fresh. My favorite of Emma’s daywear dresses is the pale yellow with purple floral print.

There’s one other in particular that I love.

Emma’s blue, sleeveless dress. I love this because of HOW OBVIOUSLY it’s a reference to this portrait of Charlotte, Princess of Wales. I mean...

I’M NOT IMAGINING THIS, RIGHT? WHY DOES NO ONE TALK ABOUT THIS? This is a REAL dress. They still have this exact gown of Princess Charlotte’s. It’s on display. It’s faded, but it’s the same dress.

Harriet has a fresh and innocent green, white and purple color scheme with healthy doses of peach and pink showing. I particularly like her white and purple floral print dress.

Mrs. Weston’s color palette varies, but leans heavily on tans and purples, which is very flattering, I must say, to Johdi May’s coloring and is really refreshing for Mrs. Weston who seems to get stuck in pinks and yellows a lot. No idea what’s going on with the laced-front dress though? This doesn’t quite read as authentic to me, but I do like that her first dress seems to be an apron-front.

I know I already said that this is the worst Jane Fairfax Blue™ offender, but guys I can’t stress it enough. WE ARE 5/5 ON DAYWEAR HERE. LOOK AT THAT. (Also of note, Jane 5 is one of Gwyneth Paltrow’s dresses from the '96 Emma.)

Mrs. Elton seems, at all times, to be wearing some form of pink, but I think I’m right in saying that the white day dress with the rose patterned bodice under the yellow and pink spencer is one of Jane’s dresses from P&P ’80. Can anyone confirm that? They did sneak in some Mrs. Elton Orange™ though, for Box Hill, and it’s worth noting that Mrs. Elton is the only lady who’s appropriately dressed on that occasion.

Isabella gets some understated day gowns that are very nice and also VERY “Jane Austen” in the sense that I feel like Jane Austen herself might have worn them.

Miss Bates, unfortunately is slapped with brown at just about every turn, but at least her “Nice” day outfit has some subtle leaf patterns, which is refreshing. Also Mrs. Goddard has a slappin’ cap. Love that.

Also, Harriet’s Grecian costume for the painting (upper right hand corner). What can I say, but that I love it. I love that it hints at the neoclassical influences on Regency fashion too. This is my favorite interpretation of the painting too.

Evening Wear

You know what I love about this version? It’s the first version of Emma where her gown for the Crown in Ball isn’t WHITE. I know, I know white was fashionable, but it’s just… it’s nice for not EVERY gown in a ball scene to be plain white friggin muslin and also, it’s not one she’s ever worn before, which is great.

Harriet does have only white evening gowns but that’s okay. My only complaint is that, specifically on her Crown Inn dress and in a lot of her costumes in general, the waistline seems just a little low. Hmm. I really like the pale blue pattern on her first evening dress though.

Mrs. Weston though. Woo. Look at those. She has a dark chartreuse gown with black lace trim that any other version would have put on Mrs. Elton, so you know from the dark tones that she’s a bitch. Not so with Emma '09, and that’s good. And her teal dinner number is a favorite of mine. I never paid much attention to her green and gold ball gown but it has some really beautiful, subtle leaf or maybe peacock feather patterns on it and I love that. My only problem is that there seem to be some fit issues. She’s got muffin top way too often. Her orange evening dress is a bit of a dud though, firstly, because it has long sleeves (which is an evening gown no-no) and the fabric slaps a bit too much of sari fabric for my tastes.

Jane, not only is put in blue with both of her evening gowns (although one is so pale it borders on white), ONE of them is another Emma ’96 repeat and not only that, it’s one of Jane Fairfax’s dresses in that film! Perhaps that’s enough to make it an homage, and I have to say, I think Laura Pyper wore it better.

Miss Bates only has one evening wear ensemble, but at least it’s cream and not brown.

Mrs. Elton’s gowns are surprisingly understated, and yet still seem to be annoyingly fussy and, what’s better? They’re not sickly green. One of them is actually a very pleasant mint.

Outerwear

Outerwear is roundly pretty great here. Emma’s primary choice of color for spencers is emerald/evergreen and one of them is Elizabeth’s Bennet’s from the 1995 P&P (though to be honest, I think Jennifer Ehle filled it out better.) I do love Mrs. Elton’s pink and yellow number with the slashed sleeves. Jane Fairfax’s only spencer is, you guessed it, blue, but her friend Miss Campbell has a rather fun mauve one.

There’s no shortage of pelisses and redingotes either. Harriet can be seen in one borrowed from Elinor Dashwood in the '08 S&S, Mrs. Weston has a rather fabulous purple one which she wears with the most delicious looking hat I’ve ever seen.

Emma has two. The first one is a great magenta number with military braiding (and I think she wears with it one of the brown slouch hats that Kate Beckinsale wore in the same role) and while the other pelisse is brown, they had the sense not to make her wear a hat with it that was also brown. Instead, they gave her a contrasting color. Good on ya, Rosalind!

Speaking of hats, I don't often single them out for commentary, but I want to here because… the hat authenticity is… kinda spotty. Let me show you.

Okay first of all, Emma may be a teenager in this pic on the upper left, but she is not dressed formally enough for her sister’s wedding (which is what’s going on in this scene) but at least her hat is pretty good. You can see the ribbons are on the inside of the hat here, which is as it should be… but she never wears this hat again. At any point in the series. Instead, we next see her in the one on the upper right and ye gads this is atrocious. WHY IS HER HAT NOT PINNED ON? IT’S SLIDING DOWN THE BACK OF HER HEAD. SOMONE FIX IT. PLEASE. But wait, there’s more. This kills me because these bottom two are so similar to the one she wore earlier (the correct one) but crappier looking. Jeez.

This is not a hat. It’s a peanut. You know who doesn’t have this problem? Harriet. She only has one sun hat but at least it’s correct.

I also wanna touch briefly on this ^ costume continuity issue.

WTF is this? She’s in the hall, her ribbon is contoured to the line of her dress; she goes into the drawing room and… it isn’t anymore? Wha happun?

I took more menswear screencaps for this version than any other version. And that’s because the men just have more outfits that are, y’know, different from each other.

Mr. Knightley is as understated as ever, but I wanna highlight the first pic there and why I love it. This is Knightley’s first appearance in the series and it’s the perfect establishing shot that shows the viewer everything they need to know about Emma and Knightley’s relationship and how it has always been. He sort of materializes, out of focus in the background, but Emma immediately knows he’s there. And to accentuate how much Knightley is part of her home and scenery, his clothes (similar shades of pale tan, white and minty green to the wall behind him) almost camouflage him and make him seem at one with the moulding.

He also has a rather lovely blue evening waistcoat that I WISH I could have gotten better shot of (although I do believe it’s also worn by Henry Crawford in the '07 Mansfield Park, so for further reading…)

Mr. Weston finally gets to wear clothes that aren’t all brown! He only has ONE brown outfit. He gets PATTERNED waistcoats, one of them a rather spiffing blue and brown striped number. And he wears TROUSERS! Because he’s a gentleman, and he’s not that old and trousers are worn by fashionable gentlemen in this period!

You know who else gets to wear trousers and at least one fun waistcoat? Mr. Woodhouse. Check out that lovely Sunday Best™ waistcoat. The red striped one. That’s delightful.

John Knightley’s evening wear intrigues me. That’s a double-breasted jacket, and you know I’m not totally sure that’s very authentic for evening-wear of this period, but it is different. Unfortunately he also has a flared top hat and that is definitely not on for this period.

One of my favorite things about this version is that they don’t dress Mr. Elton as a clergyman all the time. Yes, he may be the vicar, but he’s also allowed to dress like a fashionable, handsome young man. So I’m really happy that he gets to flex his fashion muscles here.

And speaking of fashionable young men, FINALLY frank gets to be COLORFUL and his trousers are even tight enough. Both he AND Elton are often seen wearing TWO waistcoats, as I would expect them to, and even though Frank’s a dandy, he knows that flashiness is gauche so his pops of color are bright, but not in your face. His green and red waistcoats are always worn under more muted colors, and I just love it.

The only problems are… what’s with the turned-down waistcoat collars? There’s no precedent for this, in fact I think it’s directly contradictory to the style at the time, and also it makes the cravats look a bit unruly.

A Critique of Manners

A lot has been said about the manners in this adaption. Like, the actual manners, body language and facial expressions, specifically vis-à-vis Romola Garai.

And, oh yeah, there’s a lot to pick at here, but first I’d like to talk about the facial expressions.

I'm mostly gonna be talking out of my ass here, but this is my take, so if anyone can make a better argument against my points, I am listening, because I don't really like talking out of my ass and I like to be informed. That said...

I tend to be lenient on the… exaggerated facial expressions because, something I’ve noticed reading Austen’s works through the last several months is that Austen is very descriptive when it comes to facial expressions and I just find it hard to believe that people in the Regency Era never made exaggerated expressions like this.

I’ve heard a lot about how Garai’s Emma is not dignified or lady-like. But let’s think about the context of Emma Woodhouse – she’s never been in society. She’s only had a governess to teach her, and we know Emma’s always been sort of averse to being told what she can and can’t do. Emma is the highest ranking woman in her social circle (barring Isabella’s occasional presence). Emma doesn’t have to be ladylike. At 21, she’s already her local Lady Catherine. She puts a lot of stock in her position in society but, as Mrs. Elton will be the first to hypocritically point out, she’s very poorly behaved. I'd be very curious to see what would happen if Emma went to London for the season. Probably, she'd be seen, comparatively, as a country bumpkin. Can you imagine how she might get on in a sea of accomplished young ladies? She can barely handle having ONE rival with any kind of grace.

Austen never describes bodily movements of the kind we’re looking at when we watch adaptations, so why not have Emma’s body-language be un-ladylike in the conventional sense of the time? I’m not saying this to excuse the absolutely inexcusable (Frank’s head in her lap, kneeling on the sofa backwards etc.), but while Emma’s mannerisms aren’t exactly ladylike for her time, they’re not overtly masculine either (which was one of my biggest problem with Death Comes to Pemberly for example.)

Yes, there’s an ideal for manners. But we know real people didn’t always follow those ideals. In dancing for example, many dancing guidebooks of the day were full of repeated instructions not to be too loud or rambunctious when dancing. What this tells us is that people were doing just that, and probably quite a bit, too. I think that, while taking societal strictures into account, we shouldn’t totally discount the idea that people in the Regency weren’t really that different from us, and young people especially.

Now I’ve already mentioned some of the inexcusable aspects of interaction in this adaptation and they’re so notorious at this point, I don’t think that I really need to go over them much here. Although I will say: is it ridiculous to have Frank Churchill put his head in Emma’s lap? Yes. Did it make me more viscerally uncomfortable with the situation on Box Hill than any other version? Yes.

I was like, 14 when I watched this the first time. This was an effective way to telegraph to young people like me that Emma is being extremely inappropriate here in a way that no other version really managed to, even when I watched them when I was older and understood the period more. I’m far more acquainted with Regency manners than I was then, but to be honest – if they had been accurate with the manners here, when I was 14 I would not have understood what the big deal was. Is there merit in circumventing historical accuracy in favor of reaching a less-informed but still-interested audience? Yes, I think so. There were three other versions of this, at that point, that did this scene with more or less pristine manners. Not every version has to follow the manners of the time to-the-letter to be good. That’s my feeling on the matter.

There are things that do really bother me though. Like the idea that Harriet Smith doesn’t know how to spoon soup, for instance. As I said in my review for the Miramax version, table manners are pretty basic, there’s no reason Mrs. Goddard wouldn’t have taught Harriet this. It does provide a good moment to show Emma tacitly coaching Harriet and showing the trajectory in which this relationship will go, but personally I don’t think it was necessary—there are plenty of other ways that could be done.

Also: kids at the dinner table? I know this is part of building the familial atmosphere but it really does annoy me, because apart from building the familial atmosphere (which they do very well and frequently in other ways) it really didn’t need to happen, and it doesn’t add anything.

The Heart of Highbury

So, as I’ve hinted at throughout this review, the bread and butter of this adaptation of Emma is emotion. This version goes hard and heavy on showingthe relationships – Emma’s relationships with Mrs. Weston, Mr. Knightley, her father, her sister, her brother-in-law, Miss Bates; Jane’s relationship with Frank; Frank’s relationship with his father; The John Knightleys’ home life – and it illustrates things that can be surmised from just reading the story, but really draws your attention to them in ways that other adaptations just don’t.

It does this from the very beginning with the prologue which explains in detail (not just in quick exposition between characters) how Jane and Frank were separated from their families at young ages. We know now, from psychological study, that being taken away from their primary caretakers during their formative years is one of the most psychologically traumatizing things for a child. This is deeply important context which is explained in detail by the narrator in 2-3 large pages (in my Barnes & Noble anthology) in the book.

In the featurette on the houses, they talk particularly about Hartfield and the Woodhouses being the heart of Highbury and how they particularly wanted it to feel homey because Hartfield is Emma’s house and they wanted the audience to feel why everyone is so drawn to it, and to Emma; to me that is what they did with the whole adaptation in microcosm.

I usually talk a bit about the dancing and I'm going to here as well because this is maybe the most special dance scene in any Austen for me. Of course I'm going to link to Tea with Cassiane as usual because she knows what she's talking about and I don't. But I wanna add some comments. She gives this a pretty low rating in spite of a generally favorable commentary because of two big oopsies, the circle dance formation is one, and the other is I believe, an issue with the style of dance not matching the tune in Emma's dance with Knightley. Throwing out any objective technical analysis though, this is my favorite Ball in any Austen and it all comes down to the cornerstone of this adaptation--emotion.

All of the songs and dances were original compositions and choreography made for this adaptation. So they're not period per se, but the tunes at least are representative of how Regency dance music should sound. These dances are upbeat, and lively and, damn they look like fun. Everyone is excited here and it makes me understand why dancing was such a big thing. Best of all that excitement adds to the emotional charge of the scene. "The Ship's Cook" is the most fast paced dance and I'm glad they made this the dance where Elton snubs Harriet because it really hits for me just what Harriet would be missing out on if Knightley wasn't so fucking aptly named. In all other versions you get the insult, but the dance that's taking place is usually a Baroque walker so it doesn't seem terribly like she's missing out on much. Here, this is like not getting picked for kickball-- not only is it a slight that no one wants you on their team, but you miss out on even playing the game. Harriet looks so lonely, and her feeling of being out of place rolls off of Louise Dylan so forcefully it chokes me up just thinking about it because I've been there, man. I feel this shit. *dabs eyes*. Ahem. So, yes, when Knightley engages her for the dance the excitement the viewer feels is that much more forceful and Harriet's exuberantly starting to jump in when the timing is off and Knightley gently pulling her back, it just hits me in the feels center, guys. (I wanna take a moment to give a shout out to every camp counselor who ever partnered with me for any game at summer camp.) Emma's reaction too, is gold. Her genuine relief at Knightley swooping in is one of those great reminders that Emma is Harriet's friend, and she does care about her.

Finally on the dancing front, I wanna talk about Emma's dance with Knightley and why I prefer it to the one in the 2020 version. I already talked about this a bit in the 2020 review, so I'm gonna try and keep it brief. That shouldn't be too hard, because I'm probably mostly going to repeat a lot of what I've already said about Emma and Knightley in this version as a whole.

The big thing everyone loves about the Crown Inn dance in the 2020 is the yearning, the sexual tension, the quivering touches etc. Don't get me wrong, I LOVE all of those things but... not all the time. Not in everything, and definitely not in Emma. Because Emma, to me, isn't about repressed sexuality or heated tension or seething passion. Emma and Knightley are the opposite of that, to me, really. One of my mutuals put it best, I think: "Emma and Knightley are more suited to stolen glances than hot touches."

In Part 1 I talked about how Knightley is Emma's comfort object. When Emma is out of sorts, Knightley re-centers her. It helps set up, and puts emphasis on, the crisis of the story in the last act--Emma not knowing what she has until [she thinks] she's lost it. Emma and Knightley are Friends to Lovers done as it should be. She is already so comfortable with him she doesn't even realize her own feelings. She just feels right with Knightley and that's what this dance is here to show you--a foreshadowing of matrimonial harmony.

The dance itself, of course, is always up to interpretation, because Austen never describes how it goes, just that Knightley asks Emma to dance and Knightley doesn't dance (barring charitable causes). If you prefer the sexual tension take, if that, to you is an improvement on Austen's story and gives you what you've always felt was missing, I'm glad that there is a version now that gives you what you've been looking for, but for me, I think the 09 approach hits closer their dynamic in the book.

Now do I do think the Emphasis on emotion maybe went a little too earnest in some places in this adaptation? Maybe. Just a little.

In my last review (1972) I went on a rather lengthy tirade about the scene where they turn Emma’s appeals to Harriet to exert herself and move on following Mr. Elton’s marriage into Emma guilting Harriet into thinking she’s a bad friend for being heartbroken and then throwing her into the situation most likely to rub salt in that particular wound.

In this version, while I love the emphasis they put on the stress Emma puts on her own guilt for being the reason for Harriet’s situation in the first place, I think it’s maybe a little too… much.

That’s the only way I can put it. I know I’ve just said that I think there should be a bit more expressiveness in period drama, but this doesn’t quite match the way I read it (Emma’s a bit less desperate in Austen’s prose. Very dedicated to helping Harriet feel better, but just a skosh more composed). I think she’s even crying in this scene.

While we’re here let’s go over to Box Hill ONE. MORE. TIME.

First of all, this is where this screenplay shines, in my opinion. This is the big turning point in the story and as such, should be a touchstone for the judgment of any adaptation. This sequence in the 2009 version is a perfect crystallization of everything I love about this version—namely that this is the version that, to me, most feels like someone read the book thoroughly, paid attention to what Austen was describing and then actually tried to convey it on screen. A lot of other versions sort of feel (to me), like the director glanced at the page and said “here’s what I want to convey in my version”. Insofar as making a piece of art goes, that’s good. Directors are artists as much as painters are and movies are their canvass, but it’s seldom that you find a director who honestly wants to hit as close to the author intent as possible and this Box Hill sequence makes me feel like that’s what Jim O’Hanlon was going for. I have the book open next to me as I write this and it’s shocking to me how minutely the atmosphere described in the book is conveyed here. Most of all, the fact that Emma’s insulting Miss Bates is not the only thing faux pas she makes here. Box Hill as a whole is a disaster, and it’s largely because of Frank.

“When they all sat down it was better; to [Emma’s] taste, a great deal better, for Frank Churchill grew talkative and gay, making her his first object. To amuse her, and to be agreeable in her eyes, seemed to be all that he cared for—and Emma, glad to be enlivened, and not sorry to be flattered, was gay and easy too, and gave him all the friendly encouragement, the admission to be gallant, which she had ever given in the first and most animating period of their acquaintance; but which now, in her own estimation, meant nothing, though in the judgment of most people looking on it must have had such an appearance as no English word but flirtation could very well describe. “Mr. Frank Churchill and Miss Woodhouse flirted excessively.” They were laying themselves open to that very phrase—and to having it sent off in a letter to Maple Grove by one lady, to Ireland by another. Not that Emma was gay and thoughtless from any real felicity; it was rather because she felt less happy than she expected. She laughed because she was disappointed…” --Emma, Chapter 43

Most other versions rush through Frank’s “excessive” flirting with Emma (Right in front of Jane) to get to “Three Things Very Dull Indeed” as fast as possible, and yes that’s the crowning horror of Box Hill, but there’s a very intricate setting here, too, and this version has the time to lay back and let it all unfold in the oppressive discomfort of an English summer day.

Even better than all of that though is Knightley confronting Emma after it all goes down. This treatment is neither plaintive, nor aggressive as it was in ‘96 and ‘97 respectively. I’ve already extolled the virtues of Johnny Flynn’s Box Hill rebuke, but for a change I’m not going to zero in on Miller’s performance which is, at least as good as Flynn’s, but on Romola Garai’s, which I find superior to Anya Taylor Joy’s. Specifically, her reaction once she’s alone.

ATJ in the 2020 version immediately breaks down sobbing and it’s hard for me to feel that she’s sobbing for “anger against herself, mortification, and deep concern” or that there’s much self-reflection going on there. To me it rather just feels like she’s crying because she got shouted at. The theatrics of it, to me, feel childish and self-centered.

I don’t feel that with Garai’s performance.

“She was vexed beyond what could have been expressed—almost beyond what she could conceal. Never had she felt so agitated, mortified, grieved, at any circumstance in her life. She was most forcibly struck . . . How could she have exposed herself to such ill opinion in anyone she valued! And how to suffer him to leave her without saying one word of gratitude, of concurrence, of common kindness!

Time did not compose her…” --Emma, Chapter 43

Of course one can make the case that Emma's reaction should be a bit childish because Emma is an immature character, but that's the thing--I can agree with you anywhere else in this story but this is Emma's maturing moment. This is her turning point as a character. It's where we should see her reactions shift from the same childish denial we're used to seeing when Knightley scolds her, because this is different. It's not the usual brushing off of big brother Knightley, this is a young woman reacting to an esteemed friend pointing out how abhorrently inappropriate she's been and her having to admit that to herself.

I didn't really want to drag comparisons to the 2020 film into this, not on this scale at least, but this just jumped out at me the last time I watched the new film and I have to express it somewhere.

What I see in Garai’s performance is desolation and mortification. That shocked tearfulness of knowing you’ve been justly reproached for wrongdoing, but being too frozen in a pretense of composure to actually cry about it until you’re quite sure that no one will see you. And especially when it’s someone you esteem rebuking you, the horror of them leaving before you can admit that they’re right. There’s so much more depth here, I think, and I can’t even quite express what it makes me feel.

The aspect of time not composing her is another thing that they decided to put stress on in this version. Emma looks fucked up in the following scenes. When she goes to see Miss Bates, she clearly either hasn’t slept or has slept very badly. I feel like this is maybe an anticlimactic conclusion to this section but I’m afraid I’m very close to reaching incoherence, so I’m just gonna leave it here.

My absolute favoritest thing about this version though—something that sets it apart from ALL other versions and even adaptations of other Austen stories—is the inclusion of the post-confession conversation.

This is something of a trope in Austen books but it very rarely finds its way into adaptations: confessions of love are out of the way, the hero and heroine settle into an easy an comfortable conversation, glowing with happiness as they explain and laugh over their actions and misinterpretations of each other’s choices. It happens in Pride and Prejudice, in Persuasion, and yes, in Emma. This is the only Austen adaptation, that I've seen, to include this kind of conversation in any kind of detail. The 1995 Pride and Prejudice alludes to the corresponding scene in it its source material, but the lines pulled from it get tossed into the confession scene itself and then it flies through to get to the obligatory wedding—a side effect of rushing through endings, a convention I’m rather tired of.

Emma (2009) takes its time with this, as with all other aspects of this adaptation. For a version that’s so full of energy, its pacing is extremely laid back and comfortable, without dragging. When you hear the gentle musical swell and Emma and Knightley have their kiss (this whole confession sequence is so sweet and wonderful in its own right), you expect that to be it. But no, we cut to them, the picture of contented happiness, sitting together on a bench overlooking Hartfield’s garden, just talking and enjoying being together, with no teasing, no pretense. If Jane Austen stories emphasize anything, it’s the importance of communication in relationships, and I think that’s maybe why she made it a point in almost every story to show her characters communicating their feelings in words, even after all the conflict has been resolved. This is my favorite scene in the whole series (In case it being my header image didn’t make that obvious.)

This is followed rather promptly by a cut to the next day, with Emma bursting in to Donwell in hysterics about how they can’t be married because she won’t leave her father alone.

This is one of those maybe over-the-top choices that a lot of people don’t like, but guys, it was so funny to me when I was fourteen and it still makes me laugh. It might seem outlandish, but to me it’s just the emphasis on personal relationships and emotion coming through again and it always makes me smile.

Final Thoughts

It’s hard for me to give a proper round up of my feelings for this section because I think I’ve poured just about all of my feelings on each aspect into its dedicated sections.

At the end of the day, the only thing that really disappoints me about this version is the number of missed opportunities there are here. One of my favorite parts of reading Austen is when I run across a line in dialogue or narrative that just… slaps. But they never make it into the adaptations. Emma is full of them and I just wish that Sandy Welch could have taken an opportunity to slip a few of them in.

In summary, I think this is a wonderful, heartfelt adaptation aimed at getting to the emotional heart of a story that often gets caught up in the Mean Girl-ness of its main character than the coming of age story that it is. It's one of my favorite period dramas because it's one of the few that really captures the spirit of the source material as it's always felt to me. There's really only two other period dramas that I esteem on the same level as this, and they're North & South (2004) and Jane Eyre (2011) and it's for the same reasons; because they impact me deeply on an emotional level--which is what art is supposed to do--because of how well it captures the essence of the story that I know and love.

So did I succeed in a more objective review of Emma 2009? I' feel like probably not. But I tried my best. It’s so hard to be objective about something that makes you as happy as this adaptation makes me.

Ribbon Rating: Most Agreeable (83 Ribbons)

Tone: 10

Casting: 9

Acting: 9

Scripting: 7

Pacing: 10

Cinematography: 7

Setting: 9

Costumes: 6

Music: 8

Book Accuracy: 8

[iam93percentstardust]

I'm bombarding you with those prompts, so I fully understand if you just ignore all those you don't like, lol. Would WinterIronFalcon be an OT3 you're intrested in writing? Some established WinterFalcon with Tony pining helplessly after them, not believeing he could have a chance? With a dash of angst in it? Thank you ♡

There isn’t much angst in this but there is hopeless pining so yay?

Also on ao3 here

~

“Share Bear, it’s not fair,” Tony whines into the phone.

“What isn’t?” his cousin asks, sounding patient but also kind of amused. He takes the phone away from his ear and squints at it. Is she making fun of him? She probably is, Sharon always makes fun of him. She’s mean like that; he’s pretty sure she gets it from Natasha.

“They’re so fucking gorgeous, I can’t stand it.”

“Oh. Them again. Seriously Tony, didn’t you used to have better taste?”

“Excuse you,” he says, offended. “My taste is perfect.”

“They think arguing is foreplay.”

“It’s bickering! And it’s cute!”

“Gross,” Sharon says cheerfully.

“God hates me,” Tony says dramatically, flinging his hand over his eyes. “That’s why he cursed me to work with two such beautiful humans who are already dating each other.”

“Tony—”

“I know Bucky stays up to date with the fandom,” he continues, going a little quieter. “He’s gotta know that tons of people ship the three of us. But he doesn’t say anything about it. Share Bear, why doesn’t he say anything?”

“Probably because for every person who ships all three of you, there’s twice as many who ship just you and him,” she admits. “I know that if someone were shipping Maria and Nat and ignoring that I even exist, I’d be pretty upset.”

“Yeah,” he says glumly.

“What’re you filming today anyway?” she asks.

“True Crime. We were supposed to be doing an episode of Supernatural at the Odinson Mystery House, you know, over in Norway where the son found out he was adopted and then got super into Norse mythology and supposedly disappeared into a rainbow?”

“Oh yeah, that guy was crazy.”

“Wasn’t,” Tony insist stubbornly. “There are three different eyewitnesses and they all saw the same thing.”

“All three eyewitnesses tested positive for meth.”

“It was trace amounts and ruled irrelevant to the case. Anyway, there’s some sort of blizzard so our flight got canceled. We figured we’d get a jump on this season’s True Crime episodes instead.”

“What are you doing this week?”

He scowls into the phone. “Fandom episode. They voted for Captain America.”

He can practically hear Sharon wince. “I’m sorry. That fucking sucks.”

“Yeah,” he agrees, not least because both of them know exactly what happened to Captain America. He was recovered from the Arctic back in the 50s and went on to live a very happy and fulfilling life with Aunt Peggy. But that’s a very closely guarded state secret; the U.S. government can’t let it get out that Steve Rogers survived nearly a decade in the ice. Technically, Tony and Sharon aren’t even supposed to know but Aunt Peggy had insisted she be allowed to tell them after she took custody of Sharon and Tony moved out of Howard’s and into her home. It’s kind of cool actually, knowing that Uncle Steve is really Captain America. He’s a pretty great guy. It just kind of sucks that he can’t tell anyone about it and now he has to do a whole episode about it when everyone knows he’s a shitty liar.

He’d talked it over with Uncle Steve and Aunt Peggy when the results of the vote had first come in. Aunt Peggy’s advice had been to act more manic than usual, throw even more outlandish theories into the mix, and really make this episode about the banter between him and Bucky. “Direct their attention away from Steve,” she’d said. “They’re already going to be looking at you. Just make sure they’re doing it for the wrong reason.”

He kind of wants to kiss Bucky. That would definitely draw attention away from the episode. But that’s not fair to either Bucky or Sam, who are very happy with their relationship and don’t need a homewrecker like Tony throwing a spanner into the mix.

“Good luck,” Sharon tells him before they hang up. “You’re gonna need it.”

“Wow, thanks,” he mutters but she’s already gone.

~

Marvels Unsolved was never supposed to be this popular. It started off as a novelty webseries about Tony trying to convince Bucky about the existence of the supernatural—he firmly believed that if science could turn Uncle Steve from an actual shrimp to the god of muscles, then magic had to be out there—and then they’d started talking about an unsolved crime from the early 20th century after filming an episode one day, forgetting that the camera was still rolling, and had ended up with enough footage to make a second episode about real crimes. They had stayed pretty unknown throughout that first season but then true crime podcasts had exploded in popularity and Unsolved along with them.

Now they have a fandom and merchandise and actual fanfiction written about them, which is the craziest thing. They both have several often-quoted gifs floating around the Internet and Bucky has somehow become the poster child for being unimpressed by literally everything (he actually makes some of the best faces when something genuinely scary happens but they always end up editing those parts out—he has an image to maintain after all).

They brought Sam on once they started gaining in popularity. Tony, by that point, already had a pretty well-established crush on Bucky. He’d even thought that he had a chance with his co-host, small as it may be, and at first, it hadn’t seemed like Sam was going to change anything. He and Bucky argued all the time so Tony had been absolutely stunned when he’d stumbled upon them making out like it was the end of the world.

They had just finished filming their second season. Sam had suggested going out to a local bar. He’d suggested it for all three of them but Tony had, inexplicably, felt like a third wheel all night as Sam and Bucky bickered. At one point, Sam had disappeared off to the restroom and a couple minutes later, Bucky had followed him. Tony doesn’t know how long he had sat there waiting for them but he’d eventually gone looking for them only to find Sam pressing Bucky up against a wall.

And that had been that.

Three years later, Sam and Bucky are still going strong, Tony is as smitten with Sam as he is with Bucky despite knowing how hopeless both crushes are, and the fandom seems convinced to either write Sam out of Tony and Bucky’s relationship or write Tony into Sam and Bucky’s. He wishes they would stop. He stays pretty up to date with the fandom as well and they have all these meta posts about the way Bucky looks at him or something. It just keeps giving him hope but, well, it’s been three years. If Bucky wanted him, or if Sam did for that matter, they would have done something long ago.

~

“Hey, you doing okay?” Sam asks him as they’re setting up.

“Sure, why wouldn’t I be?” He avoids meeting Sam’s eyes, focusing instead on adding creamer to the coffee. Marvels had presented them with these mugs last year to congratulate them on four years of Unsolved. They’ve got their most iconic quotes printed on them, Bucky’s with “Obviously I killed JFK” and Tony’s with “I’m the dramatic bitch your mom warned you about.” Sam has one too with his one and only line in the entire show printed on it (“Why did I agree to work with you?”) but since he’s always behind the camera, he doesn’t have to use the same mug for each episode.

“You just seem a little off.” The worst part is that Sam genuinely looks concerned. If they didn’t care about him, he thinks his crush might be easier to manage but they do because they’re just nice guys like that. “I know you weren’t too thrilled when we announced this week’s case.”

“Howard worked with him, practically hero-worshipped the damn guy. Of course, I’m not excited.”

Sam winces. They know all about Tony’s shitty relationship with Howard after his dad called Marvels furious that his son was hosting a webseries instead of coming home to grovel at his feet and take over the business. The whole team had been brought in to listen as Fury tried to placate him. By the end, Bucky had been furious on Tony’s behalf and Sam had berated Fury for twenty minutes for making Tony listen to the vitriol his dad had spewed. It had cemented his crush on Sam, then just a passing fancy, into something real and permanent.

“Seriously, Sam, I’m fine. Might be a little off today but I would have said if I didn’t think I could do it.”

Sam doesn’t look convinced but he agrees anyway. Tony sits down next to Bucky and passes him his mug. Bucky shoots him a grin and murmurs, “Thanks, doll.”

Tony doesn’t blush but that’s only because he has five years of practice. Out of the corner of his eye, he spots Sam counting them down and he turns to face the camera, settling his hands in front of him.

“This week on Marvels Unsolved True Crime and in celebration of our 100th episode,” he begins, “we asked you what you’d like us to investigate and you came back—”

“—overwhelmingly,” Bucky interjects.

“Many, many times,” Tony agrees, “with a topic near and dear to my own heart: Captain America.”

“That’s right,” Bucky says, sounding surprised though Bucky had been the first to point out that maybe they shouldn’t do this episode because of Tony’s connections to Project Rebirth. “Your dad helped turn Steve Rogers into Captain America, didn’t he?”

“And he never let me forget it!” Tony says cheerfully.

“One hundred episodes,” Bucky says slowly, enunciating each word. “Can you believe that, doll?”

Sometimes, he wonders why the fans ship them when Sam is right there. Other times, Bucky says things like this and he understands completely.

“Not even a little bit, Bucky Babe.” Okay, so maybe he doesn’t help.

“One hundred. The big one zero zero.”

“We tried to do something extra special and get Sam in front of the camera for you guys—”

“—so you could see what a hunk he is—”

“—but Sam said that he didn’t trust anyone else to film us properly—”

“—which makes sense because Tony? If you put him in the wrong light, he’s practically a gremlin—”

“Hey!”

“I’m just telling the facts.”

“Well, the facts are wrong.”

“They’re facts, sweet thing, they can’t be wrong.”

“Can too. Anyway, since Sam refuses to join us—”

“—and that just breaks my heart because Sam, he’s one of my favorite guys, you know?”

Tony pauses. It’s not like Bucky to say anything nice about Sam. Usually, it’s all good-natured insults and bickering. He must really be fed up with the Starkbucks shippers to say something like this when they’re still this early in the show.

“Only one of?” he asks curiously.

Bucky shoots him one of those filthy grins that their audience loves so much. “Well, it’s hard not to include you on that list,” he drawls.

He’s not going to blush.

He’s not going to blush.

He’s not going to—

Damn it.

Whatever. It’s no big deal, that’s what editing is for. So what if Sam has never edited out one of Tony’s blushes yet? Maybe Tony will get lucky and he will this time.

“You know, I was actually named for Captain America’s sidekick?” Bucky asks, getting them back on track.

“Wow, that is deeply unfortunate,” Tony deadpans.

“Yeah, Dad’s a fanboy. His whole troop was pinned down and rescued by the two of them. He tells the story all the time—kind of like your dad.”

“Except my dad goes straight past into fanboy and directly into obsession territory.”

“…Fair enough.”

“Really? That’s all you’re going to say?”

Bucky shrugs and takes a sip out of his mug. “I’ve been inside your house. I’ve seen the Steve Rogers shrine. I’m not going to argue with you.”

Tony thinks about that for a moment. “It is kind of a shrine, isn’t it? Anyway, we’ve got some great stuff for you today. We’re going to crack open this cold case, show you some never-before-seen footage courtesy of my mom sneaking my dad’s old war tapes out of the mansion, and then we’ll talk a little bit about the theories out there.”

“How many of them are going to be ridiculously outlandish and physically impossible?”

Tony glares at him. “None of them. I have never once presented a ridiculously outlandish and physically impossible theory.”

“Right because alien abduction is a valid—”

“Aliens are real!”

“You said that crabs might have eaten Amelia Earheart!” Bucky shouts over him.

“It’s a valid theory!”

“I take it back, you’re not one of my favorite people anymore.”

“That really hurts me, deep inside,” Tony says sarcastically, trying to cover up that maybe that does send a small pang shooting through his chest. He likes the thought of being one of Bucky’s favorite people. He doesn’t want to lose that.

“How deep?” Bucky asks and winks.

“Very deep. Way, way deep down. Practically in my—”

Bucky’s eyes widen and he nearly chokes on his coffee. “Okay, that’s enough of that. Let’s get into the facts.”

“Hey, that’s my line!”

~

“With a missing plane and pilot and so much redaction in the files, we’re lucky to even have a name, let’s get into the theories.”

“Actually, wait, before we do that,” Bucky says, “I want to ask if you’ve ever noticed that your voice changes when you’re doing the voiceovers.”

“Wait, what?” Tony asks. He glances at him, to one of the cameras, then back to Bucky. “What do you mean?”

“You know, it gets all deeper like you’re trying to voice movie trailers or something.”

“No it doesn’t.”

“Sure it does.”

Tony shakes his head. “There’s no way.”

They both turn toward Sam, who thinks about it and then makes a ‘sort of’ motion with his hand.

“Told you!” Bucky says triumphantly.

“You’re such a child,” Tony sneers.

“Yeah, that’s why you like working with me so much.”

Behind the camera, Sam silently snickers and Tony glares at him before telling the camera, “If you’re watching, let us know in the comments. Is my apparent movie trailer voice okay or does it need to go like Bucky clearly thinks?”

Bucky goes paler. “Hey, wait, I didn’t say it had to go.”

“It was implied when you brought it up,” he argues.

“No!” Bucky insists. “I was just wondering if it was on purpose.”

They both turn toward Sam, who thinks about it and then makes a ‘sort of’ motion with his hand.

“Aha!” Tony says triumphantly.

“Traitor,” Bucky mutters into his coffee.

Sam signs, “I’ll make it up to you when we get home tonight.”

“And that was more than I ever wanted to learn about Sam and Bucky’s love life,” Tony lies through his teeth. “Let’s get into the theories. I only have two for you today, one of which I think Bucky will particularly like.”

“Oh no.”

“Our first theory is that Steve Rogers died in a plane crash on December 16, 1944. Winter months in the Arctic are known to be particularly stormy. There would have been low visibility due to the high latitude and time of year and with the waters and surrounding land being well below freezing, it’s possible that, even if Captain Rogers survived the impact, he would have frozen to death in the stormy seas.”

Bucky thinks about it for a second. “Yeah, that seems plausible.”

“In addition, Howard Stark, a known Captain America aficionado and the father of Marvels Unsolved’s best host—”

“You lie like a rug!” Bucky howls.

Tony snickers and then when Sam signs, “He’s really not,” bursts out into full-out laughter.

Once he’s recovered, he continues, “Howard Stark has spent the first fifty years after the crash of the Valkyrie and the last twenty funding searches in the Arctic in the hopes of recovering Captain Rogers’ body. He has found no evidence that Captain Rogers survived the crash although he did find part of the remains of the Valkyrie and has since stated that, ‘No human could have survived that crash.’”

The expeditions are a scam and have been since Howard first found the Valkyrie crash site and Uncle Steve along with it. He hadn’t been planning on continuing the expeditions—too costly, as he claims—but when Aunt Peggy had told him that Uncle Steve’s survival had to remain a secret, he’d kept them up for pretense’s sake.

Bucky is saying something about how it sucks that the first superhero is gone and when he finishes, Tony grins and says, “Then you’ll like our second theory.”

“Somehow, every time you say that, I end up completely hating it. Wonder why that is.”

“Our second theory is that Steve Rogers survived the crash and is still alive but cryogenically frozen in the ice. There—”

“Bullshit!”

Tony starts laughing but he tries to continue on over Bucky shouting that it’s complete nonsense. It’s hard and he knows that Sam will probably have to do some editing and maybe make Tony do some voiceover work in order to make the theory audible but he thinks he manages to do a pretty good job.

Bucky is pouting by the end of it, arms crossed over his chest. “What fucking bullshit,” he mutters.

“The supersoldier serum—” Tony starts to point out.

“Isn’t a miracle drug.”

“That’s exactly what it is.”

“No, it just made him big and strong. It doesn’t just magically keep people alive when they should have died.”

And then they’re off into familiar territory, arguing about the merits of either theory. Tony’s actually feeling pretty good about himself, convinced that he’s doing a decent job of steering the conversation away of anything classified, right up until Bucky says, about halfway through the episode, “I’m surprised at you, Tony.”

He wrinkles his nose. “Surprised?”

“Usually, you have some absolutely batshit, off-the-walls crazy theory but these have actually been pretty normal for you.” He pauses and then adds for effect, “And you’re usually much better at your research than this.”

“Excuse me?”

“Oh come on, even I know that there’s one more theory.”

He starts tapping at his chest nervously, almost wishing that he had a pair of sunglasses. Aunt Peggy always said that his lies are in his eyes, that they’re too expressive to hide the truth. When he was living with Howard, in the spotlight, he always had a pair of sunglasses to hide his eyes but he hasn’t wanted to use those since he moved out. He wishes he had them now.

“And what’s that?” he asks, feigning a casualness he doesn’t feel.

“That Steve Rogers lived and came out of the ice at some point and has been living out his life in anonymity.”

He barks out a nervous laugh. “I didn’t mention it because even I know that that theory is completely impossible.”

“Hasn’t stopped you before.” Sam nods agreeably. Bucky nods back at him and adds, “Even Sam agrees with me.”

“He’s your boyfriend, he’s practically required to.”

Both Sam and Bucky laugh at that one and yeah, okay, it was a pretty ridiculous statement. Anyone who knows them knows that being boyfriends is less likely to make them agree with each other.

“Look, Steve Rogers didn’t come out of the ice alive. Howard would have known for one thing and if you think, he could keep something like that quiet, then you don’t know him very well.”

“Maybe the government insisted it be a secret,” Bucky suggests, shrugging. “There have been plenty of people who have claimed over the last couple decades to be Captain America.”

Tony scoffs. “Oh come on, by that logic, anyone could be Captain America.”

“Maybe they could be.”

“No,” Tony says flatly. “It’s like that crazy conspiracy theory guy over on Reddit who’s convinced that Bruce Wayne is Batman.”

“Maybe Bruce Wayne is Batman.”

“Ooh do the butts match?” Tony says mockingly. “I mean, really, Bucky Babe, if we’re going off of lookalikes, then my fucking Uncle Steve is secretly really Steve Rogers, which is ridiculous because the guy’s like practically ancient and faints at the sight of blood in PG-13 movies.”

That sets off another round of arguing that lasts the rest of the episode until finally Tony wraps it up with, “Whether Steve Rogers died in 1944 or is still alive today is a mystery that will remain unsolved.”

They both pause for a moment to provide time for Sam to edit in the theme music and closing title. Usually, there would be some lighthearted bantering afterwards, maybe a joke about something they said earlier in the show. This time though, Bucky says thoughtfully, “The thing is, though, I’ve met your Uncle Steve—”

Tony goes cold.

“—and he really does kind of look like—”

Tony panics. That’s the only explanation that he has for declaring, “I’m done waiting,” reaching across the tables and grabbing hold of Bucky’s shirt, and yanking him forward to kiss him.

For a moment, Bucky is too startled to do anything but then he melts into Tony, mouth opening under his, tongue pushing forward to meet his. Bucky’s arms come around him, pulling him up and out of his chair and settling him into his lap. Tony makes a small greedy sound, swallowed by Bucky’s kiss, and then they’re both pulling away. Bucky’s lips are very red; Tony can’t stop staring at them even as he’s filled with dismay.

“I’m sorry,” he whispers. “I shouldn’t have—”

“Why not?” Bucky demands.

“You—Sam—” He glances toward the camera but Sam isn’t standing there anymore. His heart drops into his stomach—has he just ruined Bucky and Sam’s relationship? But then he hears someone drop to their knees behind him and when he turns slightly, Sam’s fingers are on his chin, gently turning his head.

“How long?” Sam asks.

“How long what?”

“How long have we been wasting our time when we could have been kissing you instead?”

Three years, two months, and fifteen days. “Too long.”

Sam kisses him then, mouth gentler than Bucky’s but no less consuming. Bucky is a hard, hot line against his front; Sam is warm against his back and Tony? Tony loses himself in the storm that is the two of them, sparks shooting through him as Bucky’s hands find their way to his hips, as Sam’s tongue slips into his mouth, as Bucky whispers into his ear, “We’re not wasting any more time.”

~

Marvels Unsolved’s 100th episode shoots to their most watched, most liked video in less than a day and when asked, maybe the smallest handful of viewers could have said what it was about.

The day after it posts, only a week after it was filmed, Tony’s phone rings.

“Kill it with fire,” Sam says sleepily.

Tony, however, recognizes Aunt Peggy’s ringtone and he rolls over to grab it before Bucky can throw it at the wall. “Hello?” he asks groggily.

“Congratulations on not blowing Steve’s cover,” she says.

“Oh yeah,” Tony mutters. “Can I go back to bed now?”

“One more thing, duck.”

“What’s that?”

“Congratulations on the new boyfriends.”

[lesbiancarat]

Lol ah if I ever do cross line, slap this book anon with a fish lol

PREACH IT!!! facts, facts and once again facts were spoken. You have summed up that entire section brilliantly love! Dare I say, mic drop

Onto the merch and I saw! I was surprised in a good way to see them! Hybe must have heard us complaining lol but no, they can create nice merch! While not the svt color scheme,it is very much in line to what you can think of merch for the boys. Simple and cute I think! Very bright from the orange shades i remember seeing, granted I will admit the bag is very similar to the one they sold for txt's online fan concert as well(?) So idk if this is just their common purse style they have pre-made and will change it up via color scheme wise but nonetheless, we can see decent merch being made. I think we will see over time improvements, I could very much see hybe adopting the bts album inspired merch for svt (idk how long that lasted but I do recall seeing merch inspired by their love yourself album or their tear albums so I could see maybe hybe putting out merch related to a mini series of the YMMD era? Of course please do not take my words as facts. I sadly don't work for hybe xD but just an idea I could maybe see happening and I think that could be cool! These might be a bit more pricier because I remember those merch were like limited edition so they cost a bit more which funnily could be the going svt merch idea you gave! I think that would be fun like imagine a makeup purse or a small bag based off the old pastel title screen ahh that would be cute!) Now brings us the ahem, more obvious cash grabs. Now, I will say the only time I can recall this also happening with sm artist. I always remember seeing those bday limited edition merch being sold and this was usually small items like a necklace, key ring, etc. It wasn't a t-shirt or something wild so maybe this is where hybe got inspired? Idk if this will be for all hybe artist though, would be weird if it just for svt. Like I get it, more members means more money but like ??? Make it make sense. I do agree with you, if we do have a good balance of good quality merch and have the few not so great merch it can work out? Of course call out merch that isn't ok like the plastic water bottles (I doubt that helps because fans of bts did this and welp, the resold it like I said so I doubt bighit would listen but still, we should make our voices heard!) And oohhh gotchas! Yeah I haven't hear of the rings situation at all, am happy they didn't do it. I guess in a way, I could maybe see what pledis wanted to do? But why replicas? They could have just done a simple svt inspired ring, not the personal one the boys own jdjajdjajs

Oohhh touche, while I'm personally not a fan of streaming parties, I can see why companies do them and it is valid c:

Caratland, ah yes. I keep forgetting about it fjsdns. Are you planning on watching it? I'm sure we will see some new songs being performed and knowing the boys, they will find a creative way to mix things up haha.

Before I go, I must say I remember finishing hoshi xD bro I remember seeing this happen live while my twitter gc were all watching the kcon livestream and we were all losing our minds xD like the timeline was in chaos and laughing about how they could lose hoshi but also how very on brand it was so anon, a great way to become a fan lolol

(is the slapping with a fish a reference to something or just something you like to say? dhfjfh either way it makes me laugh!)

yeah it makes sense if they would have the same template/design for basic merch items like totes, shirts, hats and things like that and just changed the color or print design. honestly that doesn't bother me so long as the basic sort of merch is in addition to more unique merch items if that makes sense.

ooh old album inspired merch is an interesting idea! although honestly I'd just settle for reprints of the old albums themselves OTL idk if that's something hybe can do directly though since they're not the original manufacturers of the old albums. like I'm sure pledis could reprint the old albums if they really wanted to, but there may be legal issues to work out if they want to switch to hybe manufacturing them + selling them permanently on weverse shop. idk how easy or hard that is since I'm not a legal expert but that would be my guess! i still hope it happens some day though... finding old albums is hard TT

yeah i wouldn't be surprised if other companies have done birthday merch, it seems like the type of thing kpop companies in general would try to make money off of dhfkf. honestly the concept of birthday merch in general I'm just like... *sigh* yeah, ok. like i don't think it's immoral to profit off of it or anything but it's just an example of capitalism at its finest you know? at this point I'm just like, if you're going to make birthday merch at least go all in with the individual member customization instead of making it all plain black TT like I'm sure some ppl do like that kind of design and no judgement there. it's not inherently bad. but its all very... professional? corporate? not sure if those are the words I'm looking for dhfkf but like they could have incorporated a lot of personal elements like the cherry motif or let cheol dress up in his favorite clothes for the photoshoot and things like that you know? also the hand thing was just weird at the very least i hope they scrap that idea for the other members if they get bday merch TT and yeah I'll also be interested to hear if other hybe groups also get b-day merch...

I actually can't remember if the rings were "replicas" in the sense that they had the members names on them/were the exact design SVT members had. it may have been a "carat" version of the ring, in which case replica may not be the right word to use. but either way they were definitely marketed as being like... the equivalent of a seventeen ring if that makes sense? and that being the case even if wasn't the exact same design it still wouldn't have sat right with me, it just feels too close to home. i do remember thinking at the time that they could have made something like a bracelet or necklace that could be like a mirror to SVTs rings but still something distinctly different. like it could still show SVT and carats connection while not intruding on SVT members status and the work they put in to get that title... but i digress!

I'm almost certainly not gonna watch it live dhfjfh for one online concerts and fanmeetings just aren't worth the cost for me... maybe if it was $20 or less id spare the money but I'm not gonna pay $50 to watch a livestream at 3am DHFKFH. and even if i were considering it, I'm traveling on the 9th so i can't be up late to watch it live even if i wanted to. i know they have delayed times for replays but if it's not live then it's even less worth it to spend the money imo. so likely I'll just keep my eyes peeled for a pirated version after the fact dhfkf

it really was so chaotic... its interesting to hear sometimes the crazy ways ppl got into the fandom or were first exposed to SVT dhfjfh especially since my own stanning story is more sentimental(?) rather than funny