#the superior emma adaptation

[genevamichaels]

The way they LOOK at each other... the earnestness of this moment... the friendship and chemistry of two people who know one another so well... They will always be my favorite Emma and Mr. Knightley <3

[wheredidthe80sgo]

had a fascinating lecture on emma 2020 costuming today

[zaenaris]

＃50「Meet his fate」: and today we say goodbye to TR best antagonist

wow, they really gave Kisaki a gay ass weird flash back(?) about Takemichi?

That "I just wanted to be like you" wasn't in the manga (even if, reading between the lines, even from the manga the reader could get there was this feeling involved, beside Kisaki’s superiority/inferiority complex towards Takemichi)

I didn't expect it since his death in the manga is quick and brutal but it's a very good adaptation choice, it makes sense and it explains better Kisaki's contrasting feelings for both Takemichi and Hina. But surely we had some kisatake fan in the anime team for this episode which, again, good??? but really unexpected

I like Kisaki, he's a good villain, but, I'm sorry Truck-kun arriving and doing like in "Mean Girls" is still funny to me (and I talk as someone who appreciate Kisaki as a character and as a villain lol). But after that, the way his limbs are all broken and he's like that on the street it's really sad/horrifying, Wakui was able to show how much pain there was in his dying body in that moment, beside the psychological fact he knew he was dying and didn't want to, he still had so much to do for his evil plan.

They kept unchanged the moments with Inupi and Hakkai on Inupi's bike which is cute, especially considering their past with the Black Dragon, with Taiju as Inupi's boss.

I would have like to see the relationship between the inuneko duo and Hakkai and Yuzuha, prior the BD arc, where of course they're opponents: what I mean, is that I would have liked to see their "everyday life" relationship: did they have to watch over Yuzuha and Hakkai - we know Taiju has a weird/abusive sense of familial love, but he still cares about them and kokonui are his second in commands and most trusted soldiers- or were they indifferent to the younger Shiba Sibling? Something else? we'll never know.

It's also cute considering the Thousand Winter🥹 and Hakkai's birthday pic where he asks Inupi for a strawberry lol

They also kept Koko, that should be on Inupi's bike with him, but he walks away, alone for the first time (and he will be alone from now on, kill me right now)

Also, they closed the season with a weird cliffhanger?

For the other parts we really had some Big Cliffhanger™️, here everyone gets that something is pending but well… I guess they really had no time, they made a faithful adaptation of the manga, there was no time to add anything else. The arc is not really closed like that, we still have to say our proper goodby to Emma, Izana and Kisaki, we still have the inukoko farewell...

...but alas, it is what it is.

I hope we'll get the confirmation for a next season, that sure, will open saying goodbye to the tenjiku arc, -it opens with an ending... weird- but i guess there was no other choice given the pacing of this season

[darklinaforever]

No because once again, you are just repeating like parrots the same arguments over and over again that have already been dismantled and I don't care. As one of these anonymous messages says, it must be tiring and boring to post the same thing 24/7...

I know the definition of grooming as well as the true meaning of what is implied in a historical context. And obviously not you. I already did an entire post explaining this book and show grooming bullshit :

But all you care about is appearing morally superior and you look like a bunch of ridiculous fanatics. Or some ridiculous bigot, because I'm pretty sure it's the same person sending these stupid messages over and over again.

What is your problem ? You're bored ? Why are you spying on my accounts like that ? Seriously, why are you so obsessed with me ? I imagine him on the lookout for the slightest post on Daemyra that I make ready to pounce like a predator on its prey. My god, this person(s) must not have a life. It's sad. 😂

What do you expect ? That between the insults and the repetitions of the same stupid arguments over and over again for a long time I actually delete my account to please you ? Or that I suddenly say : Oh but my god you are right ! You delivered me from evil ! Daemyra is such a groomer ! Daemon is a monster who doesn't love anyone ! 😱😂

By the way, here is again the little free quote from GRRM Martin's book on Daemon, his favorite character whom he considers to be a gray and complex character. So your Daemon is BAD BAD BAD, well the author himself tells you no :

Over the centuries, House Targaryen has produced both great men & monsters. Prince Daemon was both. In his day there was not a man so admired, so beloved, & so reviled in all Westeros. He was made of light & darkness. To some he was a hero, to others the blackest of villains.

You really look like a bunch of disillusioned idiots. It must be hard when the true creator himself doesn't agree with you on what the character is.

It must also piss you off that these interviews for the series exist, right ?

There's no point in booing me because I say something that has already been said by the directors and screenwriters themselves. I don't agree with everything they say or do in this stupid adaptation, but at least we can agree on some points.

Oh, and I have already said I don't know how many times that I recognized that Daemyra had toxic aspects in the series version, except that, so what ? This will prevent me from shipping the Daemyra version of the series maybe ?! No. Love is not necessarily something pure, we have to stop the bullshit, especially in fiction. On the other hand, I maintain that there is nothing toxic in the book version. There is no such thing as a brothel. It's an invention of Mushroom. There is no voluntary abandonment of Daemon for 10 years. In reality he was banished under penalty of death. There is no Daemon leaving Rhaenyra to deal with childbirth alone. He was by his side in the books. There is no strangulation either. And once again, the age difference and the incest aspect are not real arguments as to a possible toxicity in their relationship, due to placing the relationship in its fictional and historical context from which GRRM draws inspiration, namely the feudal era, where age differences and incest were included in the customs of the time for specific reasons. Especially if we are in a family where incest has no impact due to their MAGIC BLOOD ! These elements are not evidence of toxicity. Open a history book. An age difference and incestuous marriage in a historical context does not necessarily result in toxic abusive relationships. This is bullshit.

Also, I don't have the impression that you will understand that the show is not the book. I always distinguish between the two and obviously you don't. Because what exactly do you believe ? That if Daemon cheats on Rhaenyra in the series, my world will fall apart ? No. My posts on Daemyra will continue because the book will always exist. You know, the book that has a different canon from the show, therefore implying that the canon of the series cannot interfere with that of the book. But you didn't remember the difference between the two. You prefer to mix it up to fix your pathetic vision.

The series is already shit. Even for the Daemyra relationship they messed up on a lot of points. And I'm not even going to start with the greens, Alicent etc. It is a disaster. The series itself is full of inconsistencies.

I will add that in reality you do not care about the so-called abuse that Rhaenyra suffered from Daemon. Otherwise you would care what Alicent and the greens team did to her. But you don't care. You even expect the show to write scenes of stupid abuse between Daemyra over and over again. Because you don't actually care about Rhaenyra. The proof tells you that no one can love the whore of Dragonstone, a nickname literally coming from the greens team. Bunch of hypocrites.

Once again I recommend going to the tumblr of @la-pheacienne and of @horizon-verizon to educate you on what the character of Daemon and the Daemyra relationship really is. The posts of @stromuprisahat are also pretty good in general on Fire and Blood.

The antis are really crazy. The bitch who should close her account apparently well she tells you to go fuck yourself and buy a life.

@aleksanderscult

[justa-sadjellyfish]

Also I’d love to hear your thoughts on which songs you prefer from each version!!! I can share my own opinions if you’d like too!!

YEYSYSYEYEYSYSYES THANK YOU FOR LETTING ME YAP ABOUT THIS!!! 

Just a heads up, this is going to be a VERY long post. VERY VERY long. Hopefully anyone reading has enough patience 💗

Btw I am not going to be comparing the songs visuals, because if we were to do that the WE would very easily win every single one. I will also not be mentioning Candyman, as it is placed pretty weirdly. This is simply a comparison of the two cast recordings, West End, and Broadway. There are some other songs you won’t see mentioned, like A Little Me, Charlie, you & I, and The Amazing Fantastical History of Mr. Willy Wonka, either because it’s pretty self explanatory, or because there’s nothing to really compare it too. The random is so small so this very long ramble is prob gona go nowhere lmfao 

First off; 

Almost Nearly Perfect/Willy Wonka! Willy Wonka! 

Yeah this one goes to ANP. WWWW is good for telling the story, and showing the dynamic between Wonka (in disguise at this point) and Charlie, but takes away from the bonding time of Charlie and his family. ANP is also far better at introducing the character of Charlie, and showing that no matter how poor he is, he finds enjoyment in all the little things, while also showing his infatuation with Wonka. 

A Letter from Charlie bucket 

I’m bouta be rlly honest, I dont know for this one. They’re both very similar, besides the fact that Charlie’s father is dead in the Broadway, so I’m gona call this one a tie. 

More of him to Love

Again, more or less the same. This one’s probably a tie too. Although I will mention I actually do prefer the dynamic between Augustus and his mother in the Broadway, even with WE being arguably the superior version. 

When Veruca Says 

Ah yes, one of the most iconic original songs of this musical. Personally I find the Broadway more enjoyable to listen to (specifically because of the Russian accents lmfao) but honestly, the girl as Veruca in the WE recording did arguably better at showing Veruca’s extreme personality. Gotta love Emma Pfaeffle tho. 

Queen of Pop/ The Double Bubble Duchess

Oh my god this is a hard one. They’re both SO CATCHY OH MY GOD. And the actresses are so fucking talented it’s crazy. Although I listen to Queen of Pop more frequently, TDBD is arguably more impressive specifically since Violet is played by a child in this version. So yeah there’s things like that to consider. I enjoy listening to both though.

What could possibly go wrong?/ It’s Teavee Time! 

Yeah this one obviously goes to WE. Mike is easily my favorite character in all adaptations of Catcf, which is why I personally prefer Teavee Time, because it does a great job at introducing Mikes character. WCPGW is funny and all, but it barely tells us anything about Mike. A very common problem with the musical (in both versions) is that they focus more on Mikes mother (this was mainly a problem in the broadway bc she was played by Jackie Hoffman who’s a legend). That’s js my opinion tho.

If your Mother/Father were here 

This one’s actually a lot different from each other, hence Charlie’s father being dead in the Broadway version, so the meaning of the song is sort of shifted. As much as I adore the dead dad ballet sequence in the Broadway, I think the message of If your Mother were here is a little more intriguing, because while IYFWH is reminiscing of a dead husband/father, IYMWH features both the parents and seems to be saying that because of the Buckets family/social situation, it’s very easy for Mr and Mrs Bucket to feel incredibly distant from each other. That’s all I will say about that 

I’ve got a Golden Ticket/ Doncha Pinch me Charlie

I’m going to be so honest I’m not really a fan of either songs, but if I had to choose it would be Doncha Pinch Me Charlie, because it gives Charlie the same spotlight that the other golden ticket winners did in my opinion.

It must be believed to be seen 

Friendly reminder this is NOT about visuals. I actually prefer the Broadway version of the this number. Maybe it’s because of my love for Christian Borle, but for some reason the way he sings it just feels more smooth to me. Also, in the West End, there was like… no backing from the ensemble which I personally enjoyed that aspect of the Broadway a lot, especially the harmonies. I also find the timing of some of the things in the WE (reminder I’m referring to the cast albums) version of this song to be a little bit weirder? If anyone wants further evaluation I can give it, but for now I don’t think I need to. In the end it’s js a certain something about the Broadway that makes it sound better to me ears if yk what I mean. 

Strike that, reverse it 

I think this song does a great job in both musicals!!!! I don’t really have a preference for this one honestly, I feel like both do a very good job at expressing the dynamics between the characters, and Christian Borle and Douglas Hodge both do a great job with this song. Although I’m not a fan of listening to songs with dialogue constantly being interchanged with the music, I think these shows did a very good job with it, and I do actually enjoy this song a lot!!

I do not wanna express my opinion on the placement of Pure Imagination in both versions rn bc I don’t want this post to end up being WAY too long (it alr is but I’m doing what I can, okay? Also yes this means I wont be discussing any of the ending songs bc uhhhh I js don’t rlly feel like it rn. I’ve alr expressed my opinions on a lot of the ending songs before as well) 

Auf Wiedersehen Augustus Gloop

I mean… I’m not really a fan of the way this is done in either version, so I don’t rlly know what to put here, but something I will say that doesn’t rlly have anything to do with my preference is that the little lines Augustus has in this song in the WE has me even more convinced that Augustus barley did anything wrong. 

Juicy/ When Willy met Oompa

Juicy is better I don’t even feel like this needs discussion at all. 

Verucas Nutcracker Sweet 

Okay. Attack me all you want but…. I actually prefer the Broadway. Like storytelling and visually wise I prefer West End, but idk there’s js something about the Broadways more menacing tone that I actually sorta like. I do think tearing Veruca apart was a weird addition, but i don’t really hate it. I mean, Violet  supposedly gets her limbs sold to her fans in the WE version and I don’t ever hear ppl talk abt how dark that is. 

Vidiots

The catchiest song in both versions. One of the best songs in the show. It’s literally so funky I love this song so much you don’t even know. The Broadway actually did pretty great with this one visually in comparison to their other sets. I do prefer the lyrics of this song in the WE, bc it sorta has more of a point, but I like the key Broadway did it in a lot, I think I prefer it higher. Ik it doesn’t change much but there’s smth about it. 

[ihateliterature]

Sariel Route Review

So I finished Sariel's route yesterday and here are my thoughts on it. Obviously spoilers for Sariel, Clavis and Luke’s routes

A lot of people disliked Sariel's route for its apparent lack of romance, but I love it. Now, that's probably because I am in the incredibly funny position of being an aro playing otome games and making myself gag with how sappy they are, so for me the romance is not a part I enjoy in most routes, just something I have to deal with.

"Why do you even play then?" Says the clueless alloro.

For the characters, soft porn, one liners and, of course, the LORE! Give me a YouTube channel and call me MatPat cause I'm all about that lore.

Back to Sariel.

For me Sariel’s route was basically perfect, it had intrigue and suspense and didn’t stop the action in its tracks just so the characters can make googly eyes at each other for half the chapter.

First for the things I didn’t like. I don’t like Sariel’s backstory, it’s much too cluttered. They wanted to make him this super accomplished person before he came to the palace but also have him grow up with the princes. So they made him a famous 10 y/o gang leader. It’s so fucking weird and I’m amazed I didn’t see more people talking about it. It would have been fine if he had a group of five or six other kids and they were known in their own town for beating people with pipes and small robberies and the like. But the scale we are shown is just ridiculous, they could have fixed this very easily if they would have made him arrive at the palace just a few years later. A famous 15-16 y/o gang leader is still ridiculous but not as much as a kid that hadn’t even started his puberty yet. 

I liked the MC. She is smart, a quick learner, adapts easily and she’s a good improviser, all of this coupled with being really knew into that life and having little to no experience makes her pleasant to follow, she is probably my favorite MC, closely followed by Clavis’. She didn’t ride on her status as Belle and took her responsibilities as Sariel’s apprentice very seriously even if it was only a cover. I really liked that she proved herself to be not only a competent Belle but also a skilled Minister with the potential to greatly help the country in the future.

Hot take but I really like Sariel and MC’s dynamic. A lot of people hated it but I like it. I’ve seen people say that they felt like the romance kinda came out of nowhere at the end without any built up, but I disagree. There is definitely A LOT of pinning between them during the route, on MC’s part but also on Sariel’s. The reason why they only acted on it at the very end was because both of them, and the story, recognised that there was no time for romance and it wouldn’t have been appropriate.

Relationships between a superior and an employee in the workplace are complicated. Now, I’m no moral crusader and I would’ve adored to have Sariel fuck MC on his desk between lessons since Chapter 2, and frankly the whole game toys with power imbalance in relationships because that’s just the nature of royalty dating commoners. Unfortunately Sariel is not the type to abuse his position in that way (regardless of how hot it would have been, I should write a fic about boss!Sariel and secretary!Emma). Sariel was keenly aware of his position the entire time and acted accordingly. At the end MC becomes Sariel’s apprentice for real and they start dating but at that point I see them as colleagues more than master and apprentice, even the princes treat MC as a full on Minister by that point.

Here comes my favorite part . . . the KING.

I fucking hate the King. He is just like every pathetic guy I’ve ever met.

I think Cybird made a good job of portraying someone who is so shit, through the idealised lense of the one singular person who liked him.

Sariel had a toxic father-son relationship with the man. They’ve known each other since Sariel was 10 and the King was more of a father to him than to any of his children. But even keeping that in mind, Sariel still had to essentially care for the emotional needs of a man child, becoming his only confidant and carrying on his desires and hopes for the country alongside his own grief, because Sariel was the ONLY one that actually grieved for that man.

Look, I don’t like saying bad things about Jin’s mom, but she chose wrong. We are told that there were no complaints about the King before the previous Belle was chased out but I highly doubt this. We are told this by Sariel, who wasn’t there and has probably found out about this FROM the King. The man was also full of shit, he claimed to love the country but he never showed it. He let Sariel and his sons rule his country WHILE he was alive. I can understand the very end, when he was too sick to move, but there was Blood Stained Day. Not even an invasion motivated this man to get off his ass. The princes had to go and fight themselves and I don’t think that we, as a fandom, realise just how young they were. Most of them were in their teens, only Chevalier and Jin were adults, Chevalier, the guy who sacrificed war prisoners was 20 or 21 and Clavis, the mad man who ran to save them and almost died in a fire because of it was 19 or 20, only Jin could have been considered an actual adult at the time, and he was 22. And what was the King doing during all of this? Throwing himself a pity party, like usual.

He did this in basically every flashback, called himself incompetent and a bad King, and he was right. 

Not only was he a bad King and a bad father, but he was an atrocious husband. Anita is the clearest example of that. I can understand why he didn’t like the Queen and the other two marriages were purely political, but he wanted to marry Anita, this was something that he WANTED, no one could have or would have forced him to do it. Regardless of that he completely ignored her after she gives birth, he pitied her, sure, but he never extended a hand towards her. He saw how her mental health was going to shit and he cried when she died, for her and the twins, but he did nothing to prevent this, he could’ve but he didn’t.

The King was not a broken man, he was a pathetic one. He spent his entire life after his girlfriend was chased out throwing himself a pity party, ignoring his duties and hurting people. He was most likely depressed, yeah, but that doesn’t excuse abandonment, neglect and rape.

Oh yeah, let’s talk about the two giant pink elephants floating around in Sariel’s route, the two KNOWN sexual assaults inflicted by the King upon Leticia Lelouch and Luke’s mom. 

They are not mentioned, which is weird considering that two princes are the product of that and one happened WHILE Sariel was at the court. This man was utterly despicable. What he did to Luke’s mom can be argued as the King quite literally losing his mind out of grief and because she looked like the previous Belle (a stupid argument, but fine, I’ll take it), but what he did to Leticia was downright monstrous. He wanted to hurt her; he wanted to torture her; he did that out of pure malice, because a maidservant pestering him to have tea with his wife from time to time pissed him off so much.

Sariel is not stupid, it’s not that he is unaware of all of this, he is just consciously choosing to not think about it. He never tries to argue against it, he never tries to convince Luke that the King was “a good guy, actually”, because he knows what kind of man he was. When a loved one is proven to have done something horrible, many people are more inclined to ignore it, excuse it or deny it, because they love that person too much to abandon them, even after something like that. Sariel does the same thing, for him it doesn’t matter that the King was a horrible person, it only matters that he was good to him.

Sariel’s route portrayed this dynamic perfectly, it might have been infuriating, but I enjoyed this direction and the care the writers took to tell the audience just how shit that man was while maintaining just how dependant Sariel was on him, to the point of ignoring his wrongdoings any chance he got.

[princesssarisa]

Character ask: Georgiana Darcy (Pride and Prejudice)

Favorite thing about them: That she's not victim-blamed for her near-elopement with Wickham. If she didn't exist and the book had only Lydia to represent girls who are seduced by the Wickhams of the world, then it might be easier to accuse Austen of victim-blaming. But no one blames Georgiana. She was only fifteen, Wickham was a childhood friend/almost foster brother whom she trusted, and he took advantage of her trust to make her think he loved her. She's a sweet, lovely girl, she's not portrayed as flirtatious or brash like Lydia – on the contrary, she's extremely, painfully shy – and yet she was manipulated and seduced, and the blame is placed firmly on the people who did it, Wickham and Mrs. Younge. Of course it helps that she ultimately chose her family over her "romance" and confessed the elopement plan to her brother; whereas Lydia refuses to leave Wickham when Darcy offers her the chance and shows no remorse for nearly disgracing her family.

Least favorite thing about them: The fandom's views on her. I'm glad I haven't seen too much of it myself, but what @anghraine has described in some of her posts is horrible. From the fans who do victim-blame her and treat her as a "gotcha" for Darcy (i.e. "so much for his sense of superiority over the Bennets – his sister almost ruined herself just like Lydia"), to the ones who turn her sweet bond with Darcy into some toxic cliché (i.e. "she's only shy because he's an overbearing brother and she's afraid of him" – then why does she become more talkative in his presence?), to the ones who think she "needs" to learn how to be feisty and outgoing like Elizabeth, and/or who think the 2005 film improved her by making her bubbly instead of shy and awkward... They're all bad. Just like all fandom commentary about gentle and shy girls tends to be bad.

Three things I have in common with them:

*I tend to be shy.

*I'm affectionate.

*I enjoy music and art.

Three things I don't have in common with them:

*I don't have a brother.

*I'm not an orphan.

*I've never come close to eloping with anyone.

Favorite line: N/A, since she has no dialogue in the book.

brOTP: Darcy and later Elizabeth.

OTP: None yet.

nOTP: Darcy or Wickham.

Random headcanon: Besides adoring Elizabeth when they're sisters-in-law, she'll also come to love Jane as an extended family member, especially because Jane's temperament is closer to her own.

Unpopular opinion: Besides disagreeing with all the views on her I mentioned under "Least favorite thing about them"... I don't picture her as a blonde. I have nothing against illustrations or adaptations that portray her that way: you'll see below that several of my favorite pictures of her show her as a blonde. But not all ingenues need to be blonde, after all. I usually picture her with the same hair color as Darcy, which like most fans, I imagine as dark brown or black.

Song I associate with them: None.

Favorite picture of them:

The only decent color illustration I've found of her, by H.M. Brock:

This illustration by Hugh Thomson:

Emma Jacobs in the 1980 miniseries:

Emilia Fox in the 1995 miniseries:

Tamzin Merchant in the 2005 film (although that facial expression is probably one that Austen's withdrawn, serious Georgiana would never wear):

[cantsayidont]

February 2024. A fatally overlong episodic adaptation of the 2009 David Nicholls novel, previously adapted as a 2011 feature with Anne Hathaway, ONE DAY is a romantic drama about two former Edinburgh University classmates — shallow, genial pretty boy Dex (Leo Woodall) and bookish, socially conscious, artistically ambitious Emma (Ambika Mod) — who go from lovers to friends to lovers again over the course of 15 years.

The gimmick is that each episode takes place on a single day one year apart (although the final episode eventually jumps ahead to the 20th anniversary of the protagonists' first meeting), which has the effect of stretching a rather thin story to six and a half hours of screen time while still skipping over significant chunks of the characters' lives (including the formative early months of their relationship) that then have to be recounted in expository dialogue or flashback. Despite the structural awkwardness, it's often sweet and sometimes touching, but it goes on forever, which also makes the eventual tearjerker denouement especially jarring.

The main saving grace is the leads: Woodall and Mod have great chemistry, which is vital in a story like this, but more significantly, casting a South Asian woman as Emma adds a dimension to the story that's absent in the book and the previous screen adaptation. Although the script never acknowledges Emma's race, it provides a much more legible reason for why it's so hard for her to trust that Dex (who is white and blonde) really means it when he says he fancies her and isn't just treating her as a convenient stopover between relationships with white girls Emma thinks are hotter than her. The casting also adds an extra layer to Dex's alternating puppy-dog adoration and resentment of Emma's intellectual superiority. Given the show's ponderous length, it's unfortunate that the script doesn't make time to actually examine the ways the casting informs the story, even if it would have meant greater departures from the popular book.

[genevamichaels]

Mr. Knightley's Guide to Winning Over the Woman You Love

Mr. Knightley to Mrs. Weston: "Emma has always been the cleverest and prettiest of the family."

A few chapters later...

Mr. Knightley to Emma: "It is better to be without wits than apply them as you do, Emma!"

[nnschneider]

Tagged by @wurzelbertzwerg to share my WIP folder.

You've been warned.

Focusing on Jane Austen fanfic, I have

Note that I write for my own sake, and at the pleasure of my muse. I tend to pick something up and play with it for a bit then put it down, forget about it after a couple months, etc. And then think of it again, have to read thru what I've previously written, and maybe decide to add to it. Point being, I have a bunch of WIPs in various states of completion and in a few fandoms.

Bro (short for Brogency): Mr. and Mrs. Bennett decided to pass off their third (and final) child as a son. I'm like 24 chapters in and the main romance is better Ryan (aka Mary Bennett) and an OC.

12Days (short for the 12 Days of Christmas): Modern NA AU in which the Morland family has a rotating curse every Christmas (affecting one family member per year) related to the items in the annoying Xmas song.

C-Oz (short for Catherine In Oz): The night after Gen Tilney tells Catherine she needs to leave, there's a big storm at the abbey. Insert Wizard of Oz dream in which Catherine is trying to get home.

Baby 3 (short for And Baby Makes Three): Henry Tilney is a paleontologist and Catherine Morland gets a leopard. Bringing Up Baby for NA. I'm 14 chapters in and I think I'll be able to wrap it up in another chapter.

Beanstalk. Persuasion as Jack & the Beanstalk with Frederick as Jack and Anne as the harpist who gets the goose to lay golden eggs.

Extremes in Dating: A modern S&S AU in which Edward Ferrars just wants a quiet night alone and his girlfriend Lucy has other plans. (Related to Drynuary For Hookups and based on an abysmal date my brother told me about.)

Fox (short for The Mark of the Fox): A Zorro AU for S&S.

Gingerbread. S&S as Hansel & Gretel. Pairs nicely with Beanstalk.

GoodPlace (short for The Good NA-borhood): NA as the Good Place with Henry Tilney, John Thorpe, Mrs. Allen, and Isabella as dead people, Gen Tilney as the architect, and Catherine as the neighborhood's Janet.

L+A (short for Love and Agriculture): Greek-ish/Roman-y pantheistic version of Emma with Emma as the goddess of love.

Luna. A P&P covid allegory with werewolves instead of covid, centered on Lady Catherine de Bourgh and her circle of correspondence. (They don't really care if the mysterious illness is eviscerating poor people in Town so long as it doesn't threaten their country estates, etc). Probably too preachy for me to finish.

MBDE (short for Mr. Bennett Dies Early): Mr. Bennett sneaks to Netherfield to meet his new neighbor, has an accident on the way home, and dies. Mr. Collins shows up to inherit and decides to marry Jane who has fallen in love-at-first-sight with Bingley. Elizabeth tries to protect Jane from Collins' unwelcome regard. Darcy tries to protect Elizabeth from the same.

Anyway, I set myself a goal to get Brogency, Extremes in Dating, and And Baby Makes Three into peer review this year. So far (it's still January) I like my odds.

Mega Abbey 2. Sequel to Origin Story, a hero/villain AU for NA. Henry's dad shows up unexpectedly so Henry has to pretend he isn't dating Catherine to protect her from his supervillain father and Catherine wants to rescue Henry from his supervillain legacy. I'm about 8 chapters in, trying to figure a few plot points out.

Reindeer: I try to repurpose Christmas carols into JAFF poems and this is me slowly adapting "Rudolph the Red-Nosed Reindeer" into "Lizzy the Leading Lady" about how Elizabeth Bennett is clearly superior to all other Austen heroines.

Sabrina. MP as Sabrina except Fanny won't end up with either Bertram brother.

[gizkasparadise]

What is your favourite adaptation of classics? I know people make a version of the originals all the time like

Pride and prejudice

Sabrina (there’s a Turkish version called bir Istanbul masali)

Boys over flowers (I know there’s even an Indian version, lol)

Emma

Prince and the pauper-inspired

Etc

So I really want to if there was an original story that caught your eye and it’s remake was made quite well

cool question!! here's what jumped out in my brain:

"classic" remakes/adaptations

my favorite shakespearean adaptation is always going to be she's the man. twelfth night is my favorite play of his, and i think zany 00s teen crossdressing romcom is the exact brand of chaos it deserves. in general i also just kind of miss that era of film, where so many romcoms/YA movies were re-imaginings of classics in fun and clever ways-- see 10 things i hate about you (based on taming of the shrew) and clueless (based on emma)

for pride and prejudice, im always going to be a sucker for the 2005 film. it just had all the right elements for me

some remakes or adaptations i enjoyed

the haunting of hill house is the type of remake/adaptation i really love -- things are changed up, but still inline with the original narrative and the gut punches are just the same

18 again is a kdrama remake of the american film 17 again, and LOADS BETTER. SO MUCH BETTER.

ive seen almost every version of in time with you, and while the OG one is still my favorite, the jdrama i dont love you yet is good too!

speaking of jdramas, the jdrama version of she was pretty is far superior to the original

there's a kdrama remake of go ahead (cdrama) coming out that im curious about!

[ljones41]

"SENSE AND SENSIBILITY" (2008) Review

"SENSE AND SENSIBILITY" (2008) Review

The year 2008 marked the fourth adaptation of Jane Austen’s 1811 novel, "Sense and Sensibility". First aired on the BBC, this three-part miniseries had been adapted by Andrew Davies and directed by John Alexander.

"SENSE AND SENSIBILITY" told the story of the two older of three sisters and their financial and romantic travails in early 19th century England. Elinor and Marianne Dashwood, along with their mother and young sister, Margaret; found themselves homeless and in financial straits following the death of their father. Their elder half-brother, John Dashwood, had promised their father he would financially compensate them, since the Norland Park estate was entailed to the male heir. Unfortunately, John possessed the backbone of jelly and allowed his venal wife Fanny to convince him into withholding any financial assistance from the Dashwood women. Fanny received a shock when her younger brother, Edward Ferrars, paid a visit and ended up becoming romantically involved with Elinor. Before their romance could flourish; Elinor, her sisters and her mother were forced to leave Norland Park. They settled at a cottage in Devon, owned by Mrs. Dashwood’s cousin, Sir John Middleton.

Upon settling in Devon, the Dashwoods became acquainted with the gregarious Sir John, his chilly wife and his equally extroverted mother-in-law, Mrs. Jennings. Marianne attracted the attention of two potential suitors – Sir John’s neighbor and former Army comrade, Colonel Christopher Brandon; and a handsome young blade named John Willoughby. Being seventeen and emotionally volatile, Marianne preferred the handsome Willoughby over the more stoic Colonel Brandon. And Elinor began to wonder if she would ever lay eyes upon Edward Ferrars again.

Unlike Ang Lee and Emma Thompson’s 1995 adaptation of Austen’s novel, John Alexander and Andrew Davies had decided to be a little more faithful to Austen’s novel. They included Lady Middleton, the autocratic Mrs. Ferrars and both Steele sisters – Lucy and Anne – to the story. They also included Edward Ferrars’ brief visit to the Dashwoods’ cottage, the dinner party at Mrs. Ferrars’ London house and a contrite Willoughby’s conversation with Elinor. But for me, being faithful to a literary source does not guarantee a superior production. If Alexander and Davies called themselves creating a production more faithful and superior to the 1995 movie, I do not believe they had succeeded. I am not saying that this ”SENSE AND SENSIBILITY” was a terrible production. On the contrary, I believe it was first-rate. I simply believe that the 1995 movie was a better adaptation.

This three-part miniseries had a lot going for it. Both Davies and Alexander beautifully captured most of the heart of soul of Austen’s tale. And aside from a few scenes, it was wonderfully paced. ”SENSE AND SENSIBILITY” captured the financial and social dilemma faced by the Dashwood females, upon the family patriarch’s death. The miniseries’ style permeated with warmth, solidity and color. The production designs created by James Merifield did an excellent job in sending viewers back to early 19th century England. But I must give kudos to cinematographer Sean Bobbitt, who received a well deserved Emmy nomination for his beautiful photography. The Devon, Hertfordshire and Surrey countryside looked rich and lush in color. I also enjoyed Michele Clapton’s colorful costumes, which earned a BAFTA nomination. Were they historically accurate? I do not know. I am not an expert in early 19th century fashion. However, I do have a question. Was ”SENSE AND SENSIBILITY” set during the decade of 1800-1809? Or was it set between 1810 and 1819? According to the family tree briefly shown in the following photo, the movie was set around 1800-1801:

There were some aspects of ”SENSE AND SENSIBILITY” that did not appeal to me. As much as I had enjoyed Merifield’s production designs, I found it disappointing that the majority of the London sequences featured interior shots. Which meant that viewers failed to get a truly rich view of early 19th century London. But most of my quibbles were about a few scenes that struck me as unnecessary. The miniseries opened with a young couple making love in the candlelight. Viewers easily surmised the identities of the pair – John Willoughby and Colonel Brandon’s young ward, Eliza. Perhaps this was Davies’ way of foreshadowing Willoughby’s character and his near seduction of Marianne. This was the first scene I found unnecessary and heavy-handed. There are some stories in which the use of foreshadowing as a literary device work very well. This particular scene failed to work for me. Another scene that struck me as unnecessary was Edward Ferrars’ brief visit to Barton Cottage. This scene was lifted from the novel and was used to foreshadow Elinor’s discovery of his engagement to Lucy Steele. Again, the use of foreshadow failed to work for me. I would have preferred that the audience’s knowledge of the Edward-Lucy engagement had been revealed as a complete surprise to them, as well as to Elinor.

Two more scenes also failed to impress me. Austen’s novel had hinted a duel between Willoughby and Brandon over the former’s seduction of young Eliza. Davies’ screenplay included the duel, after Willoughby’s rejection of Marianne and the birth of his and Eliza’s child. This duel would have served better following Willoughby’s seduction. In fact, I wish that Davies had not included it at all. For a brief moment, I found myself confused on whether the duel was fought over Eliza or Marianne. The scene also seemed to be an indication of Davies and Alexander’s attempt to inject some overt masculinity into Austen’s tale. The last scene that Davies carried over from the novel featured Willoughby’s expression of remorse to Elinor, over his treatment of Marianne. I must admit that I found that scene a little contrived and unnecessary. Willoughby’s reasons behind his abandonment of Marianne and his embarrassment at the assembly ball seemed pretty obvious to me. And in the 1995 version, the expression on Greg Wise’s face fully expressed Willoughby’s remorse more effectively than any of Austen’s (or Davies’) words.

Despite my misgivings, I must admit that ”SENSE AND SENSIBILITY” possessed a first-rate cast. Both Hattie Morahan and Charity Wakefield gave solid performances as the story’s two heroines – Elinor and Marianne Dashwood. Morahan nicely portrayed the sober and level-headed aspects of Elinor’s personality. Yet at the same time, she conveyed subtle hints of the character’s emotions behind the mask. I found it difficult to believe that Morahan’s Elinor was 19 to 20 years-old in this story. She looked and behaved like a person who was at least 5 to 10 years older. Morahan had a tendency to utilize this ”deer-in-the-headlights” expression, whenever Elinor was surprised. Wakefield gave a decent performance as the volatile Marianne. She portrayed the character as written by Austen – an emotional and thoughtless adolescent with a kind heart. Were young females in their late teens really expected to behave in a mature manner, consistently? My only problem with Wakefield was there were a few moments when her performance seemed mechanical with hardly any style or true skill.

The miniseries received fine support from the likes of Janet Teer as the emotional Mrs. Dashwood, Mark Williams as the jovial Sir John Middleton, Jean Marsh as Mrs. Ferrars, Mark Gatiss as the vacuous John Dashwood and young Lucy Boynton as Margaret Dashwood. In his first scene, Dan Stevens seemed to hint that his interpretation of Edward Ferrars might prove to be a little livelier than past interpretations. It was a hint that failed to flourish. His Edward proved to be just as mild. At least his performance was adequate. When the miniseries first aired in Britain nearly three years ago, the media had declared Dominic Cooper as the new sex symbol of British costume drama. After seeing his performance as John Willoughby, I found this hard to swallow. But he did give a first-rate performance. But there were performances that failed to impress me. One, I had a problem with the Steele sisters. Anna Madeley’s performance as the subtle, yet catty Lucy Steele seemed perfectly fine with me. But I found Daisy Haggard’s broadly comic take on Anne Steele ridiculously overdone. And I never could understand why one Steele sister spoke with a well-bred accent (Lucy) and the other with a regional accent that strongly hinted of the lower classes. Very inconsistent. I also had a problem with Rosanna Lavelle as Sir John’s cold wife, Lady Middleton. She barely seemed to exist. In fact, I never understood why Davies did not follow Emma Thompson’s example by deleting the character altogether. Linda Bassett gave a friendly performance as Mrs. Jennings, Lady Middleton’s mother. But her portrayal lacked that deliciously meddlesome trait that prevailed in Austen’s novel and the 1995 movie. And I also found Bassett’s accent questionable. I could not tell whether her character was from amongst the upper or middle class.

At least two performances in ”SENSE AND SENSIBILITY” managed to impress me. One of those performances belonged to Claire Skinner, who portrayed the Dashwood sisters’ bitchy sister-in-law, Fanny Ferrars Dashwood. Skinner was truly superb as the venal and manipulative Fanny, who seemed more than determined to not only rule her husband, but also make her sisters-in-law miserable for the sake of her ego. My favorite Fanny scene featured that delicious montage in which she wore down John’s determination to help his sisters and stepmother financially. The other outstanding performance came from David Morrissey’s portrayal of the stoic Colonel Brandon. As much as I admire Morrissey’s skills as an actor, I have found some of his performances a little too theatrical at times. I certainly cannot say the same about his performance in ”SENSE AND SENSIBILITY”. He perfectly captured the quiet nuance of his character; and at the same time, expressed Brandon’s passion for Marianne through facial expressions and body language.

”SENSE AND SENSIBILITY” may have been marred by scenes that I found unnecessary and lacked a witty sense of humor and something of an edge; but it still turned out to be an intelligent and solid adaptation of Austen’s novel. And fans of Austen’s novel can thank Andrew Davies’ script, John Alexander’s direction, Sean Bobbitt’s photography and a solid cast lead by Hattie Morahan and Charity Wakefield.

[empyreanwritings]

March & April Book Review

I did not read that much in March because of the demands for school and I was lowkey going thru it, so I combined these months &lt;3

Emma - Jane Austen: As someone who thoroughly enjoyed Pride and Prejudice, I think Emma is one of Jane Austen's best works. Emma is an incredibly flawed character, but she has such a loving heart on top of it that you enjoy her anyways. The love stories, the drama, the comedic scenes - they all tie into the story really well. Also, if anyone wants to watch Emma (2020) I highly recommend it. There are differences, obviously, but I think it makes you enjoy the book even more. Overall Rating: 8/10

A Soul to Touch - Opal Reyne: This is the third book in the Duskwalker Brides series, and I have yet to be disappointed. Mayumi and Faunus were an amazing duo that had so much angst and tragedy building up between them because of certain circumstances. My only complaint is that I wish we could have seen more of Mayumi's grief - yes, her character wasn't about showing too many emotions, but it would have been nice to see more. It obviously just didn't work that way bc of how much time she truly had to get it together, it was limited, so it was understandable! I cannot wait for the fourth and fifth book of this amazing series. Overall Rating: 9.5/10

Tall, Duke, and Dangerous - Megan Frampton: Yes this is absolutely a $3 book I found that has one of those cheesy romance novel covers with a shirtless hottie. I never in my life imagined myself enjoying a book like this but HOLY SHIT it was written so well?? The smut? Delicious. The story? Amazingly executed with characters who are so much more than just bland copy + pastes from other regency era stories. I actually plan to read another one of her books because of how good it was. Those old ladies who were gobbling up these stories long before us knew exactly what they were doing. Overall Rating: 12/10

Persuasion - Jane Austen: If you have followed me long enough, you know that enemies to lovers has always been my top tropes. But after Persuasion and some other stories I read last year, I'm starting to realize exes to lovers is ???? SO SUPERIOR. The Netflix adaptation of this book did not do it justice if I am being honest. I loved watching the progression between Anne and Captain Wentworth. The subtle hints of being flustered and jealous are *chef's kiss* for real. I know I said Emma was going to be one of my faves, but I think this one took the top spot in Jane Austen novels. Overall Rating: 10/10

Northanger Abbey - Jane Austen: This was the last book I had to read for my class, and I was a little underwhelmed. The story was good, and the characters all had pretty contrasting personalities that helped fill in some gaps, but overall nothing really happens. There's some conflict towards the end, but it is resolved within two chapters. I don't imagine I would ever go out of my way to reread this one or see any adaptations of it. Overall Rating: 5/10

The Gargoyle's Captive - Katee Robert: WHEW this one was a ride. I have read all of the books in the A Deal with a Demon series, and I think this one might be the best so far. I love that you can see her progression as a writer the more she delves into these characters - and I'm a little sad to think that she really only has two more book to write after this one. Bram's feelings are a little too close to home for me - he feels so indifferent towards life and it just made me so sad. The plot twist was predictable, but I always believe good writing SHOULD make the plot twist predictable - and it certainly did not take away the impact of it. Please make sure to read the trigger warnings before reading this book though. There's a lot that occurs that could be triggering to someone. Overall Rating: 10/10

Queen of Myth and Monsters - Scarlett St. Clair: Full disclosure, the author acknowledges this story as 'the one where everyone gets a backstory' and it's true. literally everyone gets a backstory, and characters are introduced that don't have much to do with the current story because you know they will be essential in the next. It wasn't necessarily a bad thing, but I also feel like TOO much happened at one time. There were too many conflicts / too many introductions and "plot twists" and too many unresolved arguments. I'm all for fighting and fucking - but at some point the MCs gotta actually talk things out. It felt like everything was shoved in there at once to pave the way for a third book, but it definitely could have been separated and hashed out better. I won't lie, I'm a little disappointed, but I will hold on for the third book. Overall Rating: 6/10

Forever Theirs - Katee Robert: I think this series is probably one of Katee Robert's underrated ones because it came out in 2018 and I never heard of it. Truly it needs more hype. I need BookTok to grab onto this one because it's poly and it's written SOOOOO well. Y'all want a royal / citizen / bodyguard throuple then this book is for you. The smut? Glorious. The overall plot? Even better. I am obsessed and cannot wait to read the next book in the series. I'm still not over this came out so many years ago and I am only just discovering it bc I'm obsessed with this author's monster fucker books. Overall Rating: 10/10

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[readwithmeeg]

5 All Time Best Book to Screen Adaptations

When I read a book, I see every image in my head exactly the way the author describes it. But I know not everyone experiences reading this way. When books become adapted for screen, they can go one of two ways…well or poorly. So, if you don’t have the story play out in your head you may never be able to see how the author hoped for the story to play out unless it’s done well. Here are my top 5 picks for the best book to screen adaptations. Spoiler Warning Ahead!

Outlander

Little Women

Pride and Prejudice

Stardust

The Lord of The Rings

Outlander

Outlander is a fantastic romance series with time, travel, history, and love. This Diana Gabaldon series has nine published books of a proposed ten books in the series and generally the seasons follow the plot of the books well. They both focus of Claire who mysteriously travels back in time in Scotland and fall in love with Jamie. The show does a great job of being accurate to the books as well as the time periods (there are quite a few times jumps so I think it would be a lot to keep track of…) making it number 5 on my list.

Little Women

Next up is Little Women specifically the 2019 Greta Gerwig film adaptation. The story follows Jo March and her sisters and their struggles and successes growing up together becoming women. There is humor, love and heartbreak and the film does a tremendous job of making you fall in love with these characters and this story just like the book does.  Greta really did a great job fitting as much detail as she could in the 2hr and 15-minute run time giving it the number 4 spot on my list.

Pride and Prejudice

Now Pride and Prejudice will always have a special place in my heart (I’m named after if for goodness’ sake) but that doesn’t mean it doesn’t deserve the number 3 spot on my list. There are a few different adaptations of this beloved story out there now, but my absolute favourite is the 2005 film. While it may not be as accurate or as detailed at the almost 6-hour 1995 version. It still does a great job conveying the emotions felt by Elizabeth, Mr. Darcy, and the rest of the characters. I will never be tired of this story or this moving making it a well-deserved 3 place.

Stardust

Stardust by Neil Gaiman gets the runner up spot on my list and not just because it has three of my favourite actors together in one film. The story is a short one with magic, adventure and romance all wrapped up into one. But the film perfectly depicts what I saw in my head as I was reading this book and more. I think it captures exactly what the author was trying to portray though this story with the bonus or Ben Barnes, Charlie Cox and Henry Cavil making appearances…

The Lord of The Rings

If you know me this will be no surprise but my number 1 book to screen adaptation has got to be The Lord of the Rings. It’s such a beautiful =, detailed and well written story by J.R.R. Tolkien already and I believe Peter Jackson did an amazing job making Tolkien’s vision come to life. The extended versions are far superior to the theatrical cuts just because they include so much more detail. They are not easy stories to being to life and the fact that Peter Jackson not only did it for the original trilogy, but The Hobbit as well proves that this deserves the honour of the best book to screen adaptation in my books.

All these stories are so well written to begin with but the fact that they were brought to the screen so well just enhances the fact that I love them so much. It provides another layer for me to enjoy as a viewer and see what I saw the same way as the directors or maybe interpreted a little bit differently. Do you agree with my list? If not, what would you say is your favourite book to screen adaptation I’d love to know!