Mr. President how do you feel about the women’s march in
San Luis Obispo
New Smyrna Beach
West Palm Beach
Truth or Consequences
Port Jefferson Station
Corpus Christi, Texas
Salt Lake City
Washington D.C. On your front door
And many, many more
2.6 million people took part in 673 marches in all 50 states and 32 countries, from Belarus to New Zealand.
Dear Mr. President,
Welcome to the revolution, you are not welcome here.
michael gambon’s performance as mr. woodhouse in emma 2009 is so sweet and delightful and quietly heart-wrenching that i can even forgive him for “HARRY, DID YOU PUT YOUR NAME IN THE GOBLET OF FIRE?!?!?!?!?”
Why the hell were 2 adaptations of Emma made within the same year as each other
Well the world is an imperfect place and the whole situation ultimately involves four separate adaptations of Emma.
On the one hand you’ve got Americans doing their own thing in developing a feature film version of Emma [one!] (and initially planning a modernized take before they knew that Clueless [two!] was already in production so they reverted to a straightforward period piece.) This would become the feature film starring Gwyneth Paltrow.
Then over in Britain you’ve got Andrew Davies fresh off his unprecedented success in adapting the 1995 Pride and Prejudice for the BBC as a miniseries getting into some mild contractual awkwardness with the BBC after pitching Emma to them as his next project–only they’d already commissioned Sandy Welch to write one for them (and her Emma [three!] would not be produced and broadcast by the network for another 14 years.) So Davies decamped over to rival network ITV and took most of the production team from the BBC’s P&P with him to do their version as a television film [four!] which certainly has less of the marketing glamour and star-power of the Hollywood adaptation but nonetheless is still an adaptation with several comparative merits of its own.
Basically you’ve got an American film industry and a British TV industry both working on their own things and with their own damn problems and there’s no rule that says they have to check in with each other or that they CAN’T make two Emma adaptations at the same time. So they did just that.
i totally agree with your choice of best emma, but can you maybe tell what you do/do not like about the different versions? i'm v curious
Okay so let’s start with the 3 main period-proper adaptations before moving on to the modern stuff.
Beckinsale Emma: okay I love everyone involved (SAMANTHA MORTON YOU UNDER-USED GODDESS) but jfc Mark Strong’s sideburns were a serious error in judgement I don’t care how ~period accurate~ they’re supposed to be they made me feel every minute of the age-difference between Mr. Knightley and Emma and that is not a good feeling.
Paltrow Emma: fuck Goop like fuck everything I own this one on DVD because the lighting is golden so well-done to the DOP and the rest of the cast is just [kisses fingertips] (I see you Toni and Alan and Sophie HI and even Ewan and his terrible wig,) so I can’t hate it across the board; but I am THIS close because fuck Goop and everything elitist it stands for. But then a rich meddling white girl with no self-awareness is kind of the perfect casting, so????? I GUESS.
Garai Emma: SANDY WELCH HAS BLESSED US AGAIN. MICHAEL GAMBON. JODHI MAY. Like, I’m not even mad about the weird-ass little-kid flashbacks which wasted time and weakened the whole structure in the name of trying to tie-in some kind of commonality between the characters of Emma, Jane, and Frank, which we don’t even NEED, but whatever I get what they were going for but just because childhood flashbacks are integral to Jane Eyre doesn’t mean they’re useful in every period drama (SANDY C’MON YOU’RE BETTER THAN THAT.)
Silverstone Emma: there is a lot to love, there’s a reason it’s a quoteable classic, and I adore what they’ve done for modernized adaptations in general by setting the bar hilariously high with this one. That said, when I think Emma, it’s not the first film that pops into my head. (Sadly it’s probably Paltrow’s Emma that does, if only because of over-exposure and the sheer force of my loathing for the central casting.) It’s fun, it’s light, it’s frothy, we can party with the Haitians; but it’s definitely in a class of its own, and it’s a double-edged sword if you’re using it to introduce somebody to Austen, because if they get it, great; but if they then move on to Austen Proper and feel let down…well. The leap between tones and genres might be too much for some, so in this sense Clueless might be an acquired taste.
Sotomura Emma: I love what webseries are doing for formats in modern adaptations (arguably bringing back something close to an epistolary or confessional style format of ‘literature’ which Austen’s contemporaries would have been more familiar with,) but at the same time you do run into some problems in trying to justify the completely in-character motivations for filming and broadcasting this media in-universe. The interactive quality is amazing, but it’s a tricky thing to get right while balancing realistic and sympathetic characters and fraught situations that many of us would agree would have an ethically-dubious place on the internet, even in an age of reality TV and global access. As an audience, we want every juicy bit of drama to consume; as people trying to buy into the willing suspension of disbelief and treat these scenarios like they’re actually happening to real people, surely we’d want to protect the vulnerable moments of individuals we care about and not have their breakdowns online for all the world to see?
But that’s more about webseries formats in general, and not Emma Approved, specifically. While some of the scenarios were a bit contrived and some of the acting a little Off for my tastes (though it improved over the course of the series, I think? It’s hard to say; and I know scenes aren’t necessarily filmed consecutively,) overall it was a great effort by everyone involved, and my nitpicking could probably be laid more at the feet of direction/scripting in this case, rather than the talents of the actors. I did like how they brought in Isabella and didn’t just make her a figure of fun, as well as the other updates to characterization which give us rounded modern characters and consequences while remaining true to the spirit of the original characters and plots.
And Maddy Bates was amazing and I love her, end of discussion.