jane eyre webseries

allmyhecksrgone  asked:

hi! i was wondering if you had any suggestions for literary web series? i've already seen lbd, nmtd, lolilo, emma approved, march family letters, northbound, kate the cursed, and the new adventures of peter and wendy lol

Here’s a bucket load for you and many of these webseries are completed so you can binge watch:

All For One (The Three Musketeers) - @a4oseries

Green Gables Fables (AoGG) - @officialggf@dwellinginmarblehalls

Twelfth Grade (or whatever) - (Shakespeare’s Twelfth Night) - @quipmodestproductions

All’s Fair Play (various Shakespearean works) - @kalama-tea

The Autobiography of Jane Eyre - @kalama-tea

Call Me Katie (Taming of the Shrew) - @discordiaproductions

From Mansfield, With Love (Mansfield Park) - @from-mansfield-with-love

A Little Princess: The Vlog - @novelproductions

The Misselthwaite Archives (The Secret Garden) - @misselthwaitearchives

Project Dashwood (Sense and Sensibility) - @projectdashwood

Snow White - @wimseyfilms

Rapunzel - @wimseyfilms

Rex webseries (Arthurian legends) - @rexwebseries

Happy viewing!

All the Web Series

Hey everyone!

So my lovely sister suggested that I make a masterpost of all my favourite web series, so I started off by listing all the web series I’ve ever watched………and there are a lot. So many that I think I might have an eensy bit of a problem. But moving swiftly along, here’s my own not so little list of all the webseries I’ve watched all-the-way-through and want to ramble about in alphabetical order. As always, these are my own thoughts and opinions, and you are perfectly entitled to have different ones. Because this list is so long, I’m putting it under a read-more (cause otherwise this would seriously fill your entire dash) but above the read-more I’m gonna put a list of the web series I talk about so you can see if there’s something you want to check out :)

Adult Wednesday Addams

Autobiography of Jane Eyre

Blank Verse


Classic Alice

East and West

Elinor and Marianne Take Barton

Emma Approved

Frankenstein M.D.

From Mansfield With Love

Green Gables Fables

The Goreys


I Didn’t Write This

In Earnest


Jules and Monty

Kissing in the Rain

The Lizzie Bennet Diaries

The Misselthwaite Archives

The New Adventures of Peter and Wendy

Nothing Much to Do

School of Thrones


Submissions Only

A Tell-Tale Vlog

Welcome to Sanditon

Wish It Inc

Writing Majors

Keep reading


I said “you’re holding back”

she said “shut up and dance with me”

Why I love The Autobiography of Jane Eyre

So in accordance with my announcement from yesterday about only posting about things I love, I decided to start an in-depth, super passionate, rambling and love-filled series about the things I love: books, films, TV shows, webseries, music, people, whatever. These will be semi-reviews, love stories, cheerful ramblings, thoughtful analyses… and just messages about some of the things in this world that truly make me happy (usually text, though I may try at some point to integrate images and gifs). It only seems fair, then, that the first of these posts will go to the show that brought me to Tumblr in the first place: The Autobiography of Jane Eyre.

AoJE for a lot of us began as something to fill the hole that the Lizzie Bennet Diaries left after it ended. AoJE was clearly inspired by LBD - indeed, in her first episode, Jane tells her viewers how Lizzie (as a “real” person) inspired her (and gently laughs at the impeccable hair the girls always seem to have). That quick flash of LBD footage actually sets the tone for what AoJE would be all about over the next year plus. AoJE used the technical format that LBD popularized, but it used it more casually, with worse hair and more realistic surroundings.

Jane’s vlogs felt like real vlogs - clumsy, at times oddly filmed, often hesitant, almost always reflective of a complicated life and distinctly not professional. There was little of the shiny gloss that LBD had throughout its run - we all remember the spot on the camera in the early episodes, as well at the cut-up, jerky camera blackouts. From the onset, AoJE was a realistic show, with a grounded story and a grounded realism and a grounded Jane that carried the story along phenomenally. And a camera that moved, and a girl that moved with it.

To pretend that our Jane did not greatly contribute to why the show was successful is not even an option - Alysson Hall (boobiesmcfeels) brought Jane to life naturally and flawlessly, to the point where we all, I think, struggle to distinguish between the two at times (the recent behind-the-scenes take during which Alysson goes through all her lines in a Valley Girl accent definitely showcased for me how little I separated between actress and character, as my jaw dropped further and further). As both a writer and as an actress, Alysson imbibed Jane with more life than any other adaptation I’ve ever seen.

Jane for us was not a character - she was a friend, one we worried about when she stopped posting online, one we comforted when she was upset, and one we even were hurt by when she so quietly left us just a few weeks ago. Fans responded to the show’s end not unhappy because of the quality, but because of the relationship they had formed with Jane. It felt much more like a friend who moves away and stops talking to you than a show that has reached its end.

But AoJE is not simply Jane. It’s episodes like Kidnapped, which are so believable as not-fiction that when I show it to people, they ask if these are my friends. It’s characters like Simon or Beth, who are conceptually faithful to their original, but put in a different context and different light, perhaps even improving upon Brontë’s original story. It’s the choices that Jane makes, the way she grows up, the way redemption plays into the story… all of these aspects match the original Jane Eyre, yet also successfully turn it into a fresh, original story that is worth being told on its own right.

There was also a level of engagement and fan involvement in the show that surpassed LBD. The way showrunner Nessa Aref (inkingideas) lovingly coaxed fans in the weeks leading up to the ending, the way the transmedia team often teased fans, the way Jane herself interacted (or didn’t online) - these all made both the show itself feel more real, as well as the world around it. That they can laugh at themselves (with videos like the April Fool’s teaser, the perk videos, or their crossover with Shipwrecked Comedy for the excellent Bertha’s Attic Song) creates a safe space around the entire project that ultimately permeates the story itself.

I have not yet had the chance to watch all of the videos straight through, start to finish, but I know that I will do it in the very near future. And again in the further future, and again, and again. AoJE was partially an experience for me - holding my breath every Wednesday, later every Wednesday and Saturday, and finally just every painful, heart-wrenching Saturday - but it’s also a brilliant adaptation, story and piece of art in its own right.

So why do I love The Autobiography of Jane Eyre? I love The Autobiography of Jane Eyre because I love Jane Eyre the book, because I love this version of Jane Eyre the not-character-but-a-person, because I love stories that feel natural, because I love feeling that sort of connection, and ultimately because it’s really, really good. It’s a story that didn’t always make me smile (and often made me cry), but it always filled me with a sense of love. That is something to be treasured.


If you liked the Lizzie Bennet Diaries, Emma Approved or the Autobiography of Jane Eyre you actually HAVE TO WATCH The New Adventures of Peter and Wendy.

From the producer of the Lizzie Bennet Diaries, Peter, Wendy, John and Michael live in Neverland Ohio. And this is their story of growing up. There have been 3 episodes and I am already completely obsessed. The characters are endearing and so hilarious! It backs away from the typical ‘vlog’ style webseries and lets you step into the role of Tinkerbell for some of the episodes.

Seriously 10/10. The actors are amazing and by the third episode there is already a strong storyline with strong characters. ITS SO GOOD AND I LOVE IT SO MUCH JUST WATCH IT PLEASE!

Internal awareness of storytelling in webseries versus traditional media, or, What 4th wall?

In October 2014, Beatrice Duke, Hero Duke and Benedick Hobbes watched through (and livetweeted) their own videos and those from their friend Ursula’s channel. Except Beatrice, Hero, Benedick and Ursula are fictional characters, and the videos they were watching are the show Nothing Much to Do as we have been watching it for many months. The playlist that we use to track the channels became, for the characters, a playlist organized by Ursula. The mysteries of their lives were suddenly exposed. “Holy f*** this was online?!” Beatrice exclaimed during a particularly revealing moment on Ursula’s channel, suddenly realizing how much drama could have been averted by simply watching all these videos when they came out (as the viewers did).

Many modern webseries take advantage of transmedia and new media in general to further their story. In the Lizzie Bennet Diaries, much of the story revolved around the “secret” of Lizzie’s vlogs, and keeping them hidden from certain people. Slowly, characters became aware of Lizzie’s videos through different means, and thus were able to move the story forward. Caroline’s awareness enabled her to manipulate various aspects of the situation, Darcy’s exposure allowed him to better understand Lizzie and himself, and ultimately even the final moments of the show touch on the matter (however humorously).

The Autobiography of Jane Eyre took this a few steps further, having an entire episode devoted to Jane introducing her new friend to her story. This episode cast Jane’s previous videos as both a documentation of her experiences until that point and a subtle criticism of it. Mary questions certain plot points (“why is there blood?”), views the character development sharply (“oh, you like him”) and ultimately reflects the audience experience.

AoJE referenced on multiple occasions the complicated double-nature of Jane’s videos (when Rochester first discovers them, at the show’s end, etc.), but it also struggled at times with balancing realness and plot. Rochester’s insistence on uploading certain videos became suspect at some point and little moments that weren’t cut began to seem like they were truly geared towards an audience, not reflective of the vlogger herself.

Many modern webseries have stumbled quite seriously at this point, most obviously Emma Approved. In that show, the ambiguity of the filming and editing made certain scenes feel distinctly scripted and unbelievable. In essence, Emma Approved resembled The Office much more than it did shows like AoJE or NMTD - there are moments that clearly stretch the credibility of the medium, but the endgame addresses the medium (and some of its inconsistencies) explicitly.

The comparison to The Office is an important one for me. Throughout its (long) run, The Office gradually let go of the restrictions of the “documentary” style. There were scenes that could not have been filmed, cameras in places that made no sense, situations where it was no longer possible for the “filming” crew to remain behind, and ultimately the structure became a background idea. There were a few minor points at which the medium became relevant throughout the series, but a clear addressing of the “documentary” only arose at the show’s end. The discussion - of what’s edited, what ends up included in the story, the purpose, etc. - proved to be one of the strongest ideas the show ever dealt with. In addressing the character’s internal awareness of their own story, the show made its medium credible once again. The Office is one of the only shows that has ever explicitly dealt with the question (that I’m aware of) of who is telling the story and why.

Which leads me back to NMTD. NMTD distinguished itself by having different channels with clearly defined objectives. Unlike Emma Approved (which used a second channel for specific videos that were actually published, in a manner that ended up being extremely confusing to fans), NMTD made clear from the beginning who was watching which channels, and who was showing what to whom. There is a constant acknowledgement of where and why certain characters have not seen certain videos. Videos are edited with care according to the character uploading the video (and often explained in the video description). Problems are addressed within the story. While it’s legitimate to argue about the effectiveness of these excuses (and whether or not they don’t stretch credibility somewhat as well), there is no doubt that they clear up many of the confusing aspects that trip up bigger productions.

And then finally, moments before the show is due to end, the characters walk straight through the 4th wall and watch all the videos, livetweeting every step of the way. Like Mary in AoJE, they too question certain unbelievable aspects, but they also add extra commentary. They fill in the gaps (certain missing scenes that viewers had eagerly waited for), they speak to their audience, and they simultaneously remain in character the whole time. No 4th wall after all. More than that, the experience is an optional experience - many viewers do not track Beatrice’s rarely updated Twitter account, and will never read these tweets.

Part of the appeal of vlog webseries is their realistic nature: we connect on a personal level with the characters, convincing ourselves that they’re real people. The various aspects of transmedia flesh these characters out further, distinguishing them even more from traditional media. The “meta” moments in which the characters wink at the audience thus walk the fine line of acknowledging realism problems (pulling us out of the story) and telling the story as it ought be best told. Some shows are upfront about everything (interestingly, these are the shows with teenage characters, like NMTD or Green Gables Fables), while other shows live in a more traditional ambiguous realm (Frankenstein M.D.).

Most normal TV shows don’t have internal character awareness (Community is the obvious exception). Many webseries opt for the TV style as well, even if they add different tricks to make it feel more intimate (The New Adventures of Peter and Wendy, for example). My personal taste remains loyal to the new realism form, where it’s possible to simultaneously tell a story and have everyone aware that the story is being told. I’ve found it to be more interesting, and certainly more thought provoking.


A Fan Trailer for The Autobiography of Jane Eyre

So sadly I missed the date of Jane’s/AOJE’s birthday, but I wanted to make something to mark it anyway, because I love and miss Jane and it’s still my favourite webseries and definitely the one that’s had the largest impact on my life. 

I thought a trailer might be cool because there isn’t one, and because I think there are a kind of third generation of webseries watchers around now who found and loved the more recent series,  have probably watched The Pemberly Digital projects since they started it all, but might not have discovered the series like AOJE which are kind of in-between. And that would be a travesty because it’s beautiful and everyone should watch it <3 And I thought it would be nice to raise a bit of general awareness for KalamaTea too since it seems like more exciting things will be coming from them soon!

The thing is: I forgot how much I can’t make trailers. It has turned out a bit better than earlier attempts but… *dissatisfied sound* 

Anyway, Happy Late Birthday Jane! I miss you! And I miss being a more active Eyrehead! And KalamaTea I can’t wait for All’s Fair Play!

obscurejane  asked:

Hey! I don't know if this question has been answered but I wanted to know how you guys started this project? Who came up with the idea to make a Jane Eyre web series? And what was the most challenging thing you encountered when you first started?And I don't know if Nessa is still with you but if she were to play a character in Jane Eyre who would it be? Sorry! I know that's a lot of questions!

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