A new adaptation of Jane Austen’s “Pride and Prejudice” is currently in the works at Netflix. Moreover, Dolly Alderton, the author of “Everything I Know About Love,” is writing the script.
I often feel overwhelmed by the sheer quantity of new books that I still want to read—so many stories, so little time—and understand that this is an ambition that rereading can only delay.
Though a reflection of the Victorian era, the themes and messages of Charlottle Brontë, born on this day in 1816, remain relevant as women continue to fight for gender equality
It got me thinking that we are fascinated by the behind-the-scenes lives of our cultural obsessions, and the personal lives of authors can come to feel like public possessions just as much as their works. It is this sense of ownership that can risk conflict over films about literary icons.
Studios seem to think female characters need to be glossed with a “zany” and “feisty” persona in order to be relevant.
The movie sets the overall tone to be comic rather than tragic.
The problem with Netflix’s adaptation of Persuasion is that it doesn't know what it wants to be.
How is it that the privileged lives of the British upper classes, in a period of time which lasted arguably less than a decade, have managed to leave behind such an impressive legacy in English literature?
Fitzwilliam Darcy. You know who we are talking about.
A new adaptation of Jane Austen’s “Pride and Prejudice” is currently in the works at Netflix. Moreover, Dolly Alderton, the author of “Everything I Know About Love,” is writing the script.
I often feel overwhelmed by the sheer quantity of new books that I still want to read—so many stories, so little time—and understand that this is an ambition that rereading can only delay.
Though a reflection of the Victorian era, the themes and messages of Charlottle Brontë, born on this day in 1816, remain relevant as women continue to fight for gender equality
It got me thinking that we are fascinated by the behind-the-scenes lives of our cultural obsessions, and the personal lives of authors can come to feel like public possessions just as much as their works. It is this sense of ownership that can risk conflict over films about literary icons.
Studios seem to think female characters need to be glossed with a “zany” and “feisty” persona in order to be relevant.
The movie sets the overall tone to be comic rather than tragic.
The problem with Netflix’s adaptation of Persuasion is that it doesn't know what it wants to be.
How is it that the privileged lives of the British upper classes, in a period of time which lasted arguably less than a decade, have managed to leave behind such an impressive legacy in English literature?
Fitzwilliam Darcy. You know who we are talking about.
