Season 48 - Little Women (2018)
I have never met someone of the female persuasion who doesn't hold a strong opinion on which is their favorite adaptation of Little Women. My friend Marie favors the 1949 version because she's a huge fan of Margaret O'Brien of Meet Me in St. Louis fame. And I totally admire Marie's bravery in embracing being entirely wrong because the best adaptation is obviously the 1994 version with Winona Ryder. Accept no substitutes! Especially if they're trying to foist that horrible 2019 Greta Gerwig version on you. Beth isn't a framing device and Florence Pugh is incapable of passing for twelve! Why did that have to be the last film I saw in theaters before the pandemic!?! It has wormed its way into my brain and is sadly never to be forgotten because of it's proximity to pandemonium. This miniseries was the latest adaptation save the Greta Gerwig version and I had literally no desire to see it. The main reason I didn't want to watch this was because it was filmed in Ireland. I know, that seems a really weird reason to not watch a show, but everyone knows what the March's house and environs look like because you can literally still go there. I've been there, and while this adaptation might have had some accuracy with regard to the interior layout what the hell was that color the house was painted!?! Those trees, what is up with those trees around "Walden Pond!?!" Oh, and the fact that the newspaper where Jo sells her story in "Concord" is in Eliza Scarlet's office, I'm even more exasperated by the Ireland choice. But then again three of the most important roles, including Marmee, are played by Brits. And I want to make it clear, I'm not against casting Brits in American roles or vice versa, it's just that this is perhaps one of the most famous American books of all time, which wasn't even published in the form we know in England, to have such a British presence behind the scenes is odd. I mean, it made me not watch it for eight years. And now that I have watched it, there's still a disconnect. It feels off. And not just because Laurie is played by Ruby Sunday's horrid boyfriend from the last season of Doctor Who. There are views that feel more Heidi Thomas's than Louisa May Alcott's. The character I have always related to most is Beth, and not just because of the name thing, because anyone who knows me knows I hate the diminutive Beth. She's a homebody, someone fine with staying put but not being left behind and here she's an agoraphobe. This didn't sit right with me. It's complicating and belittling her character at the same time. As for the changes to the other sisters? Oddly enough I think Maya Hawke was a great Jo and it was nice to see Willa Fitzgerald not being pursued by Ghostface. And yes, I am still bitter about the lack of an ending on the Scream television show, why do you ask? Also we will not be discussing season three because who knows what that even was supposed to be. But the changes to Amy? Oh my. I didn't think it was possibly to hate her all the more but they made her destruction of Jo's book far more premeditated and pathological. Though, again, one actress playing Amy just doesn't work because a woman can not play twelve. It doesn't matter how immature she acts or the cut of her clothes or the braiding of her hair, she comes across as someone playacting as a child and it's creepy and off-putting. So in the final anlysis, yes, it's a fine adaptation, not without it's flaws, but it's not the 1994 version with Winona so why settle for less?
The British have such a love of their public schools that is equal parts nostalgia and trauma that they have immortalized it in print time and time again. Tom Brown's School Days is always the first that leaps to mind, but there are so many that I can name from those that embrace the genre, like Goodbye, Mr. Chips, to those that subvert the genre, particularly Ronald Searle with his St. Trinian's comics. You could even make a valid argument to include The Prime of Miss Jean Brodie amongst their numbers even if Wikipedia doesn't. Mr. Chipping has been depicted several times on screen by the great luminaries of the day, from Robert Donant, who won an Oscar for his portrayal, to Peter O'Toole, who sang and danced as Mr. Chips, to Roy Marsden, the most famous of all Dalglieshes. So why did the 2002 adaptation land on Martin Clunes? You have to remember that at this time he wasn't the household name he is now for portraying Dr. Martin Ellingham. "Doc Martin" was still very much in its nascence. Martin Clunes had played Dr. Martin Bamford in the film Saving Grace and the character had been re-contextualized for two television movies, only one of which had aired at this time, and which, in my mind, have almost nothing to do with the series. Other than that his career was almost all one-off episodes where his character was invariably along the lines of his portrayal of Barmy on Jeeves and Wooster or Anna Massey's ill-fated son on Inspector Morse. In other words, big-hearted and bumbling. A golden retriever or Labrador of a person. He comes in smiling with that big mobile mouth and his outsized ears and is just a ray of sunshine. And I honestly believe, from years of watching him, that this is exactly who he is as a person. In other words, the exact opposite of a taciturn doctor in Cornwall who graced our screens for ten series. Which is why I think he was perfect for this role. He shows up at this school where the most formative years of a young boys life will also be the cruelest and he is horrified by what he sees. And you can see it there, all on his face. He doesn't believe in corporeal punishment he believes in kindness. Soon he finds a woman who believes the same as him and they are married and she helps him to see that love is what these children need. He isn't able to get much traction on his desired reforms and soon he loses the love of his life in childbirth, but his students love him. Students who are going to die in droves in the first World War. Is this supposed to be happy? What is the message? Look what one man with a heart of gold can do and fuck war? Wait, were all these books written to self sooth to be a balm on the wounds of how horrible British public schools were and that war was actually better than being bullied at school? Because this starts out so uplifting and ends in tears. Mr. Chips changes hearts and minds and then the bodies housing those hearts and minds die in the trenches. I really can't believe how much death is in this. Why couldn't he and his wife have had a happy ending? Why did his only children have to be the students? I mean, it's too bittersweet for me. Yes, the war had so much death and given the time period I expected that this would encompass the first World War, I was just hoping, maybe, I don't know, something more upbeat and not bleak. Well, if I had stopped it halfway through that would have been the case. So I heartily approve of watching this nice fifty minute movie. There are not another fifty minutes. There are only fifty. That is all. His wife says she is expecting, cue the credits.
Threadneedle by Cari Thomas
My Dad has issues with the first episode of TV shows. He doesn't like to spend the time getting to know the lay of the land. He wants the story to just start immediately without bothering to learn character names or relationships or any details that might be relevant. No matter how many times I explain that this worldbuilding is important for the audience to form a relationship with the characters which will pay off in later episodes he almost always will declare by episode two that "this episode is so much better." Sigh. It's a cross I will forever bear. On the other hand, his weird predilection for being thrown into a story with no context means that Queenie should have been the show for him. It wasn't. I don't know who this show is for. I tuned in because of the commentary on how calling Queenie the black Bridget Jones was doing the show a disservice. And it is, because one bunny suit and Sally Phillips does not make this Bridget Jones. In fact I would willingly watch the abysmal Bridget Jones: The Edge of Reason several times versus watch this show again. This show is just so depressing. Queenie wallows in bad life decisions as a result of not dealing with trauma. A trauma whose reveal is drawn out so long that you think it has to be really bad, sexual abuse, physical abuse, something earth-shattering. Well, let me save you the trouble of having to watch this piece of shit. Her mother left her alone so that her partner wouldn't hurt Queenie. Now, yes, you can have severe abandonment issues which lead to relationship problems later in life, but compared with what was happening with her mother and what could have happened to her, Queenie comes across as an entitled bitch who might just be the most self-centered character I've ever seen in a television show. A show that every aspect of it is a mess. First, there's just the confusion that is this show. You don't know who anyone is and therefore you don't care. The texts and memes and messages that flash up on the screen are too quickly removed to be read and are in such color and font choices that they can't be read even if you cared to. Everything is just whirling confusion. The visuals of this series are just a mess. But I guess they compliment the mess that is my second point, the characters are a mess and I hate them all. Queenie is not likable. She's not relatable. At eight episodes this felt like it was a hundred, half of them wallowing in shit and then half of them trying to get out of that shit. Oh, and how does she get out of that shit? By being a hypocrite and taking money from her mother who she won't talk to. And as for her job that she royally fucks up by having sex with a married coworker on the bathroom floor, what is it? What does Queenie actually do other than make bad life choices? I have no idea what her job is. And worse, I don't care. This show was about a miserable person who makes horrible decisions and then gets rewarded for admitting she needs therapy? Just no. All the no. These actors deserved better. Oh, and Cabbage Patch Kids weren't out in 1979. 
Tony and Susan by Austin Wright
The Hippopotamus Pool by Elizabeth Peters
Well if you are really into crime or comic books this past year's swath of television adaptations has been for you. It seems like weekly Marvel is dropping another show on Disney+, and I don't just mean new episodes, but whole new shows. What have we had so far? Hawkeye, Moon Knight, Ms. Marvel, with She-Hulk and her horrible CGI still to come? And that's not even counting other comic book adaptations from The Boys to The Umbrella Academy to Locke and Key to Paper Girls. As for keeping up with criminal activities, what with so many British imports showing up on a plethora of streaming platforms, I feel like I've spent the last year adding and dropping services just so I could watch them all! And I've barely dented the surface with more being released every week! But I will say this, moody period crime and Roger Allam are all you really need to satisfy me. And yes, the moody period piece I'm talking about oddly is different from the Roger Allam one I am talking about. But one thing was certain about this years adaptations, some really knocked it out of the park and some barely made it to first base. There were a few shows I was dying to see, and well, was occasionally pleasantly surprised. But if there's one thing I know, I'll keep watching and judging adaptations for as long as they make them. And let's put it this way, Hollywood rarely has any original ideas, so adaptations will always be here! But are any of them prizeworthy? Well just have to watch and see... 
The Viscount Who Loved Me by Julia Quinn
My parents made it a habit that for the holidays they'd give me box sets of their favorite Masterpiece Theatre shows so that when I wanted to watch something they'd get to watch something they wanted to as well. One Christmas I got a gift "From Your Irish Friends." After me trying to guess what the present was and failing, it turned out to be season one of The Irish R.M. staring Peter Bowles. I feel bad that it's taken me about twenty years to finally get to this show, but it really needs to be taken into account how many shows are out there and how many shows Masterpiece Theatre did that I'm trying to catch up on. That is a hella big backlog people! On the scene we have a lot of my favorite actors, or I should say, Peter Bowles, but behind the scenes we have the whole crew from Upstairs, Downstairs, a classic if there ever was one! So I knew the show had rightly gained it's status as a classic in it's own right. Yet it did take me awhile to get into. The show deals with the clash of the very British Resident Magistrate with his very Irish neighbors who come before him in court and seek to manipulate him outside of it. My problem was that I felt the show's humor was at the expense of the Irish, and that made me feel a bit dirty. The Irish have always been the oppressed in any relationship with the British and the way jokes were set up to have the Irish use their humor and wiles to try to outwit their enemy felt too much like it was written by British writers to make fun of and further demean the Irish. Eventually they found the right balance where everyone was the butt of the joke, British and Irish alike, and with this the show found it's footing. It could also be that as time went on I started to love the characters and saw them less as the initial stereotypes they were set out to be and more as the individuals they were. But this has to do with the actors more than the writing in my opinion. In the end the show is a marvelous amalgam of All Creatures Great and Small and Father Ted. I defy anyone to argue that the R.M.'s housekeeper Mrs. Cadogan (which she insists is pronounced Mrs. Cadergorn) isn't the inspiration for Mrs. Doyle on Father Ted. They both so enjoy their misery.
What most of us turn to Masterpiece for is a good old fashioned period drama. Yes, there have been modern shows here and there, and many quite exceptional, but for most of us it's all about the period drama. Well, watching The Amazing Mrs. Pritchard now it feels like a period drama. Looking back on a simpler time in politics before Trump and Brexit it feels so long ago that it's a different era. Plus with the cast, Steven Mackintish, Jodhi May, Janet McTeer, Carey Mulligan, Geraldine James, Tom Mison, Siobhan Finneran, and Harry Hadden-Paton to name a few, it is like the best of the best from British period dramas are represented here. Then factor in the Downton-esque music by John Lunn playing over several characters from Downton Abbey, and well, it might be modern but it feels like Masterpiece to me. Though it's an odd little miniseries, written by Sally Wainwright who has gone on to create the procedurals Scott and Bailey and Happy Valley, the feel good Last Tango in Halifax, and the sensational period lesbian romp Gentleman Jack, The Amazing Mrs. Pritchard never really finds it's feet and ends on an abrupt note, and that note was only on the DVD at that. Ros Pritchard is a woman with no political experience who ends up Prime Minister by just telling it like it is and vowing to never lie. While I adore Jane Horrocks, she doesn't have the heft needed for the role and is outclassed by everyone around her. But more importantly, I couldn't figure out the message of the miniseries. What was it trying to say? It is oddly pro-Brexit before Brexit happened with a bizarre streak of British exceptionalism. Also Ros's Purple party is almost all women, is this a commentary on women in traditional male roles and how they succeed or fail based on how much of the traditional female roles they're willing to give up, like motherhood. Also, while this was obviously written about a fake election it seems prophetic. I mean, look what we've just lived through here in the States! A person entirely ignorant of government being elected to the highest position in the land. But in reality there were tons and tons of deaths instead of everyone banding together and riding a bus. So yeah... it now cuts a little too close to the bone... The Amazing Mrs. Pritchard just doesn't understand the implications of what it's attempting and failing to say. 
Saffy's Angel by Hilary McKay
Mrs. Dalloway
The Rook by Daniel O'Malley
Bookstore: 
While looking for ideas as to what to make for the Jane Austen crafting exchange for the bicentenary of Pride and Prejudice I had with Miss Jessica my eye wandered to this skateboard deck I had had for many years. You might at this time be asking why I had a random skateboard deck just in my office, well, I'll tell you how that came about. A handful of years earlier when I had just started as the secretary of Madison College's Art Club the board thought it would be fun to have a screen printing workshop run by an acquaintance of the club's president. One of his specialties was doing skateboard decks and he offered to sell anyone who wanted one a deck at cost. I couldn't come up with a reason not to get a deck because there were so many interesting designs I saw people doing and I thought it would be fun. It became a fixture in my office that often fell on my foot, usually when I wasn't wearing shoes and as time moved on, more and more of an annoyance that was just taking up space. But then when the crafting exchange came about I knew that the time had comes to use this deck. 
One of the first things I remember about Miss Jessica when I met her was that she was a skater. There was a time when I visited her in New York and she was getting back into it and I actually went shopping with her for a new helmet at this way trendy store in Times Square. Why it took this crafting exchange for me to connect my blank deck with a present for her is beyond me. Originally I had this idea of just having her favorite Austen quote done up in fancy hand-lettering that a friend and fellow Madison College student was doing for me but in the end, what with the squareness of the workable area, I decided to go for a more graphic old time advertisement approach similar to a design I had submitted to Madison's Frosty Dog Jog a few years earlier. I already had many of the icons I ended up using from doing The Jane Austen Centre brochure redesign for a class assignment. What I added was not just a story of Jane's life, but many of the recurring jokes that Miss Jessica and I over the years shared about Jane Austen and the various adaptations her work had spawned. This finished design has such jokes as Mr. Hurst's nickname being Fatty Fat Buckle. Seriously, just watch how he "sits" on a couch in the 1995 miniseries and you'll understand why. As for the "Dancing" and "British" you must shout the former when they say it on screen and the latter when a particularly British male dancer appears! The key is usually their teeth.
Originally I was going to do this all by wood burning, and even bought a nifty wood burning kit. The thing is I had never actually done any wood burning up to this point and I was on a tight deadline as I was seeing Miss Jessica in a few weeks and I really didn't have time to master it. Because, to say that my first attempt was dreadful is an understatement. I quickly saw there would be no way to maintain the thin lines and the delicacy of the type. What was interesting though is that the process for transferring the design onto the wood actually looked really good. You print an inversion of your design and then get it photocopied. The key is that it has to be a photocopy because it needs the static and the heat set on the paper which you will then transfer onto the board using the wood burning kit you have not bought in vain. And this looked really cool. Of course because of the wood burning snafu I had had to sand some sections and this distressing that resulted looked even cooler. Therefore I decided to just go with it, distressing some sections, emphasizing others. And yes, I did add gesso. Because, if you haven't guessed by now gesso is one of my most favorite things in the world and can literally be used for and on anything. After the gesso had dried I then sealed the deck and now it hangs proudly on Miss Jessica's wall, showcasing her love of Austen and her love of skateboarding. Two things that you'd think would cancel each other out but just make her that much cooler. 
The Witch's Vacuum Cleaner and Other Stories by Terry Pratchett
The Lady of the Lakes by Josi S. Kilpack
Crimson Snow edited by Martin Edwards
Mystery in the Channel by Freeman Wills Crofts
The Cavendon Luck by Barbara Taylor Bradford
The Enchanted April by Elizabeth Von Arnim
