Category: Serena’s Reviews

My Year with Jane Austen: “The Lizzie Bennet Diaries” [2012]

mv5bmtg1otk0mzg4nf5bml5banbnxkftztcwotm3mtm5oq4040._v1_ux182_cr00182268_al_Web Series: “The Lizzie Bennet Diaries”

Release Year: 2012

Actors: Lizzie Bennet – Ashley Clements

William Darcy – Daniel Vincent Gordh

Jane Bennet – Laura Spencer

Lydia Bennet – Mary Kate Wiles

Comparison – “Indulge your imagination in every possible flight.”

I watched this for the first time a few years ago. It had been out for a while as “Emma Approved” was also up and concluded. I remember flying through both series pretty quickly and enjoying the heck out of them (and, for the first time, being really annoyed by all the YouTube ads that were breaking up my experience). So, to get a wide range of examples of Jane Austen adaptations, I wanted to include both of these web series in this year’s project.

Sadly, it doesn’t quite hold up as much a second time around. This isn’t a mark against it overall, just that I think it’s the kind of thing that is more of an “experience” watching the first time and less enjoyable the second go around where the limitations of the format begin to glare more when the novelty has worn off. But I’ll start with a few of the positive things that stood out this go-around.

First, I think the series is very creative, especially with the way it changed certain aspects of the original story to fit a modern setting. Woes about family finances become more grounded in talks about second mortgages. Different approaches to marriage become different approaches to career paths. Pemberley becomes Darcy’s media company and Catherine DeBourgh becomes a venture capitalist who is funding Mr. Collins’s own media enterprise. Lydia is a party girl and Wickham is a dumb jock. Even small things like changing Mr. Bingley’s name to Bing Lee are creative as heck. I have to imagine it was really fun writing this series.

Also, for the most part, all of the actors are well-cast and, while clearly distinctive from their book counterparts, they all fit well with the same basic personalities and storylines from the original. I’ll obviously talk about some of the big players later, but I’ll just add here that I particularly liked this version of Charlotte (the hilarious and practical behind-the-scenes counterpart in the production of Lizzie’s videos) and of Georgiana/Gigi (a fresh faced and bubbly presence who gets much more involved in the matchmaking side of things with regards to her brother and Lizzie than the original would ever have dreamed of).

However, this go-around, the story felt unnecessarily drawn out and was rather tedious during the middle portion. It takes a long time to even get to the first “proposal,” let alone everything that came later. I think a good number of episodes probably could have been cut and the series would have ultimately kept up its pace and rhythm better. I have to imagine that this was a lesson learned for “Emma Approved” which has a shorter run time even though it is based off the longer book of the two.

The series also struggled with some of its more serious moments. The actors all felt more at ease with the comedy than the drama and there were times where some of it seemed to slip in quality from the rest. It’s just the kind of thing that is going to play more naturally with a comedic topic. Once we get into the drama with Lydia, I was not only beginning to feel the length of the show again but started to become more uncomfortable watching it. Like the romance, it was hard not to feel voyeuristic about these more serious portions. Yes, my brain knew it was all acted out anyways, but the other part of me cringed for seeing these intimate moments of seemingly “regular” people.

Overall,  I think it’s well worth checking out by all Austen fans. Though I will say that for me, at least, it was an experience that didn’t hold up to a repeat. Which is totally fine! I still remember loving it the first time and anyone who hasn’t seen it and loves these stories will probably feel the same. I do remember liking “Emma Approved” better, so we’ll see how that does the second go-around.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

While the show is definitely bringing new twists to this story, I’m not quite sure how I feel about this Lizzie herself. Due to the nature of this story, her prejudice against Darcy does seem extreme to the point of rather obsessive. I mean, we’ve all met rude guys, but she takes it pretty far. And, overall, this Lizzie is much more cynical and judgmental of almost everyone around her than the version in the book. Elizabeth Bennett definitely jumped to conclusions, but she also seemed to generally treat people with a bit more kindness than this Lizzie. Again, the nature of this series, being a video diary for Lizzie, kind of sets her up for failure here. Most all of it is her talking about other people. And what are diaries made up of?

Yep, diaries = talking crap about a bunch of people behind their back. But when it’s a web series and that’s all you have…your heroine kind of comes off like a bit of a jerk to those around her. True, by the end of the series she does come around on all of this, but it’s still a bit much at times.

The worst was her fall-out with Charlotte. The idea is good, to exchange practicality about marriage with practicality about careers, with Charlotte not subscribing to Lizzie’s “go for the dream” job approach. But, like the problem I had with the 2008 version of “Pride and Prejudice,” this Mr. Collins isn’t that bad (at least not for a first boss, and we’ve all had bad bosses, so c’mon) and Lizzie’s reaction seems completely overblown. Even more so here than in other versions of this story.

Charlotte lays out her reasoning pretty clearly: her family is poor, she thinks much of career success is based on luck, and often a job is a job, something that you make a living doing. I mean…this speaks so much truth to my generation, a bunch of people who graduated from college with massive debts right into a recession where jobs were scarce and those that did exist barely paid.  It’s the RIGHT outlook! And, unlike marriage, a job isn’t meant to be forever. This is the exact sort of golden opportunity that you’d be stupid, and Lizzie is stupid for turning down! You start out with a company in a great position, and after a few years, leverage it into your dream job. This is just reality, and it has all the luck that Charlotte mentioned written all over it: just handed to Lizzie, and then Charlotte, on a gold platter for really no good reason other than a past connection and them being in the right place at the right time. And then Lizzie just tears into Charlotte over it. It’s pretty obnoxious, really. Granted, she does come around pretty quickly. But it’s a tough thing to recover from so early in the show. Not a good look for Lizzie.

I also had a few qualms with the acting itself. I think the actress was best in her comedy moments, especially the dramatizations of past scenes with her parodies of other people. But when the script called for more serious moments, be it the angry confrontation with Darcy, the sister squabble with Lydia and eventual reunion, and even the more serious parts of the romance…I just didn’t feel like the actress was really cut out for it. She tended to overact and her expressions and reactions felt a bit forced.

On the other hand, I really liked the actresses who played Jane and Lydia. I’ll talk more about Lydia in the comedy section. Jane, however, was pretty solid. She’s sweet, kind of quiet, and a great interpretation of the book character into a modern woman. We only see her on and off, but she’s a nice balance to both Lizzie and Lydia.

Heroes – “What are men to rocks and mountains?”

We don’t really see much of our heroes in this version. Bing shows up early enough, thinking the videos are just messages to Charlotte. I really like this interpretation of Bing. He’s charming, funny, and easy going. But! Importantly, he’s NOT an idiot. Yes, he does get lead around by his friends, but the series makes great efforts at the end for him to experience his own personal reflection and start making choices for himself. He drops out of med school, admitting he had only been doing it because that’s what his family wanted. And instead he was spending his time working with charities. Jane at first turns down his offer to follower her to NYC where she gets a new job. But after hearing about these moments of clarity on his part and his efforts to begin to make his own choices, she relents and the two are together at least. It’s a nice mini arc for the character, and it ties up some questions about his character quite nicely by allowing him to experience his own personal growth.

I mention this a bit more in the romance section below, but it’s really too bad that we don’t see more of Darcy until at least halfway through the series. Even Bing, we have a face to connect to the stories much earlier which goes a long way for how much we care about his and Jane’s storyline. But I do like the character a lot when we do meet him. His mannerisms are of the sort that it’s easy to see how Lizzie’s interpretations of his rudeness and coldness came to be. And it’s fun to see him loosen up gradually. I particularly liked the last few episodes after they’re together. There’s some fun nods to the book with a mention of his learning to be teased and dealing with Lizzie’s mother and father.

I also liked the way the show used career opportunities instead of proposals as the big kicks for each of the ladies. And through these moments, the heroes also had their moments to shine, with Bing prioritizing Jane’s work and going with her to NYC rather than asking her to stay, and Darcy, perhaps foolishly, originally asking Lizzie to work at his company. She is quick to point out the problems with this, but we also see how he plans to use his network connections to help her with her start-up.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

I really liked this take on Wickham. He’s only on a few episodes, but it’s enough to see how charming he can be. It’s also enough for the viewers, at least, to see what a complete idiot he is. He’s full on “dumb jock” through and through. Even Lizzie seems embarrassed by him at a few points. The adjustments to his storyline also work very neatly, switching out an estate for a full ride to Harvard, money that Wickham blows through in one year before asking for more.

His affair with Gigi is also a nice twist, with them forming a relationship and living together until Darcy shows up unexpectedly and proves that Wickham was only in it for the money by offering him a check to leave, which he takes and does. It’s nearly as traumatic as the elopement would have been in the book, but it serves well enough. The only thing that is a bit of a sticking point is that, given the current culture, while it may be embarrassing for Gigi, it’s definitely not the kind of secret that should affect her at all if widely known. It could be easily told and sink Wickham, and I sincerely doubt anyone would think anything bad about the poor girl caught up in it all.

The sex tape with Lydia is far more effective as a stand-in for the life-long horror he intends to bring down on her. The internet is forever, and that kind of thing, once published is almost impossible to put back in a box. It would have followed Lydia forever. It’s a pretty basic practice for most employers to run Google searches on their prospective candidates, so it’s easy to see how this would have had real, tangible effects on her ability to lead a normal life. And, in the end, she gets off way easier than the Lydia in the book. Doesn’t have to have anything to do with Wickham ever again rather than ending up married to the guy.

Lastly, Caroline is the other main villain. I really liked this depiction of Caroline. She’s much more cool and calculated in her manipulation, even hoodwinking Lizzie about her true character. Some of the early videos of her are particularly interesting as the viewer can see Caroline actively fanning the flames of Lizzie’s dislike for Darcy while Lizzie is completely clueless to this manipulation. And then, ultimately, Caroline is the one behind much of the Bing/Jane drama. She arranges a situation at one of her parties to have some drunk guy kiss and unsuspecting Jane right when Darcy is watching. With this in mind, it’s easier to defend Darcy’s interference: he legitimately thought Jane was pulling his friend’s chain. Caroline, however, is the true evil mastermind behind it all.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

Yikes, the actual romance in this story is by far the most awkward thing in existence. The format of the show is never more working against itself than in these parts. I just felt super uncomfortable and voyeuristic watching the final kiss and conclusion to Lizzie and Darcy’s story. The build-up to this moment is fine, but the actual kiss itself…oof.

I wish there had been a way of introducing Darcy earlier in the series. The way the story is presented, this isn’t really possible, but once we can actually see the interactions between Lizzie and Darcy’s, it’s much easier to feel invested in their relationship. Really, if this wasn’t a retelling of “Pride and Prejudice” which conditions viewers to put importance on the Lizzie/Darcy drama, much of the first half of the series would seem oddly focused on a character we never seem to meet. It makes Lizzie’s fixation and extreme dislike feel all the more strange. Sure, the enactments give us an idea of Darcy’s personality and the social interactions that put Lizzie off in the first place. But all of Lizzie’s enactments are clearly extremes of characters, so when you only have those to rely on for such an important character…It’s just hard to feel invested in any of it, without seeing their awkwardness together. But once he shows up, it’s much better. And it’s even better as we see them develop a tentative friendship with him even participating in some of her mini dramas.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Lydia is by far the funniest character in this series, especially in the first half of the show when she’s mostly just freely being herself , extremes and all. Once Lizzie starts pushing her to be more grown up and the Wickham drama comes in to play, it all gets a bit too serious almost. In the books what you loved about Lydia was also what you couldn’t stand about Lydia: nothing fazed her. Even in the face of social shaming and shunning, she never seemed to bat an eyelash about it and behaved the same way. Here, the story gets more much serious with how Lydia reacts to Lizzie’s perceptions of her, and even more so, the near miss she has with the sex tape.

But! In the beginning, she’s just hilarious. The actress brought a bunch of fun ticks to the character, with all of the hair flipping and camera poses. She also has a bunch of fun catchphrases, and it’s easy to see why she, of all the characters, ended up with some side videos in her own little series. I didn’t watch any of these for this re-watch, so I can’t speak to what those have to offer. But in a lot of ways her character is a breath of fresh air to the earnest and sweet Jane and the cynical Lizzie. She’s bouncy, bright, and ridiculous and brings new levity to all of her scenes.

I also really liked this version of Mr. Collins. While he is pretty ridiculous, he’s not nearly has intolerable as the character in the books. I really liked how he was always name dropping his VC (venture capitalist) Catherine DeBourgh. It was one example of the many perfect substitutions this series made for aspects of the book that wouldn’t work in a modern setting. Lizzie’s impressions of Catherine DeBourgh were also excellent, but only made me wish we could have actually seen the character on screen somehow!

Fun facts – “Life seems but a quick succession of busy nothings.”

Kitty becomes Lydia’s cat, “Kitty” who follows her everywhere. Mary is a cousin whom most of them seem to regular forget exists.

The movie “Bridget Jones’s Diary” exists in this world as one of the sisters mentions that Darcy’s name is the same as “that character Colin Firth plays.” So, Colin Firth makes it into even this adaptation, if only in name. It seems that the book “Pride and Prejudice” does not exist, however.

Mrs. Bennet has several plans to get Jane stuck over at Netherfield. One includes sending her over with a jello that, due to the rain, is sure to ruin her dress and force her to stay. Mrs. Bennet also arranges for home improvements which force Jane and Lizzie to stay there for several weeks.

Pemberley is the name of William Darcy’s media business, and he mentions it is named after the part of England that his family is originally from.

Caroline Bingley will make a reappearance in “Emma Approved.”

Best Movie Gif/Meme: “I dearly love a laugh.”

The Mrs. Bennet impersonations were by far the best.

In two weeks, I’ll review the first half of “Emma.” Yes, I know this is out of order, but my quarantine brain read this one first and I didn’t want to do either it or “Mansfield Park” a disservice by speed reading the latter and then trying to review the former months after I actually read it. So, it is what it is!

Serena’s Review: “The Body in the Garden”

51318896._sx318_sy475_Book: “The Body in the Garden” by Katharine Schellman

Publishing Info: Crooked Lane Books, April 2020

Where Did I Get this Book: NetGalley

Book Description: London 1815. Though newly-widowed Lily Adler is returning to a society that frowns on independent women, she is determined to create a meaningful life for herself even without a husband. She’s no stranger to the glittering world of London’s upper crust. At a ball thrown by her oldest friend, Lady Walter, she expects the scandal, gossip, and secrets. What she doesn’t expect is the dead body in Lady Walter’s garden.

Lily overheard the man just minutes before he was shot: young, desperate, and attempting blackmail. But she’s willing to leave the matter to the local constables–until Lord Walter bribes the investigating magistrate to drop the case. Stunned and confused, Lily realizes she’s the only one with the key to catching the killer.

Aided by a roguish navy captain and a mysterious heiress from the West Indies, Lily sets out to discover whether her friend’s husband is mixed up in blackmail and murder. The unlikely team tries to conceal their investigation behind the whirl of London’s social season, but the dead man knew secrets about people with power. Secrets that they would kill to keep hidden. Now, Lily will have to uncover the truth, before she becomes the murderer’s next target.

Review: I’m always on the look out for a new historical mystery series. And while I love my Amelia Peabody and Veronica Speedwell mysteries, the two together can begin to feel a bit repetitive. They each are excellent on their own, but Amelia and Veronica have similar personalities and their strong women personas both play of the gruff-with-a-heart-of-gold romantic interests in very similar ways. The mysteries and settings are very different, but reading this last Veronica Speedwell book (I didn’t love it in general, so that doesn’t help), left me feeling a bit like the genre was starting to all feel the same. So I was both excited and nervous when I saw the book description for this one. On one hand, a recently widowed heroine is definitely different than those other stories. But then you add “roguish navy captain”…and would this really be all that different? Yes, it was, and it was just the breath of fresh air I was looking for!

Only one year into mourning her beloved husband, Lily Adler decides that enough is enough: it is time to rejoin the world and what better place than London itself in the midst of a Season? With the help of her dear friend, Lady Walter, Lily is quick to fall back into society, making new friends and visiting with old acquaintances. But amid all the typical gossip and small dramas that are always to be found in society, Lily suddenly finds herself caught up in a mystery: a young man murdered in Lady Walter’s own garden. A murder that no one seems to care much about but Lily and a few of her new friends. Soon enough, however, it seems that this young man’s death was only one small part of a much greater scheme and one that now begins to threaten Lily herself.

I really loved this book. And mostly this was down to the refreshing new characters that the story centers around. Lily is by no means the plucky, go-get-em leading lady that we see in Amelia Peabody or Veronica Speedwell. Instead, her strength comes in a calm, steely resolve to do what she sees right, while always maintaining a strong sense of dignity and knowledge of where her own particular strengths and weaknesses lie. She doesn’t seek out this investigation out of any sense of adventure, but rather she pursues it only because of her strong sense of justice. If, by the end of it all, she finds a new direction for her life, it’s not due to any intrepidness that has always persisted throughout her life. She’s a much more quiet, reserved leading lady, but just as skillful in being more withdrawn. Indeed, I think some of her observations, not only about the case but about people’s general behavior, were even more striking for being discussed in cool tones without much flair or fanfare.

I also really liked Jack Hartley, the aforementioned navy captain. Lily’s recent loss and continuing grief over the loss of her husband is never forgotten, which leaves this book to build up a solid friendship and partnership between these two without any real vibes of romance. Whether the series goes that direction or not is yet to be determined (I’d guess yes, but I’m also fine with it staying as is). One that that really stood out for me with this character were a few brief moments when Jack’s beliefs of himself as a man who greatly respects women was truly put to the test. We all to often see these historical pieces with men that “respect women” in the most obvious ways, but the story never really addresses the underlying tones that undermine this supposed respect. Lily calls Jack out on a few of these points, making him aware that as much as he does respect her, he still can fall into traps of limiting his perception of her due to her gender. These are smaller moments, but they are the kind of observations that often are left without being addressed in historical books like this.

I also really liked the inclusion of Ofelia Oswald, a POC heiress who becomes the third partner in this little crime team (Jack Hartley is also of mixed heritage). It’s rare to find historical books that include many POC characters, let alone two in prominent roles in the story. The author also included a great note at the end about her research into the challenges POC people faced in London society at this time and how she chose to position her characters in a way that was historically accurate but also put them at the forefront of the story.

The story was a bit on the slower side, but as I enjoyed the three main characters so much, I never had a problem with this. But I do want to put it out there for those thinking to pick it up: this book is definitely meant to feel immersive and spends a lot of time putting together all the details and pieces of the mystery and the characters involved. I really enjoyed the mystery itself, too. I was able to guess the villain about halfway through, but I didn’t get all of the pieces to fit together until much later in the book. The mystery was well thought out and the pieces were laid craftily throughout the story. Readers looking for a new take on historical mysteries should definitely check this one out!

Rating 9: Excellent. Lily Adler may be quieter than some other heroines in the mystery market, but she’s definitely one to pay attention to!

Reader’s Advisory: 

“The Body in the Garden” is a newer title, so it isn’t on many Goodreads lists, but it is on “Historical Mystery 2020.”

Find “The Body in the Garden” at your library using WorldCat!

Serena’s Review: “The Will and the Wilds”

44646004._sy475_Book: “The Will and the Wilds” by Charlie N. Holmberg

Publication Info: 47North, January 2020

Where Did I Get this Book: NetGalley

Book Description: Enna knows to fear the mystings that roam the wildwood near her home. When one tries to kill her to obtain an enchanted stone, Enna takes a huge risk: fighting back with a mysting of her own.

Maekallus’s help isn’t free. His price? A kiss. One with the power to steal her soul. But their deal leaves Maekallus bound to the mortal realm, which begins eating him alive. Only Enna’s kiss, given willingly, can save him from immediate destruction. It’s a temporary salvation for Maekallus and a lingering doom for Enna. Part of her soul now burns bright inside Maekallus, making him feel for the first time.

Enna shares Maekallus’s suffering, but her small sacrifice won’t last long. If she and Maekallus can’t break the spell binding him to the mortal realm, Maekallus will be consumed completely—and Enna’s soul with him.

Review: I read “The Paper Magician” by this author a few years back. It was a simple, straight-forward, enjoyable little fantasy story that I quite enjoyed (though I haven’t gotten around to reading any of the other books in the series). But when I came across this title by the same author, I was excited to see what looked like a new fairytale story. It’s always refreshing to find something that isn’t a retelling and the element involving the exchange of souls between the main characters was intriguing.

Enna has always yearned to study mystings that roam the wildwood near her home. But they are as dangerous as they are mysterious, so much of her time is spent instead on warding her home against them in an attempt to protect her and her father from the viscous death her mother suffered when Enna was just a baby. Soon enough, however, she finds herself tangled up with a mysting named Maekallus, a powerful being who steals the soul with a kiss. Now, entwined in a deal that is dooming them both, Enna and Maekallus must unravel the secrets of an enchanted stone Enna’s father stole from the mystings long ago and that may be more powerful than Enna ever imagined.

Like “The Paper Magician,” this was another sweet, little story. There wasn’t anything particularly challenging or unique about the story itself. The world-building was pretty straight-forward. And the characters were all likable. Putting it all together it sounds like I’m criticizing the book for being bland, but I think that a story such as this has just a much a place on most readers’ shelves as even the most complex and deep stories do. While I may not have found myself blown away by any aspect of it, the entire experience of the story was like sinking into a nice warm bath with some low level candles flickering. It was comfortable and safe, something that is even easier to appreciate in times such as this when frankly all I want to do is re-read comfort books all day long.

The most intriguing part of this story was around the idea of the soul and what it provides to those who possess it. Enna, a human girl, naturally goes about life never questioning the role her soul plays in her existence. But when she meets Maekallus and enters into a sort of transactional agreement with him that sees her slowly losing pieces of her soul, we begin to see what it costs her. And, conversely, what Maekallus lacked before gaining pieces bit by bit. The romance between the two is accordingly a slow burn love story.

I will say that there were points in the middle of the book where the plot began to feel a bit repetitive and meandering. There isn’t a whole lot of fast-paced action in this story, and some of the conflicts, such as they are, feel relatively low stakes and don’t add much tension to the proceedings. The main plot line, of course, has some action to it. But as that takes part mostly in the beginning and end of the book, there are some side quests in the middle that don’t seem to add a lot. I also felt like the main confrontation at the end of the  book was fairly anticlimactic, all things considered.

But, like I said, the love story was sweet and our two main characters were interesting enough. If one is looking for a quick fairytale fantasy, this is a good go-to. But if you’re looking for anything of the more “epic” or grand variety, this isn’t going to do the trick. It’s definitely a “right mood” kind of book, and I think I was in it when I read it. Objectively, I think it was probably a bit slower and less developed than it could be, though.

Rating 7: A nice little story, but not one that is pushing any sort of boundaries.

Reader’s Advisory:

“The Will and the Wilds” isn’t on many relevant Goodreads lists, but it is on  “slow-burn romance.”

Find “The Will and the Wilds” at your library using WorldCat!

Serena’s Review: “The City We Became”

42074525._sy475_Book: “The City We Became” by N.K. Jemisin

Publishing Info: Orbit, March 2020

Where Did I Get this Book: Edelweiss+

Book Description: Every city has a soul. Some are as ancient as myths, and others are as new and destructive as children. New York City? She’s got five.

But every city also has a dark side. A roiling, ancient evil stirs beneath the earth, threatening to destroy the city and her five protectors unless they can come together and stop it once and for all.

Review: I’ve been a fan of Jemisin’s since years ago when I first read “The Hundred Thousand Kingdoms.” But my love for her didn’t really set in until after I read the “Broken Earth” trilogy. Those books blew me away with the sheer scope of imagination and dexterity of language that were required to pull off such a feat. With those in mind, I went into this book knowing that if anyone could handle the strange set-up that was offered in the book description, it would be Jemisin. And she definitely does! Sadly, this book didn’t hit quite the same mark as the others of hers that I’ve read, but I suspect much of that is just down to my own reading preferences.

Birth is a painful, messy business. It can be as frightening as it is beautiful. A city’s birth is no different, especially for one such as New York City, a behemoth whose very soul can’t be contained in one vessel. Instead, when things begin to go wrong as NYC strives towards its own new life, five individuals are selected to represent the myriad of faces and lives that make up this one spirit. Together they must become the protectors the city needs and fight off a great evil that threatens this new life.

Even though this book wasn’t the huge hit for me that I was hoping for, there is still a lot to praise it for. As always, Jemisin’s creativity is without bounds. The idea of great cities developing souls is just fantastic, and the book takes that theme and runs with it into some crazy and unexpected places. The strength of writing needed to make some of these completely foreign fantasy elements make sense is mind boggling, and it’s here that Jemisin has always shined. There were a bunch of lines that not only jumped off the page, but more so slammed into my unprepared mind with all the beauty and shock of a firework. It was truly impressive.

Part of my struggle, however, also had to do with the writing. Not so much maybe the writing, but the way that it was so clearly an homage to New York City and the many cultures made up within that huge city. I’ve only visited NYC on one frantic, 24 hour period visit. So I know very little about the actual city itself. And for a book so focused on the heart of this city and the pieces that make it unique and tick, I was often left feeling like I was an outsider looking in. Many of the stronger pieces of writing I could see objectively as great, but I couldn’t connect to personally as it was so clearly talking about a specific place and people that I personally don’t know much about. And, unlike most second world fantasy where all readers are “newbies” learning about a world they don’t understand, this was clearly written to some extent with the idea that readers would know and connect to some of these elements, without the book itself needing to do that extra legwork. So, in this way, some of the mileage of this book might depend on the reader’s own familiarity, and to a lesser extent, interest, in New York City itself.

I also had a hard time feeling truly connected to many of the POV characters. The story starts off quite quickly and doesn’t spend much time laying out many details for readers. In some regards, this is a staple trick of Jemisin’s and one can have faith that the answers will come eventually. They do here as well. But this trick then depends on the reader connecting to and investing in the main characters themselves early on to carry one through until plot details begin to clarify. I’m not sure quite what the problem was here for me. Perhaps there were just too many characters, and combining that with the slow moving pieces of putting the plot together, was just too much.

Jemisin is also well-known for putting diverse characters first and foremost in her books, often strong women of color. And here, too, the cast is diverse across all kinds of lines. But there were also moments where I felt like the message (for lack of a better word) was a bit more hamfisted here than the incredibly powerful observations and mirrors that were held up in her previous works.  Really, it felt in some ways like this entire book was a bigger statement (particularly in response to the Lovecraft stuff that has pervaded SFF for so long) that the author needed to get out into the world.  And that’s a good thing! But it also, again, left it a bit harder for me to fully sink into this book as a reading experience.

Overall, I think this book is incredibly powerful and highlights again the strength of Jemisin’s skill as an author, both in her masterful world-building as well as just the strength of her writing. That this one didn’t really hit home for me could, in part, simply be due to my own lack of knowledge of (or real interest in) NYC itself. But for those with a stronger connection to that city, I’m sure some of these elements in particular will strike a much stronger chord. Fans of Jemisin’s work should definitely still try this out and those looking for an urban fantasy novel that breaks the mold for what urban fantasy typically offers are sure to be intrigued!

Rating 7: Incredibly unique with a widely diverse cast, but it was a bit harder to become invested in than other works by this author.

Reader’s Advisory:

“The City We Became” is on these Goodreads lists: “Adult Sci-Fi/Fantasy Releases of 2020” and “SFF Set in Global Cities (No YA).”

Find “The City We Became” at your library using WorldCat!

 

My Year with Jane Austen: “Bridget Jones’s Diary” [2001]

mv5byjc3nju1ztetnmnjni00yznilwi3owqtmtjmytrkzdc1nde2xkeyxkfqcgdeqxvymtqxnzmzndi40._v1_ux182_cr00182268_al_Movie: “Bridget Jones’s Diary”

Release Year: 2001

Actors: Bridget Jones – Renee Zellweger

Mark Darcy – Colin Firth

Daniel Cleaver – Hugh Grant

Bridget’s Mum (actually the character title, according to IMDB!) – Gemma Jones

Comparison – “Indulge your imagination in every possible flight.”

As I mentioned in our comfort reads post on Monday, “Bridget Jones’s Diary” is one of my go-to comfort reads when times are stressful. But, I think like most Americans, I watched the movie before I was aware there was a book. And in many ways, it has served a similar purpose, if in a different format. It’s definitely one of those movies I go to when I need a quick laugh and a guaranteed happy ending.

Having just re-read the book this last winter, however, it was interesting to note the various differences between the two stories. While it’s clear that the book was inspired by “Pride and Prejudice,” in many ways the movie leaned much more into this theme than the book ever did itself. Most notably, the similar history and confusion between Mark Darcy/Mr. Darcy and Daniel Cleaver/Mr. Wickham is missing from the book. There, Bridget simply doesn’t get a long with Mark until she begins to be around him more and appreciate his good qualities. But she doesn’t have any false impressions based on lies from Daniel. Similarly, Daniel is a scumbag for actions he takes in this book itself, not any personal history of breaking up Mark’s marriage. It works well in the book, but with much less time to establish its story, I really like that the movie went full throttle with upping the similarities between these two stories.

The characters themselves (other than perhaps Daniel) are a fairly far cry from the originals. Bridge is not a refined lady who earns respect in spite of a nonsense family. Mark Darcy, while stuck up, is not nearly as clueless with women as Mr. Darcy is (especially with that first proposal in the book). Bridget’s mum (an interesting combination of Mrs. Bennet and Lydia) is probably the most similar to her book counterparts.

I’ve watched the two sequels as well, but they don’t capture the same magic as this one. Having lost the connection to the book, the movies fall back on some tired comedy moments, repeating great scenes from this book to lesser effect. I don’t hate them, but they’re definitely not up to the standard that this one. The most unforgivable aspect of them both are the hurdles that are thrown up between Bridget and Mark. The third one is especially bad on this front, and I’ve still not forgiven it.

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Bridget Jones is no Elizabeth Bennet, that’s for sure! But that’s not a complaint, as this  movie is clearly not attempting to be a straight modern adaptation (unlike “Clueless” is for “Emma”). Her comedy elements are also not similar to any of the Bennet sisters. In the book, the things that make us laugh at the Bennet sisters are also things that make us, not dislike them, that’s too strong of a word, but things that would disqualify them as leading ladies themselves. Their silliness is of the conceited variety, and they all lack self-awareness. While Bridget is ridiculous, it’s clear that she’s aware of it (if still not able to prevent it in the moment). She’s just the sort of character who is endearing to many women, I think.

We can all sympathize with her struggles with body image. Though I will say that her complaints about weight when starting out from a “whopping” 135 lbs are a bit hard to stomach. I’m not sure if this is a changing times thing or what, but it really stood out to me in this re-watch, how off-base her actual weight was to her struggles. While in some ways this is highly accurate (many women struggle with concerns over weight that wouldn’t occur to anyone looking at them), the way the movie (and book) present it makes it seem like most women are supposed to fall in Bridget’s category. I can’t speak to average weights of women, but I do think that to present 135 lbs as some great normal of “women who want to lose weight” is a bit out of touch. All of that aside, however, the general struggles of beautifying oneself that Bridget goes through are highly relatable.

So, too, her feeling that she always comes across as awkward and ridiculous.

“Because every time I see you, you seem to go out of your way to make me feel like a complete idiot. And you really needn’t bother. I already feel like an idiot most of the time anyway.”

Of course, being an extreme, the character often is those things. But her feelings are just the sort that many women struggle with when stuck in a self-critical spot. What makes this really great, however, are the few moments when the camera shifts perspectives to show us Bridget through Mark Darcy’s eyes. Suddenly, through his lens, she is bright, funny, and magnetic in her ease of just being herself. It’s a wonderful way of contrasting the inner struggles that many women have with self-worth with the way they are viewed by those who love them.

Heroes – “What are men to rocks and mountains?”

There’s no exaggerating the sheer perfection it was on whomever’s part who had the idea to simply recast Colin Firth as the Mr. Darcy character. In 2001, the BBC version was still fresh enough in everyone’s minds that I’m sure it was a challenge to think of a replacement actor. So whoever was smart enough to just say “Hey, why not just get the same guy?” deserves serious kudos. It’s the kind of thing that could read as very campy in a different movie or with a different character/actor. But here, it works perfectly. Just by having the same actor play the part, the movie benefits from a bunch of unspoken and carried over assumptions. Very little leg work needs to be done to lay the foundation of Darcy’s character or his gradual shift in appreciation for Bridget.

There first meeting is one of the moments that is very similar to the book’s version: an immediate distaste on Darcy’s part, an overheard conversation of rudeness, and the stage is set. However, unlike in the book, here it is almost worse because of Bridget’s more real vulnerability to these types of nasty statements. Elizabeth was self-assured and could see the sheer ridiculousness in Darcy’s rudeness in the book and laugh it off. Bridget has real insecurities she’s dealing with and Mark Darcy’s works strike at painful parts of herself and are harder to take for the viewer who is already rooting for her.

But to contrast this more harsh meeting, we also get to see more of Mark Darcy’s kindness and humor. His offer to let Bridget interview his client when she was on the verge of being fired is very noble, not the least because he’s aware of her tendency to make these types of formal moments rather ridiculous and still goes forward with a live TV interview. And, of course, the birthday dinner that follows. Luckily, unlike the 1995 “Pride and Prejudice,” we get to see Colin Firth smile and laugh a lot more in this section. It’s a very necessary moment to establish the good chemistry between these two when they’re on their own, uninfluenced by the negative forces often swirling around them (their parents, Natasha, Daniel, etc).

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

Natasha, Mark Darcy’s law partner and brief-fiancee, is the Miss Bingley of this story. Though, ending up with even a short engagement, she has much more success than the latter character ever did. She’s only around briefly in a few scenes, but she always serves as a stark contrast to Bridget: cold, uptight, and condescendingly disapproving of anything that approaches fun. Her statements of Bridget and Daniel’s childishness while on their weekend giveaway are in complete opposition to the clear wishfulness that is plastered all over Mark’s face as he watches the other couple goof around. Beyond the comparison, any woman who snaps her fingers at someone to get them to “come along” is by definition a villain. One only wishes that this movie had a similarly cathartic scene between these two as the one where Mr. Darcy shuts Caroline Bingley up with his comments about Elizabeth being one of the handsomest women of his acquaintance.

Daniel, of course, is the true villain. Like Wickham, it’s easy to see the allure and immediate attraction of the character. He’s charming, good looking, and just the sort of confident that makes one feel quite singled-out if he pays you any attention. Bridget is quick to fall under his sway. Unlike Wickham, however, I feel like Daniel is also more obviously sleazy from the start. I’m not sure if it’s just my general “meh”-ness about Hugh Grant or not, but Daniel definitely has a “player” vibe right from the get go that immediately puts up flags. It’s really no shock when Bridget finds another women at his flat half way through the movie.

But his true sleazebag qualities don’t become clear until the last third. Especially during the scene where he breaks up Bridget’s birthday dinner. All of his lines here are just terrible and no woman in her right mind should go for it: “If I can’t make it with you, I can’t make it with anyone.” Yuck! Talk about veiled insults. Luckily, Bridget isn’t taken in a second time. Though it still isn’t until much later that she realizes that Daniel lied about his relationship with Mark, that Daniel slept with Mark’s wife, not the other way around.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

I’m halfway convinced that Colin Firth was cast as Mark Darcy just so we could get the exact same adoring look from him to Bridget as we had from Mr. Darcy to Elizabeth. It’s so distinctive that you can’t help but notice the similarities between the two. However, extra props go out to the child actor who plays the young Mark Darcy in the flash-back credits scenes we get. Towards the end of the sequence, we see him give the same adoring look to young Bridget, and it’s nearly pitch perfect to Colin Firth’s look. Bravo!

Mark Darcy definitely has one up on Mr. Darcy when it comes to the “first proposal” scene in this movie. Obviously not an actual proposal, but it serves the same purpose: letting the clueless heroine in on the fact that she’s attracted the attention of the hero, someone she’s hated up to this point and thought hated her. But, unlike Mr. Darcy, Mark avoids too many direct insults to her family and doesn’t have the same overarching pride throughout his speech. He does list off some of Bridget’s quirks, but sums it up by saying that he “likes her just as she is.” Notably, not “in spite of what she is,” which is essentially what the original Mr. Darcy said. Bridget’s later meet-up with her friends highlights just how special this little phrase is, with each of her friends bewildered and asking for clarification, is she sure he didn’t mention a smaller nose or something?

Bridget, of course, follows up with her own speech towards the end of the movie. She slips in a funny little line about rethinking the length of his sideburns (something I think most audiences would agree with here and potentially also in the 1995 movie), but she ends with her also liking him. Of course, this is all followed with his engagement announcement and the grand romantic finale doesn’t come until later.

The last scene is really great in that it commits fully to the romance of the moment, but doesn’t lose sight of the comedy. Bridget’s avoiding kisses so she can escape and change into skimpy underwear is hilarious. Leading, of course, to the final “misunderstanding” where Mark spots her journal and leaves suddenly. My only quibble with this final scene is Mark’s last line after Bridget comments that nice guys don’t kiss like that. His line is “Oh yes they fucking do.” And, I don’t know, I’m not a prude about swear words or anything, but this line just feels so off. Colin Firth seems to stumble with the delivery, and it’s unclear what the tone is really supposed to be. I always find it distracting and that it takes away from the climax of romance we’re supposed to be in the midst of. The one line in the entire movie that I think should have been work-shopped some.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

Gemma Jones is simply excellent as Bridget’s mother. Whenever she’s on screen she captures the moment and is hilarious. The movie does an interesting thing by essentially combining the characters of Mrs. Bennet and Lydia into one character here. We have the ridiculous mother, desperate to marry off her daughter on one hand. And then the silly, frivolous woman who dashes off with a sleazy man, leaving her devastated family behind. Of course, it all works out better for Bridget’s mum than it did for Lydia, as she gets to return to her loving, and shockingly forgiving, husband in the end and essentially pick her life back up where she left it.

Bridget’s friends are also good for some laughs, particularly her snobby co-worker Perpetua, and Tom, who is always trying to pick up men with his fading fame from a one-hit-wonder song. I also really love the dinner scene where Bridget finds herself surrounded by “smug married couples” and each couple introduces themselves with matching “hi’s.” It’s cringe-worthy and perfectly puts you in Bridget’s corner during the entire thing.

But, by and large, much of the comedy comes from Bridget herself. It’s really hats off to Zellweger for carrying to much of this movie herself. With the wrong casting, so much of this could have gone poorly.

Fun facts – “Life seems but a quick succession of busy nothings.”

We’ve seen Gemma Jones and Hugh Grant before in “Sense and Sensibility” [1995]. I think they’re each better cast in their roles here. As I said, Hugh Grant isn’t a favorite of mine, but I think he shines in roles like this where he can lean into some of the sleaze. And Gemma Jones, while fine as Mrs. Dashwood, is much better when she’s allowed to spread her wings with the comedy.

Zellweger committed fully to the part and the accent. She used it throughout the entire shooting of the film, even when the cameras weren’t rolling. Apparently, Hugh Grant didn’t hear her real accent until a party after the movie was finished. She pulled it off so well that she was able to pass as a British citizen while studying for her role and working at a publishing industry for a month.

She also gained 25 lbs for the movie. I had heard this fact several times before as some  big deal of commitment to the part. But to my mind, it just adds to the weirdness of 135 lbs being treated as some huge weight that someone would struggle against. If anything, this fact just makes me think that Zellweger was unhealthily skinny before hand if she came in at 110. The book has a nice bit where Bridget gets to her dream weight, and everyone around her comments that she looks sick and looked better before. It was a nice balance to all the concern about weight throughout the rest of the book. The movie, without this bit, does struggle in this area, though luckily it doesn’t focus on it too much.

It’s ironic that the character who plays Jude, Shirley Henderson, is introduced in this movie as crying in a bathroom. She went on to play Moaning Myrtle in “Harry Potter,” a ghost who haunts a bathroom, often crying and flooding it. Also, it’s weird that she plays a teenager in that film which came out a year after this one and a 30-something here.

We will see Embeth Davidtz, who plays Natasha, again in “Mansfield Park” [1999] where she appears as Miss. Crawford.

Best Movie Gif/Meme: “I dearly love a laugh.”

This scene, with Bridget drinking alone and singing “All by myself,” has to be one of my favorite title card sequences ever.

And this is just a favorite reaction gif of mine in general:

In two weeks, I’ll review the YouTube adaptation, “The Lizzie Bennet Diaries”

Serena’s Review: “A Murderous Relation”

35530507Book: “A Murderous Relation” by Deanna Raybourn

Publishing Info: Berkley, March 2020

Where Did I Get this Book: Edelweiss+

Book Description: Veronica Speedwell and her natural historian colleague Stoker are asked by Lady Wellingtonia Beauclerk to help with a potential scandal so explosive it threatens to rock the monarchy. Prince Albert Victor is a regular visitor to the most exclusive private club in London, known as the Club de l’Etoile, and the proprietess, Madame Aurore, has received an expensive gift that can be traced back to the prince. Lady Wellie would like Veronica and Stoker to retrieve the jewel from the club before scandal can break.

Worse yet, London is gripped by hysteria in the autumn of 1888, terrorized by what would become the most notorious and elusive serial killer in history, Jack the Ripper–and Lady Wellie suspects the prince may be responsible.

Veronica and Stoker reluctantly agree to go undercover at Madame Aurore’s high class brothel, where another body soon turns up. Many secrets are swirling around Veronica and the royal family–and it’s up to Veronica and Stoker to find the truth, before it’s too late for all of them.

Previously Reviewed: “A Curious Beginning,” “A Perilous Undertaking,” “A Treacherous Curse” and “A Dangerous Collaboration” 

Review: I was even more excited than usual to pick up the latest “Veronica Speedwell” mystery when it came out. Finally, at the end of the last book, it seemed like Veronica and Stoker were finally confirming their romantic interest in one another. But, in a cruel twist of authorial spite, readers were left right at the brink of these two actually acting on their feelings. So here, in the next book, how would this newly forming relationship affect their working relationship and would we finally see them actually together? Well, yes, but not necessarily in the way I would have preferred.

Immediately upon their return to London, Veronica and Stoker once again find themselves caught up in mystery and scandal. This time, rather than solve a mystery, they are tasked with protecting Veronica’s “family,” the monarchy that has not acknowledged her. To do this, they must go under cover into an elaborate private club in hopes of retrieving a rare jewel that can be used to implicate Prince Albert Victor. But things are never as simple as they seem, and soon enough Veronica and Stoker find themselves mixed up with familiar foes and wandering streets that are plagued by a horrific serial killer.

So, this was a bit of a frustrating read for me. It seems that recently the books in this series have been see-sawing a bit as far as my enjoyment goes. The third book I found to be a bit lagging, but I loved the fourth book. Sadly, here, we see a return to some of the dragging bits. Ultimately, I struggled with two aspects of this: first, like in the third book, it felt like the author was not willing to deal with the burgeoning romance she had started and instead created roadblocks and delays that didn’t feel natural to the story; and second, there was a distinct feeling of familiarity and lack of new material to this particular story.

When I said “immediately” in my book description about how quickly the mystery started, I meant immediately. So much so that the entire question of the burgeoning romance between Stoker and Veronica is effectively sidelined right off the bat. From there, the book is quick to establish how tired they both are, how the beginning of a case is not the right time, etc, etc. And then the rest of the book happens with the entire mystery taking place in one full swoop spanning a hectic day and a half or so. Right there, we have a problem. Regardless of how silly and obvious some of the “tiredness” and “not the right time” conversations felt, the mystery itself did not gain anything for having to frantically move fast enough from one element to another in order to prevent addressing the romantic elephant in the room. Emotional moments didn’t ring as true or feel as earned. The build-up, crescendo, and conclusion to the mystery itself felt rushed, making it hard to feel invested in what was happening. It all felt forced and I think hurt the story more than it accomplished…whatever it was trying to accomplish.

My second problem had to do with the actual elements involved in the story. Almost all of it were retreads of themes, characters, and dilemmas that were found in previous books. We’ve already covered much of the emotional groundwork to be had with regards to Veronica and her feelings towards a royal family who doesn’t want to acknowledge her unless she can do them some favor. There has already been an entire book about a salacious secret society, so the escapades at the private club feel all too familiar. Even the villain, for the most part, is a return to a motivation and individual we’ve seen before. And for all of that, the Jack the Ripper portions that are teased in the book description are barely worth mentioning.

The primary strength of the series has always been Veronica and Stoker themselves. But even they, when given tired material that offers no room for new personal growth, can only do so much. Veronica’s voice is still strong and compelling, but that’s probably the best that can be said. Stoker felt largely absent from the story, even when he was right there on the page. And the small bits of emotional groundwork covered between the two of them felt like, again, retreads of conflicts that had already been resolved. There is a payoff for these two at the end, but I found it to be too little too late.

Overall, I was pretty disappointed by this book. It felt like the author had ran out of ideas as far as the mystery went. And then was too scared to confront the changing romance she had started in the last book, so she threw in a bunch unnecessary and ridiculous roadblocks in order to write one more book between these two prior to any romantic commitment. I honestly don’t understand the concern here. I’ve often compared this series to the “Amelia Peabody” books. And in that series there was only one book before our main characters not only paired up, but got married! And then only one more book or so before they had a kid along with them! And that series never lost anything for resolving the “will they/won’t they” aspect early, let alone 5 books in like this one. Frankly, I feel like this shying away from resolving “will they/won’t they” relationships in general, across all media formats, needs to die a quick and final death.

I believe the author has a contract with a publisher to write at least two more books, so of course I’ll be reading them. And, at least given the events of the end of this book, this whole relationship thing should be settled. Hopefully she’ll come out with some more unique themes and elements, too. But if I catch even a whiff of forced drama to the romance of this story again, I’m pretty sure I’m out.

Rating 6: A disappointing follow-up after one of my favorites in the series so far. The author seemed to run out of ideas and resorted to pulling old tricks out of her hat. And then became a deer in the headlights with the romance she had written herself into at the end of the last book.

Reader’s Advisory: 

“A Murderous Relation” is a newer title so it isn’t on many Goodreads lists, but it is on “Historical Mystery 2020.”

Find “A Murderous Relation” at your library using WorldCat!

Serena’s Review: “The Cerulean Queen”

45046550Book: “A Cerulean Queen” by Sarah Kozloff

Publishing Info: Tor Books, April 2020

Where Did I Get this Book: from the publisher!

Book Description: The true queen of Weirandale has returned.

Cerulia has done the impossible and regained the throne. However, she’s inherited a council of traitors, a realm in chaos, and a war with Oromondo.

Now a master of her Gift, to return order to her kingdom she will use all she has learned—humility, leadership, compassion, selflessness, and the necessity of ruthlessness.

Previously Reviewed: “A Queen in Hiding” and “The Queen of Raiders” and “A Broken Queen”

Review: Well, we’re finally here. “Finally” being the debatable word. Yes, it’s been a full four months of reading to get to this point, but also no, because we’re getting the last book in an epic fantasy series within, again, only four months since the first book came out! I get that not many authors write in a way that would make this type of publication style an option, but I do love me some binging in pretty much any media format! This final book successfully ties up a lot of loose strings while also going into details that I hadn’t expected. Overall, it’s a satisfying conclusion to this series.

After years and years, Cerulia has finally returned home and reclaimed the throne that was hers. But what should be a celebration soon turns into one conflict after another. Fighting her own doubts about the role of monarchy in her country, Cerulia must also contend with a council whose loyalties remain unclear, a war, and the general upheaval of a country that has quickly experienced big changes. With the future before her, now is the time for Cerulia to step up and establish what type of ruler she wants to be.

Overall, I was satisfied with this conclusion to the story. At this point, after three fairly long books, I’m pretty invested in Cerulia’s story. I’ve also highlighted that the villains have often been complex and well-realized and that carries over here in the end. Between Cerulia herself and these interesting antagonists, I remained interested in the story even when it took a few turns I wasn’t expect. For example, Cerulia gets her throne back very fast. Like, super fast. The majority of this story is then spent with her figuring out how to rule, weeding out the traitors from around her, and dealing with the tremulous state of a realm that isn’t quite sure how it feels about aristocrats anymore. To be fair, the book description itself hints at these points being a big part of the story, but for some reason my brain was still expecting more on the front end of things with her actual struggle to regain the throne. I’m not saying it went a bad route with how this was dealt with, just an unexpected one.

For the most part, I did very much enjoy the turn towards the ins and outs of what ruling would really be like for a newly established queen who’s living in a court full of people who may or may not have supported the previous ruler. I enjoy political fantasy often, so I found this aspect of the story to be interesting, especially when paralleled with the general state of uncertainty that the entire kingdom now faces with regards to its monarchy. Cerulia’s challenges operate on the micro and macro levels. The author also wisely paces the story between action scenes and emotional moments to ensure that the story never lags.

There were times, perhaps, when it became a bit predictable with Cerulia’s decisions always turning into the correct ones. But I’m not sure what else could really be done at this point; it is a last book in a series, and a series that has devoted quite a lot of time to the development of Cerulia’s decision-making. She should be doing well by this point and, while a long wrap up, a wrap up this book is. We don’t want added mysteries and conflicts at this point.

I did have a few quibbles with the end of the book, as, strangely, it was here that I felt the pacing did seem to stutter a bit. For a series that had such a strong opening chapter, I wanted a bit more from the final pages of this book. But, in the end, I was very satisfied with this conclusion to the series! And don’t forget to check out our giveaway for this book!

Rating 7: A satisfying end to a wild ride over the last four months!

Reader’s Advisory: 

“The Cerulean Queen” is a newer title so isn’t on any Goodreads lists other than “Upcoming 2020 SFF with female leads or co-leads.”

Find “The Cerulean Queen”at your library using WorldCat!

Giveaway: “A Cerulean Queen”

45046550Book: “A Cerulean Queen” by Sarah Kozloff

Publishing Info: Tor Books, April 2020

Where Did I Get this Book: from the publisher!

Book Description: The true queen of Weirandale has returned.

Cerulia has done the impossible and regained the throne. However, she’s inherited a council of traitors, a realm in chaos, and a war with Oromondo.

Now a master of her Gift, to return order to her kingdom she will use all she has learned—humility, leadership, compassion, selflessness, and the necessity of ruthlessness.

Previously Reviewed: “A Queen in Hiding” and “The Queen of Raiders” and “A Broken Queen”

 

Giveaway Details: Continuing my partnership with the publisher, I’m back to offer the final giveaway for the final book in the “Nine Realms” series! I’ve included links to my reviews for the first three books, so check those out to see how far we’ve come and what my thoughts were on each of those. A quick review though, I liked them all and particularly enjoyed the most recent book, “A Broken Queen.” On that high note, I was excited to see how things would finally wrap up here at the end. My review for “A Cerulean Queen” comes out this Friday.

For those who have been keeping pace with the series (I love this publication style, but I’ll admit it’s a challenge, the best kind, of course, to keep up with things), here’s your opportunity to win a finished copy of the final book in the series. Of course, even if you’re still a bit behind, now’s your chance to have the last book all queued up for when you do catch up!This giveaway is open to U.S. residents only and ends on April 22.

Enter to win!

My Year with Jane Austen: “Pride and Prejudice” [2005]

mv5bmta1ndq3ntcyotneqtjeqwpwz15bbwu3mda0mza4mze40._v1_sy1000_cr006741000_al_Movie: “Pride and Prejudice”

Release Year: 2005

Actors: Elizabeth Bennett – Keira Knightley

Mr. Darcy – Matthew Macfadyen

Jane Bennett – Rosamund Pike

Mr. Bingley – Simon Woods

Comparison – “Indulge your imagination in every possible flight.”

So I’ll just preface this entire post with the fact that I’ve never particularly cared for this movie. For me, there are several problems with it as an interpretation of “Pride and Prejudice,” several characters seem to be completely out of character, and…ok, I also really dislike Keira Knightley almost always and this is by no means an exception to that.

I think it’s important to note, when comparing this movie to the BBC version, that the additional length is not a trump card for the latter. It isn’t simply better because it had much more time (though of course this doesn’t hurt it either.) But in this review series, this comparison is directly following “Sense and Sensibility,” a book that was successfully translated into BOTH a longer mini series and a feature length film to great effect. And I would go as far as saying that every other book has a feature length version that is more successful as an adaptation than this one is for “Pride and Prejudice.”

There are good things about it, of course. The cinematography is beautiful, vibrant, and definitely out classes the 1995 version that, not only due to age and time but style choices, is very washed out at times. The score is also dramatic and, combined with artistic uses of weather, brings an increased vitality to the story. I would also say that Rosamund Pike stands out as one of the characters who is better cast in this movie than Jane was in the 1995 version. Her beauty better matched the type of rare good looks that Jane was described as having. There’s also no denying that Keira Knightley is beautiful, too, but Pike’s glowing good looks do put even Knightley to the test, adding to the sense that Jane, not Elizabeth, would be credited as the beautiful one.

But as for many of the other characters, I think they were woefully miscast. Either miscast or their interpretations of the characters were so far from the ones we’re given on page that it feels as if either they or the writers (or both!) didn’t actually read the book. I’ll go into more specifics about the cast in the sections below as most of them neatly fill all the categories.

To end this section on a good note, there were some additions to this movie that were left out from the 1995 one that I liked a great deal. It’s only a little part, but I loved that this Lydia has the bit where she sticks her hand out the window to display her ring when she returns home after marrying Wickham. It’s only a small line in the book, but it perfectly illustrates how unchanged Lydia is by this whole debacle, and I love that it was included here. While I don’t like Knightley or Matthew Macfadyen in their roles, I do like that the movie added the bit of the two of them at Pemberley after they’re married. I wouldn’t have picked this scene and dialogue in particular, but it’s a nice nod to the fact that the book had several pages of story left after the proposal (something we didn’t really see in the 1995 version other than the weirdly-toned wedding itself).

Heroines – “I hate to hear you talk about all women as if they were fine ladies instead of rational creatures.”

Like I said, I don’t care for Keira Knightley as an actress in general, so this was always going to be a hard sell for me. I think she often overacts, and she has a few particular quirks that she brings to every role that I find incredibly distracting. Most notably, her mouth is always hanging open. Once you see it, you can’t stop seeing it! But beyond my personal distaste for her style, I think she was miscast in this role. That, or like I said before, the writing/directing really missed the mark if she was lead to this performance in any way. It feels like she read the character description and all she saw was “independent woman” and completely blocked out “refined and polished.”

Her emotions are all over the place, and even smaller confrontations, like that between Lizzy and Charlotte, feel blown completely out of proportion. And then there’s the proposal scene….oof. Looking at how this entire thing was staged, it’s clear the director was going for a dramatic, powerful scene (I don’t like this take on the scene in general, but that’s not on the actress). But for me, it was simply melodramatic and Knightley’s antics completely lost me. She in no way fits the bill of a lady of her time, all too often presenting Lizzy more like a “Jo March” type character than the respected, accomplished lady she was supposed to be. Lizzy stood out for her wit and sense (most of the time), not for wild bouts of adventure and emotion. Her liveliness was expressed in smaller moments, as typical of a lady of her time. Instead, Knightley translates that liveliness much more literally in a way that undercuts the respectability that is so important to the character, especially as it’s meant to be a contrast to the other three sisters.

To give props where props are due, I think Knightley does the best in the more comedic moments in the script. In particular, I always laugh at the part where she’s just heard the news of Lydia and Wickham’s “elopement” and is pacing in and out of the scene. Like in”Bend It Like Beckham,” Knightley is at her best in a comedy role rather than a dramatic one. So, too, her stronger moments in the original “Pirates of the Caribbean” were also centered around comedy. As that series progressed and the character moved in a more serious direction, Knightley’s performance followed a similar dip in quality.

I already mentioned Rosamund Pike as one of the standouts in this movie. She fits the bill perfectly for Jane, and unlike Knightley, her interpretation of the character felt more grounded in the time period of the movie.

Heroes – “What are men to rocks and mountains?”

Matthew Macfadyen definitely brings a unique take on Mr. Darcy. I get that he wanted to distance his performance from Colin Firth’s, especially considering how iconic Firth’s take on the character had become over the years, but I’m also not a fan of this interpretation of the character. Between Macfadyen’s take on the character, making Darcy seeming to simply suffer from excessive shyness more than anything, and the styling that has his hair all over the place and him looking like a general mess most of the time, I felt that the entire thing didn’t read Darcy at all. He definitely reads as a generic romantic hero, but Darcy he is not.

During the first proposal, readers (and viewers) should feel equally justified in Elizabeth’s righteous anger towards Darcy as she does. At that point in the story, her opinions seem solid and Darcy’s behavior is atrocious. But here, with Knightly getting right up in his face reaming him one over, I just felt sad for the poor, pathetic Darcy that Macfadyen gave us. It’s not the type of role reversal that does either character any favors in the long run.

I also hate, hate, hate this version of Bingley. I’m not sure if this was the actor’s decision or just the writing, but I have the exact same problem with Bingley here that I do with how Ron is presented in the Harry Potter movies versus the book. Both adaptations took a character who is all heart over head and reduced that down to a bumbling fool playing almost entirely for comedic value, completely at the expense of the character, leaving both as nothing more than caricatures. How are we to believe the friendship between Darcy and this dunderhead?

Again, one of the few moments where I think these versions of the characters do well are in the overtly comedic moments. Particularly, I like the scene where Bingley is practicing his proposal. It’s light, funny, and does a good job portraying the friendship between them.

Villains – “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” 

I have mixed feelings about Rupert Friend’s Mr. Wickham. On one hand, he’s much more good-looking than the 1995 actor, so it’s easier to understand Elizabeth being so quickly and thoroughly taken in by him. And everyone else for that matter also being enamored by him! But he also seemed too young. Obviously there doesn’t need to be a huge age difference, but I need to buy that this is a guy whose has already gone far enough in life to have tried to seduce a 16 year old and is now moving on to different strategies. He just seemed a bit too fresh faced for that aspect of things.

Judi Dench is fantastic as Lady Catherine. I like the 1995 version of this character, but in a comparison between the two, it’s easier to understand how others could be intimidated by Dench’s version of the character. The 1995 version of the character was more ridiculous seeming in all of her pomp and ego. It’s almost impossible to not take Judi Dench seriously, and it’s very believable that people would be quelled by her sheer presence. The way her visit to Longbourn was staged added drama and made her come across as truly sinister.  Like the broken record I am, I again had problems with Knightley’s take on this scene, but Dench killed it.

Romance – “A lady’s imagination is very rapid: it jumps from admiration to love, from love to matrimony in a moment.”

I genuinely think that if this had simply been a historical romance completely disconnected from the book, I would have enjoyed it a lot more. Again, Knightley was always going to be a problem for me, but that’s neither here nor there. Her acting aside, there’s no denying the great chemistry she has with Macfadyen. And if I wasn’t so distracted by how far off these characters are from what we were given in the book, I think I’d really appreciate the love story that’s presented.

This movie is simply beautiful to look at, and many of the more dramatic images are connected with important moments in the development of the romance. For a “Pride and Prejudice” retelling, I don’t like the overly dramatic rain proposal scene. For a generic romance though? It’s gorgeously shot. And the long, drawn out moment when Elizabeth and Darcy meet in the dawning morning towards the end? Lovely to look at, though perhaps a bit too long. I also really enjoyed the Netherfield ball scene, especially the long single shot that sweeps through many different rooms catching small moments with all of the characters.

As a romance story, all of these moments come together well. The actors have great chemistry, and if they were original characters, their personalities and the conflict, misunderstanding, and slowly built love story would all come across very well. I can just never escape the comparisons and how off they both felt from the original characters. I suspect, however, that this movie is much beloved by viewers who haven’t read the book or only read it once or twice. And I think a lot of that appreciation goes to how well the romance plays out.

Comedy – “For what do we live, but to make sport for our neighbors, and laugh at them in our turn?”

This movie definitely presents a different take on Mrs. Bennett, Mr. Bennett, and their relationship. Essentially, it’s much more kind to them all than the 1995 version or the book were. As I said in my review of the book, there really isn’t anything given on page that would hint that Austen was offering any true commentary on the plight of mothers with only daughters and very little income to justify Mrs. Bennett’s actions. She’s comedy all the way at best, and at worst actively hinders her daughters’ chances. Here, the movie goes out of its way, even offering up direct lines from Mrs. Bennett herself, to attempt to redeem some of the character’s antics. Overall, I’m fine with this, I guess, but I think it’s yet another example of this movie drifting away from the actual book characters in an attempt to make the movie more palatable to the average movie goer. I think this can be seen here, in the adjustments to Mrs. and Mr. Bennett (making them both more likable and their marriage better overall), and in the Elizabeth we are given who is definitely trying to check a more modern box of an “independent woman.”

I also want to touch on Tom Hollander’s Mr. Collins. This Mr. Collins is much easier to take than the one we saw in the 1995 version. Yes, he still has his ridiculous moments, but he’s nowhere near as smarmy as the Mr. Collins of the previous film. In this way, it makes Elizabeth’s even stronger negative reaction to Charlotte’s agreeing to marry him even more off-putting. This Mr. Collins is by no means the worst of the worst, and her extreme distaste to the union does in fact seem very judgy and snobby. The book definitely offers up this scene as an example of Elizabeth “not making allowances for differences in temper and situation” as Jane says, but *sigh* again this scene is way more dramatic than that small moment was in the book. It actually makes Lizzie quite unlikable, which is never a good thing for your heroine.

Fun facts – “Life seems but a quick succession of busy nothings.”

I wrote this section of the post last. This is important to note because you’ll have already read the part where I specifically mentioned the scene of Lizzie pacing in and out of the room when trying to deliver the news about Wickham and Lydia as one of my favorites. Turns out, Emma Thompson was brought in for a re-write of the script, and this was one of the specific scenes/directions that she gave. I knew I liked it for a reason, and it makes sense, then, that it stood out for me in this movie (one that I overall don’t particularly care for), given how much I liked Thompson’s script for “Sense and Sensibility.”

Also (again, just researching this bit after writing the rest of the post already), apparently the practice proposal scene was supposed to be much shorter and was lengthened because of how funny Simon Woods was. So…I think the takeaway is that I don’t really like the original writing/directing of this movie. And the parts that I did like came from other places!

Romola Garai auditioned for the role of Elizabeth. She was later cast as Emma in the 2008 version of “Emma.” She also played alongside Keira Knightley in “Atonement.” Keira Knightley also appears with Tom Hollander in the last two “Pirates of the Caribbean” movies in the original trilogy.

Best Movie Gif/Meme: “I dearly love a laugh.”

The one part of this movie that has stuck the most with me over the years is this delivery of lines by Tom Hollander as Mr. Collins. I find myself quoting it pretty regularly. Pretty much whenever we have potatoes for dinner. This, and the lines by Sam in “Lord of the Rings” also about potatoes. There’s something about the way both actors over-enunciate the word that makes both sets of lines immensely quotable.

In two weeks, I’ll review a modern adaptation, “Bridget Jones’s Diary.”

Serena’s Review: “Chosen Ones”

40944762._sy475_Book: “Chosen Ones” by Veronica Roth

Publishing Info: John Joseph Adams/Houghton Mifflin Harcourt, April 2020

Where Did I Get this Book: NetGalley!

Book Description: A decade ago near Chicago, five teenagers defeated the otherworldly enemy known as the Dark One, whose reign of terror brought widespread destruction and death. The seemingly un-extraordinary teens—Sloane, Matt, Ines, Albie, and Esther—had been brought together by a clandestine government agency because one of them was fated to be the “Chosen One,” prophesized to save the world. With the goal achieved, humankind celebrated the victors and began to mourn their lost loved ones.

Ten years later, though the champions remain celebrities, the world has moved forward and a whole, younger generation doesn’t seem to recall the days of endless fear. But Sloane remembers. It’s impossible for her to forget when the paparazzi haunt her every step just as the Dark One still haunts her dreams. Unlike everyone else, she hasn’t moved on; she’s adrift—no direction, no goals, no purpose. On the eve of the Ten Year Celebration of Peace, a new trauma hits the Chosen: the death of one of their own. And when they gather for the funeral at the enshrined site of their triumph, they discover to their horror that the Dark One’s reign never really ended.

Review: I read the “Insurgent” trilogy like everyone else, seemingly, back when it was published around a decade ago. I didn’t fall in love with it, which worked in my favor in this instance as I wasn’t too broken up by the ending of the last book (most fans of the series were quite displeased). I also had heard that Roth published another duology, but that same indifference to the first trilogy didn’t lead me to getting around to it. But when I saw this book start to pop up, I was very intrigued. There are a million and one stories documenting the adventures of a “chosen one” in their grand battle against an ultimate evil. There aren’t many that tackle what comes after, other than perhaps brief epilogues or small cameo appearances in another “chosen one’s” book/series. This book turned out to be everything I was hoping for and more.

It’s been ten years since Sloan and her friends, the other Chosen Ones, defeated the Dark One, an evil being they had battled throughout their teen years. And in this last decade Sloane has…hid. Not interested in the celebrity status she’s garnered, barely invested in the relationships she’s formed, Sloane’s life is simply going from moment to moment, not caring about much at all. When tragedy shakes her out of this numbness, however, Sloane finds herself caught in circumstances that she won’t survive unless she returns to her life as a soldier and confronts the horrors in her past.

This book was particularly interesting coming off my fairly recent re-read of the “Animorphs” series. That series follows a group of 6 teens, chosen ones, essentially, as they battle a big bad for years on end. The books deal a lot with the realities of a childhood given up to warfare and the life and choices of being a soldier. But after 50+ books, there’s only a small, final book that is dedicated to life after these events. It does a good job for what it is, only a hundred and fifty or so pages dedicated to wrapping up the lives of six characters over the years that follow the end of the war. It’s clear that the story is only scratching the surface of what life would be like for these kids. And this is only one example. We have so many chosen one stories, but so few deal with the aftereffects.

I wasn’t quite sure what we would get from Roth here. I wasn’t a huge fan of her original trilogy, and I also read that she had some ideas for this book based off “The Hurt Locker,” a movie that, while I can see the importance of the topic, I didn’t particularly enjoy. But, man, did I enjoy the heck out of this book. Not only did it tackle many of the tough topics around life after war, the isolation and distancing that many veterans experience, and how “moving on” can look very different to different people, including whether it is possible at all, but it had some amazing characters at its heart and some genuine surprises in the increasingly twisting world-building.

I loved Sloane so much in all of her broken, dark, and even sometimes cruel ways. The characters in this book definitely challenge the reader in that they often barely resemble the golden Chosen Ones we all imagine. Even a few of Sloane’s comrades who more closely mimic the typical hero pastiche often betray signs that they are simply using different coping mechanisms to deal with similarly twisted inner lives. But this is Sloane’s story, and it is Sloane’s darkness and path forward that we explore as we slowly learn more about her time during the war and how she’s been managing (or not) in the ten years since. She has some very unlikeable moments, but for me at least, these simply grounded the story all the more in a what reality would look like for young people whose life was essentially consumed by a prophesy and a seemingly never-ending battle against a more powerful evil force. There are no easy answers or easy fixes here, and even by the end of the book, it’s clear that any “completeness” for Sloane comes at understanding and accepting her entire person.

The world-building was almost the biggest surprise. I didn’t really know what to expect and the book description gives only the barest hints. But wow, I didn’t expect where this book went at all. There’s a huge twist that comes in the first third and when we got to that I thought “Ok, that was a surprise, but now I’m on the right page.” Nope! The twists and turns kept coming one after another from there on out. Even after finishing the book I was having to think back over it and try to piece things together.

I don’t remember a lot about Roth’s particular writing style from the “Insurgent” series other than it felt like a fairly standard YA style ala “Hunger Games.” But I have to think Roth has grown by leaps and bounds to create this. The writing is confident and sure, even as it tackles topics that can be hard to deal with and discusses moments and choices that, if not handled well, could turn readers off from some of our main characters and themes. The same world-building and all of its complexities also speaks to an increased dexterity in juggling many balls at once. There are layers within layers, but the story and character arcs are never consumed by the increasingly complicated world, history, and magic system.

This was a great book. I think Roth’s work has grown by leaps and bounds here, and she deftly tackles a topic that is rarely explored in fantasy works. It looks like on Goodreads it is listed as the first in a series, but to those who were burned by the “Insurgent” trilogy and have long memories and lasting wariness, I think this book reads perfectly as a standalone. If I hadn’t looked, I wouldn’t have known otherwise. This is also published as an adult fantasy novel, but I think it would appeal to YA readers as well. I’m pretty confident this will end up on next year’s Top 10 list for me; it’s that good.

Rating 9: Dark and twisty in all the right ways.

Reader’s Advisory:

“Chosen Ones” is a new title, so it isn’t on many Goodreads lists. But it is on this very informatively-titled list: “2020 – Book Release.”

Find “Chosen Ones” at your library using WorldCat!