KATE WINSLET as MARIANNE DASHWOOD
SENSE AND SENSIBILITY (1995) dir. ang lee
I love how I feel like she's walked out of a regency painting, but it still feels crisp in the way that only modern camera's would allow
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KATE WINSLET as MARIANNE DASHWOOD
SENSE AND SENSIBILITY (1995) dir. ang lee
I love how I feel like she's walked out of a regency painting, but it still feels crisp in the way that only modern camera's would allow

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SENSE AND SENSIBILITY (2026), dir. Georgia Oakley
What we have so far.
I feel like Jane Austen's novels are often minimized as "cozy" and "cutesy" when actually they are defining works of English language novels and insightful, often biting social commentary. and Im tired of people reducing her to like a "cozy author" or boiling her books down to a few bland romance tropes. she refined the novel form to an art. she defined genres of literature. she continues to influence creative works all over the world now. and idk im tired it is late and I dont have all the right words for this but it is just so frustrating
She was one of the first authors to write in free indirect discourse, an innovative writing method where she could easily switch between character's POV's. People should acknowledge that more often!
The thing that pisses me off about bad period movie adaptations is when they go for a realist tone but don't care about what real people wore or thought. Like the tone is realist, the acting is realist, the colour palette is realist, and the clothes are things that real people at some point in time have worn. But they aren't accurate to the period, and it's just like. That's not a realistic depiction of the period or the people in it. So what's the point in being realist???
Incidentally, this is why I don't care that the recent Wuthering heights wasn't realistic period dress or society etc. It was blatantly symbolic (and Symbolic!) and wasn't trying for realism or period accuracy, so I don't criticise it for period inaccuracy. Like, who walks across the moors in a massive tulle gown in real life? No one ever, and that's the point. It's obviously performance, and that's what its going for. My criticisms are based on other criteria.
But this new adaptation of S&S seems realist - the colour palette and grading, the costumes and hair that aren't accurate but look like something real people at some point in time have worn, the characters that read like real(ish) modern women... It's trying to read as realist without being realistic and just. What's the point in setting it in the past then?? Why adapt Sense and Sensibility, a realistic realist novel, into an unrealistic realist movie?
I'm just so tired of earth tones being "realist." People wore bright clothes! The past wasn't drab, honestly it might have been brighter than now given our whole obsession with beige minimalism.
But no, it's not realistic unless it's BROWN and BORING
This is just modern minimalism imposed on the past. Just make a modern.
This is all just P&P 2005 recycled over and over
The thing I find particularly irritating is that they will then justify it with stuff like "and people didn't sit still for hours and hours to have their hair and makeup done everyday! stuff wasn't pristine because they lived in it! and those fashion plates only reflect the absolute top of society!" (as the writer for this adaptation did). Because it's like,
a) If you are doing Jane Austen, you are doing the top of society, percentage-wise. Stop lying to yourself. (Even the Dashwoods. They're poor in comparison to their previous situation but they still have incomes and more to the point, their old clothes.) They have servants. There is someone waiting to help them change clothes.
b) Oh my god it does not take hours to twist someone's hair up and stick a comb in it, and cosmetics were minimal. The alternative to pristine is not "full blown mess".
c) Have you ever heard of this marvelous technology, "cotton printing"? It had been around in Europe for about a century by the Regency and recent technological advances had made printed cotton even more affordable by 1800, such that basic prints were quickly becoming the cheapest and most common fabrics among the poor and middle class. The more you know!
The thing is, we know how long it took to get dressed in period costumes and do period hairstyles, and it isn't any longer than a lot of modern women's hair and makeup routines.
There are a shitton of videos on Youtube about people putting on period clothes or doing period hair, often with explaining the various parts of it and giving close-up views of cool details, and even with narrating everything it still only takes 10-15 minutes max to get into outfits from eras that have much more elaborate clothing than the Regency. Hairstyles are similar. And they didn't wear much makeup. Compare that with the time it takes to do a trendy blow-out hairstyle and full makeup today, and it may actually take less time to get ready in the Regency period.
Any movie, no matter how accurate it is, is going to change things for the sake of making things more palatable to modern audiences. That's part of theater. The question is which things are they changing, what message is the audience receiving, and most importantly, does it serve the plot and the characters and the themes. And usually, it doesn't!
Here's the thing about costumes in theater and movies. A character's clothes and styling should tell you something about that character. Here is a shot from a stage version of Les Mis. You can tell that the woman crouched down is decently prosperous; you can tell that the woman behind her standing up is, well, dirt poor. You can tell that the man kneeling down is closer to the crouching woman in status than to the standing woman. You can tell their relative social status at a glance without any further information.
Besides class and gender, costuming can be used to tell you how a character is feeling, their relationship to other characters, their attitudes towards tradition and generational conflicts, and so much more. Are they conservative or a free spirit? Are they shy or outgoing? Are they angry or happy? Costuming and styling choices are character choices--so many times, actors will say that their character's costumes changed how they inhabited that character, how they played them.
The problem with most recent period movies is that they don't do any of this. Or they do it half-heartedly, and badly. They're more concerned with giving the characters a modern vibe than with using their clothing and hair and styling thoughtfully. They're so worried about not being "relatable" to modern audiences that they give up one of the major artistic tools of characterization.
this!! exactly what I was trying to say earlier about the hair choices in sense and sensibility! Having Elinor have her hair up is not only historically accurate, but reflects her personality of having to hide her emotions in many scenes of the book, and her not able to be truly expressive, that if baffles me that the filmmakers abandon what could easily be shorthand for her personality, and just give her a hair-down look, just cuz.
(I know there are some stills of her with her hair up, but the ratio of hair down--to hair up is concerning)
The thing that pisses me off about bad period movie adaptations is when they go for a realist tone but don't care about what real people wore or thought. Like the tone is realist, the acting is realist, the colour palette is realist, and the clothes are things that real people at some point in time have worn. But they aren't accurate to the period, and it's just like. That's not a realistic depiction of the period or the people in it. So what's the point in being realist???
Incidentally, this is why I don't care that the recent Wuthering heights wasn't realistic period dress or society etc. It was blatantly symbolic (and Symbolic!) and wasn't trying for realism or period accuracy, so I don't criticise it for period inaccuracy. Like, who walks across the moors in a massive tulle gown in real life? No one ever, and that's the point. It's obviously performance, and that's what its going for. My criticisms are based on other criteria.
But this new adaptation of S&S seems realist - the colour palette and grading, the costumes and hair that aren't accurate but look like something real people at some point in time have worn, the characters that read like real(ish) modern women... It's trying to read as realist without being realistic and just. What's the point in setting it in the past then?? Why adapt Sense and Sensibility, a realistic realist novel, into an unrealistic realist movie?
I'm just so tired of earth tones being "realist." People wore bright clothes! The past wasn't drab, honestly it might have been brighter than now given our whole obsession with beige minimalism.
But no, it's not realistic unless it's BROWN and BORING
This is just modern minimalism imposed on the past. Just make a modern.
This is all just P&P 2005 recycled over and over
Modern audiences associate bright colours with childishness, vapidity, and tackiness, and earth tones with genuine feelings - something that is knowingly subverted in films like âLegally Blondeâ. Pastels are an âallowableâ zone, wherein unseriousness, camp, playfulness is allowed to flourish.
Which has created a real shyness around colour in film, and lead to a catastrophic loss to our visual language!
But Iâm just thinking about how much could be done with colour in S&S combining historical thoughts around colour in costuming with modern ones? It wouldnât be accurate but it would at least have something to say.
Basic thoughts:
The Dashwood sisters appearing in more muted tones in social scenes because their dye of their clothes are a little faded.
Elinor in muted/earth overgarments (Pelisse, shawls, bonnets), but with her main dress in soft, barely noticeable pastel shades (blue, pink, etc.) Have her go from somber mourning shades (lilac, dove grey) to drabber and drabber tones as the Lucy Steele stuff progresses, and cover more of the stuff of her dress.
Have her emerge in full, vibrant colour with her engagement - something regal and triumphant.
Marianne wearing brighter colours in her outerwear, but pure white underneath that subtly changes to an off-white during her time in London.
Marianneâs outer colours starting with powder blue/lavender (innocence/grief) , moving to the (more passionate/romantic) pinks and floral motifs when Willoughby enters the scene, and then (jealous) yellow/orange in London. Bonus points if it doesnât quite suit.
Move her from pastels to block/muted jewel tones upon her recovery, but bring her dress back to pure white.
Like, I could do this all day? Make Lucy dashing in green, with flashes of accessories that sit a little falsely.
There is so much that can be done with colour in costume, if we just let ourselves!

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a list of "beautiful" words for june
to try to include in your next poem/story
Ambsace - something worthless or unlucky
Boscage - a growth of trees or shrubs; thicket
Callipygian - having shapely buttocks
Deasil - clockwise
Effluvium - an invisible emanation, especially: an offensive exhalation or smell
Floruit - a period of flourishing
Gueridon - a small usually ornately carved and embellished stand or table
Ipseity - individual identity; selfhood
Jorum - a large drinking vessel or its contents
Legerity - alert facile quickness of mind or body
Messaline - a soft lightweight silk dress fabric with a satin weave
Nosegay - a small bunch of flowers
Oblectation - pleasure, satisfaction, delight
Perlustrate - to go through and examine thoroughly
Rupicolous - living among, inhabiting, or growing on rocks
Sacchariferous - producing or containing sugar
Tinctorial - imparting color
Veridical - truthful, veracious
Wakerife - wakeful, alert
Xerarch - developing in a dry place
More: Lists of Beautiful Words â Word Lists â Writing Resources PDFs
Sense and Sensibility (2026) -- on the hair
I've been thinking a lot about the 'hair' problem in this film, and whether or not it's something to get too angry about.
Long story short, in a lot of the stills released for this movie, within the trailer, and on the poster itself, the main characters wear their hair down. Historically, in the regency era, hair was almost always worn up-- if you were younger, you could wear your hair up, but once you got to a certain age wearing your hair up was one of the signs of your maturity, and this went for all classes of women.
It feels like a simple thing to get hung up, but I think there's two reasons why it's reasonable to be frustrated by it-- 1) I think historical accuracy isn't unimportant, especially a work that was written within that era itself. And at the end of the day, the events in Sense and Sensibility are rather tied to the society they live in, and the stringent rules they have to observe. These rules effect their lives in so many ways, and when filmmakers appreciate even some of these simple rules, it at least reflects a sincere desire on their part to understand the era.
and my other reason, 2) It doesn't make sense for Elinor to wear her hair down. Elinor's just a more stoic character in general who has to hide her feelings at so many points in the book. Her hair being tied up, even from a modern point of view, is such an easy shorthand for her personality and how she acts, that it seems mystifying that they would basically disregard what could be easy symbolism and just let her hair down... for the vibes, I guess?
With Marianne you can make a decent argument for it, given her wild and romantic personality, her wearing hair down isn't the craziest thing to do even if it would still be inaccurate. I think if a film maker wanted to be creative, and really show the difference between Marianne and Elinor, having one sister be the uptight one, following the rules of the era, and wearing her hair up, while Marianne rebels and often does not put her hair up, could be great symbolism for the contrast between the two of them, and is the best way for me to accept such an anachronism.
But nothing from what has been shared so far has even indicated a vision like that, and at the end of the day, I can't shake the feeling that this decision was made more with an aesthetically purpose in mind, because the filmmaker prefers hair down looks, and not from some well thought out way to perhaps show the internality of the characters. So again, it's a simple thing, but it represents already the attitude of the filmmakers towards the story, and I find myself feeling a bit troubled by what we've seen so far.
A word about me...
I've loved books for the longest time, and I've wanted to make this blog to talk about various bookish opinions I have! I'll primarily focus on classic literature, but sometimes I'll talk about contemporary books too!
In particular I love the books of Jane Austen, but I've been known to enjoy classics like Frankenstein, Les Misèrables, the Count of Monte Cristo, and others!
Always looking to expand my knowledge of the era and read even more classic literature <3