
Caitriona Balfe, Fiona Shaw, more join 'Sense and Sensibility' remake
July 21 (UPI) -- Focus Features announced additional cast for its new Sense and Sensibility film on Monday. Outlander's Caitriona Balfe, Killing Eve's Fiona Shaw, Frank Dillane, George MacKay, Herbert Nordrum and Bodhi Rae Breathnach have joined the cast.
Daisy Edgar-Jones and Esmé Creed-Miles star as Elinor and Marianne Dashwood in the Jane Austen adaptation. Focus announced the film in June and it is in production in Britain.
Diana Reid wrote the adaptation, with Georgia Oakley as director. The Austen novel that inspired the film follows the Dashwoods, a widow and her three daughters, who are left poor by Mr. Dashwood's elder children.
A 1995 film adaptation won an Oscar for Emma Thompson's screenplay adaptation. It was nominated for Best Picture, Thompson and Kate Winslet's performances, cinematography, costume design and musical score.
Ang Lee directed that film. Focus re-released its 2005 Pride and Prejudice film earlier this year.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
19 minutes ago
- Yahoo
Iconic Actress, 66, Says Plastic Surgery 'Disfigured' a 'Generation of Women'
Iconic Actress, 66, Says Plastic Surgery 'Disfigured' a 'Generation of Women' originally appeared on Parade. Legendary actress Jamie Lee Curtis is not backing down when it comes to her thoughts on plastic surgery. The Oscar winner, 66, opened up about how she feels plastic surgery has 'disfigured' a 'generation of women,' and even went as far as to call this a 'genocide.' "I've been very vocal about the genocide of a generation of women by the cosmeceutical industrial complex, who've disfigured themselves," the Halloween star told The Guardian through an email via her publicist for a recent interview with the outlet. Curtis posed for a photo shoot to accompany the feature and she posed specifically wearing a pair of wax lips, telling the outlet the choice of prop "really sends it home' when it comes to her point about elective surgeries. She then focused on explaining her use of the word "genocide." 'I've used that word for a long time and I use it specifically because it's a strong word," the iconic nepo baby told the outlet. "I believe that we have wiped out a generation or two of natural human [appearance]." She went on to even invoke her feelings on AI and how those things coincide to warp perception. "The concept that you can alter the way you look throughchemicals, surgical procedures, fillers — there's a disfigurement of generations of predominantly women who are altering their appearances. And it is aided and abetted by AI, because now the filter face is what people want,' Curtis said, noting that filters are "better" to some, but "better is fake." "And there are too many examples — I will not name them — but very recently we have had a big onslaught through media, many of those people," the Freakier Friday star noted before adding that she doesn't blame anyone who has undergone elective surgeries. "It doesn't matter. I'm not proselytising to them.' She added, "I would never say a word. I would never say to someone: what have you done? All I know is that it is a never-ending cycle. That, I know. Once you start, you can't stop. But it's not my job to give my opinion; it's none of my business.' At the end of the day, it's clear Curtis' heart is in the right place because she herself was affected by societal beauty standards on a job, which caused her, too, to undergo cosmetic surgery. 'He was like, 'Yeah, I'm not shooting her today. Her eyes are baggy.' And I was 25, so for him to say that, it was very embarrassing,' she explained of her experience with a cinematographer on the 1985 film Perfect while appearing on an episode of 60 Minutes in May. 'So as soon as the movie finished, I ended up having some plastic surgery,' Curtis revealed. 'That's just not what you want to do when you're 25 or 26. And I regretted it immediately and have kind of sort of regretted it since.' Curtis can be seen on screen next in Freakier Friday, a sequel film to the 2003 Freaky Friday remake that starred herself and Lindsay Lohan. Iconic Actress, 66, Says Plastic Surgery 'Disfigured' a 'Generation of Women' first appeared on Parade on Jul 28, 2025 This story was originally reported by Parade on Jul 28, 2025, where it first appeared. Solve the daily Crossword


Elle
an hour ago
- Elle
Emma Corrin Transforms into Elizabeth Bennet for Netflix's 'Pride and Prejudice' Series
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Jane Austen fans are thriving. Not only is a new adaptation of Sense and Sensibility in the works, but Pride and Prejudice is also getting the remake treatment. Written by bestselling author Dolly Alderton (Good Material) and directed by Euros Lyn (Heartstopper), the classic novel is officially coming to Netflix. Here's everything we know about the six-part limited series. Pride and Prejudice will be based on the 1813 novel by Jane Austen. The story, previously adapted for the screen in the 2005 film starring Keira Knightley and Matthew Macfadyen, follows the complex romance between a young woman named Elizabeth Bennet and a wealthy man, Mr. Darcy. The new Netflix series assures a 'faithful' adaptation of Austen's book. Emma Corrin (Nosferatu, The Crown) will play Elizabeth Bennet. Corrin will also serve as an executive producer for the series. Jack Lowden (Slow Horses, Dunkirk) will portray Mr. Darcy, and Olivia Colman (The Favourite, The Crown) will star as Elizabeth's mother, Mrs. Bennet. 'Playing Elizabeth Bennet is a once-in-a-lifetime opportunity,' Corrin told Netflix's Tudum. 'To be able to bring this iconic character to life, alongside Olivia and Jack, with Dolly's phenomenal scripts, is truly the greatest honor. I can't wait for a new generation to fall in love with this story all over again.' Other cast members include Rufus Sewell (The Diplomat) as Mr. Bennet, Freya Mavor (Industry) as Jane Bennet, Rhea Norwood (Heartstopper) as Lydia Bennet, Louis Partridge (Disclaimer) as Mr. Wickham, Jamie Demetriou (Fleabag) as Mr. Collins, Daryl McCormack (Good Luck to You, Leo Grande) as Mr. Bingley, Siena Kelly (Black Mirror) as Caroline Bingley, Fiona Shaw (Killing Eve) as Lady Catherine de Bourgh, and newcomers Hopey Parish and Hollie Avery as Mary and Kitty Bennet, respectively. Anjana Vasan, Sebastian Armesto, Rosie Cavaliero, Saffron Coomber, James Dryden, Justin Edwards, James Northcote, Eloise Webb, and Isabella Sermon round out the cast. Production is currently underway in the U.K., and a release date for the six-part limited series hasn't been revealed yet. On July 29, Netflix unveiled a first-look image of the main cast: This story will be updated.
Yahoo
2 hours ago
- Yahoo
‘Waterworld' turns 30: Hollywood flop to cult classic — and its forgotten Oscar nomination
Waterworld, the famously soggy epic starring Kevin Costner and directed by Kevin Reynolds, turns 30 today. Released on July 28, 1995, the film remains one of the most notorious Hollywood productions of its era, making waves for its astronomical budget and behind-the-scenes turmoil. Dubbed "Kevin's Gate" by the press, it faced a storm of negative attention long before audiences ever set sail. But in the three decades since its debut, Waterworld has gone from box-office cautionary tale to cult classic, with a devoted fan base, a legacy in live entertainment, and even a surprising brush with Oscar gold. Set in a post-apocalyptic future where the polar ice caps have melted and Earth is submerged in water, Waterworld follows a mysterious drifter known as the Mariner (Costner), a gill-sporting loner navigating a flooded wasteland of floating cities, pirates, and mythical dry land. The film was one of the most expensive movies ever made at the time, with a bloated budget of $175 million — an astronomical figure in the mid-'90s — and plagued by production issues ranging from storms that destroyed sets to on-set tension and endless rewrites. Critics were lukewarm at best, and audiences were initially cool to the film's dark tone and unconventional premise. Opening to a $21 million weekend at the box office, Waterworld was quickly labeled a flop. Although it eventually earned back its budget through strong international sales and home video revenues, the damage to its reputation had already been done. Today, Waterworld is viewed with fresh eyes — part environmental warning, part ambitious sci-fi Western, part misunderstood gem. What was once mocked for its bloated budget and outlandish premise is now appreciated for its practical effects, world-building, and relentless creativity. The film's stunt work and set design, once buried under headlines about delays and dollar signs, are now cited as examples of bold, big-swing filmmaking that would be nearly impossible in today's CGI-heavy studio landscape. What many people have forgotten — or never knew — is that Waterworld was nominated for an Academy Award. At the 68th Oscars in 1996, it earned a nomination for Best Sound, alongside Apollo 13, Batman Forever, Braveheart, and Crimson Tide. It didn't win — Apollo 13 took the statue — but the nomination was a nod to the film's impressive audio design, which brought the crashing waves, roaring jet skis, and chaotic seafaring battles to immersive life. Even more enduring than its Oscar nod is Waterworld 's presence at Universal Studios. The Waterworld: A Live Sea War Spectacular stunt show, launched the same year as the film, has outlasted many of Universal's most beloved attractions. With explosions, jet-ski stunts, and death-defying leaps, the live show has become a fan favorite and a testament to the film's lasting entertainment value. It continues to draw massive crowds in Hollywood, Japan, and Singapore, proving that while the film may have floundered financially, its spectacle has stood the test of time. On its 30th anniversary, Waterworld lives on as more than just "the movie that cost too much." It's a case study in Hollywood ambition, a cult favorite revered for its practical ingenuity, and a cheeky punchline-turned-point-of-pride that stands as a reminder of what happens when filmmakers swing for the fences. Looking back, perhaps Waterworld was never a disaster — it was simply ahead of its time.