Harris Dickinson Talks Taking On 'Iconic' Mr Darcy As His Next Role
If you thought that Jane Austen's Mr Darcy couldn't get any better than Colin Firth's 1995 wet-shirt portrayal, then you might just need to think again, based on the latest news that actor Harris Dickinson will portray the writer's most famous love interest.
To celebrate Jane Austen's 250th birthday this year Audible, creator of audio storytelling, will launch an adaptation of Pride and Prejudice with the Babygirl actor starring opposite Bafta-winning actor Marisa Abela (Industry and Back to Black) as Elizabeth Bennet.
FIND OUT MORE ON ELLE COLLECTIVE
Other cast members include Marianne Jean-Baptiste, Bill Nighy, Will Poulter, Jessie Buckley, Sophie Wilde, David Gyasi, Rosalind Eleazar and Glenn Close...and we're already hooked.
Premiering on September 9, Dickinson says that it's the enduring appeal of the period drama that attracted him to the role: 'Playing Mr. Darcy was an amazing experience. I've always known him as this iconic character, but getting to really dive into the novel through this process gave me a whole new appreciation for him and the world. Being part of such a talented cast made it even better. It's a real privilege to be part of something so timeless.'
While Marisa Abela says that Elizabeth Bennet, who will share far more of her inner world in this adaptation, 'is one of the most fiercely intelligent and iconic characters in literature and stepping into her shoes has been an incredible honour. What I love about this adaptation is how it lets us hear her inner world in such a vivid, intimate way.'
It sure is going to be intimate – one of the most popular reasons people chose to listen to Audible books, whether for company on a commute or as part of a wind-down routine, is to experience storytelling more directly. And Dickinson finds himself in good company: the role of Mr Darcy has been portrayed by Laurence Olivier in 1940 and by Matthew Macfadyen in Joe Wright's 2005 adaptation for the big screen.
Meanwhile, earlier this year Netflix announced that Dolly Alderton, agony aunt and author of the chart-topping Everything I Know About Love, is writing the screenplay for a Pride and Prejudice series starring ELLE UK's recent cover star Emma Corrin and Jack Lowden.
'Once in a generation, a group of people get to retell this wonderful story and I feel very lucky that I get to be a part of it,' Dolly Alderton said at the time of the announcement.
A truth universally acknowledged that it's going to be a good year for Pride and Prejudice fans. And in the meantime, there's always Jane Austen dressing to see you through.
ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.
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Elle
25 minutes ago
- Elle
'And Just Like That...' Season 3, Episode 2 Recap: Did Carrie Just Meet Her Next Man?
Spoilers below. Carrie is narrating again. So much so, that she's using it not only to express her inner thoughts and writing, but also her texts. Yes, friends, Carrie is a speak-to-text enthusiast. As she and Aidan continue their long-distance relationship (after last week's phone sex debacle), she is actively dictating her correspondences to her on-off-lover as he looks after his family in Virginia. She drops phrases like, 'Hi love, period,' or 'exclamation point!' as if she is reading a telegram. She does this multiple times throughout the latest episode, 'Rate Race,' to an almost comical degree, as if to prove that this is how a 50-something woman uses a smartphone, even though we've never seen Carrie do this before. FIND OUT MORE ON ELLE COLLECTIVE Anyway, she first broaches the topic of phone usage in the beginning of the episode when she meets her old neighbor Lisette, who now lives in her apartment. While Lisette, a jewelry designer, gifts Carrie a necklace bearing her old address, she also vents about her dating life. After a bad outing with a psychiatrist, Lisette realizes that the actual relationship she has is with her phone. She believes Carrie is so lucky she didn't have to deal with these kind of shenanigans 'back then'; dating must have been easier before texting and apps, right? (I don't know, Carrie still went through the wringer with a senator who loved golden showers, a Post-it breakup, and more.) Lisette ends up getting a guy to buy her (and Carrie) a drink at the bar, and Carrie later shows us that even though she was dating in the '90s and '00s, she's in a relationship with her phone now too. But first she takes us even further into the past—to 1846, the year the nameless protagonist of her latest writing project (otherwise known as 'the woman') is living in. Carrie said she often dreams of who used to live in her historical home, but before she can get too far into her draft, a swarm of rats dash out from the bushes in her garden, sending her running and screaming back into the house. She dictates her text to Aidan about the experience: 'Many, many rats, exclamation point, exclamation point, exclamation point!' While Miranda is at work getting hooked on a queer reality dating show called Bi Bingo, Carrie has promptly hired people to de-pest her garden. To her surprise, Aidan shows up unannounced, partially because he 'felt weird' about how their last phone call went, and also because he misses her. Carrie shares her frustrations about being long distance. She doesn't want to keep Aidan away from his kids, but her new apartment is for the both of them; she wants to be able to share it—and her life—with him. Aidan bends the rules of their 'break,' allowing for Carrie to call and text him whenever she needs. 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Lily is too busy getting it on with her ballerina crush, Diego, to pick up her mother's calls, but she and Herbert Jr. eventually land a joint meeting with Ms. Fingerhood. It doesn't go well. When the meeting is over, the teens are in a panic. Lily was told she's too well-rounded and shouldn't mention 'that I'm Asian or adopted,' and Herbert Jr. was told to not to mention lacrosse and to have 'more relatable African-American experiences.' It's funny because that is what colleges want—kids to lean into stereotypes and exploit their trauma in their applications. At least Anthony is doing well. He just landed a brick-and-mortar spot for his dream Hotfellas Bakery, complete with baguette-shaped door handles and 'crotch-level' countertops. Miranda's new reality fixation might just get her a date. (Do you guys think she's watching the new season of Love Island too?) She and the waitress making her and Carrie's guacamole can't stop gabbing about the drama on their favorite show. But when Miranda asks the waitress out on a date, she reveals that she's straight and married… with two children. Miranda is confused. Didn't they have a spark? Why is this woman so engaged with queer television? The waitress shrugs and says it's just TV. 'I watch The Walking Dead, and I don't like zombies,' she says in an unnecessarily rude tone. Okay, first of all, that's different. Are we comparing bi people to zombies? During Pride month??? Poor Miranda, first a one-night stand with a virgin nun and now a heartless rejection from a waitress serving guacamole. Not all hope is lost though; Miranda is interested in Joy, a classy British colleague at work, but she's worried about starting an office romance. Carrie, of course, eggs her on. So many people have met their partners at work, Miranda! Carrie, however, might have just met her next partner at the stoop of her new apartment. When her cat slips out the door, a scruffy, muscly gardener picks her up before she can escape onto the street. And what are the odds? This charming landscaper named Adam (Logan Marshall-Dean), who's wearing a rugged band tee, is here to consult Carrie on her backyard renovation. Adam asks her about her ultimate vision for the space, but she's unsure. Not knowing is a good thing, Adam says, 'Because that means what's meant to be will show up.' Whether he's conscious of it or not, he's also referring to himself. Carrie might've been complacent with her arrangement with Aidan, but now that things are changing, she might just be open to something new. Maybe something with Adam. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Erica Gonzales is the Deputy Editor, Culture at where she oversees coverage on TV, movies, music, books, and more. She was previously an editor at There is a 75 percent chance she's listening to Lorde right now.
25 minutes ago
How groundbreaking gay author Edmund White paved the way for other writers
NEW YORK -- Andrew Sean Greer, a Pulitzer Prize-winning novelist, remembers the first time he read Edmund White. It was the summer of 1989, he was beginning his second year at Brown University and he had just come out. Having learned that White would be teaching at Brown, he found a copy of White's celebrated coming-of-age novel, 'A Boy's Own Story.' 'I'd never read anything like it — nobody had — and what strikes me looking back is the lack of shame or self-hatred or misery that imbued so many other gay male works of fiction of that time,' says Greer, whose 'Less' won the Pulitzer for fiction in 2018. "I, of course, did not know then I was reading a truly important literary work. All I knew is I wanted to read more. 'Reading was all we had in those days — the private, unshared experience that could help you explore your private life," he said. "Ed invented so many of us." White, a pioneer of contemporary gay literature, died this week at age 85. He left behind such widely read works as 'A Boy's Own Story' and 'The Beautiful Room Is Empty' and a gift to countless younger writers: Validation of their lives, the discovery of themselves through the stories of others. Greer and other authors speak of White's work as more than just an influence, but as a rite of passage: "How a queer man might begin to question all of the deeply held, deeply religious, deeply American assumptions about desire, love, and sex — who is entitled to have it, how it must be had, what it looks like,' says Robert Jones Jr., whose novel above love between two enslaved men, ' The Prophets,' was a National Book Award finalist in 2021. Jones remembers being a teenager in the 1980s when he read 'A Boy's Own Story." He found the book at a store in a gay neighborhood in Manhattan's Greenwich Village, 'the safest place for a person to be openly queer in New York City,' he said. 'It was a scary time for me because all the news stories about queer men revolved around AIDS and dying, and how the disease was the Christian god's vengeance against the 'sin of homosexuality,'' Jones added. 'It was the first time that I had come across any literature that confirmed that queer men have a childhood; that my own desires were not, in fact, some aberration, but were natural; and that any suffering and loneliness I was experiencing wasn't divine retribution, but was the intention of a human-made bigotry that could be, if I had the courage and the community, confronted and perhaps defeated," he said. Starting in the 1970s, White published more than 25 books, including novels, memoirs, plays, biographies and 'The Joy of Gay Sex,' a response to the 1970s bestseller 'The Joy of Sex." He held the rare stature for a living author of having a prize named for him, the Edmund White Award for Debut Fiction, as presented by the Publishing Triangle. 'White was very supportive of young writers, encouraging them to explore and expand new and individual visions,' said Carol Rosenfeld, chair of the Triangle. The award was 'one way of honoring that support.' Winners such the prize was founded, in 2006, have included 'The Prophets,' Myriam Gurba 's 'Dahlia Season' and Joe Okonkwo's 'Jazz Moon.' Earlier this year, the award was given to Jiaming Tang's ' Cinema Love,' a story of gay men in rural China. Tang remembered reading 'A Boy's Own Story' in his early 20s, and said that both the book and White were 'essential touchpoints in my gay coming-of-age.' 'He writes with intimate specificity and humor, and no other writer has captured the electric excitement and crushing loneliness that gay men experience as they come of age,' Tang said. "He's a towering figure. There'd be no gay literature in America without Edmund White.'
Forbes
an hour ago
- Forbes
Creating Costumes For Teen True Love In Netflix's 'Forever'
Justin Edwards (Michael Cooper Jr.) and Keisha Clark (Lovie Simone) star in "Forever" on Netflix. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix Tanja Caldwell designed the wonderful costumes for Mara Block Ali's Netflix series, Forever. But before that, it feels important to mention the source material on which the series is based. The novel, which has almost the same name, was first published in 1975, by beloved American author Judy Bloom. (Are You There God? It's Me, Margaret was also by Blume.) Forever-the-book won the Margaret A. Edwards Award in 1996, for its 'significant and lasting contribution to young adult literature,' and in 2019 was included in the BBC's list of the 100 Most Inspiring Novels. But regardless of its many commendations, the novel, intended for older teenagers, remains one of the 100 Most Frequently Challenged Books according to the American Library Association, 50 years after its original date of publication. Why? Because the book discusses sex and acknowledges that teenagers might be competent to both engage in the act and be able to deal with whatever consequences might arise afterwards. The reason the book resonated with teens in the 1970s and the 1990s is the same reason that the series resonates with viewers right now; it is a story that respects the voices of its young characters. In her adaptation, Ali made a point of conveying that respect, and of never looking down on her characters simply because they are young. Tiffany (Paigion Walker), Christian (Xavier Mills), Brittany (Adriyan Rae), and Shelly Clark (Xosha Roquemore) . Cr. Elizabeth Morris/Netflix © 2024. Elizabeth Morris/Netflix 'That was very important to Mara,' Caldwell told me, 'it was very important to Regina, who directed the first episode and was one of the executive producers, and all the directors that came on. Everyone, with Mara's lead, was about making it real and genuine to the time and to the people, the adults and especially the young people who are our main characters in this series. It was important to show that growth throughout. I think it's important to show young people in the diversity that they have, even at a young age. I think that gets them interested in their own storytelling, when we tell them in a way that's real and genuine to them.' [Caldwell, I need to tell you, was an assistant costume designer on Black Panther and Black Panther: Wakanda Forever, working under the incomparable Ruth Carter. It is so cool, I had to make sure you knew this.] Forever takes place in 2018 and 2019, a time which, post-Covid, feels almost technicolor in its innocence. These are also years that many members of Gen Z, the generation immediately following us millennials, spent in high school. Seven or eight years later those kids are all adults. Caldwell understood this, and she worked very hard to make her costumes Los Angeles in exactly those two years. Her research was incredibly extensive and the costumes reflect this fact, they are better for her diligent attentions but they never pull from the action occurring in a scene. Justin Edwards (Michael Cooper Jr.), Keisha Clark (Lovie Simone), Chloe (Ali Gallo), Aunt Katherine (Polly Draper) , Uncle Michael (Tim Bohn), and Jeanine (Sherri Saum) at the beach in episode five. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix 'There are significant fashion differences between 2018-2019 and today,' Caldwell said, 'but there are also a lot of similarities. It was really important to make some distinguishing wardrobe options and choices, but we also were able to still play with more modern fashion, which helped us out a lot. The process for me really is discovery and research, about these different characters from the script, but also what young culture was in LA at that time.' Wardrobe on any production is a blend of apparel purchased, rented, tailored, remade, made from scratch. This show was no different, but needing clothing that was from a specific window of time, less than a decade old, meant the costume designer spent a lot of time in Los Angeles vintage stores. 'It was fun to dabble in vintage things, archive things, rare sneakers, rare t-shirts, things of that nature,' she told me when I asked about this. 'It was really fun to dig. When I was a teenager, I really loved vintage, I loved shopping for vintage. I think what I loved more than anything was the hunt, when you were able to find something really beautiful, really amazing, or more than one piece, and it was in great condition, or if it was a designer piece and in your size, so you just so happen to be able to fit it in.' Justin Edwards (Michael Cooper Jr.) and Keisha Clark (Lovie Simone) begin to bond in "Forever." Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix Figuring out who each character is, what they would wear and why, is something worked out between more than one person. The script might be specific about clothing, the showrunner and/or director will have thoughts, the production designer and the scenes they stage will impact how costumes read. Actor spend a lot of time figuring out who they are portraying, and for some performers that involves collaborating with the costume designer. It's a lot to think about and remember. 'Part of what I love about costume design is the research,' Caldwell said to me with a smile, deflecting my praise with precision. 'The discovery, who these characters are and how we see them through a lens of fashion, what will be distinguishing about their characters. One thing I talked about with Mara was creating somewhat of a uniform for Justin. Not that he was wearing the exact same thing, but if you look, you'll see most of the time he has a certain uniformity to what he's wearing.' 'He's always in Dickies,' the designer continued, 'different colors, some may be shorter or longer or more narrow or a little more aged. But he's always in Dickies, some form of a t-shirt, whether it's a plain shirt or it's a band shirt or something with a subliminal message on it. Then he's got a flannel shirt or some type of second layer, which I think is really indicative of Los Angeles culture. Layering is a big thing out here, just with the change of the weather.' Justin Edwards (Michael Cooper Jr.) in an awesome Dr. Dre tee from Episode 1 of "Forever." Credit: Hilary Bronwyn Gayle/Netflix © 2024 Hilary Bronwyn Gayle, SMPSP/Netflix When she was reading the script, the costume designer told me, she could feel the influence on Justin's character from his parents. She thought this might be something that would peek into his wardrobe, a tiny bit. 'His mother, especially,' Caldwell said. 'Whether he wants it or not, her influence, her hand on him is extremely close and heavy. I thought, if she's buying his clothes and she's watching him that closely, she's make sure he does his homework, she's got a tutor for him. She stays in touch with everything that he has going on. She's going to have some hands on his clothes. He's not going to have ripped distressed jeans with a lot of holes, w he's always going to look clean and put together, but still having his thumbprint on it some way, somehow.' 'With Karen Pittman's character, Justin's mother, having to be so strict because she loves him so much, maybe even a little bit to her fault, maybe a little bit overbearing. I think she still wants her son to show up in the world a certain way, that's how my parents were. You have some freedom to express yourself. But there are certain things in fashion, certain trends that you're allowed to do at this age and others you're not allowed to do, that's not the type of image you want to present yourself at this age or under my roof. These are the standards. I feel like that was more or less the way Justin's mother influences his style. His dad, I think he's the good cop. He doesn't say a lot, but when he speaks to his son, he always says something really profound and you just get it and there are some similarities in even the way that they dress. Even in the sweatshirts and hoodies, dad usually is very well put together, but he has this laid back feel. He's never super buttoned up or stuffy, but he doesn't look drabby or disheveled either. I think that's part of him being a chef and also an artist. I think that's why he may understand his son a little bit better.' Justin Edwards (Michael Cooper Jr.) and Darius (Niles Fitch) in personalized variation of their school uniforms. Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix As my regular readers will know, I am fascinated by uniforms, by the many, many ways there are to make or source garments en masse. I do love the challenge of military uniforms, but the sort worn to private schools offer similar challenges. 'We bought a ton of uniforms in the beginning,' Caldwell told me, 'because we knew we were going to need a multitude of them for background. We got a multitude of sizes. But before we even did that, we locked down with production, Mara especially, what the colors of the school are. Because there's a whole lot of work that goes into just clearing the name of a school and the colors that you use.' This is what I mentioned a little earlier, how no decision can be made independently of others. Telling stories on film is, by the nature of the medium, a collaborative art form. 'Once we decide what the colors are and what the name of the school is,' Caldwell told me, 'then we go out and we purchase from a uniform store. Then we go out and buy things for the main characters, just to add a little zhuzh to their particular uniform. But in this case, we tried to keep it really true to what it really is in LA. And a lot of private schools give you certain guidelines, on certain days you can wear this, and on certain days you can't. We were modeling their school off of a school that Mara and her nieces or nephews had actually gone to in Los Angeles. We tried to keep to what those standards and rules were. They all had their own little something because I think that's important.' Keisha Clark (Lovie Simone) in her school's uniform. Courtesy of Netflix Our main characters, Justin Edwards and Keisha Clark, don't attend the same high school, though they both do go to schools in LA. 'So, different colors and also two different standards of what the procedures are for those uniforms,' Caldwell reminded me. 'We did that research, and then we came about it organically. We tried on a bunch of different versions, the vest with the skirt, the vest with the plain skirt versus the plaid skirt. Her school didn't have a blazer. His school did, but didn't feel right for him but it felt great for Darius.' I asked the designer what she was concerned about most for Forever, what part of her job seemed to be most vitally attached to the arc the characters follow. 'For me, it was about trying not to draw so far outside the lines. I wanted to still be real and honest. And I love that the kids can wear their own sneakers, we definitely played that up with both of them. We definitely went in on the shoes. I think that was important, I think It's important to see representations of ourselves at every stage of life. If art is to imitate life, and vice versa, we have to show all those different stages, and we need to show it in the rawest, realest way. I think that sometimes we can be persuaded or influenced to show things in a way that we think we know it to be, not what it really is. So it is all about discovery and asking questions and observing people.' While I watched the series I kept noticing small things, like the way that the sportswear the teens wear after school at practice is carefully curated to the character who wears it. 'That's the thing about costume design,' Caldwell told me when I asked her about this,'just about everything is intentional, whether the viewer is aware of it or not.' How did this work practically? I was very curious, because things never happen on screen by accident, and when I see consistency across time, like I saw over and over in this series, I know it is because a person made certain that it did. The designer told me how she used color to subtly nod to the character wearing each costume. Tammy (Emyri Crutchfield) and Keisha Clark (Lovie Simone) in Episode 1 of "Forever." Credit: Elizabeth Morris/Netflix © 2024 Elizabeth Morris/Netflix 'For Tammy,' Caldwell explained, 'we put more in these darker muted colors, but they were still rich. We kept Keisha in the bright fluorescents, just because she's the star not only of the show, but she's also the star of the team. She's really pushing herself to get on a university track team and get that scholarship so she can attend. So I wanted her to stand out, even amongst her peers, when she was running. Even when she was with Christian at the Nike camp, I wanted her to seem bright. When she's at the Canyon, which worked really well because it was dawn, she's in a fluorescent orange, two-piece sports bra and matching shorts. When she's first running against Tammy and wins, she's in a fluorescent yellow Nike bra top and Nike shorts.' I asked Caldwell if she would tell me about something she was really proud of, something she figured out or made happen for Forever. There are so many more solutions than we are conditioned to see, and costume design is excellent proof that I am correct. A dozen costume designers presented with the same challenge would come back with a dozen different ways of making it happen. So, while working on this Netflix series, Caldwell generously told me this story, 'This was a really crazy story and something you don't see as much. We were doing interstitials, towards episode eight, Instagram shots that you see really quick that helps us pass time. There is a shirt that we actually made, one that we found, that was vintage,' the designer told me. 'We had to get it made because we needed multiples of it. And later we ended up revisiting it in a scene with Keisha and with Justin. ' 'In those shots,' Caldwell explained, 'Mara was putting them at a Little Uzi Vert concert. We went and found the Little Uzi Vert tour t-shirts from 2018, 2019, saw what those shirts looked like, and we really tried to get them. We only found one or maybe two. Scouring the world, you know, Etsy and vintage shops online and here in LA. The one thing about vintage is that when you're not looking for it, that's when you find it. If you look for something, you never find it. A few of them we had to recreate because we didn't have enough to place on all four actors. Costume designer Tanja Caldwell. Courtesy of Tanja Caldwell 'What's great about our process is in the beginning of prep, we were able to just start collecting a lot of beautiful vintage things. LA still has quite a few really great vintage stores that still collect, an assortment of really great tees in great condition. That was something from the research, in 2018, 2019, what did band tees look like? What concerts were going on? What artists were big then that teenagers were listening to?' Would she be willing to share any names of the places she likes to shop for vintage. 'I'm not a gatekeeper,' the designer said to me with a laugh. 'I like to share information because I like to get their information back. 'We found some really good t-shirts at American Rag on Melrose,' she continued. 'They're always really helpful and were really great, especially with Justin's band tees. They have a great assortment of vintage; skater, hip hop, old vintage Ralph Lauren… It was a really one-stop shop that we could go to. There's a really great shop, Virgo, that I love personally. It's in downtown LA and the owner is this really special young woman who started it. I go there to shop and I love their stuff.' When the last episode of Forever came to a close, I desperately wanted to warn the characters that Covid-19 was coming. That is how real these characters and story feel; the suspension of disbelief is as seamless as the costumes Tanja Caldwell designed for the series. 'I'm just really fortunate that I was able to be a part of it,' said the designer. All episodes of season one of Forever are available to stream on Netflix.
