Latest news with #SenseAndSensibility
Daily Mail
29-07-2025
- Entertainment
- Daily Mail
Esme Creed-Miles appears to confirm engagement to girlfriend Daisy Maybe as Hanna actress shares adorable new snaps with very telling clue
Soon to play hopeless romantic Marianne Dashwood in the new film adaptation of Sense And Sensibility, Samantha Morton's daughter Esme Creed-Miles is enjoying her own love story off screen. After coming out as a lesbian earlier this year, the 25-year-old has made a very modern declaration of love for her girlfriend Daisy Maybe. Esme, whose father is actor Charlie Creed-Miles, posted a picture of the British singer and model, and captioned it with engagement ring and love heart emojis, prompting much speculation the couple plan to tie the knot. They were congratulated by friends such as Noel Gallagher 's daughter Anais, who wrote in a caption: 'Congrats.' DailyMail has contacted Esme's representative for comment. It comes after it was announced that Esme is set to join Daisy Edgar-Jones in a new adaptation of Jane Austen's novel. Esme, whose father is actor Charlie Creed-Miles, posted a picture of the British singer and model, and captioned it with engagement ring and love heart emojis, prompting much speculation the couple plan to tie the knot Sense and Sensibility is the story of two sisters, Elinor and Marianne Dashwood, as they come of age. They are forced to leave their family estate after the death of their father and move with their mother and younger sister, Margaret, to a cottage in rural Devonshire. The novel details their experiences of love and loss, and the pressures of late 18th-century England. The upcoming remake will follow the 1995 Oscar-winning film starring Emma Thompson and a 2008 mini series which featured on the BBC. The first cast member to be announced last month was Daisy, who will take on the leading role of eldest sister Elinor Dashwood. She is no stranger to book adaptations, having already starred in the BBC's version of Sally Rooney's Normal People. In her ELLE US cover story, she spoke about the importance of playing layered characters. She said: 'It's great that more and more stories are being made with women front and centre.' She continued: 'I feel lucky that a lot of the characters I've played have had that. 'They aren't defined by their actions or their experiences, or by the men in their life.' On July 11, Deadline reported that Esme had been cast as Marianne Dashwood, Elinor's emotional sister. She shared an Instagram post celebrating the big news with a shot of the book and her script next to Daisy's. Alongside the post, she penned: 'Gratitude beyond. ❤️' Other cast members include Caitríona Balfe, George MacKay, Fiona Shaw, Frank Dillane, Herbert Nordrum, and Bodhi Rae Breathnach.
The Guardian
18-07-2025
- Entertainment
- The Guardian
I hate to be the scowling lesbian at the feast – but here's what worries me about the new Austen adaptations
What is the main lesson we take away from Jane Austen? I know novels aren't manuals, but the Austen industry encourages a certain self-help approach to its products – and Austen herself was full of what we no longer call bossy opinions. From the books, there are endless shrewd judgments about how to be a woman of substance. From the screen adaptations, we learn just how nice it would be to have a big house in Derbyshire. There is the general rule of true love overcoming all obstacles. But there is also this: that there is no worse fate to befall a woman than to fail to lock down a man. Two new Austen adaptations are heading our way: a Netflix miniseries of Pride and Prejudice, and a new movie version of Sense and Sensibility. They join Too Much, Lena Dunham's new show that riffs on our relationship with romcoms – how we use them as templates and ideals – a clear nod to Sleepless in Seattle, except with Ang Lee's Sense and Sensibility as its urtext rather than An Affair to Remember. In Dunham's show, Jessica, played by Megan Stalter, sits around with her family discussing the relative merits of Greg Wise v Alan Rickman while the 1995 movie airs in the background, ensuring that when the heroine moves to England, her experiences unfold in tension with what has come to be seen as Austen's platonic ideal. It's a meta-treatment of the genre, while the two forthcoming adaptations are typical period pieces; but while these projects differ, what remains curious, more than 200 years after Austen was writing, is that the underlying assumption remains the same: effectively, that there is no better story for a woman than one that ends in a marriage. Before I go further, I should say that, per the unwritten constitution of Britain – which mandates the holding of strong feelings about Austen by all citizens – I loved Lee's Sense and Sensibility and have opinions about all the other adaptations that are the only correct opinions to have. For example, it hardly needs saying that Gwyneth Paltrow was terrible as Emma in the 1996 movie, and also that we have that particular adaptation to thank for the perfection of Sophie Thompson's Miss Bates (specifically, the scene where she is insulted on Box Hill). It is also true that romcoms, particularly Austen adaptations, hit you differently when you're more interested in Jennifer Ehle than Colin Firth. There are no gays in Austen, obviously – although Mr Bingley is quite the fancy little gent and half of Austen's women are cranky enough to have made excellent lesbians – but when you look at Austen from the point of view of someone not really implicated in the goals of the story, you see things slightly differently. That we still cleave to this model of marriage as a woman's crowning achievement makes for excellent drama and who doesn't love a love story? But at the risk of being the scowling lesbian at the feast, the sheer, centuries-long uniformity of the emphasis has a cost at the back end that we don't really talk about. Which brings me to another TV show, one that examines, in brilliant, horrifying, anxiety-inducing detail, a strange side-effect of the assumptions underpinning the romcom. Fake is an Australian drama based on Stephanie Wood's 2017 viral piece in the Sydney Morning Herald that she turned into a bestselling memoir, and in which Birdie Bell, her alter ego, falls in love with Joe, a man she meets on an online dating site. Wood/Bell dates him for over a year, during which time he presents himself as a brilliant businessman and property developer. It is only later, and after a series of sadistic deceptions, that Joe is revealed to be a lying grifter living under a piece of tarpaulin by a creek. And here's the point: the reason the heroine ignores the red flags is because she is 49 years old and everyone – everyone – in her life is telling her, directly and otherwise, that she is defective until she gets married. I am not a straight woman but I found myself identifying hard with Birdie and, through her, Stephanie Wood, particularly on the subject of being uncomfortable at weddings. In Wood's case, the experience was one of being made to feel like shit as the only single straight woman with no children; and for me and every gay person I know, there are memories of all those weddings we went to in the 1990s and early 2000s at which it never struck anyone present as remotely weird, or grotesque, that we were participating in an event from which we were legally barred. (Marriage, which entails hundreds of rights, privileges and financial benefits, became legal for same-sex couples in 2014 in England and Wales, and a year later was legalised in the US by the supreme court.) Not very romantic, huh. None of this is Austen's fault, or Dunham's, and in fact I would say that Dunham's engagement with romcom history is shot through with a sensibility I'd call gay-adjacent. (This in stark contrast to most writer/directors in the Austen film and TV space who – how to put this – are so straight they probably enjoy the window displays in Oliver Bonas.) Meanwhile, the greatest irony of all is that Austen, who remained unmarried, intended her novels to espouse a philosophy of only-marry-for-love, not marry-at-all-costs. Then, as now, that message buckles under a different value system, one that balances a woman's worth on whether she has kids or is married. But as we look forward to a bunch more products driven by Regency-era values that are also our own, it's worth remembering the flipside to the insistence that every good story ends with a wedding. In Wood's case, the greater deception was not that she was taken in by a conman, but that, because of the excessive pressure on her to find a man, and in defiance of every instinct in her body telling her to run, she happened across a dangerous loser and – romcom-primed – conned herself into falling for him. Emma Brockes is a Guardian columnist
The Guardian
17-07-2025
- Entertainment
- The Guardian
I hate to be the scowling lesbian at the feast – but here's what worries me about the new Austen adaptations
What is the main lesson we take away from Jane Austen? I know novels aren't manuals, but the Austen industry encourages a certain self-help approach to its products – and Austen herself was full of what we no longer call bossy opinions. From the books, there are endless shrewd judgments about how to be a woman of substance. From the screen adaptations, we learn just how nice it would be to have a big house in Derbyshire. There is the general rule of true love overcoming all obstacles. But there is also this: that there is no worse fate to befall a woman than to fail to lock down a man. Two new Austen adaptations are heading our way: a Netflix miniseries of Pride and Prejudice, and a new movie version of Sense and Sensibility. They join Too Much, Lena Dunham's new show that riffs on our relationship with romcoms – how we use them as templates and ideals – a clear nod to Sleepless in Seattle, except with Ang Lee's Sense and Sensibility as its urtext rather than An Affair to Remember. In Dunham's show, Jessica, played by Megan Stalter, sits around with her family discussing the relative merits of Greg Wise v Alan Rickman while the 1995 movie airs in the background, ensuring that when the heroine moves to England, her experiences unfold in tension with what has come to be seen as Austen's platonic ideal. It's a meta-treatment of the genre, while the two forthcoming adaptations are typical period pieces; but while these projects differ, what remains curious, more than 200 years after Austen was writing, is that the underlying assumption remains the same: effectively, that there is no better story for a woman than one that ends in a marriage. Before I go further, I should say that, per the unwritten constitution of Britain – which mandates the holding of strong feelings about Austen by all citizens – I loved Lee's Sense and Sensibility and have opinions about all the other adaptations that are the only correct opinions to have. For example, it hardly needs saying that Gwyneth Paltrow was terrible as Emma in the 1996 movie, and also that we have that particular adaptation to thank for the perfection of Sophie Thompson's Miss Bates (specifically, the scene where she is insulted on Box Hill). It is also true that romcoms, particularly Austen adaptations, hit you differently when you're more interested in Jennifer Ehle than Colin Firth. There are no gays in Austen, obviously – although Mr Bingley is quite the fancy little gent and half of Austen's women are cranky enough to have made excellent lesbians – but when you look at Austen from the point of view of someone not really implicated in the goals of the story, you see things slightly differently. That we still cleave to this model of marriage as a woman's crowning achievement makes for excellent drama and who doesn't love a love story? But at the risk of being the scowling lesbian at the feast, the sheer, centuries-long uniformity of the emphasis has a cost at the back end that we don't really talk about. Which brings me to another TV show, one that examines, in brilliant, horrifying, anxiety-inducing detail, a strange side-effect of the assumptions underpinning the romcom. Fake is an Australian drama based on Stephanie Wood's 2017 viral piece in the Sydney Morning Herald that she turned into a bestselling memoir, and in which Birdie Bell, her alter ego, falls in love with Joe, a man she meets on an online dating site. Wood/Bell dates him for over a year, during which time he presents himself as a brilliant businessman and property developer. It is only later, and after a series of sadistic deceptions, that Joe is revealed to be a lying grifter living under a piece of tarpaulin by a creek. And here's the point: the reason the heroine ignores the red flags is because she is 49 years old and everyone – everyone – in her life is telling her, directly and otherwise, that she is defective until she gets married. I am not a straight woman but I found myself identifying hard with Birdie and, through her, Stephanie Wood, particularly on the subject of being uncomfortable at weddings. In Wood's case, the experience was one of being made to feel like shit as the only single straight woman with no children; and for me and every gay person I know, there are memories of all those weddings we went to in the 1990s and early 2000s at which it never struck anyone present as remotely weird, or grotesque, that we were participating in an event from which we were legally barred. (Marriage, which entails hundreds of rights, privileges and financial benefits, became legal for same-sex couples in 2014 in England and Wales, and a year later was legalised in the US by the supreme court.) Not very romantic, huh. None of this is Austen's fault, or Dunham's, and in fact I would say that Dunham's engagement with romcom history is shot through with a sensibility I'd call gay-adjacent. (This in stark contrast to most writer/directors in the Austen film and TV space who – how to put this – are so straight they probably enjoy the window displays in Oliver Bonas.) Meanwhile, the greatest irony of all is that Austen, who remained unmarried, intended her novels to espouse a philosophy of only-marry-for-love, not marry-at-all-costs. Then, as now, that message buckles under a different value system, one that balances a woman's worth on whether she has kids or is married. But as we look forward to a bunch more products driven by Regency-era values that are also our own, it's worth remembering the flipside to the insistence that every good story ends with a wedding. In Wood's case, the greater deception was not that she was taken in by a conman, but that, because of the excessive pressure on her to find a man, and in defiance of every instinct in her body telling her to run, she happened across a dangerous loser and – romcom-primed – conned herself into falling for him. Emma Brockes is a Guardian columnist
Yahoo
15-07-2025
- Entertainment
- Yahoo
Esmé Creed-Miles Joins Daisy Edgar-Jones In ‘Sense And Sensibility'
Esmé Creed-Miles has joined Daisy Edgar-Jones in the new adaptation of Sense and Sensibility from Focus Features and Working Title Films. Miles will portray Marianne Dashwood, previously portrayed by Kate Winslet in the 1995 film directed by Ang Lee. The actress posted photos with the novel as a subtle announcement that she had gotten the co-lead part. Edgar-Jones will star as Elinor Dashwood. More from Deadline Daisy Edgar-Jones To Topline Adaptation Of Jane Austen's 'Sense And Sensibility' For Focus Features & Working Title Filmmaker Alexandra McGuinness Sets 'Lucia' As Next Project; 'Hanna's Esmé Creed-Miles To Star In Drama About James Joyce's Daughter Universal Pictures Promotes Niels Swinkels To Focus Features International Distribution President Georgia Oakley will direct the remake of Lee's film from a script by bestselling author Diana Reid. Tim Bevan and Eric Fellner of Working Title will produce alongside India Flint of November Pictures and Jo Wallett. The project marks another collaboration between Focus and Working Title on a piece of Austen's work following their collaboration on the Oscar-winning Pride & Prejudice (2005) starring Keira Knightley, Matthew Macfadyen, Rosamund Pike, Donald Sutherland, Carey Mulligan, Jena Malone, Kelly Reilly and many more, as well as the 2020 adaptation of Austen's Emma starring Anya Taylor-Joy, Johnny Flynn, Mia Goth, Josh O'Connor and Callum Turner. Originally published anonymously with the byline reading 'By A Lady,' Austen's Sense and Sensibility follows sisters Elinor and Marianne Dashwood, opposites in their emotional approach, as they navigate love, loss and financial uncertainty amid the societal expectations of 18th century England. Austen's 1811 debut novel established her as a literary force and remains a cornerstone of English literature. Find Miles' post below: Best of Deadline 'The Buccaneers' Season 2 Release Schedule: When Do New Episodes Come Out? 'The Buccaneers' Season 2 Soundtrack: From Griff To Sabrina Carpenter 2025 TV Series Renewals: Photo Gallery
Yahoo
11-07-2025
- Entertainment
- Yahoo
Esmé Creed-Miles Joins Daisy Edgar-Jones in ‘Sense and Sensibility' as Marianne
Esmé Creed-Miles has been cast as Marianne Dashwood in Focus Features' film adaptation of the Jane Austen classic 'Sense and Sensibility.' She joins the previously announced Daisy Edgar-Jones, who will play Elinor Dashwood, Marianne's older sister. More from Variety Daisy Edgar-Jones to Star in New 'Sense and Sensibility' Movie Ang Lee: Vfx Biz 'Very Hard to Make Money' Acad swoons for toon tunes Focus Features announced the news in an Instagram post on Friday morning, with the caption, 'The Marianne to our Elinor,' alongside a photo of Edgar-Jones and Creed-Miles' scripts. View this post on Instagram A post shared by Focus Features (@focusfeatures) In film, Creed-Miles has previously starred in 'Silver Haze,' 'The Thicket,' and, most recently, Kristen Stewart's directorial debut 'The Chronology of Water.' On television, her credits include 'Hanna,' 'The Legend of Vox Machina,' 'The Doll Factory' and 'The Sandman.' 'Sense and Sensibility' is being directed by BAFTA nominee Georgia Oakley, from a script by bestselling author Diana Reid. Tim Bevan and Eric Fellner of Working Title Films will produce alongside India Flint of November Pictures and Jo Wallett. 'Sense and Sensibility' was the first novel by prolific author Austen, who later wrote such literary classics as 'Pride and Prejudice,' 'Emma' and 'Persuasion.' The story of 'Sense and Sensibility' follows sisters who navigate love, loss and financial uncertainty as they are forced to leave their family estate in Sussex. The novel has been adapted for the screen a number of times over the years, most notably in a 1995 film from director Ang Lee starring Emma Thompson as Elinor and Kate Winslet as Marianne. Focus Features has backed two prior adaptations of Austen's work, including 2005's 'Pride and Prejudice' with Keira Knightly as well as 2020's 'Emma', which starred Anya-Taylor Joy. The studio's recent theatrical releases include Edward Berger's 'Conclave,' Robert Eggers' 'Nosferatu' and Steven Soderbergh's 'Black Bag.'Best of Variety Final Emmy Predictions: Talk Series and Scripted Variety - New Blood Looks to Tackle Late Night Staples Oscars 2026: George Clooney, Jennifer Lopez, Julia Roberts, Wagner Moura and More Among Early Contenders to Watch New Movies Out Now in Theaters: What to See This Week
