I have no interest in watching Netflix’s 2022 adaptation of “Persuasion,” which infamously stars Dakota Johnson as the reserved and intelligent Anne Elliot. When it was first released, my online feed was full of outrage at the proliferation of then-trending one-liners throughout the film, the most egregious “He’s a 10 but …” (multiple times, apparently). It appeared so absurdly dated from 2022, mostly through its updated dialogue, (yes, Anne calls herself an empath), that I vowed never to watch it. If the movie were made a year or two later, I would not put it past the creators to describe Captain Wentworth’s return as Anne’s “Roman Empire.”

Modern adaptations often sacrifice the strength of Jane Austen’s original language and storytelling, cutting lines from the novel and adding trendy quips to make it more “interesting” for a modern audience. Language and wit are characteristic of Austen’s novels. The way characters interact and develop relationships, subtle conflicts and dalliances with each other through a blend of narrative and clever dialogue. I’m obviously a fan, but there’s a reason there continues to be a subtle accumulation of remakes each year. There is no universally acknowledged number of Austen adaptations; there are well over 30, not including the number of reimaginings, like “Clueless” (1995) or “Bridget Jones’s Diary” (2001). 

Two new adaptations are set to be released in 2026. The first, a Focus Features film adaptation of “Sense and Sensibility” (my favorite Austen novel) starring Daisy Edgar-Jones as Elinor Dashwood. The second is a “Pride and Prejudice” (“P&P”) six-part limited series with Emma Corrin as Elizabeth (Lizzy) Bennet and Jack Lowden taking on the role of Mr. Darcy. It has an interesting and definitely talented cast; however, there’s an unease about Netflix’s creative decision-making, especially in reference to their last Austen adaptation, the flea-bag mess that was “Persuasion.” The screenplay for the new “P&P” series was written by bestselling author Dolly Alderton, known for the 2018 memoir “Everything I Know About Love,” which I have not read. It’s unclear which direction Alderton will take the adaptation, but regardless I don’t understand the point. Why are we getting another adaptation?

There appears to be a longstanding belief in the film industry that every generation needs its own contemporary adaptation. But why? Is “Pride and Prejudice” (2005) for us, even if it was released 20-plus years ago? Despite a considerable number of rewatches, it never gets old, and the story continues to feel fresh and new. It is, however, not without flaw — there were significant departures from the novel.

For one, the costuming isn’t entirely accurate. It’s beautiful, yes, but there was an emphasis on cinematic feel over accuracy. The 2005 version had extra scenes and lines that diverge from the original story. “You have bewitched me, body and soul,” was written specifically for the film. Another famous line, “I’m half agony, half hope,” is taken from Captain Wentworth, from Austen’s novel “Persuasion.”

Casting choices are not as important as the writing and creative decisions, which ultimately can make or break an adaptation. No adaptation is perfect. There is always some minor detail overlooked or an extra scene added (for better or worse), and neither side will be happy. The classic 1995 vs. 2005 “Pride and Prejudice” debate. Who is the better Mr. Darcy: Matthew MacFadyen or Colin Firth? Which better encapsulates Darcy’s longing desire (and deep-rooted pride) and Elizabeth’s obstinate prejudice? I, personally, oscillate between the two.

I do however think it’s too early for a “generational” remake of “P&P,” and I don’t trust Netflix taking on creative control, but it will be different from previous adaptations and have strengths and weaknesses like the previous ones. I understand that for the sake of the plot and continuity, some original language is necessary, but I hope this new Netflix adaptation tries to honor Austen’s legacy in a way that “Persuasion” (2022) failed to do.

Sophia Benito, English major and Austenite, does not see the point in continuous Jane Austen movie adaptations.