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TV Media Weekly | May 12 - 18, 2018 By K.A. Taylor TV Media A brief channel surf quickly reveals that women on television are still all too often depicted as jeal- ous, fighting frenemies. Often ge- neric and one-dimensional, these portrayals detrimentally serve to convince the world — and more importantly, young women — that to be feminine is to lack ra- tionality and depth. Fortunately for anyone looking for a more uplifting depiction of young womanhood, PBS has teamed up with the BBC to bring to life a new miniseries adapta- tion of Louisa May Alcott's classic novel "Little Women." How fasci- nating it is to consider that a se- ries based on a 150-year-old nov- el could deliver a more honest and complex representation of women's relationships than we see in so much modern-day fare. The latest "Masterpiece Classic" offering, "Little Women" pre- mieres Sunday, May 13, on PBS. "Little Women" stays loyal to Alcott's work, while interjecting ample doses of humor and em- powerment. Set amidst the Amer- ican Civil War, the story provides a glimpse into the lives of the four March sisters as they grow from girls to young women under the watchful, loving care of their mother. The family, once well-to- do, now lives in poverty. Relocat- ed to a new portion of a Massa- chusetts community, these little women find themselves not just penniless but also fatherless, as the patriarch has been called off to war. Left to fend for them- selves, the March women are ea- ger to prove that they're more than capable of doing so. Each sister is undeniably a March, yet entirely unique. Meg March (Willa Fitzgerald, "Scream: The TV Series") is the eldest of the four and quite natu- rally adapts to a matriarchal type of role, quite satisfied with the prospect of a domestic life. Sec- ond eldest, Jo (Maya Hawke, "Ladyworld," 2018), is full of bold ambition, often labeled a tomboy due to her interests and hopes to be a published writer one day. Beth (Annes Elwy, "Phil- ip K. Dick's Electric Dreams"), the third daughter, is quite shy and has a penchant for music. The youngest March, Amy (Kathryn Newton, "Lady Bird," 2017), is the most artistic, though easily swayed into a state of vanity. Initially, these four girls may seem fairly set in their ways, somewhat stereotypical and quite contrary to one another. As the girls develop, however, it becomes clear that there are multiple di- mensions to all of their personali- ties, and assumed predictability is quickly discarded. The casting of "Little Wom- en's" leading ladies in this latest adaptation blends fresh, new fac- es with a healthy dose of well-es- tablished talent. If newcomer Hawke seems familiar, it may be in large part due to the success of her parents. The actress is the daughter of Uma Thurman ("Kill Bill: Vol. 1," 2003) and Ethan Hawke ("Training Day," 2001), two beloved actors whose pas- sion for the craft seems to be he- reditary. Hawke has a lot of hopes for this interpretation of Jo, which she expressed during a news re- lease interview for "Master- piece." She longs for audiences to notice Jo's imperfections and notes that she did her best to ex- press "the parts of [Jo] that she would feel insecure about" and to "illuminate her less perfect quali- ties," trying to stray from the per- fectionist persona for which the character is typically known. The two elder March ladies of the miniseries are portrayed by theatrical and cinematic favorites. Matriach Marmee is played by the acclaimed Emily Watson ("The Book Thief," 2013), who began her career heavily invested in fea- ture film roles, but who has been racking up more and more TV se- ries parts since 2011. Surpassing all of these talented ladies, how- ever, is the legendary Angela Lansbury ("Murder She Wrote"), who steps into the fiercely critical shoes of Aunt March. Since 1868, when "Little Wom- en" was published, the story has endured countless adaptions in various formats. Be it film, televi- sion, musicals, operas, stage plays, web videos or audio dra- mas, it's clear that the authentici- ty felt in this novel translates well to all mediums. The story was first adapted for the silver screen in si- lent format in 1917, with the most recent big-screen adaptation cur- rently in production. When it comes to television, BBC has de- veloped four miniseries of "Little Women," the first airing in the 1950s as a live production. Any- one with siblings, but especially those of us who are sisters and have sisters, find deep familiarity with the relationships and con- flicts depicted, so it's no surprise that Alcott's work continues to re- main relevant and reproduced. Driven by authenticity and truth to the period within which the tale is set, "Little Women" promises to be a well-loved repre- sentation of the classic novel. The cast, crew and director have painstakingly worked to recreate Alcott's world, placing emphasis on natural beauty and individuali- ty over spectacle. In a promotion- al interview for the miniseries, di- rector Vanessa Caswill expressed how important it was to "[tell] a truthful story" — one that would "empower the women in it by not making them dollies, by making them just pure and beautiful." With women continuing to push for their unique voices and stories to be heard, perhaps there is no better time than now for a retelling of Alcott's beloved novel. Embrace feminine strength and growth when "Little Women" premieres Sunday, May 13, on PBS. Maya Hawke as seen in "Little Women" PBS breathes new life into Louisa May Alcott's 'Little Women' 2 | Cover story A/Grindstone Charley's B/Norris Insurance 1 x 4" GVC Mortgage 5 x 2"

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