Historical dramas and period pieces

For the past three years, I’ve taken part in blogathons hosted by Hamlette from Hamlette’s Soliloquy. The reason I keep joining these events is because I find their themes to be fresh and imaginative. When Hamlette announced the We Love L. M. Montgomery Week Blogathon, I honestly didn’t know what direction my contribution would take. The only story by L. M. Montgomery I had any real familiarity with was Anne of Green Gables. But I was aware that Montgomery’s body of work extended far beyond just that classic tale. That’s why I wanted to choose a story I hadn’t previously read or watched. In the past, I’ve written reviews of TV shows that were completely new to me, usually covering anywhere from one to four episodes in a single article. This time, however, I decided to dive into the first season of Emily of New Moon. Because I’m discussing an entire season rather than just a handful of episodes, this review will be longer than my usual TV-related posts. I’ll go over three things I enjoyed about the show a nd three things I didn’t. After that, I’ll share some additional reflections, much like the “Some thoughts to consider” section in my episode recaps. Finally, I’ll wrap up with my overall impression of the first season. Since I’ll be talking about the whole season, please be aware that spoilers are included.

As I watched Emily of New Moon, I found myself especially drawn to Emily, Perry, and Cousin Jimmy, each for different reasons. Crafting a child character who is precocious can be tricky for writers, since there’s always the danger of making them seem more extraordinary than they truly are. What works so well about Emily is that, while she clearly has a natural talent for storytelling, she’s never portrayed as a prodigy. Instead, she comes across as a young girl who simply loves to write poems and tales. In “The Disappointed House,” when Emily and her friends are trying to figure out how to lift a curse, Ilse suggests that Emily write about the ill-fated couple to give them immortality through story. Emily loves the suggestion but admits she doesn’t believe her writing is strong enough for such a task. Throughout the series, Emily is allowed to stumble and grow from her experiences. For instance, in “The Ghost of Whyther Grange,” she chops her hair off in hopes of impressing Great Aunt Nancy and Great Aunt Caroline with a new style. Unfortunately, the haircut looks dreadful, leaving her embarrassed. She ends up sending her aunts both a photo of herself with the haircut, a sketch by Teddy, and a letter explaining what happened. That moment teaches her the value of honesty and staying true to herself.

Perry, on the other hand, reminded me a lot of Tom Thornton from When Calls the Heart. The similarity lies in Perry’s determination to build a better life. In “A Child Shall Lead Them,” Perry confides in Ilse about his past, sharing that his father has died and his mother is in prison. When he is first introduced early in season one, it almost seems like he’s running away from his troubles. But once his history is revealed, it becomes clear that Perry is running toward his dreams instead. His persistence and eagerness to learn make him admirable. Each small milestone—such as deciding to go to school—feels like a well-earned step forward on his path to success.

Some stories feature a “voice of reason” character—someone who guides others and provides perspective. In Emily of New Moon, that role belongs to Cousin Jimmy. He isn’t shy about sharing his thoughts, but he also carries wisdom that often helps those around him. A strong example comes when Miss Brownell visits the Murray home to complain about Emily’s behavior at school. Aunt Elizabeth orders Emily to kneel and beg forgiveness, but Cousin Jimmy steps in and points out that the only one you should kneel for is God. By standing up to Aunt Elizabeth, he not only defended Emily but also reminded her of a larger truth about humility and reverence.

I’ve noticed that I’m especially drawn to historical dramas and period pieces with smaller ensembles. I mentioned this in my review of A Room with a View—a limited cast keeps the narrative from becoming overcrowded and allows each character to fully shine. Emily of New Moon takes this approach, with Emily, Aunt Elizabeth, and Aunt Laura serving as the central figures who appear in every episode. The supporting cast rotates in and out depending on the storyline. For example, in “The Tale of Duncan McHugh,” Perry is featured more heavily since he attends school with Emily. In the following episode, “The Wild Rover,” the spotlight shifts to Cousin Jimmy as he mentors Mr. Carpenter, the school’s new teacher. Because the show maintains a smaller circle of recurring characters, each individual’s story is developed with satisfying depth. This gives the audience the chance to genuinely know them.

Anything directed by Edgar Wright is worth watching, as he’s one of the most talented filmmakers working today. However, this one stands out as his masterpiece in my opinion. It brilliantly blends the soundtrack with the events of the story and contains rich symbolism that takes multiple viewings to fully notice. The performances are outstanding, featuring top-tier actors like Jamie Foxx, Jon Hamm, and Ansel Elgort. As mentioned earlier, music plays a central role in the film, whether during high-energy action scenes or in quieter, more relaxed moments. The driving sequences are stunning to watch and almost convince you that evading the police in a high-speed city chase is possible. The movie is full of surprises and turns, and it absolutely deserves every bit of praise it gets.

The Planet of the Apes trilogy is what truly ignited my passion for movies and the entertainment industry as a whole. Andy Serkis is the undisputed master of motion capture, and his brilliance shines throughout all three films. In my eyes, this series is nothing short of extraordinary. The storyline is gripping and deeply emotional — who would’ve thought audiences around the world would become so invested in a group of digital apes? Yet Serkis’ portrayal of Caesar made us care in ways no one expected. Few actors could have revived a dormant franchise and elevated it to such heights the way he did.

Rise of the Planet of the Apes might be considered the weakest entry since it mainly sets up the backstory — introducing both the virus that decimates humanity and Caesar’s origins. Then Matt Reeves stepped in to direct Dawn of the Planet of the Apes, taking the series to another level. He accomplished what many filmmakers struggle with: delivering a sequel that surpasses its already impressive predecessor. And he repeated that feat with War for the Planet of the Apes, an almost unheard-of achievement in Hollywood. This is one of the rare film sagas that improved with every installment, and I think it concluded perfectly — no fourth film is necessary.

Now, switching gears — let’s talk about Phil Lord and Chris Miller. This directing duo is one of the most reliable creative teams working today. Comedy is often seen as the most difficult genre to execute, but these two make it look effortless. Their filmography is stacked with modern gems like 21 Jump Street, 22 Jump Street, Cloudy with a Chance of Meatballs, and The Lego Movie. Whenever their names are attached to a project, you can expect clever writing, sharp humor, and genuine heart.

Even when they don’t stay on a project, their influence is undeniable. For example, they were originally set to direct Solo: A Star Wars Story, and although they left due to creative differences, you can still feel their unique energy in the final product. What makes them stand out is their ability to craft stories that entertain families and younger audiences while also appealing to adults. Their R-rated comedies like 21 and 22 Jump Street remain some of the funniest movies in recent memory. And with Spider-Man: Into the Spider-Verse, which was already being hailed as the best animated film of 2018, they proved once again that their creativity knows no bounds.

Since the early days of the entertainment world, there have been remarkable directors who shaped the industry, like Alfred Hitchcock, known for his legendary horror films, and George Lucas, the mastermind behind the iconic space saga. However, today’s directors are also making a lasting impact. Whether they’ve been in the industry for decades or are newcomers, across genres from comedy to drama to action, these filmmakers are doing an outstanding job of bringing stories to life.

If you’ve been following this blog recently, you’ll know that Ryan Coogler ranks among my favorite directors. His films are visually stunning, and he has a unique way of reimagining beloved characters from well-known franchises. Coogler began his career after graduating from California State University, creating short films during his college years. This eventually led to his first feature film, Fruitvale Station, in 2013, which garnered significant attention. He then went on to direct Creed and Marvel’s Black Panther, both critically acclaimed and commercially successful. With only three major films, he has already made a significant mark on the film industry. Coogler is set to write and direct Black Panther 2.

Jordan Peele
Jordan Peele initially gained fame as an actor and comedian before transitioning into directing. He rose to prominence after joining the sketch comedy show Mad TV in the early 2000s, where he met his long-time collaborator Keegan-Michael Key. Together, they created the acclaimed sketch series Key & Peele. After the show ended, Peele surprised audiences by directing a horror film, blending dark comedy with psychological thrills—a combination rarely seen before. That film, 2017’s Get Out, featured a modest cast and crew but became one of the standout horror films of recent years. Peele’s creative vision is unlike anything seen before. He also produced this year’s critically praised BlacKkKlansman, which explores the African-American experience in a way that is impactful without being overly heavy. Peele is now set to produce a reboot of the classic horror anthology show, The Twilight Zone.