Lost in Austen, ITV1, 9pm In the end, Lost In Austen resolved Pride and Prejudice's plotline in almost - but not quite - the same manner devised 200 years ago by the novel's author, Jane Austen, in penning a final full stop to her enduring rom-com fiction.
Lost in Austen, ITV1, 9pm
In the end, Lost In Austen resolved Pride and Prejudice's plotline in almost - but not quite - the same manner devised 200 years ago by the novel's author, Jane Austen, in penning a final full stop to her enduring rom-com fiction.
A delighted Jane Bennet wound up on the brink of marrying her ideal man, Mr Bingley, but only thanks to the last-minute annulment of her previous union, an ill-starred conjoinment to her cousin, the frightful clergyman Probity Collins.
Likewise, romantic bona fides had been fully re-established between Lydia Bennet and Mr Wickham, despite the former's sudden elopement with the aforementioned Mr Bingley.
But what of Pride And Prejudice's most legendary amour, that uniting Mr Darcy and Elizabeth Bennet?
In a frankly gi-flipping-normous deviation from the original, Lost In Austen depicted the perennially-glowering Mr Darcy de-frosting himself to share a giggle and a passionate clinch on his mansion's balcony with sassy 21st-century time-traveller Amanda Price.
As for Darcy's intended, Elizabeth Bennet was steeling herself to the notion of perhaps one day becoming Mrs Darcy, while at the same time pining more deeply for those modern marvels she'd most enjoyed during her strange trip through the centuries to the year 2008. She'd grown accustomed to a shorter and more manageable hairstyle; macrobiotic food; her mobile phone and laptop plus non-restrictive clothing (hoodie, T-shirt and jeans, not bonnet and bodice).
Alas and alack, we'll surely all miss the deliciously-different Lost In Austen. It was not at all like anything else on telly these days. It was certainly not like most things on ITV1 (ie, rubbish).
There was definitely no need to follow the sanity-preserving rule devised by Elizabeth Bennet during her sojourn in the here and now: "I like to see the television, but I do not care to hear it."
For Guy Andrews's liberty-taking modern re-imagining of eighteenth-century classic fiction was witty, thoughtful, daring and completely satisfying, whether or not you were a devoted fan of Jane Austen.
Who could resist its knowing evocation of courtly eighteenth-century speech, straight-faced statements such as: "In unguarded moments, Miss Price, you are given to the queerest ejaculations."
It was also impossible to resist literate pronouncements from a cleverer, older age ranging from "You drivelling, anorchous imbecile!" to "I would harrow Hell to be with you!".
In stark contrast, there was something lacking about everyday human discourse when Lost In Austen's graceless modern-day characters eventually hove to, spitting their coarse imprecations ("Where the piggin' 'ell 'ave you bin?" "Todger-twitchin' nancy-boy!").
Strangely, Darcy's 1813 outfit - top hat, knee-britches, silk cravat, frock coat, brocaded waistcoat - didn't jar to the same extent when, thus clad, he climbed aboard a present-day London bus. Russell Brand's dandyish peacockery is plainly something we should thank him for.
As the droll, deadpan and passive patriarch Mr Bennet, Hugh Bonneville was an utter joy. As Mrs Bennet, Alex Kingston twittered, wailed and squeaked like a cross between a frightened mouse and a put-upon canary.
You couldn't help but cheer when she at last faced up to her snooty nemesis, Lady Catherine, and became a roaring lioness (also rousing her supine husband to ardorous action).
Jemima Rooper's Amanda oozed liberated concern; Elliot Cowan's Darcy was a smouldering thrill. I simply cannot wait to become lost in Austen with Lost In Austen once more, dear reader.
