#12 // Hilda and the Sixth Extinction Maybe a week ago, before we took Maeve to see Mary Poppins Returns for her very first ever movie in a theater, somebody (I can’t find the tweet, I’m sorry, I looked) tweeted something like: Julie Andrews’ Mary Poppins was great because she was just a touch scary, but Emily Blunt’s Mary Poppins is great because she’s just a touch sad. That seems really right to me, and a testament to Blunt’s performance, that, like the transcendent Andrews, she can hold and jostle and turn this strange role with the requisite care and skill and recklessness. I don’t have a single second of time available for nostalgic complaints about how derivative or “cold” the new film is. I have a three-year-old daughter, and her face goes electric for two different Mary Poppinses, and that tells me that that’s exactly how many of them there are in the world.
#12 // Hilda and the Sixth Extinction
#12 // Hilda and the Sixth Extinction
#12 // Hilda and the Sixth Extinction
#12 // Hilda and the Sixth Extinction Maybe a week ago, before we took Maeve to see Mary Poppins Returns for her very first ever movie in a theater, somebody (I can’t find the tweet, I’m sorry, I looked) tweeted something like: Julie Andrews’ Mary Poppins was great because she was just a touch scary, but Emily Blunt’s Mary Poppins is great because she’s just a touch sad. That seems really right to me, and a testament to Blunt’s performance, that, like the transcendent Andrews, she can hold and jostle and turn this strange role with the requisite care and skill and recklessness. I don’t have a single second of time available for nostalgic complaints about how derivative or “cold” the new film is. I have a three-year-old daughter, and her face goes electric for two different Mary Poppinses, and that tells me that that’s exactly how many of them there are in the world.