Harewood House: A New Pemberley in Netflix's Adaptation of Pride and Prejudice

Harewood House, located in West Yorkshire, has been selected as the filming location for Netflix's upcoming adaptation of Jane Austen's *Pride and Prejudice*. This grand estate will serve as Pemberley, the home of Mr. Darcy, with Yorkshire standing in for Derbyshire. The estate, built between 1759 and 1771, is notable for its impressive architecture by Robert Adam and its collection of artworks by renowned artists such as Sir Joshua Reynolds and J.M.W. Turner. The Lascelles family has owned Harewood since 1738, with its wealth historically tied to the transatlantic slave trade, a fact acknowledged by the current owners who are co-founders of the Heirs of Slavery group advocating for reparations.

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Harewood House exemplifies the dual role of grand estates in the 18th century, serving both as a site of leisure and a center for business. The estate's design reflects the social dynamics of the time, where spaces within the house were allocated for different forms of interaction, from public gatherings to private family moments. The music room, featuring Reynolds's painting of Mrs. Hale, is particularly significant as it illustrates the intersection of space and gender, highlighting the expectations placed on women in social settings.

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Recent scholarship has shifted the portrayal of Elizabeth Bennet, emphasizing her independence and critical perspective on Mr. Darcy. In the context of the new adaptation, Elizabeth's experience at Pemberley will be framed through her evolving understanding of both the estate and Darcy himself. The novel illustrates her initial enchantment with Pemberley, where she reflects, “To be mistress of Pemberley might be something.” This sentiment underscores the importance of the estate not just as a symbol of wealth but as a reflection of character and moral standing.

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The adaptation has sparked discussions about the implications of using Harewood House, given its historical ties to slavery. Critics may argue that the romanticization of such estates in adaptations can obscure their complex histories. The current owners' involvement in reparative efforts highlights a growing awareness of the legacies of colonialism and the need for dialogue about historical injustices.

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As the new adaptation approaches release, questions arise about how it will reinterpret the themes of class and morality that are central to Austen's work. The portrayal of Pemberley and its surroundings will likely reflect contemporary values, inviting viewers to consider not only the beauty of the estate but also its historical context. The adaptation promises to explore how Elizabeth's perspective on both the landscape and Mr. Darcy evolves, potentially offering a fresh take on a classic narrative.

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• “To be mistress of Pemberley might be something.” — Jane Austen, *Pride and Prejudice*

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• “The union will produce a new version of Pride and Prejudice by Jane Austen (from whose work I have been very obviously scrumping), to be released later this year.” — Source

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This adaptation of *Pride and Prejudice* not only aims to entertain but also to provoke thought about the intersections of history, identity, and representation in literature and film.

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