"Let's just say that I don't think our show has very much in common with the book any more"
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That careful little hedge - "Let's just say" - is a publicist’s seatbelt. Kristin Davis isn’t throwing a Molotov at the source material; she’s easing the audience into a reality TV-style confession: the adaptation has drifted, and everyone involved knows it. The line’s power is in its politeness. By framing it as a personal opinion ("I don't think") and softening the break with "very much", Davis signals a creative divorce without naming a culprit. No tantrum, no blame, just a calm acknowledgement that the marriage is over.
The subtext is two-way messaging. To book loyalists, it’s a preemptive apology: if you feel betrayed, you’re not imagining things. To the show’s fans, it’s permission to stop treating the book like scripture. That matters because adaptations aren’t only artistic translations; they’re brand negotiations. Once a show finds its audience, the incentives shift from fidelity to momentum: more seasons, bigger arcs, bolder character rewrites, and storylines engineered for the medium’s rhythms rather than the page’s voice.
Contextually, an actor saying this is also a small act of boundary-setting. Davis positions herself as aware but not responsible - an on-camera face acknowledging an off-camera evolution driven by writers’ rooms, network notes, and the practicalities of episodic storytelling. The wit here is unintentional but sharp: in Hollywood, "based on" often means "introduced to, then stopped returning calls."
The subtext is two-way messaging. To book loyalists, it’s a preemptive apology: if you feel betrayed, you’re not imagining things. To the show’s fans, it’s permission to stop treating the book like scripture. That matters because adaptations aren’t only artistic translations; they’re brand negotiations. Once a show finds its audience, the incentives shift from fidelity to momentum: more seasons, bigger arcs, bolder character rewrites, and storylines engineered for the medium’s rhythms rather than the page’s voice.
Contextually, an actor saying this is also a small act of boundary-setting. Davis positions herself as aware but not responsible - an on-camera face acknowledging an off-camera evolution driven by writers’ rooms, network notes, and the practicalities of episodic storytelling. The wit here is unintentional but sharp: in Hollywood, "based on" often means "introduced to, then stopped returning calls."
Quote Details
| Topic | Book |
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