We kicked off the episode with some lighthearted apologies because, well, life got in the way. This was supposed to be our fifth episode of the month, but it’s not happening. Honestly, this weather has been brutal since mid-November, one snowstorm after another, and it feels like it’s been February for months. So yes, it’s a four-episode month instead of five. We’re sorry, but hey, we’re still bringing the goods.
The real focus this time? Period piece adaptations. With a few major ones dropping soon, like the next Bridgerton installment and Emerald Fennell’s version of Wuthering Heights, we figured now was the perfect time to dig into the rise of stylized, often fantastical, takes on old classics.
But before we get there, we wanted to check in on what’s on our nightstands, because we know you love the book chat.
Note
The following is an editorialized transcript of our weekly literary podcast. If you would like to listen to the podcast, click the play button above orlisten on your favorite platform with the links below.
What We’re Reading: Murder Bimbo and Nordic Noir
Shirin is currently reading an advanced copy of Murder Bimbo by Rebecca Novack (out February 10). Yes, she picked it based on the title, and can you blame her? It’s giving My Sister, the Serial Killer energy, with a little Nightbitch flair. The story follows a sex worker who gets recruited to assassinate a fictional (but very recognizable) U.S. political figure. It’s sharp, short, and reads like a chaotic, emotional brain dump reflecting our current political circus. In a good way.
Meaghan, meanwhile, just wrapped up Wolf Hour by Jo Nesbø, a Norwegian thriller icon known for his cold, moody detective novels. This one’s a standalone set across two timelines, a 2016 shooting spree in Minneapolis and a 2022 writer trying to piece the story together post-COVID, post-George Floyd. It’s gripping, layered, and full of social commentary. We’re expecting it to be big when it drops. It would honestly make a killer limited series.
Shout out to the publishers who keep us stocked with ARCs. We really, truly appreciate it. It’s a weird validation for all those years of English degrees and lit essays.
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When Adaptations Aren’t Just Adaptations
Let’s talk Bridgerton. And no, it’s not really an “adaptation” in the traditional sense, but it feels like the moment that opened the floodgates. The first time we watched it, totally blind, it was a snowy day, we were eating cheeseburgers, cuddled with our dogs, and completely hooked. It was romantic, ridiculous, and honestly magical. This show took the dry, dusty Regency era and turned it into something vibrant, fun, and totally accessible.
Historically, regency dramas were for a niche crowd: the lit majors, the BBC stans, and period piece purists. But Bridgerton flipped the script. Suddenly, we had colorblind casting, orchestral Ariana Grande, and heroines with actual agency. It took a time period known for buttoned-up repression and added drama, flair, and joy. And in doing so, it proved that audiences are hungry for new ways into old stories.
That’s why now, when we hear about a new adaptation of something like Jane Eyre, we kind of sigh. We’ve seen it. We’ve seen all of them. Give us something else, or give us a fresh take.
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Wuthering Heights, But Make It Weird
Enter Emerald Fennell’s Wuthering Heights, a movie that’s already got people riled up online, and it hasn’t even dropped yet. There’s discourse about casting (again), especially around Heathcliff, who in the book is described as racially ambiguous but is almost always portrayed as white. This time around, it’s Jacob Elordi. While we get that he’s a hot commodity right now, there was a real missed opportunity for better representation.
But then again, there’s another layer to consider. Some filmmakers may intentionally avoid casting men of color in violent, toxic roles like Heathcliff to avoid reinforcing damaging stereotypes. That’s a valid concern, too. It’s complicated, and honestly, we’re still unpacking our own thoughts on it.
From what we’ve seen so far, this version is going to be wild. The costumes are a mix of Barbie-core glam and moody Victorian ruffles. The music is by Charli XCX. There are rumors, or maybe fan theories, that Margot Robbie’s character is actually imagining herself as Cathy while reading the book. If that’s true, we’re intrigued. It’s giving fantasy, it’s giving dream logic, and it’s definitely giving us something new to chew on.
And that’s the thing, this doesn’t need to be a one-to-one remake. Those already exist. If you want the traditional take, BBC has you covered. But for the rest of us, it’s okay to want something a little weird, a little dreamy, and maybe a little horny.
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Are Interpretations the New Adaptations?
We’re seeing this more and more, adaptations that aren’t trying to be faithful, but rather trying to say something new. And honestly? We’re into it.
It reminds us of Romeo + Juliet, that early Baz Luhrmann movie that blew everyone’s minds in the 90s. It was chaotic, ultra-modern, and kept the original Shakespearean text. It was bold. Back then, it was a huge risk. Now, it feels like the blueprint.
What we’re seeing with Bridgerton, Dickinson, and now this new Wuthering Heights is a continuation of that idea: take the bones of something familiar and build something unexpected on top of it. Maybe it’s more visual. Maybe it has pop music and fantasy elements. Maybe it says more about now than then, and that’s okay.
We get it: people who love the classics don’t always want them tampered with. But at this point, for the ones that have been adapted a dozen times already, it’s fair game. We’d love to see more obscure classics make it to the screen, think George Eliot or Henry James, rather than rehashing Austen and the Brontës over and over.
We also get that studios need to make money, and the truth is, weird sells. These new interpretations bring in viewers who would never sit through a traditional regency drama. They’re fun, fresh, and open the door to people who might later go back and read the original.
And for those who complain online about casting or “accuracy”? Ask yourself: Does it change the story in any meaningful way? If not, maybe it’s time to let it go. We’re not here for exclusion. We’re here for stories that reflect everyone.
Looking Ahead: Bridgerton and Beyond
So what’s next? We’re gearing up for the new Bridgerton episodes dropping January 29, and we’re especially hyped for Benedict’s storyline. He’s our favorite sibling, sweet, artistic, and finally getting his moment. We’ll be back to talk all about that soon.
As for Wuthering Heights, we’re watching with open minds and cautious excitement. Emerald Fennell’s track record (Saltburn, Promising Young Woman) suggests it’ll be provocative, beautiful, and maybe a bit messy. And we’re okay with that. Let’s see what she’s got.
Until next time, keep reading. And maybe rewatch Bridgerton with a cheeseburger and your dog by your side. Trust us, it’s the best way to do it.
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