Click for simple, affordable ways to make the most of what's left of summer. The biggest book-to-screen adaptations we can’t wait to watch this fall Fall is arguably the best season for book lovers who also happen to love a watch party. Between now and Thanksgiving, some of our favorite titles hit both the big and small screens, with a line-up that reads like a book club gone rogue.
Steinbeck and Austen supply the prestige with required-reading nostalgia dressed up in glossy new adaptations. Suzanne Collins drags us back to Panem, because we still have a lot of feelings about the Hunger Games. (And in these times, how could we not?) Stephen King’s Carrie gets rebuilt for the age of viral humiliation and group chats. And Colleen Hoover’s Verity gets an all-star cast for its big screen debut.
So put the kids to bed, grab a glass of wine, dim the lights and enjoy some time all to yourself, or with your partner. Some of these you can even watch with your tween who already swiped your copy off the nightstand, and a few might even inspire you to read a classic you’ve yet to crack. **Related**17 empowering books with strong female characters If you’ve been mourning Jon Snow since the _Game of Thrones_ finale, Kit Harington is back, this time as the cynical Sydney Carton in Dickens’ most-quoted work. This four-part version leans into the love triangle and plays the whole thing as a psychological thriller rather than a dusty costume drama.
Is it the best adaptation out there? Are the wigs questionable? But we’ll still be binging.
Episodes started rolling out weekly in early September, so there are already a few waiting for you. Florence Pugh plays one of literature’s great villains, the beautiful and sociopathic Cathy Ames, in Zoe Kazan’s take on the Steinbeck saga. This version is less interested in the monster label than in what made her one.
Steinbeck introduced Cathy as a “psychic monster” with a “malformed soul,” but Pugh has said the series hands her back some humanity, playing her as a full person shaped by what happened to her rather than a one-note villain. There’s also a lovely bit of symmetry to the whole project too, since Kazan’s grandfather Elia directed the 1955 James Dean film. Save this one for a night when you want something sweeping and a little devastating, with a cup of tea and zero interruptions.
Extract — continue reading at the source.
