Fall is the perfect time for curling up with a good book—or maybe a good movie. (We’re not monsters.) Even better if you can hit two birds with one stone, of course, and this after all is Literary Hub, so here we present the literary movies and TV shows—adaptations, documentaries, and other book-adjacent fare—we’re most looking forward to this season.

SEPTEMBER

Slow Horses (Season 4)
Apple TV+, September 4

Literary bona fides: based on Spook Street by Mick Herron (2017)

Gary Oldman is clearly having the time of his life being a surly dickhead in this excellent and still sort of under-the-radar British series, in which he leads a squad of disgraced, disregarded, and disgruntled MI5 agents. If you like your spycraft mixed with snide remarks and haven’t gotten into Slow Horses yet, consider this your cue to start.

Tell Me Lies (Season 2)
Hulu, September 4

Literary bona fides: based on Tell Me Lies by Carola Lovering (2018)

Toxic relationships in college? How novel. But also, unfortunately, how difficult to look away from (for a certain kind of viewer, at least)—hence the second season of Tell Me Lies, which adds Gossip Girl‘s Thomas Doherty as Lucy’s new love interest, along with Tom Ellis, Jacob Rodriguez, and Katherine Hughes.

The Perfect Couple
Netflix, September 5

Literary bona fides: based on The Perfect Couple by Elin Hilderbrand (2018)

In her latest prestige crime turn, Nicole Kidman plays a famous, wealthy novelist (the perfectly named Greer Garrison Winbury) hosting her son’s lavish wedding at her Nantucket estate—despite not exactly approving of his choice of bride. But then, of course, someone gets murdered! Liev Shreiber, Eve Hewson, Dakota Fanning, and Billy Howle star in what looks like the perfect late-summer installment of Rich White People Behaving Badly.

The Front Room
In theaters, September 6

Literary bona fides: based on “The Front Room” by Susan Hill (2016)

Brandy and Kathryn Hunter star in this deranged-looking A24 horror movie, adapted and directed by Max and Sam Eggers, about what happens after a young couple takes in an elderly—and obviously evil—relative. Motherhood, power struggles, death, and Jesus make for a terrifying cocktail.

My Brilliant Friend (Season 4)
Max, September 9

Literary bona fides: based on The Story of the Lost Child by Elena Ferrante (2014)

The conclusion to the beautiful (and beautifully slow) series based on Ferrante’s best-selling books.

The Old Man (Season 2)
Hulu/FX, September 12

Literary bona fides: based on The Old Man by Thomas Perry (2017)

If Jeff Bridges and John Lithgow seem like unlikely stars for a gritty thriller series (this old man indeed), the friction actually makes this series better. In the second season, they’re chasing down Alia Shawkat, who has been kidnapped by a terrorist who also happens to be her biological father (again, this old man…).

The Critic
In theaters, September 13

Literary bona fides: based on Curtain Call by Anthony Quinn (2015)

Ian McKellen plays Jimmy Erskine, a powerful and acerbic theater critic in 1930s London, who, when he finds his job (and his person) threatened, embarks on a scheme to get himself out of hot water by dunking other people in. McKellen is always a joy to watch; he is joined here by Mark Strong, Gemma Aterton, and Lesley Manville.

Three Women
Starz, September 13

Literary bona fides: based on Three Women by Lisa Taddeo (2019)

The adaptation of Taddeo’s bestselling nonfiction book about women’s sexuality stars Shailene Woodley as “Gia” (a stand-in for Taddeo) as she discovers and tells the stories of (you guessed it) three women, played by Betty Gilpin, DeWanda Wise, and Gabrielle Creevy.

The Killer’s Game
In theaters, September 13

Literary bona fides: based on The Killer’s Game by Jay Bonansinga (1997)

A contract killer (Dave Bautista) with a few months to live decides to play a fun little game: he’ll put out a hit on himself, with a huge payout—all the money he has in the world—in hopes that an assassin almost as good as he is will manage to put him out of his misery quickly. Except then, whoopsie, turns out the diagnosis was wrong and he’s fine. But there’s no way to call off the hunt, and no money left to spend on his escape, and so…

The Wild Robot
In theaters, September 20

Literary bona fides: based on The Wild Robot by Peter Brown (2016)

From our early 2024 preview: Based on Peter Brown’s bestselling middle-grade novel, the film follows a robot—designed for an urban world—that gets shipwrecked on an island and must adapt to the landscape and ingratiate itself to the wildlife. Will it be the new WALL-E?

Murder in a Small Town
Fox, September 24

Literary bona fides: based on the Karl Alberg series by L.R. Wright (1985-1997)

Just what it says on the tin! This Canadian series is based on the Edgar Award-winning book series, and stars Rossif Sutherland as Karl Alberg, a big-city detective who thought he was going to have a nice, quiet new life as the chief of police in a little coastal town, along with Kristin Kreuk, who plays the librarian he falls for. Fun fact: the show, or at least the trailer, includes scenes at Molly’s Reach, the fake restaurant in The Beachcombers that became a real restaurant in Gibson’s Landing, British Columbia, until it closed.

Killer Heat
Prime Video, September 26

Literary bona fides: based on “The Jealousy Man” by Jo Nesbø (2021)

Joseph Gordon-Levitt, Shailene Woodley, and Richard Madden star in this thriller, an adaptation of a short story by Jo Nesbø, in which a detective (Gordon-Levitt) who also happens to be an expert in jealousy travels to a Greek island to investigate a man (Madden) who might or might not have murdered his own twin.

Rez Ball
Netflix, September 27

Literary bona fides: based on Canyon Dreams by Michael Powell (2019)

LeBron James serves as a producer on this fictionalized adaptation of Powell’s nonfiction book, for which he embedded with a Navajo high school basketball team in Arizona for a season; the film, directed by Sydney Freeland (Drunktown’s Finest), who co-wrote the script with Sterlin Harjo (Reservation Dogs), is set in Chuska, New Mexico, where a basketball team full of players from the local reservation has lost its best player.

OCTOBER

The Irrational (Season 2)
NBC, October 1

Literary bona fides: based on Predictably Irrational: The Hidden Forces That Shape Our Decisions by Dan Ariely (2008)

Pop psychology meets police procedural in this NBC show starring Jesse L. Martin as a professor of behavioral science who dissects irrationality for the FBI. It’s not breaking down any barriers or anything, but the first season was aggressively watchable, so there’s no reason to think the second wouldn’t be as well.

Sullivan’s Crossing (Season 2)
The CW, October 2

Literary bona fides: based on the Sullivan’s Crossing series by Robyn Carr (2016-2020)

Despite the fact that it’s a Canadian show, this adaptation of Carr’s bestselling romance series stars Chad Michael Murray and Scott Patterson (along with Morgan Kohan), which is probably why it is now on the CW. The CW loves those guys. Anyway, this doesn’t look very good, but hey, who knows what you’ll want to watch the next time you break a leg or something.

Joan
The CW, October 2

Literary bona fides: based on I Am What I Am: The True Story of Britain’s Most Notorious Jewel Thief by Joan Hannington (2004)

Sophie Turner stars as Joan Hannington, the real-life British jewel thief who was big in the ’80s, and on whose memoir the adaptation is based. There is hair! Looks like fun.

Heartstopper (Season 3)
Netflix, October 3

Literary bona fides: based on Heartstopper by Alice Osman (2016-present)

Heartstopper fans rejoice: the British series, written and created by Alice Oseman based on her own webcomic and graphic novel, is back for a third season, and being, by the looks of it, extremely cute about it.

The Outrun
In theaters, October 4

Literary bona fides: based on The Outrun by Amy Liptrot (2016)

A nearly unrecognizable Saoirse Ronan stars in this adaptation of Liptrot’s recovery memoir, which Liptrot wrote with director Nora Fingscheidt. Early reviews are great; I have high hopes for this.

Teacup
Peacock, October 10

Literary bona fides: based on Stinger by Robert McCammon (1988)

The logline for Peacock’s new horror series tells us that it “follows a disparate group of people in rural Georgia who must come together in the face of a mysterious threat in order to survive.” (FYI: Based on the plot of the McCammon book, that mysterious threat is aliens!)

Disclaimer
Apple TV+, October 11

Literary bona fides: based on Disclaimer by Renée Knight (2015)

Written and directed by Alfonso Cuarón, this miniseries stars Cate Blanchett as a journalist who discovers she is a character in someone else’s novel—a novel that reveals a secret no one else should know. Kevin Kline and Sacha Baron Cohen also star, but mostly I will watch anything with Blanchett in it.

Version 1.0.0

Nemesis
Hulu, October 16

Literary bona fides: based on Nemesis by Simon de Waal (2016)

A tax evasion thriller series, brought to you by the Dutch.

Nickel Boys
In theaters, October 25

Literary bona fides: based on The Nickel Boys by Colson Whitehead (2019)

RaMell Ross’ adaptation of Whitehead’s Pulitzer Prize-winning novel (and maybe low-key my favorite of his) is the marquee literary adaptation of the season, and is currently scheduled to open this year’s New York Film Festival. NYFF artistic director Dennis Lim said the movie “searches for new ways of seeing and, in so doing, expands the possibilities of visual language” and called it “the most audacious American movie I have seen in some time,” which is very promising indeed—can’t wait to see this one.

The Marlow Murder Club
PBS, October 27

Literary bona fides: based on The Marlow Murder Club by Robert Thorogood (2021)

The always delightful Samantha Bond leads a group of curious women out to solve some local murders in this four-part series, adapted by Robert Thorogood from his best-selling novels. Looks a treat, really.

Sweetpea
Starz, October TBD

Literary bona fides: based on Sweetpea by CJ Skuse (2017)

Ella Purnell (Yellowjackets) stars as Rhiannon in this British series, a “darkly comedic tale of revenge,” in which the girl no one notices starts, well, killing people. Relatable!

NOVEMBER

Conclave
In theaters, November 1

Literary bona fides: based on Conclave by Robert Harris (2016)

Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini (!) star in this gorgeous-looking drama about what happens after the pope dies, and cardinals from all over the world convene to replace him. Secret votes, secret letters, secret sins, oh my!

The Day of the Jackal
Peacock, November 7

Literary bona fides: based on The Day of the Jackal by Frederick Forsyth (1971)

Eddie Redmayne stars as the elusive assassin known only as the Jackal in a modern reimagining of Forsyth’s ’70s classic, with Lashana Lynch as the British intelligence officer on his tail.

The Best Christmas Pageant Ever
In theaters, November 8

Literary bona fides: based on The Best Christmas Pageant Ever by Barbara Robinson (1972)

In the classic 70s chapter book, we meet the Herdmans: “absolutely the worst kids in the history of the world. They lied and stole and smoked cigars (even the girls) and talked dirty and hit little kids and cussed their teachers and took the name of the Lord in vain and set fire to Fred Shoemaker’s old broken down toolhouse.” Aw, they sound like fun. Anyway, they take over the Christmas pageant, hijinks ensue, hearts are warmed, you know the drill.

Cross
Prime Video, November 14

Literary bona fides: based on the Alex Cross novels by James Patterson (1993-present)

Alex Cross has had very little luck on the big screen, even with Morgan Freeman, and definitely with Tyler Perry. Here’s hoping that Aldis Hodge has better luck on the small one.

Here
In theaters, November 15

Literary bona fides: based on Here by Richard McGuire (2014)

Thirty years after Forrest Gump, Robert Zemeckis has gotten Tom Hanks and Robin Wright back together again in this adaptation of McGuire’s influential, time-bending graphic novel. Paul Bettany, Kelly Reilly, and Michelle Dockery also star. (Someone get me these de-aging movie effects for my real life?)

Silo (Season 2)
Apple TV+, November 15

Literary bona fides: based on the Silo trilogy by Hugh Howey (2011-2013)

The first season of this sleek science fiction show was surprisingly good, due in large part to Rebecca Fuerguson’s star turn—with the trilogy to burn through, there’s a good chance the second won’t let us down.

Disney

Interior Chinatown
Hulu, November 19

Literary bona fides: based on Interior Chinatown by Charles Yu (2020)

Jimmy O. Yang (Silicon Valley) stars as Willis Wu in this much-anticipated adaptation of Yu’s National Book Award-winning novel, which follows Wu as he finally manages to break out of the stale stereotyped roles of both acting and life, after witnessing a crime. Yu is onboard as showrunner (we already know he can write screenplays…), which bodes very well; Ronny Chieng and Chloe Bennet also star.

Wicked
In theaters, November 22

Literary bona fides: based on Wicked (the musical), which was based on Wicked by Gregory Maguire (1995), which was based on characters from L. Frank Baum’s The Wonderful Wizard of Oz (1900)

Arianna Grande and Cynthia Erivo star in this long-awaited film adaptation of the beloved musical/book/book, directed by Jon M. Chu and written by Winnie Holzman. Unfortunately this is another film that Hollywood has decided to break up into multiple parts to milk the populace of their hard-earned dollars, but both of those parts will be, if nothing else, a huge glorious confection.

Dune: Prophecy
HBO/Max, November TBD

Literary bona fides: based on Dune by Frank Herbert (1965)

The Dune prequel you didn’t know you always needed. Maybe, anyway.

DECEMBER

Nightbitch
In theaters, December 6

Literary bona fides: based on Nightbitch by Rachel Yoder (2021)

At last: your favorite book about a frustrated mother turning into a dog is an Annapurna Pictures film starring Amy Adams and directed by Marielle Heller (Can You Ever Forgive Me?), who wrote the screenplay while trapped alone in a house with two small children. She calls it “a comedy for women, and a horror movie for men.” Hell yes.

The Return
In theaters, December 6

Literary bona fides: based on The Odyssey by Homer (c. 8th century B.C.)

We have been blessed with two Ralph Fiennes movies this year; this one also stars Juliette Binoche, to which I can only say chef’s kiss, and I will now be re-watching The English Patient in preparation. This retelling of The Odyssey begins, as the title suggests, when Odysseus (Fiennes) returns to Ithaca, where he finds his family at a breaking point. Should be epic.

Lucy Worsley’s Holmes vs. Doyle
PBS, December 8

Literary bona fides: documentary miniseries about Sherlock Holmes and Sir Arthur Conan Doyle

In this three-part series, historian Lucy Worsley goes deep on the love-hate relationship between Arthur Conan Doyle and his most famous creation.

The Lord of the Rings: The War of the Rohirrim
In theaters, December 13

Literary bona fides: based on a story from the appendices of The Lord of the Rings by J.R.R. Tolkien (1954)

From our early 2024 preview: The LOTR universe goes anime. I have mixed feelings about the infinite adaptation possibilities Tolkien left us, but I do not have mixed feelings about Brian Cox, who stars in this installment as the voice of Helm Hammerhand.

Nosferatu
In theaters, December 25

Literary bona fides: based on Nosferatu (the 1922 movie), which was based on Dracula by Bram Stoker (1897)

He is coming, and everyone wanted to be there: Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, and Willem Dafoe star in this brand new, and frankly terrifying-looking Nosferatu, written and directed by Robert Eggers (The Witch, The Lighthouse).

The Piano Lesson
Netflix, TBD

Literary bona fides: based on The Piano Lesson by August Wilson (1987)

Top tier nepo baby John David Washington, Samuel L. Jackson, Michael Potts, and Ray Fisher all reprise their 2022 Broadway revival roles in the film version of August Wilson’s Pulitzer Prize-winning play, written and directed by John David Washington’s brother Malcolm Washington; Denzel himself produces.