Netflix is facing a furious backlash from British audiences after making a significant and, according to devoted fans, 'unforgivable' change to a core character from Richard Osman's phenomenally successful novel, The Thursday Murder Club.
The controversy centres on the casting and characterisation of Joyce Meadowcroft, a pivotal member of the elderly amateur detective group. In Osman's best-selling book, Joyce is explicitly described as a diminutive, gentle octogenarian who documents the club's adventures in her diary.
A Drastic Departure From The Source Material
However, the streaming giant's adaptation has taken a drastic creative liberty. Acclaimed British actress Naomi Watts has been cast in the role, a choice that has immediately raised eyebrows. Fans argue that the Oscar-nominated star, known for her dramatic and glamorous roles, is a complete mismatch for the humble, unassuming Joyce from the page.
The discontent exploded on social media platforms like X (formerly Twitter) and Facebook. One incensed viewer captured the collective mood, stating: 'Casting Naomi Watts as Joyce is an absolutely terrible decision. Joyce is meant to be a little old lady, not a Hollywood film star. They've completely missed the point.'
The Icing on the Cake: An 'Unforgivable' Alteration
But the casting was merely the first misstep. The true uproar ignited when further details emerged that the film's version of Joyce will be portrayed as a former MI5 agent. This invention directly contradicts her book persona—a former nurse whose entire charm lies in her ordinary nature and astute, yet kindly, observation of people.
This narrative twist has been branded as 'unforgivable' and a 'complete betrayal' of the source material. Fans accuse Netflix of undermining the very essence of the story, which celebrates the unexpected talents and wisdom of seemingly ordinary retirees.
Threats of a Full-Scale Boycott
The depth of feeling among the book's massive fanbase is so strong that many are now vowing to boycott the film entirely, as well as any potential sequels. Comments like 'Well, that's me not watching then' and 'Netflix has ruined it, I won't be watching the film now' have flooded the internet.
This presents a significant commercial risk for Netflix. Osman's novels have sold millions of copies in the UK alone, meaning a large portion of the built-in audience is now alienated before a single frame has been shot. The production now faces the challenge of winning back a deeply sceptical and hurt fanbase while trying to attract a new one.
