Richard Osman, author of The Thursday Murder Club novels, has addressed fan anger over a significant change to the fate of Bogdan, a Polish handyman whose cinematic storyline differs sharply from the books.
In his recent writing newsletter, Osman acknowledged the film’s wide audience and suggested he hoped the movie’s success would lead to further adaptations, while also signaling discomfort with the way Bogdan’s cinematic arc was handled. "Hi gang," Richard penned. "Let's just deal with the movie first. I'm so glad so many of you around the world have enjoyed it so much. It hopefully means there will be more to come!"
The change at the center of the controversy involves the motivation and ultimate fate of Bogdan. In both the novels and the film he is revealed as the killer, but the motives attributed to him on screen differ from those in the books. Fans and some readers singled out a scene in which Bogdan confesses despite what they described as a lack of concrete evidence, a development that many called "unforgivable." Critics of the adaptation argued that portraying him as a convicted killer effectively eliminates his potential role in any sequels, diverging from the trajectory laid out in later novels.
In the source material, Bogdan’s storyline evolves past the initial revelation. He becomes close to the quartet of retired sleuths who give the series its title and, in subsequent books, enters a romantic relationship with police officer PC Donna De Freitas, portrayed in the film by Naomi Ackie. Those developments have led readers to view the book-version Bogdan as a recurring and sympathetic figure rather than a closed-case antagonist.
Osman did not explicitly call for changes to the film, but his newsletter wording — and his mention of the character — was read by many fans as a plea for reconsideration, or at least for "justice for Bogdan," a phrase that circulated among critics and social media users who objected to the adaptation’s direction. Osman also expressed gratitude that so many viewers had enjoyed the film, framing his remarks with optimism about the franchise’s potential.
Reactions to the adaptation have been mixed. Supporters praised the film for bringing the popular amateur-sleuth series to a broader audience and for its ensemble cast and production values. Detractors focused on narrative choices they said undercut the novels’ character development and future plot possibilities. The dispute underscores a broader tension that often accompanies literary adaptations: balancing fidelity to the source with new creative choices for a different medium.
The Thursday Murder Club books have been a commercial success, and the prospect of further screen adaptations has drawn attention from both readers and viewers. Osman’s measured response — acknowledging the film’s success while calling out a contentious plot change — keeps the conversation alive about how best to adapt serialized literary characters for film without foreclosing future storytelling options.
Any definitive effect of the disputed change on future films will depend on producers, screenwriters and the rights holders involved in the franchise going forward. For now, Osman’s public remarks have amplified fan debate over Bogdan’s portrayal and the implications for sequels, while also reflecting the author’s interest in seeing the series continue on screen.