A reading beyond the pages: Bridgerton and the power of literary adaptations

Literárias, Uma Leitura Além das Páginas: Bridgerton e o Poder das Adaptações

doi:10.22167/2675-6528-202602637

Article

September 29, 2026

A reading beyond the pages: Bridgerton and the power of literary adaptations

A Reading Beyond the Pages: Bridgerton and the Power of Literary Adaptations

Ana Carolina Cardoso da Costa; Karina Munari Pagan

DOI: 10.22167/2675-6528-202602637

Article derived from a Course Conclusion Work (TCC), with content based on the student’s original work and adapted to the editorial format of the E&S Magazine with the support of the ResumeAI tool, an artificial intelligence solution developed by Instituto Pecege for textual synthesis and organization.

Summary

A study investigated how streaming platforms boost literary works through adaptations, using the first season of Netflix’s Bridgerton series as the object of analysis. The research sought to understand the contribution of the adaptation in broadening the reach of the original works and engaging new audiences. To this end, a mixed-methods approach was employed: initially, a descriptive quantitative survey measured perceptions and engagement; subsequently, an exploratory qualitative analysis through semi-structured interviews focused on the interpretation and impact of the adaptation. Participants were readers and streaming users, aged between 18 and 35, who had watched the series. The results indicated that the Bridgerton series significantly expanded the visibility of the literary work and sparked the interest of new readers. It was evidenced that the audiovisual format acted as a complement to the narrative universe, rather than a substitute, contributing to different forms of consumption. It was concluded that literary adaptations on streaming platforms are an effective strategy for popularizing books and engaging audiences, strengthening the relationship between literature and audiovisual media.

Keywords: Literary Adaptation; Bridgerton; Streaming Platform; Transmedia.

1. Introduction

The entertainment sector is undergoing a profound transformation, driven by the advancement of streaming platforms. These platforms are redefining content consumption and relevance in the cultural industry. This evolution is corroborated by data indicating a significant increase in investment in audiovisual productions by studios and streaming platforms in recent years, according to studies by the Motion Picture Association (2024) and Oxford Economics.

In this scenario of growing audiovisual consumption, Netflix, seeking a differential, began to invest in the development of original works for its catalog. From these productions, the platform brought literary adaptations to life. According to Luegenbiel (2019), creative director of international originals at Netflix, the purpose was to revitalize books through the screen in an innovative way.

The ease of access to content and accelerated consumption mark the current reality. This context, combined with the growing interest in original and adapted productions, has boosted the demand and number of subscribers for the platforms. Consequently, there is greater consumption of the catalog and intensified demand for new content, because, as Sarandos (2024), Netflix’s chief content officer, states, there is never too much content in a constantly evolving streaming industry.

Netflix’s interest in literary adaptations was formalized in 2021, with the hiring of Jordan Moblo to identify literary works with adaptation potential. Titles such as Shadow and Bone (2021), Heartstopper (2022), Back to 15 (2022), Persuasion (2022), and Ugly (2024) exemplify this strategy. Among these, the Bridgerton series stands out for its great return and success, boosting the original work.

Four weeks after its premiere, the series Bridgerton reached the record of most-watched title in Netflix’s history. Howe (2021), vice-president of original series for the platform, reported that the series appeared in the Top ten in all countries, reaching the first position in 83 nations and registering 82 million views in the four weeks following its release. The impact of the adaptation benefited not only the platform but also the original work. Decode’s (2021) research revealed a 3,330% increase in searches for the books that originated the series, making them bestsellers in The New York Times.

In the literature, the theory of adaptation, according to Hutcheon (2006), demystifies the idea that an adaptation is a mere reproduction, presenting it as a creative process with great potential. Jenkins (2009) complements this view with the concept of transmedia, which describes the expansion of narratives across different platforms with the aim of telling a story. Murray (2017) discusses how digital technologies transform these narratives, allowing for interactive and immersive experiences. The book, as a medium of communication, and its differences in relation to current media, highlight the culture of reinvention, according to Hansen (2019), Hastings (2020), and Meyer (2020).

Despite the relevance of these studies, the literature still lacks in-depth investigations into the relationship between literature and streaming through adaptations, a gap this work aims to fill. The central problem guiding this study seeks to understand how the universe of literary adaptations, mediated by major digital platforms like Netflix, can broaden the reach and appreciation of literary works. In this context, the research is justified by analyzing the Bridgerton series as an object of study, seeking to understand how this adaptation contributed to the visibility and engagement of the original work, and how streaming platforms, by investing in this trend, manage to expand the reach of a medium as distinct and old as the book. The general objective is to investigate how streaming platforms, particularly Netflix, can boost and popularize literary works through their literary adaptations, with the first season of Netflix’s Bridgerton series as the object of study.

2. Material and Methods

The present study was designed with the purpose of measuring public engagement and the impact of platforms of

streaming

in the literary universe. To this end, a mixed methodological approach was adopted, combining quantitative and qualitative methods, in order to provide a comprehensive understanding of the phenomenon investigated.

Initially, a quantitative descriptive research was conducted, employing the survey strategy. This type of research is characterized by the use of numerical data and statistical procedures, aiming at the quantification and measurement of participant profiles, as well as the identification of patterns and trends in the obtained responses. The objective was to observe and describe characteristics of a specific group, without direct interference from the researcher (Malhotra, 2012).

The data collection instrument for the quantitative stage consisted of a structured questionnaire. This questionnaire was designed to gather information on the opinions and behaviors of a group of participants regarding the object of study. The questions addressed sociodemographic profile, media and reading consumption habits, and familiarity with the series

Bridgerton

Subsequently, a qualitative exploratory research was developed through semi-structured interviews. The qualitative research sought in-depth investigation and understanding of perceptions, aiming to understand opinions and meanings, providing detailed answers. The exploratory approach aimed for greater familiarity with the topic and assisted in hypothesis generation (Malhotra, 2012).

Semi-structured interviews were conducted based on a predefined script, but with flexibility for dialogue, allowing for a deeper interpretation of the adaptation, its impact, and narrative elements. The qualitative questions focused on evaluating Netflix’s investment in adaptations, the perception of the relationship between books and adaptations, the importance of books, and the impact of adaptations on the publishing market.

The study’s unit of analysis was the first season of the series

Bridgerton

from Netflix. The population of interest and the research participants were readers and users of services from

streaming

who had already watched the series. The sample was composed of individuals aged between 18 and 35 years.

The sampling used was non-probabilistic, of the convenience intentional type. Participants were selected from the dissemination of the questionnaire in two reader groups on the social network X. These groups were formed by Brazilian women and men, of diverse age groups, who showed interest in books.

Data collection was carried out online, through the Google Forms platform, over a period of two weeks, starting on January 20, 2026. Participants could answer the questionnaire at their convenience. Initially, 120 responses were obtained, of which 20 were disregarded because the respondents did not know the object of study, resulting in a total of 100 valid responses for the research.

For the protection of the participants, the precepts of the General Data Protection Law (LGPD) were observed. It was guaranteed that the identity of the respondents would be preserved and that the collected information would be used exclusively for academic purposes, as explained in the consent form.

The questionnaire was structured in four thematic blocks to organize data collection: Profile and Habits, Consumption and Familiarity with

Bridgerton

, Perception about Literary Adaptations and Opinions about Literary Adaptations. The first three blocks corresponded to the quantitative stage, while the last one related to the qualitative stage, totaling 23 questions, with 11 multiple-choice questions, 6 on a Likert scale, and 6 open-ended.

For the analysis of the collected data, different techniques were employed. Quantitative data were subjected to descriptive statistics, with the information organized to identify patterns and frequencies among the participants’ responses. Qualitative data, from the open-ended questionnaire responses and interviews, were analyzed based on interpretation to understand the participants’ perceptions and opinions regarding the topic.

3. Results and Discussion

The research revealed that streaming platforms, exemplified by Netflix and the series Bridgerton, play a significant role in driving and popularizing literary works. The results obtained, through a mixed-methods approach, indicated that the audiovisual adaptation not only broadened the visibility of the original work but also engaged new audiences, strengthening the relationship between literature and audiovisual. The analysis of quantitative and qualitative data allowed for an understanding of participants’ perceptions and behaviors, highlighting how the streaming format acts as a valuable complement to the narrative universe, rather than a mere substitute for the book.

The quantitative data on the profile and habits of the participants showed a notable predominance of the female audience, corresponding to 90% of the sample, while the male audience represented 10%. This demographic distribution aligns with the profile traditionally associated with romantic stories, the central genre of the Bridgerton work. The predominant age group was 25 to 29 years old (46%), followed by 18 to 24 years old (26%) and 30 to 35 years old (18%), reinforcing the relevance of the young-adult audience in engaging with literary adaptations and streaming consumption. These findings corroborate Hutcheon’s (2006) idea that adaptations dialogue with specific audiences while seeking to reach new viewers.

Regarding the consumption of streaming platforms, 96% of participants stated they watch Netflix regularly, highlighting the platform’s importance as an object of study. Of these, 70% reported frequently following adapted productions, with 20% always doing so and 50% frequently. This high rate of consumption of literary adaptations in the participants’ daily lives confirms the relevance of the topic and the profile of the research target audience, who are already immersed in this type of content. The frequency of consumption demonstrates the integration of these productions into users’ entertainment routines.

The habit of reading was also investigated, with 92% of participants declaring they read books, and a significant portion reading with high frequency: 38.8% more than twice a week, 26.5% once or twice a week, and 16.3% two to three times a month. This data is crucial, as it indicates that the consumer audience for adaptations is not restricted solely to audiovisual content, but moves between different media. This characteristic reinforces Hutcheon’s (2006) perspective that adaptation does not replace reading, but is inserted into a broader media ecosystem, where different storytelling forms complement each other, promoting an integrated experience.

Regarding consumption and familiarity with the Bridgerton series, all participants stated they had watched the first season. However, only 54.8% previously knew that the series was a literary adaptation, while 45.2% were unaware of this information. This result is significant, as it demonstrates that, for a considerable portion of the audience, the first contact with the narrative occurred through the audiovisual adaptation. This reinforces the idea that Netflix acts as a gateway to the universe of the original work, reaching new audiences who might otherwise not have had contact with the book, according to Hutcheon’s (2006) theory on adaptations as interpretations capable of reaching new audiences.

The reception of the first season of the series was overwhelmingly positive, with 76.2% of participants giving the highest rating (5) for meeting their expectations and 16.7% giving a rating of 4. These numbers reveal a high level of satisfaction with the adaptation, suggesting that the series managed to balance narrative and thematic fidelity effectively. The almost unanimous acceptance, even among connoisseurs of the original work, indicates that the adaptation was successful in exceeding expectations, a challenge pointed out by Hutcheon (2006), who highlights the uniqueness of each reader’s personal interpretation.

Regarding the possibility of adaptation replacing book reading, 81% of participants stated that the series does not replace the literary text, while only 19% believe that replacement is possible. This data is central to the research objective, as it indicates that, for the majority of the audience, the adaptation functions as a complement, not a substitute for reading. This perception aligns with Jenkins’ (2009) discussions, who understands contemporary narratives as expansions of fictional universes, where different media offer distinct but interconnected experiences, enriching the audience’s interaction with the story.

The behaviors observed after consuming the Bridgerton series indicated a direct impact on the literary universe. After watching the series, 31% of participants searched for information about the books, 36% bought copies, and 51% read the book. These data confirm that the adaptation stimulated interest in the original literary work, playing a relevant role in the formation and expansion of the reading public. The series, therefore, not only attracted viewers to the streaming platform but also directed interest towards the primary source of the narrative, generating a positive effect on book consumption.

Public perception of literary adaptations revealed recognition of their strategic value. For 92% of participants, transforming books into series or films is an effective strategy to attract new readers, with 62% fully agreeing and 30% agreeing. This consensus highlights the role of adaptations as a way to bring the public closer to literary works. Furthermore, 72% of respondents fully agreed that adaptations that are not entirely faithful can be valuable as standalone works, indicating a flexible perception of the concept of fidelity. This flexibility aligns with Hutcheon’s theory (2006), which views adaptation as a creative interpretation, shaped by the particularities of the new medium, rather than a literal reproduction.

The questions related to immersive experiences and the online presence of adaptations also showed high approval rates. A total of 86% of participants stated that themed events, meetings with actors, activities about the story’s universe, and interactions on social media significantly increase their involvement with the work. When asked about expanding a story across different media, 96% agreed that this expansion increases engagement with the narrative universe. These results align with Jenkins’ (2009) reflections on convergence culture and the expansion of narratives across different platforms, which intensify audience engagement.

The qualitative analysis, through opinions on literary adaptations, reinforced the positive perception regarding Netflix’s investment in this strategy. Respondents indicated that such productions expand access to stories originally published in books, especially for those who do not have the habit of reading. Although a small portion expressed concerns about the fidelity of the adaptations, the majority understood that, despite the necessary adjustments for the audiovisual format, the central elements of the narrative should be preserved. This view is consistent with Murray (2017), who highlights the potentialities and limitations of each medium in presenting stories.

The relationship between the book and the adaptation on streaming platforms was perceived as a distinct, yet interconnected experience. The book was associated with depth, detail, and the construction of the imaginary, while the audiovisual adaptation was valued for providing a more immediate sensory experience. Most participants indicated that the book and adaptation complement each other, with the book deepening the story and the adaptation materializing the narrative visually. This complementarity reinforces the idea that adaptations do not replace, but expand the experience, bringing characters and story to life in a new way.

The importance of books in the current context was highlighted by the participants, who emphasized contributions such as the development of critical thinking, vocabulary expansion, creativity stimulation, and the strengthening of interpretive capacity. Reading was seen as a space for pause amidst the excess of digital information, fostering greater concentration and engagement with narratives. When watching an adaptation of a work already read, fidelity to the essence of the narrative, preservation of striking moments, and coherence in character construction were the most valued elements, along with interest in visualizing the narrative universe, such as settings and costumes.

Immersion elements, such as social media interactions, fanarts, memes, and themed events, were identified as significant contributions to ongoing engagement with narratives. These practices strengthen the sense of belonging and maintain interest in the work over time, expanding the narrative experience and prolonging the stories’ immersion beyond the consumption moment. Netflix, for example, promoted initiatives like “The Queen’s Ball: A Bridgerton Experience” and themed actions in Brazil, evidencing the strategy of creating multiple touchpoints to strengthen immersion, as discussed by Murray (2017) and Jenkins (2009) on participatory culture.

Finally, the analysis of the impact of literary adaptations on the publishing market revealed that these productions influence the visibility and sales of books. The responses indicated that successful adaptations, such as Bridgerton, spark interest in the original work, encouraging new readers to acquire it and boosting the circulation of the work. In general, it was found that literature, audiovisual, and streaming platforms establish a relationship of interdependence in the current scenario, not being perceived as competing elements, but rather as complementary ones, allowing the same narrative to be experienced in different ways by the public, expanding its reach and appreciation.

In summary, the research results demonstrate that Netflix’s adaptation of the Bridgerton series was a highly effective strategy to boost the original literary work, attract new readers, and strengthen audience engagement. The predominance of young adult women in consumption, high satisfaction with the adaptation, and the perception that the audiovisual complements reading rather than replacing it, highlight the success of this approach. The expansion of the narrative to multiple media and the appreciation of immersive experiences are key factors contributing to the popularization of books and fan loyalty, consolidating the role of streaming platforms as cultural catalysts in the publishing market.

4. Conclusion

This study investigated how streaming platforms, focusing on Netflix and the first season of the series Bridgerton, can promote and popularize literary works through their adaptations. It was found that the audiovisual adaptation significantly increased the visibility of the original work, sparking the interest of new readers and fostering literary consumption. The results indicated that the series was perceived as a valuable complement to the narrative universe, rather than a replacement for the book, with high audience satisfaction. It was observed that a considerable portion of participants sought information, purchased, and read the books after watching the series, evidencing the direct impact of the adaptation on engagement with literature. This approach demonstrates the strategic effectiveness of streaming platforms in popularizing books and strengthening the relationship between the literary and audiovisual media, creating new forms of interaction and cultural consumption.

However, the research presented limitations, such as the specific focus on the Bridgerton series and the Netflix platform, which restricts the generalization of findings to other works and streaming services. Furthermore, the absence of detailed audience and platform performance data, as well as the non-consideration of long-term effects on the literary market, prevented a more comprehensive analysis. For future studies, it is suggested to broaden the scope to include other platforms and diverse adapted works, in order to allow for more robust comparisons. It is also recommended to investigate the long-term impacts and access more complete audience data, contributing to a deeper understanding of the interdependence between literature, audiovisual, and the digital landscape.

Bibliographic References

De Volta aos 15, 2022 [Referência completa não encontrada no documento original]

Decode, 2021 [Referência completa não encontrada no documento original]

Feios, 2024 [Referência completa não encontrada no documento original]

Hansen, 2019 [Referência completa não encontrada no documento original]

Hastings, 2020 [Referência completa não encontrada no documento original]

Heartstopper, 2022 [Referência completa não encontrada no documento original]

Howe, 2021 [Referência completa não encontrada no documento original]

HUTCHEON, Linda. A theory of adaptation. Abingdon: Routledge, 2006.

JENKINS, Henry. Cultura da convergência. São Paulo: Aleph, 2009.

Luegenbiel, 2019 [Referência completa não encontrada no documento original]

MALHOTRA, Naresh K. Pesquisa de marketing: uma orientação aplicada. 6. ed. Porto Alegre: Bookman, 2012.

Meyer, 2020 [Referência completa não encontrada no documento original]

MOTION PICTURE ASSOCIATION. A contribuição econômica da indústria audiovisual no Brasil em 2024. Disponível em: https://www.mpa-americalatina.org/wp-content/uploads/2025/10/MPA_Brasil_2024_PO5.pdf. Acesso em: 17 set. 2025.

MURRAY, Janet H. Hamlet on the Holodeck: the future of narrative in cyberspace. Cambridge: MIT Press, 2017.

Persuasion, 2022 [Full reference not found in the original document]

Sarandos, 2024 [Full reference not found in original document]

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Article originating from the Final Course Work of the Specialization in Marketing of the MBA USP/Esalq

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Why do so many people join in on the fun with ChatGPT? I was never the trend person. I still am not. Some pass through my timeline, I see them, I find them interesting but not to the point of trying them out. This was the case, inclusive, with some recent waves of images made by artificial intelligence, like the 80s trend, the one that […]

Tax Management

September 01, 2026

Tax reform and estate planning in the countryside

Efficiency in managing taxes facilitates governance and allows for the organization of family succession. Rural wealth organization has become a strategic measure in light of the tax reform in Brazil, which came into effect this year. The planning of activities and rural wealth management, through tools such as the transition from an Individual to […]

Renata de Gaspari Valdejão Almeida

Artificial Intelligence

August 05, 2026

Inside the company and off the radar: the risks of Shadow AI

According to Microsoft, 75% of professionals already use artificial intelligence at work without company approval. The use of generative artificial intelligence is already part of the corporate routine. Tools like ChatGPT, Copilot, and other platforms help professionals produce texts, analyze data, create presentations, and accelerate tasks in practically all sectors. But this advance […]

Renata de Gaspari Valdejão Almeida

Strategy

July 02, 2026

The future as a competence

Academic interest reinforces the projection of scenarios as an essential tool for decision-making. While some companies are still trying to get the next step right, others are already working with multiple possible futures — and preparing for all of them. But after all, what does it mean to “think about the future”? Is it a trend, a strategy, or a new competence that […]

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Innovation

Technology

May 21, 2026

Agro SP Corridor: innovation, institutional articulation and future

Pecege commands the executive operation of the 400 km ecosystem activities that became known as the Brazilian agro Silicon Valley In 2025, in addition to taking over the management of the Piracicaba Technology Park, the Pecege Institute was also designated to command the executive operation of the State Agribusiness Innovation Corridor activities, the so-called […]

Education

April 27, 2026

How to turn a TCC into a business

New management of the Piracicaba Technology Park offers consulting to MBA graduates The new project director of the Piracicaba Technology Park (PTP), Alexandre Barreto, often says that one of the greatest rewards he has ever had in life was seeing his MBA USP/Esalq students structure companies from their final projects […]

Technology

March 20, 2026

The human repertoire in the age of AI

Critical thinking and creativity are irreplaceable in the work of a marketing professional Artificial Intelligence (AI) is capable of incredible feats, but it does not yet possess the judgment, empathy, intuition, and strategic creativity necessary to do the job of a good marketing professional. In this area, it is important to know how to use the tool to automate […]

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Agribusiness

Innovation

February 23, 2026

ESG as a growth strategy in a cooperative in RS

Santa Clara balances social and environmental responsibility with innovation Founded in 1911 by Italian immigrants in Carlos Barbosa, in the Serra Gaúcha region, Cooperativa Santa Clara is an example that it is possible to balance economic growth with social and environmental responsibility. From a small cheese production company, the organization has evolved into a […]

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Agribusiness

Innovation

January 22, 2026

Brazil free of Foot-and-Mouth Disease: what changes for Brazilian beef?

With a herd of over 200 million head of cattle, the country is currently the leader in exports. Brazil recently received, for the first time, the certification of country free of foot -and-mouth disease without vaccination, conferred by the World Organisation for Animal Health (WOAH). The seal strengthens the country’s position as a reliable supplier of meat for the […]

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Innovation

December 09, 2025

Innovation: the new cycle of the Piracicaba Technology Park

Instituto Pecege assumes management, betting on the creation of new businesses Starting in 2026, Instituto Pecege will assume the management of the Piracicaba Technology Park (PTP). Among its responsibilities will be the administration, operation, maintenance, and expansion of the park, in addition to fostering activities in innovation, entrepreneurship, and science and technology. The choice was made […]

Renata de Gaspari Valdejão Almeida

July 06, 2026

Large-Scale Architecture: DSR-SCRUM Change Management

Mônica Alessandra Guerios; Maria do Carmo Assis Todorov Abstract generated by ResumeAI, an artificial intelligence solution developed by Instituto Pecege focused on synthesis and writing. Architecture and urbanism are configured as essential bases in an increasingly complex and challenging urban space, where the intrinsic connection between social, environmental, and technological issues […]