In the thrilling conclusion to their five week journey, Amelia and Emma tackle Virginia Woolf’s “Mrs. Dalloway.” Weary, but with the finish line in sight, can they stomach 166 pages of intense psychological study paired with adaptors’ misunderstandings of what makes stream of conciousness…good? CONTENT WARNING: This episode includes discussions centered around suicide and suicidal ideation, as well as the general topic of mental health and mental health treatment.

Join Amelia and Emma in the world of Oscar Wilde’s original, uncensored “The Picture of Dorian Gray,” where romantic love is abundant and artistic identity is dissected. Will the first draft of a beloved novel get adapted well to an oft-hostile screen? Will the meta-tragedy of Oscar Wilde’s life and work take over a silly amount of the episode? Will there be drag queen(s)? The only way out is through. CONTENT WARNING: This week’s episode discusses general sexual content, sexual assault, and child abuse.

For week three Amelia and Emma take on Edith Wharton’s “The House of Mirth.” Join them as they lament a well-written book’s end, try to make sense of the institution of marriage, and return to the central thesis of most Edith Wharton novels: men suck. (Most of the time.)

Amelia and Emma embark on the second step in their five-week journey, this week tackling Anne Brontë’s behemoth “The Tenant of Wildfell Hall,” where they consider the limitations of society, what encompasses a feminist novel, and how to deal with an overabundance of characters with an H in their names. CONTENT WARNING: This week’s episode discusses domestic violence and abusive relationships in detail.

Join Amelia and Emma at the very beginning of their five week journey to read and consume every adaptation of five classic “Long 19th Century” Texts! Today they dive into Northanger Abbey and three movie adaptations, all with an upsetting lack of Gothic architecture, discussions on the meaning of romantic and familial love, and a narrator who simply will not quit. Was this, in fact, a story? We don’t know either.