This forces the story into explicit scenes of intimacy, including shared baths, the gifting of a vibrator, declarations of love, and joint murder plotting, all while later tying their reunion to suffrage marches. Such choices transform a historical crime into a vehicle for queer sexual liberation themes within a Victorian setting, sidelining factual accuracy in favor of ideological reframing. Creator statements explicitly position the production as a 'women-driven, feminist, lesbian' project centered on female rage and the breaking of traditional gender roles.

This intent manifests in the portrayal of the stepmother and father as symbols of patriarchal cruelty, with Lizzie's violence recast as an act of empowerment and self-actualization that allows her to emerge as a 'gloriously free' figure. The result is a heavy-handed imposition of modern progressive ideology that distorts the source material and prioritizes messaging over coherent storytelling or entertainment. Thematic centrality is overwhelming, with the murders themselves justified as resistance to systemic female oppression rather than explored through any neutral or historical lens. This approach risks alienating viewers seeking a straightforward true-crime account by injecting contemporary identity politics as the foundational premise.