Author Scott Delahunt

Teen Titans built off the comics to become its own thing.

The theme of the Godzilla franchise has always been about the dangers of destroying the planet, either through nuclear war or through environmental damage.

The characters are recognizable, but Titans is putting its own spin on them, something to be expected in a cinematic universe.

With the changes in how people watch TV today, television may be the best route for adaptation.

Carmen Sandiego is its own work, but it builds upon the franchise in such a way to be part of it instead of separate.

One Day at a Time isn’t about the Romano/Cooper family or the Alvarez family, but what they go through.

For every rule of thumb, there are exceptions.

Straight-up covers are more common than shot-for-shot remakes.

The popularity of Airplane! and the nature of the jokes wound up killing off the disaster movie for a decade and a half.

This week, a look at the flip side of parodies, the remake that serves as a comedy vehicle.

The end result is that, no matter what type of parody a work may be, it can’t be held to the same standards as an adaptation.

Overall, Bumblebee is a good live-action adaptation, fitting in with the continuity of the Bay films while still standing alone.

As a film, Into the Spider-Verse will be the Spider-movie that all others will be judged against.

Blazing Transfer Students Reborn doesn’t take itself seriously, though the characters do take their missions like they were life and death situations.

Superhero works may become the new Western because the new genre doesn’t carry the historical problems while still providing for morality plays.

Adaptations aren’t going away anytime soon.

The first original film on Box Office Mojo’s list is A Quiet Place, coming in at twelfth place.

Other than the name, Moonraker, and the name of the villain, there’s not much in common between the novel and the movie.

Mystery Science Theater 3000‘s second season on Netflix was just six episodes, but it took advantage of the nature of binge watching.

Given the restrictions of the format, Andrew Lloyd Webber’s The Phantom of the Opera remains faithful to Gaston Leroux’s Le Fantôme de l’Opéra.