The accidental multiverse: Adaptations and reboots and the new superhero content strategy

References

1. Archer, Neil (2019), Twenty-First Century Hollywood: Rebooting the System, New York and Middlesex: Wallflower Press.
   [Google Scholar]
2. Anderson, Jenna (2019), ‘Crisis on infinite earths: Birds of Prey TV show’s role revealed’, Comicbook.com, 10 December, https://www.comicbook.com/dc/news/crisis-on-infinite-earths-spoilers-cameos-birds-of-prey-part-3/. Accessed 20 November 2023.
3. Bainbridge, Jason (2018), ‘Peak fandom: Nostalgia, frustration and the shifting orders of fandom in Twin Peaks: The Return’, Participations: Journal of Audience and Reception Studies, 15:2, pp. 365–75.
   [Google Scholar]
4. Batman (1966–68), USA: Greenway Productions and 20th Century Fox Television.
   [Google Scholar]
5. Bennet, Spencer G. (1949), New Adventures of Batman and Robin, the Boy Wonder, USA: Columbia Pictures.
   [Google Scholar]
6. Birds of Prey (2002–03), USA: Warner Bros.
   [Google Scholar]
7. Britt, Ryan (2021), ‘Did Spider-Man: No Way Home just reverse the worst Marvel death?’, Inverse, 22 December, https://www.inverse.com/entertainment/spider-man-no-way-home-electro-gwen-stacy. Accessed 14 November 2023.
   [Google Scholar]
8. Brooker, Will (2012), Hunting the Dark Knight: Twenty-First Century Batman, London: I.B. Tauris.
   [Google Scholar]
9. Burton, Tim (1989), Batman, USA: Warner Bros.
   [Google Scholar]
10. Burton, Tim (1992), Batman Returns, USA: Warner Bros.
    [Google Scholar]
11. Cheung, Kylie (2023), ‘I used to love Marvel: Now it feels like homework’, Jezebel, 9 September, https://www.jezebel.com/marvel-superhero-fatigue-bad-movies-tv-shows-loki-1850805331. Accessed 9 May 2024.
12. Coghlan, Jo, Hackett, Lisa J. and Nolan, H. (2023), ‘The world is not enough: The impact of James Bond on popular culture’, International Journal of James Bond Studies, 6:1, pp. 1–6, https://doi.org/10.24877/jbs.93.
    [Google Scholar]
13. Cooper, Bradley (2018), A Star Is Born, USA: Metro-Goldwyn-Mayer and Live Nation Productions.
    [Google Scholar]
14. Cukor, George (1954), A Star Is Born, USA: Transcona Enterprises.
    [Google Scholar]
15. D’Alessandro, Anthony (2023), ‘James Gunn & Peter Safran unveil big DC plan with new movies for Batman & Robin, “Swamp Thing”, “The Authority”; “Lanterns” TV series & more’, Deadline, 31 January, https://www.deadline.com/2023/01/dc-movie-tv-plan-james-gunn-peter-safran-batman-swamp-thing-green-lantern-1235244926/. Accessed 13 June 2024.
    [Google Scholar]
16. Dos Santos, Joaquim, Powers, Kemp and Thompson, Justin K. (2023), Across the Spider-Verse, USA: Columbia Pictures, Marvel Entertainment and Sony Pictures Animation.
    [Google Scholar]
17. Grainge, Paul (2020), ‘Anticipating the reboot: Teasing Top Gun 2’, in D. Herbert and C. Verevis (eds), Film Reboots, Edinburgh: Edinburgh University Press, pp. 205–18.
    [Google Scholar]
18. Gray, Jonathan (2010), Show Sold Separately: Promos, Spoilers and Other Media Paratexts, New York: New York University Press.
    [Google Scholar]
19. Hawks, Howard (1932), Scarface, USA: The Caddo Company.
    [Google Scholar]
20. Herbert, Daniel (2020), ‘Rethinking the “supersystem”: Film reboots and the Teenage Mutant Ninja Turtles’, in D. Herbert and C. Verevis (eds), Film Reboots, Edinburgh: Edinburgh University Press, pp. 19–32.
    [Google Scholar]
21. Herbert, Daniel and Verevis, Constantine (eds) (2020), Film Reboots, Edinburgh: Edinburgh University Press.
    [Google Scholar]
22. Hillyer, Lambert (1943), Batman, USA: Columbia Pictures.
    [Google Scholar]
23. Hitchcock, Alfred (1960), Psycho, USA: Shamley Productions.
    [Google Scholar]
24. Iaccino, James F. (2022), ‘The superhero crossover event: An effective staple of the CW’s programming’, in A. L. Carlson and L. K. Perdigao (eds), The CW Comes of Age: Essays on Programming, Branding and Evolution, Jefferson, NC: McFarland & Company, pp. 216–41.
    [Google Scholar]
25. Jeffries, Dru (2022), ‘“Anyone can wear the mask”: The marginalization of Miles Morales in Spider-Man: Into the Spider-Verse’, JCMS: Journal of Cinema and Media Studies, 62:5, pp. 192–214.
    [Google Scholar]
26. Jenkins, Henry (2006), Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
    [Google Scholar]
27. Johnson, Derek (2013), Media Franchising: Creative License and Collaboration in the Culture Industries, New York: New York University Press.
    [Google Scholar]
28. Kelleter, Frank and Loock, Kathleen (2017), ‘Hollywood remaking as second-order serialization’, in F. Kelleter (ed.), Media of Serial Narrative, Columbus, OH: Ohio State University Press.
    [Google Scholar]
29. Kennedy-Karpak, Colleen (2020), ‘Adaptation and nostalgia’, Adaptation, 13:3, pp. 283–94.
    [Google Scholar]
30. Kinder, Marsha (1991), Playing with Power in Movies, Television and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles, Berkeley, CA: University of California Press.
    [Google Scholar]
31. Koh, W. (2009), ‘Everything old is good again: Myth and nostalgia in Spider-Man’, Continuum, 23:5, pp. 735–47.
    [Google Scholar]
32. Kwan, Daniel and Scheinert, Daniel (2022), Everything Everywhere All at Once, USA: IAC Films, Gozie AGBO, Year of the Rat and Ley Line Entertainment.
    [Google Scholar]
33. Loock, Kathleen (2020), ‘Reboot, requel, legacyquel: Jurassic World and the nostalgia Franchise’, in D. Herbert and C. Verevis (eds), Film Reboots, Edinburgh: Edinburgh University Press, pp. 173–88.
    [Google Scholar]
34. Loock, Kathleen (2024), Hollywood Remaking: How Film Remakes, Sequels, and Franchises Shape Industry and Culture, Oakland, CA: University of California Press.
    [Google Scholar]
35. Maas, Jennifer (2024), ‘Marvel will release no more than three movies and two shows per year, Bob Iger says’, Variety, 7 May, https://www.variety.com/2024/tv/news/marvel-tv-shows-movies-reduced-bob-iger-disney-1235994149/. Accessed 5 June 2024.
    [Google Scholar]
36. Marazi, Katherine (2015), ‘Superhero or vigilante? A matter of perspective and brand management’, European Journal of American Culture, 34:1, pp. 67–82.
    [Google Scholar]
37. Marazi, Katherine (2023), ‘Contemplating the “original” in an age of branded content, branded networks, branded genres and branded adaptations’, in C. Adamou and S. Petridis (eds), Television by Stream: Essays on Marketing, Content and Audience Worldwide, Jefferson, NC: McFarland & Company, pp. 58–73.
    [Google Scholar]
38. McGunnigle, Chris (2024), ‘The CW’s Crisis on Infinite Earths and the shared multiverse as (anti)transmedia storytelling’, in C. D. Reinhard, and V. Tran (eds), Televisual Shared Universes: Expanded and Converged Storyworlds on the Small Screen, London: Lexington Books, pp. 143–64.
    [Google Scholar]
39. Mee, Laura (2017), ‘The Hollywood remake massacre: Adaptation, reception and value’, in C. Kennedy-Karpat and E. Sandberg (eds), Adaptation, Awards Culture and the Value of Prestige, Cham: Palgrave Macmillan, pp. 193–209.
    [Google Scholar]
40. Meehan, Eileen R. (2020), ‘The many reboots of the Batman’, in D. Herbert and C. Verevis (eds), Film Reboots, Edinburgh: Edinburgh University Press, pp. 47–62.
    [Google Scholar]
41. Milestone, Lewis (1960), Scarface, USA: Dorchester Productions.
    [Google Scholar]
42. Morrison, Grant, Paquette, Yanick and Lacombe, Michel (2012), Batman Incorporated: The Deluxe Edition, New York: DC Comics.
    [Google Scholar]
43. Moulton, Carter (2019), ‘“Announcement” trailers and the inter-temporality of Hollywood blockbusters’, International Journal of Cultural Studies, 22:3, pp. 434–49.
    [Google Scholar]
44. Muschietti, Andy (2023), The Flash, USA: Warner Bros.
    [Google Scholar]
45. Nelson, Gary (1976), Freaky Friday, USA: Walt Disney Productions.
    [Google Scholar]
46. Nolan, Christopher (2005), Batman Begins, USA: Warner Bros.
    [Google Scholar]
47. Nolan, Christopher (2008), The Dark Knight, USA: Warner Bros.
    [Google Scholar]
48. Nolan, Christopher (2012), The Dark Knight Rises, USA: Warner Bros.
    [Google Scholar]
49. Pardy, Brett (2016), ‘Selling Marvel’s cinematic superheroes through militarization’, Stream: Culture/Politics/Technology, 8:2, pp. 23–35.
    [Google Scholar]
50. Phillips, Maya (2023), ‘Is this the endgame for the age of heroes?’, New York Times, 27 December, https://www.nytimes.com/2023/12/27/movies/superhero-fatigue-marvel.html. Accessed 9 May 2024.
    [Google Scholar]
51. Pierson, Frank (1976), A Star Is Born, USA: First Artists and Barwood Films.
    [Google Scholar]
52. Reeves, Matt (2022), The Batman, USA: Warner Bros.
    [Google Scholar]
53. Rehak, Bob (2018), More than Meets the Eye: Special Effects and the Fantastic Transmedia Franchise, New York: New York University Press.
    [Google Scholar]
54. Robertson, Benjamin J. (2016), ‘“It’s just us now”: nostalgia and Star Wars Episode VII: The Force Awakens’, Science Fiction Film and Television, 9:3, pp. 479–88.
    [Google Scholar]
55. Robinson, Joanna, Gonzales, Dave and Edwards, Gavin (2023), MCU: The Reign of Marvel Studios, London: Headline.
    [Google Scholar]
56. Schumacher, Joel (1995), Batman Forever, USA: Warner Bros.
    [Google Scholar]
57. Schumacher, Joel (1997), Batman and Robin, USA: Warner Bros.
    [Google Scholar]
58. Singer, Bryan (2006), Superman Returns, USA: Warner Bros.
    [Google Scholar]
59. Tran, Vincent (2024), ‘Mighty morphin’ continuity: Shaping a universe through authorship and nostalgia’, in C. D. Reinhard and V. Tran (eds), Televisual Shared Universes: Expanded and Converged Storyworlds on the Small Screen, London: Lexington Books, pp. 125–42.
    [Google Scholar]
60. Trevorrow, Colin (2015), Jurassic World, USA: Amblin Entertainment and Legendary Pictures.
    [Google Scholar]
61. Tryon, Chuck (2013), ‘Reboot cinema’, Convergence: The International Journal of Research into New Media Technologies, 19:4, pp. 432–37.
    [Google Scholar]
62. Van Sant, Gus (1998), Psycho, USA: Imagine Entertainment.
    [Google Scholar]
63. Verevis, Constantine (2017), ‘Remakes, sequels, prequels’, in T. Leitch (ed.), The Oxford Handbook of Adaptation Studies, New York: Oxford University Press, pp. 267–84.
    [Google Scholar]
64. Watts, Jon (2021), Spider-Man: No Way Home, USA: Marvel Studios and Columbia Pictures.
    [Google Scholar]
65. Webb, Marc (2014), The Amazing Spider-Man 2, USA: Columbia Pictures and Marvel Entertainment.
    [Google Scholar]
66. Wellman, William A. (1937), A Star Is Born, USA: Selznick International Pictures.
    [Google Scholar]
67. Wolfman, Marv, Perez, George, Giordano, Dick, Ordway, Jerry and DeCarlo, Mike (1998), Crisis on Infinite Earths, New York: DC Comics.
    [Google Scholar]