But the moment these works are adapted, those translations become something on their own. I’m not bragging about all of this reading I haven’t done. And fans can buoy such adaptations in repayment for their dutiful service. A screen adaptation that really seems to capture the element that makes you love your favorite book can be a miraculous thing. Fans of these works are rightly invested in their success. Martin’s Fire and Blood (the basis for HBO’s The House of the Dragon). The past few weeks alone have seen a widely-reviled new Netflix Jane Austen adaptation as well as long-awaited screen transfers of Neil Gaiman’s The Sandmanand George R.R. John Mandel’s, My Brilliant Friend, based on Elena Ferrante’s Neapolitan novels, and, of course, the multiple installments of the Sally Rooney-verse. For the prestige TV crowd, there’s been The Underground Railroad, based on Colson Whitehead’s novel, Station Eleven, based on Emily St. Marvel and DC’s cinematic universes are exclusively adaptive, and the Harry Potter people just keep making Harry Potter movies undeterred by the rising and falling fortunes of the various people involved. It’s no secret that a great deal of contemporary blockbuster media is rooted in the adaptation of popular books and comics.
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