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Built with intention: F1 Academy’s car was chosen with the series’ goals in mind

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Built with intention: F1 Academy’s car was chosen with the series’ goals in mind

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One of the biggest critiques F1 Academy faces from new fans is that the cars are, to their eyes, fairly slow.

Some fans have likened it to a tractor. Even Max Verstappen has questioned the speed, saying in part to De Limburger, “The cars they drive are way too slow. If you ever want to get them into Formula One, it really has to go to a higher level.” But when you ask F1 Academy, it is the right car for the right level.

F1 Academy, the all-women racing series launched in 2023, is part of the F1 pyramid and aligns with the F1 calendar for seven race weekends a year — Saudi Arabia, Miami, Barcelona, Zandvoort, Singapore, Qatar and Abu Dhabi. Some tracks, like Jeddah Corniche Circuit in Saudi Arabia, are straighter than others – like the banked corners at Zandvoort. This can give the impression that F1 Academy is slow, F1 Academy competition manager Delphine Biscaye said, particularly compared to the high speeds of the F1 cars.

F1 Academy’s cars are similar to Formula Four, an equal competition level, but with a noticeable tweak that aligns F1 Academy more with F1. It’s the right choice for this series because it helps prepare the young drivers for higher competition and growth.

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A general view of the F1 Academy paddock during previews ahead of F1 Academy Round 5 at Marina Bay Street Circuit on September 19, 2024, in Singapore. (Pauline Ballet/Formula 1 via Getty Images)

All about perspective

The car’s speed isn’t because of a lack of talent from the drivers. It’s the nature of an F4 car and the track configurations. More often than not, fans watch F1 Academy after tuning into one of the higher series driving on the same track now that the all-women category aligns with the F1 schedule.

“If you see us and then (F1) straight after, you think we’re really slow,” Biscaye said. She pointed out that at a track like Jeddah, these young drivers, some of which are in their teens, dart between walls at 200 kph. That kind of driving, she says, is “already a huge challenge for those young drivers. Men or a woman is the same. But with the age and the experience they have, it’s actually not that slow.

“If we were challenging someone to do the same, they would see what slow is.”

However, this needs to be weighed against the advantages that the F4 car provides. This level allows drivers to train, adapt and secure crucial track time, gaining experience at F1 circuits. Biscaye added, “The fact that we are on F1 tracks makes it look slow, but it’s got massive advantage for the drivers because it’s really prepared them for the next step.”

Tatuus CEO Giovanni Delfino echoed similar points. He describes the car as “easy to drive” and one that uses the safety specs of higher categories, giving a safe environment for drivers to learn how to navigate single-seaters.

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“The power of the car is enough to have the performance we desire, but it’s not that much to make the car undriveable,” he said. “All the specs of the car are exactly what you find in (Formula) Regional and then in an F3 car. But what is changing from the higher category is the power weight ratio.”

F1 Academy may not be an FIA championship, but it does follow the regulations, like the power-weight ratio that the governing body dictates for each level. The most significant step is jumping from karting into a single seater, but from there, each step as a driver climbs the motorsport ladder is about the same difference. Delfino said drivers typically stay in F4 for one or two years, adding that “after two years of Formula Four, it’s easy to go (into) a regional car.”

“So in reality, this kind of car is helping you to get used to the dimension of a single-seater car, ​​to get used to the way to drive a single-seater car, to get used to the racing mode of a single-seater car.”

The nuts and bolts

The car is relatively similar to a Formula Four car, Biscaye said. For example, the chassis, designed by Tatuus Automobili, is the same as British, Italian and Spanish F4s. Biscaye said, “It’s only the aerodynamics that make a change.”

Delfino said the front and rear wings have been changed compared to an F4 car, which was a request from Liberty Media and F1 Academy managing director Susie Wolff. From start to finish, the process took around three months, from identifying the best shape and creating the first prototype to testing. The production, though, takes another month to six weeks, Delfino said.

“We found that as a good compromise between what we can do and what we cannot do on a Formula Four because the rear wing is not homologated,” Delfino said. “So you can do more or less what you want in terms of homologation, even if it’s not recognized as a Formula Four wing. In (the) case of the front wing, then we had to keep some of the design of the Formula Four because it’s linked to the noses.

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“So there’s also a crash homologation test that we have to perform before the current homologation, but the shape of the lateral parts of the front wing were free to be moved as Liberty Media wanted.”

Homologation is the approval process where the car is checked against technical regulations and the specification is frozen for the cycle defined in the rules, according to the FIA. This change to the wings allows the F1 Academy car to resemble the F1 cars and optimizes the aerodynamics, according to Biscaye. “The better aerodynamics allow us to have more overtaking, which was also something we wanted to create a more active racing.”

F1 Academy technically is not a FIA championship. However, certain parts of the car (like the chassis, engine, and gearbox) are homologated by the FIA. Aside from the percentages, the homologation process is nearly the same for Tatuus as for F1. Delfino said, “We have to homologate the car with 100 percent of the test, 100 percent of the loads. In Formula One, you can stop 80 percent.”

According to Delfino, the changes to the wings had “zero” impact on car performance “because they are not affecting the downforce of the car or the aero kit and the aero balance of the car.”

Right car, right series

Biscaye said the car largely remained unchanged heading into the 2024 season, aside from adding an onboard camera. There aren’t big changes planned for next year, either. It’s not that they won’t ever change the car; rather, the car right now is serving its purpose.

“Our goal is really to prepare the drivers physically, mentally, and giving them all the skills and the track time they need to progress,” Biscaye said, pointing out that the cars are safe and reliable. The reliability factor is crucial because this impacts the amount of track time the drivers have. As a support series on an F1 weekend, the teams only have a practice session or two before jumping into qualifying and the two races.

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Biscaye said, “If you’ve got reliability issues, that prevents the drivers from running during the free practice; they actually lose a very important track time, and very important time to get to know the track and check the conditions and some tracks we can’t test before.”

Miami and Singapore are two tracks where the drivers can’t test beforehand as both are temporary circuits. So far, from a reliability standpoint, F1 Academy has had very few issues — close to none in 2024, Biscaye said. And it’s reasonably easy to maintain, which helps keep down costs for the teams. There are also limited track operational personnel who can work on the cars. Biscaye said, “So if you go with a more complicated car, then you would need more people. So you will increase the cost not just of the car, but the overall cost of operations of the team.”

This series is more straightforward than F1, allowing teams to focus on suspension and wing set-up changes and only a single tire compound. The goal is to focus on driver preparation and training, such as learning how to manage their brakes, clutch and tires.


F1 Academy cars wait in the pit lane during F1 Academy Round 4, Race 2 at Circuit Zandvoort on August 25. (Joe Portlock/Getty Images)

“We don’t realize, but when you are in karting and go to (single seater) cars, you discover the clutch,” Biscaye said. “If you’re just 16 and you’ve never driven another car, like that your parents get, you have no driving lessons in real life. So that’s the first time you will have a clutch and have to make a real start, and that’s already a huge step.”

Mental and physical training are also major learning moments at this level. Biscaye recalled a conversation with Courtney Crone, the wild card entry in Miami, during testing at Zandvoort earlier this year. She has good experience in single-seaters, but it was her first time in a F4 car. Zandvoort is a trickier track because of the banking, which Biscaye described as “very stiff and requires a lot of strength.”

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“Courtney came out of the car and told me, ‘I was not prepared for this. It’s actually very demanding compared to some of the tracks and cars I’ve driven,’” Biscaye recalled. “So if you put all of this together, or if you take Jeddah where it’s more the mental and the focus (is higher) because of the walls and it’s technical, after three days of testing, the drivers are actually tired.

“I think that also shows the F4 car is the good step. If you want to make it safe and at the same time interesting enough to really train them and to allow them to really step from go-karts to maybe Formula Regional or Euro Cup or F3, you need this in-between. F1 Academy is giving them a huge training on track but also off track with all the support they have from the F1 team or from their F1 Academy team as well.

“They’re getting this, and that’s really the package that they need to be able to progress after.”

 Top photo: Joe Portlock/Getty Images; Design: Eamonn Dalton/The Athletic

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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What Happens When We Die? This Wallace Stevens Poem Has Thoughts.

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Whatever you do, don’t think of a bird.

Now: What kind of bird are you not thinking about? A pigeon? A bald eagle? Something more poetic, like a skylark or a nightingale? In any case, would you say that this bird you aren’t thinking about is real?

Before you answer, read this poem, which is quite literally about not thinking of a bird.

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Human consciousness is full of riddles. Neuroscientists, philosophers and dorm-room stoners argue continually about what it is and whether it even exists. For Wallace Stevens, the experience of having a mind was a perpetual source of wonder, puzzlement and delight — perfectly ordinary and utterly transcendent at the same time. He explored the mysteries and pleasures of consciousness in countless poems over the course of his long poetic career. It was arguably his great theme.

Stevens was born in 1879 and published his first book, “Harmonium,” in 1923, making him something of a late bloomer among American modernists. For much of his adult life, he worked as an executive for the Hartford Accident and Indemnity Company, rising to the rank of vice president. He viewed insurance less as a day job to support his poetry than as a parallel vocation. He pursued both activities with quiet diligence, spending his days at the office and composing poems in his head as he walked to and from work.

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Wallace Stevens in 1950.

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Walter Sanders/The LIFE Picture Collection, via Shutterstock

As a young man, Stevens dreamed of traveling to Europe, though he never crossed the Atlantic. In middle age he made regular trips to Florida, and his poems are frequently infused with ideas of Paris and Rome and memories of Key West. Others partake of the stringent beauty of New England. But the landscapes he explores, wintry or tropical, provincial or cosmopolitan, are above all mental landscapes, created by and in the imagination.

Are those worlds real?

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Let’s return to the palm tree and its avian inhabitant, in that tranquil Key West sunset of the mind.

Until then, we find consolation in fangles.

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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Wil Wheaton Discusses ‘Stand By Me’ and Narrating ‘The Body’ Audiobook

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When the director Rob Reiner cast his leads in the 1986 film “Stand by Me,” he looked for young actors who were as close as possible to the personalities of the four children they’d be playing. There was the wise beyond his years kid from a rough family (River Phoenix), the slightly dim worrywart (Jerry O’Connell), the cutup with a temper (Corey Feldman) and the sensitive, bookish boy.

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Wil Wheaton was perfect for that last one, Gordie Lachance, a doe-eyed child who is ignored by his family in favor of his late older brother. Now, 40 years later, he’s traveling the country to attend anniversary screenings of the film, alongside O’Connell and Feldman, which has thrown him back into the turmoil that he felt as an adolescent.

Wheaton has channeled those emotions and his on-set memories into his latest project: narrating a new audiobook version of “The Body,” the 1982 Stephen King novella on which the film was based.

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“I like there to be a freshness, a discovery and an immediacy to my narration,” Wheaton said. He recorded “The Body” in his home studio in California. Alex Welsh for The New York Times

A few years ago, Wheaton started to float the idea of returning to the story that gave him his big break — that of a quartet of boys in 1959 Oregon, in their last days before high school, setting out to find a classmate’s dead body. “I’ve been telling the story of ‘Stand By Me’ since I was 12 years old,” he said.

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But this time was different. Wheaton, who has narrated dozens of audiobooks, including Andy Weir’s “The Martian” and Ernest Cline’s “Ready Player One,” says he has come to enjoy narration more than screen acting. “I’m safe, I’m in the booth, nobody’s looking at me and I can just tell you a story.”

The fact that he, an older man looking back on his younger years, is narrating a story about an older man looking back on his younger years, is not lost on Wheaton. King’s original story is bathed in nostalgia. Coming to terms with death and loss is one of its primary themes.

Two days after appearing on stage at the Academy Awards as part of a tribute to Reiner — who was murdered in 2025 alongside his wife, Michele — Wheaton got on the phone to talk about recording the audiobook, reliving his favorite scenes from the film and reexamining a quintessential story of childhood loss through the lens of his own.

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This interview has been edited and condensed.

“I felt really close to him, and my memory of him.”

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Wheaton on channeling a co-star’s performance.

There’s this wonderful scene in “Stand By Me.” Gordie and Chris are walking down the tracks talking about junior high. Chris is telling Gordie, “I wish to hell I was your dad, because I care about you, and he obviously doesn’t.”

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It’s just so honest and direct, in a way that kids talk to each other that adults don’t. And I think that one of the reasons that really sticks with people, and that piece really lands on a lot of audiences, and has for 40 years, is, just too many people have been Gordie in that scene.

That scene is virtually word for word taken from the text of the book. And when I was narrating that, I made a deliberate choice to do my best to recreate what River did in that scene.

“The Body” Read by Wil Wheaton

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“You’re just a kid,

Gordie–”

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“I wish to fuck

I was your father!”

he said angrily.

“You wouldn’t go around

talking about takin those stupid shop courses

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if I was!

It’s like

God gave you something,

all those stories

you can make up,

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and He said:

This is what we got for you, kid.

Try not to lose it.

But kids lose everything

unless somebody looks out for them

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and if your folks

are too fucked up to do it

then maybe I ought to.”

I watched that scene a couple of times because I really wanted — I don’t know why it was so important to me to — well, I know: because I loved him, and I miss him. And I wanted to bring him into this as best as I could, right?

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So I was reading that scene, and the words are identical to the script. And I had this very powerful flashback to being on the train tracks that day in Cottage Grove, Oregon. And I could see River standing next to them. They’re shooting my side of the scene and there’s River, right next to the camera, doing his off-camera dialogue, and there’s the sound guy, and there’s the boom operator. There’s my key light.

I could hear and feel it. It was the weirdest thing. It’s like I was right back there.

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I was able to really take in the emotional memory of being Gordie in all of those scenes. So when I was narrating him and I’m me and I’m old with all of this experience, I just drew on what I remembered from being that little boy and what I remember of those friendships and what they meant to me and what they mean to me today.

“Rob gave me a gift. Rob gave me a career.”

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Wheaton recalls the “Stand By Me” director’s way with kids on set, as well as his recent Oscars tribute.

Rob really encouraged us to be kids.

Jerry tells the most amazing story about that scene, where we were all sitting around, and doing our bit, and he improvised. He was just goofing around — we were just playing — and he said something about spitting water at the fat kid.

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We get to the end of the scene, and he hears Rob. Rob comes around from behind the thing, and he goes, “Jerry!” And Jerry thinks, “Oh no, I’m in trouble. I’m in trouble because I improvised, and I’m not supposed to improvise.”

The context for Jerry is that he had been told by the adults in his life, “Sit on your hands and shut up. Stop trying to be a cutup. Stop trying to be funny. Stop disrupting people. Just be quiet.” And Jerry thinks, “Oh my God. I didn’t shut up. I’m in trouble. I’m gonna get fired.”

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Rob leans in to all of us, and Rob says, “Hey, guys, do you see that? More of that. Do that!”

Rob Reiner in 1985, directing the child actors of “Stand By Me,” including Wil Wheaton, at left. Columbia/Kobal, via Shutterstock

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The whole time when you’re a kid actor, you’re just around all these adults who are constantly telling you to grow up. They’re mad that you’re being a kid. Rob just created an environment where not only was it supported that we would be kids — and have fun, and follow those kid instincts and do what was natural — it was expected. It was encouraged. We were supposed to do it.

“The Body” Read by Wil Wheaton

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They chanted together:

“I don’t shut up,

I grow up.

And when I look at you

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I throw up.”

“Then your mother goes around the corner

and licks it up,”

I said,

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and hauled ass out of there,

giving them the finger over my shoulder as I went.

I never had any friends later on

like the ones I had when I was twelve.

Jesus,

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did you?

When we were at the Oscars, I looked at Jerry. And we looked at this remarkable assemblage of the most amazingly talented, beautiful artists and storytellers. We looked around, and Jerry leans down, and he said, “We all got our start with Rob Reiner. He trusted every single one of us.”

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Jerry O’Connell and Wheaton joined more than a dozen actors from Reiner’s films to honor the slain director at the Academy Awards on March 15, 2026. Kevin Winter/Getty Images

And to stand there for him, when I really thought that I would be standing with him to talk about this stuff — it was a lot.

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“I was really really really excited — like jumping up and down.”

The scene Wheaton was most looking forward to narrating: the tale of Lard Ass Hogan.

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I was so excited to narrate it. It’s a great story! It’s a funny story. It’s such a lovely break — it’s an emotional and tonal shift from what’s happening in the movie.

I know this as a writer: You work to increase and release tension throughout a narrative, and Stephen King uses humor really effectively to release that tension. But it also raises the stakes, because we have these moments of joy and these moments of things being very silly in the midst of a lot of intensity. ​​

That’s why the story of Lard Ass Hogan is so fun for me to tell. Because in the middle of that, we stop to do something that’s very, very fun, and very silly and very celebratory.

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“The Body” Read by Wil Wheaton

“Will you shut up

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and let him tell it?”

Teddy hollered.

Vern blinked.

“Sure.

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Yeah.

Okay.”

“Go on, Gordie,”

Chris said.

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“It’s not really much—”

“Naw,

we don’t expect much

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from a wet end like you,”

Teddy said,

“but tell it anyway.”

I cleared my throat.

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“So anyway.

It’s Pioneer Days,

and on the last night

they have these three big events.

There’s an egg-roll for the little kids

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and a sack-race for kids that are like eight or nine,

and then there’s the pie-eating contest.

And the main guy of the story

is this fat kid nobody likes

named Davie Hogan.”

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When I narrate this story — whenever there is a moment of levity or humor, whenever there are those brief little moments that are the seasoning of the meal that makes it all so real and relatable — yes, it was very important to me to capture those moments.

I’m shifting in my chair, so I can feel each of those characters. It’s something that doesn’t exist in live action. It doesn’t exist in any other media.

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“I feel the loss.”

Wheaton remembers River Phoenix.

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The novella “The Body” is very much about Gordie remembering Chris. It’s darker, and it’s more painful, than the movie is.

I’ve been watching the movie on this tour and seeing River a lot. I remember him as a 14- and 15-year-old kid who just seemed so much older, and so much more experienced and so much wiser than me, and I’m only a year younger than him.

What hurts me now, and what I really felt when I was narrating this, is knowing what River was going through then. We didn’t know. I still don’t know the extent of how he was mistreated, but I know that he was. I know that adults failed him. That he should have been protected in every way that matters. And he just wasn’t.

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And I, like Gordie, remember a boy who was loving. So loving, and generous and cared deeply about everyone around him, all the time. Who deserved to live a full life. Who had so much to offer the world. And it’s so unfair that he’s gone and taken from us. I had to go through a decades-long grieving process to come to terms with him dying.

“The Body” Read by Wil Wheaton

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Near the end

of 1971,

Chris

went into a Chicken Delight

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in Portland

to get a three-piece Snack Bucket.

Just ahead of him,

two men started arguing

about which one had been first in line.

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One of them pulled a knife.

Chris,

who had always been the best of us

at making peace,

stepped between them

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and was stabbed in the throat.

The man with the knife had spent time in four different institutions;

he had been released from Shawshank State Prison

only the week before.

Chris died almost instantly.

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It is a privilege that I was allowed to tell this story. I get to tell Gordie Lachance’s story as originally imagined by Stephen King, with all of the experience of having lived my whole adult life with the memory of spending three months in Gordie Lachance’s skin.

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Do You Know the Comics That Inspired These TV Adventures?

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Do You Know the Comics That Inspired These TV Adventures?

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about printed works that have gone on to find new life as movies, television shows, theatrical productions and more. This week’s challenge highlights offbeat television shows that began as comic books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the comics and their screen versions.

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