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For generations, the word “verisimilitude” has hung over the world of comic book adaptations. Richard Donner famously used the concept as a guiding principle for 1978’s Superman movie, arguing that the high-flying and brightly colored protagonist needed to be rooted in a version of reality to effectively translate onscreen. It’s hard to deny that Donner succeeded in that venture, as his film essentially defined the genre, but the concept has become a sort of buzzword in the decades since. Verisimilitude is thrown around in countless arguments about superhero projects that are too dark and gritty, not dark and gritty enough, or stuck in a limbo between the two. This debate crossed my mind frequently while watching HBO’s The Penguin, the newest television extension of the DC mythos. Across its eight-episode season, The Penguin reframes that age-old argument in a beautiful new evolution, delivering one of the most unflinchingly human and entertaining interpolations of a comic in recent memory.

In more recent times, one of the cherished children’s book series has been long-awaited for its cinematic debut, much like its precursor. The character of Dog Man initially emerged in the realm of Dav Pilkey’s Captain Underpants, swiftly growing into a separate self-contained franchise. The animation studio, DreamWorks Animation, known for their works such as Shrek and Kung Fu Panda, have already brought the story of Captain Underpants to life on the big screen, and they are now set to do the same with Dog Man.