Hollywood’s derivative output makes intertextuality reliably bankable

Evidence

Most immediately, “derivative media” would seem to crudely capture the current textual default of cultural production in the U.S. film, television, and popular music industries: endless sequels, prequels, reboots, remakes, adaptations, franchises, cross-platforming, cross-promoting, licensing, transmedia, sampling, references, homages, and all manner of deriving new media content from the old or the other. There is nothing new or controversial about textual influence, of course, both conscious and unconscious, but the sheer brazenness and repeated, reliable profitability of much of Hollywood’s “derivative” product suggests a concrete bankability to the once-radical concept of intertextuality. — Andrew deWaard, Derivative Media, 165