Ripley is both an adaptationadaptation of Highsmith’s novelNovel by Patricia Highsmith and a readaptationreadaptation and remediationremediation of ClémentClément, René’s Plein Soleil and Minghella’s The Talented Mr. Ripley. My argument in this chapter is that Ripley defies these antecedents: ZaillianZaillian, Steven makes something as unlike ClémentClément, René’s and MinghellaMinghella, Anthony’s versions as he can. ZaillianZaillian, Steven claims to make a “truer” adaptation of the HighsmithHighsmith, Patricia story than either of the cinematic versions, and he does this in part by hearkening back to older intertexts which he mobilizes by means of pastichepastiche: Carol Reed’sReed, Carol The Third ManThird Man, The (Reed, 1949) and Federico Fellini’sFellini, Federico La Dolce VitaLa Dolce Vita (Fellini, 1960). This allows him to explore the greyscale aesthetics and murky moralmorality chromatography of mid-century Europe. I also explore Ripley’s visual and narrative emphasis on reproductionreproduction, including repeated events and forgedforgery identityidentity papers to develop the thesis about evaporation of embodimentembodiment. I argue that ZaillianZaillian, Steven develops the theme and aesthetics of forgeryforgery as a self-reflexive metaphor for the process of adaptationadaptation and readaptationreadaptation. The chapter also discusses the affordances of SVODSVOD (Streaming Video On Demand) (Streaming Video On Demand) when it comes to adaptationadaptation and remediationremediation.