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* ''Film/{{Booksmart}}'' is, in BroadStrokes, a GenderFlip of ''Film/{{Superbad}}'': Two relatively unhip teens who are about to graduate have various adventures trying to attend a WildTeenParty and meet up with their respective crushes, only to be forced to reconcile with the fact that one of them is leaving after graduation and breaking up the friendship. Fittingly, Beanie Feldstein plays the equivalent role that her brother Creator/JonahHill plays in ''Superbad''.
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* ''Film/{{Booksmart}}'' is, in BroadStrokes, a GenderFlip of ''Film/{{Superbad}}'': Two relatively unhip teens who are about to graduate have various adventures trying to attend a WildTeenParty and meet up with their respective crushes, only to be forced to reconcile with the fact that one of them is leaving after graduation and breaking up the friendship. Fittingly, Beanie Feldstein Creator/BeanieFeldstein plays the equivalent role that her brother Creator/JonahHill plays in ''Superbad''.
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* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist (who has spent much of his life unaware of exactly what happened to him) who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist (who has spent much of his life unaware of exactly what happened to him) who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and [[spoiler:and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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Changed line(s) 89 (click to see context) from:
* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist (who has spent much of his life unaware of exactly what happened to him) who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist (who has spent much of his life unaware of exactly what happened to him) who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and [[spoiler:and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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Changed line(s) 89 (click to see context) from:
* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist (who has spent much of his life unaware of exactly what happened to him) who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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Changed line(s) 89 (click to see context) from:
* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '58 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
to:
* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '58 '59 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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Changed line(s) 89 (click to see context) from:
* The direct sequels to both ''Film/TheFly1958'' and ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a seemingly supportive figure (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '58 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
to:
* The direct sequels to both ''Film/TheFly1958'' and its remake ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a [[BitchInSheepsClothing seemingly supportive figure figure]] (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '58 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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* The direct sequels to both ''Film/TheFly1958'' and ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a seemingly supportive figure (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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* The direct sequels to both ''Film/TheFly1958'' and ''Film/TheFly1986'', ''Film/ReturnOfTheFly'' and ''Film/TheFlyII'' respectively, are about the SpinOffspring son of the predecessor's ill-fated scientist who revives their father's work and ends up undergoing much the same transformation they did -- much to the despair of his girlfriend, and no thanks to a seemingly supportive figure (an assistant in the former, a CEO/father figure in the latter) who wants to steal the teleportation technology. He goes after the villains, [[spoiler: and gets the happy ending his father could not]]. There are even similar small details: Both movies open with a scene [[SuddenSequelDeathSyndrome establishing the demise of the female lead of the predecessor]] (in '58 with her funeral and in '89 with her DeathByChildbirth), while the third corner of the previous film's LoveTriangle is still alive, ''not'' enthused with the son picking up where the father left off but proving to be helpful nonetheless, and played by their original actor. The main differences lie in the nature of each protagonist's transformation -- with Phillipe in ''Return of the Fly'' it's another TeleporterAccident; with Martin in ''The Fly II'' it's a natural {{Metamorphosis}} due to being born as a mutant -- and the level of gore involved as the third act gets underway. Someone in [[Creator/TwentiethCenturyStudios 20th Century Fox]]'s marketing department must have noticed this trope because the final trailer for ''The Fly II'' opens with a spiel involving the sound of a buzzing fly and the audience being asked if they can hear it -- a verbatim lift from the ''Return of the Fly'' trailer!
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* Both ''Manga/{{Mao}}'' and ''Manga/RinNe'' are clearly inspired by the author's earlier work ''Manga/Inuyasha'', with both maintaining the UrbanFantasy genre and the premise of "[[OrdinaryHighSchoolStudent regular schoolgirl]] gets involved with a magical boy and turns out to not be so ordinary after all", but focusing on slightly different angles.
** ''Manga/RinNe'' is about a girl who can see ghosts teaming up with a boy who is half shinigami (death spirit) and helping him in his dealings with ghosts and restless spirits in modern day Tokyo. This one perhaps more directly compares to an even earlier Takahashi work, ''Manga/RanmaOneHalf'', although Rin-Ne's HalfHumanHybrid nature is clearly based on Inuyasha.
** ''Manga/{{Mao}}'' revolves around a girl who can travel back in time, where she terms up with a seemingly immortal teenage mystic wielding a magical sword who seeks revenge on a powerful [[BakenekoAndNekomata cat demon]] and becomes drawn into a conspiracy with its roots in the ancient past. The time-travel plot directly compares to ''Manga/InuYasha'', and Mao's cursed blood acting like acid, his feline traits and his ability to transform into a monstrous humanoid cat all invoke comparisons to Inuyasha himself.
** ''Manga/RinNe'' is about a girl who can see ghosts teaming up with a boy who is half shinigami (death spirit) and helping him in his dealings with ghosts and restless spirits in modern day Tokyo. This one perhaps more directly compares to an even earlier Takahashi work, ''Manga/RanmaOneHalf'', although Rin-Ne's HalfHumanHybrid nature is clearly based on Inuyasha.
** ''Manga/{{Mao}}'' revolves around a girl who can travel back in time, where she terms up with a seemingly immortal teenage mystic wielding a magical sword who seeks revenge on a powerful [[BakenekoAndNekomata cat demon]] and becomes drawn into a conspiracy with its roots in the ancient past. The time-travel plot directly compares to ''Manga/InuYasha'', and Mao's cursed blood acting like acid, his feline traits and his ability to transform into a monstrous humanoid cat all invoke comparisons to Inuyasha himself.
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* All the Creator/HannaBarbera cartoons that tried (and failed) to duplicate the success of ''Franchise/ScoobyDoo''.
* After Hanna-Barbera made ''WesternAnimation/TheFlintstones'', a sitcom (more specifically ''Series/TheHoneymooners'') set in HollywoodPrehistory, they eventually went on to make ''WesternAnimation/TheJetsons'', a sitcom set TwentyMinutesIntoTheFuture, and ''WesternAnimation/TheRomanHolidays'', a sitcom set in UsefulNotes/AncientRome.
* After Hanna-Barbera made ''WesternAnimation/TheFlintstones'', a sitcom (more specifically ''Series/TheHoneymooners'') set in HollywoodPrehistory, they eventually went on to make ''WesternAnimation/TheJetsons'', a sitcom set TwentyMinutesIntoTheFuture, and ''WesternAnimation/TheRomanHolidays'', a sitcom set in UsefulNotes/AncientRome.
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* All the After Creator/HannaBarbera cartoons that tried (and failed) to duplicate the success of ''Franchise/ScoobyDoo''.
* After Hanna-Barberamade ''WesternAnimation/TheFlintstones'', a sitcom (more specifically ''Series/TheHoneymooners'') set in HollywoodPrehistory, they eventually went on to make ''WesternAnimation/TheJetsons'', a sitcom set TwentyMinutesIntoTheFuture, and ''WesternAnimation/TheRomanHolidays'', a sitcom set in UsefulNotes/AncientRome.AncientRome.
* After Hanna-Barbera
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** And of course, there were all of the cartoons that tried (and failed) to duplicate the successes of ''WesternAnimation/YogiBear'', ''[[WesternAnimation/TheSmurfs1981 The Smurfs]]'', and especially ''Franchise/ScoobyDoo''.
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** "Boat Smarts" is an educational video where Squidward plays the good driver and [=SpongeBob=] plays the bad driver, and every scene ends with Squidward getting injured. "[[Recap/SpongeBobSquarePantsS13E16MaAndPasBigHurrahYellowPavement Yellow Pavement]]" is the exact same thing, down to reusing multiple jokes.
** "Goofy Scoopers", "Sir Urchin and Snail Fail", and "We Heart Hoops" all follow the same premise of [=SpongeBob=] and Patrick wanting to meet their favorite celebrities. It's especially noticeable since the episodes are so close together -- the former two are season 13 and the last one is early season 14.
** In "Krusty Dogs", a popular new menu item forces Krabby Patties off the menu, to [=SpongeBob=]'s dismay, and he has to get them back. Add Sandy and you have season 13's "Hot Crossed Nuts".
** "Hiccup Plague" and "Allergy Attack!", both in consecutive seasons, revolve around everyone catching an illness and the hijinks that ensue.
** "My Friend Patty" and the ''WesternAnimation/KampKoral'' episode "Patrick Takes the Cake" have the exact same plot beats. A main character tries to protect a sentient food item from others trying to eat it, only for the food to reveal that it actually wants to be eaten, leading them to share it. Both episodes premiered just two months apart.
** "Arbor Day Disarray" and the ''WesternAnimation/ThePatrickStarShow'' episode "A Root Galoot" both revolve around the characters taking care of a plant-themed guest, only for them to be a {{jerkass}} who overstays their welcome.
** "Goofy Scoopers", "Sir Urchin and Snail Fail", and "We Heart Hoops" all follow the same premise of [=SpongeBob=] and Patrick wanting to meet their favorite celebrities. It's especially noticeable since the episodes are so close together -- the former two are season 13 and the last one is early season 14.
** In "Krusty Dogs", a popular new menu item forces Krabby Patties off the menu, to [=SpongeBob=]'s dismay, and he has to get them back. Add Sandy and you have season 13's "Hot Crossed Nuts".
** "Hiccup Plague" and "Allergy Attack!", both in consecutive seasons, revolve around everyone catching an illness and the hijinks that ensue.
** "My Friend Patty" and the ''WesternAnimation/KampKoral'' episode "Patrick Takes the Cake" have the exact same plot beats. A main character tries to protect a sentient food item from others trying to eat it, only for the food to reveal that it actually wants to be eaten, leading them to share it. Both episodes premiered just two months apart.
** "Arbor Day Disarray" and the ''WesternAnimation/ThePatrickStarShow'' episode "A Root Galoot" both revolve around the characters taking care of a plant-themed guest, only for them to be a {{jerkass}} who overstays their welcome.
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** "[=SpongeBob=] Meets the Strangler" and "Good Ol' Whatshisname" both end with someone going to jail but being relieved that at least they've got away from [=SpongeBob=] (The Tattletale Strangler in the former and Squidward in the latter), only to find that their cellmate is Patrick.
