The streaming service model seems better suited to adapting existing IP from book sources. Episode lengths can be variable, and a smaller episode count per season allowed, as well not being tied to the TV calendar of sweeps and holidays. This means the rhythm of the original narrative can be more easily retained, and all this seems to allow for more input from the original creator.

As the old joke goes about the aspiring actress “she was so dumb she slept with the writer” indicating the writer was the least influential in the film making heirachy. Jim could expect way more say as a creator these days, commissioning buyers for the streaming services know that they are reaching out to the existing fan base first and foremost and don’t have to cheapen or dumb down the product to appeal to a wider audience, in part because they can now reach everyone in that fan base at the same time and in part because the wider audience these days have a better understanding of comic, SF and fantasy ideas and tropes. The wider audience were not confused by the Multiverse concept in No Way Home, and seem to be willing to try the new. Look at the success of Squid Game.

I would start with an adaption of Grave Peril and do an abbreviated version of Storm Front as a flashback within that story, same with Summer Knight and Full Moon.