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02/01/17 @ 9:00 pm EST
A new Writer-2-Writer interview with Jesse Hamm, the co-writer and artist on Flash Gordon: Kings Cross #4, asking questions of writer David Liss of Green Hornet: Reign of the Demon #3. Both books are on sale today from Dynamite Entertainment. Cover by Moritat.  JESSE HAMM: Your Green Hornet comics have the fun, fast-paced energy and bravado of ’30s pulp stories. I’m reminded of Robert E. Howard’s occasional crime stories, or the Mr. Moto movies. What are some of your influences, from prose and film? DAVID LISS: I don’t think I could point to any one, or even any handful, of influences in particular. I’d say I’m drawing on the pulp tradition in general. When I work on this kind of story, I set out with a particular set of character and plot goals, and then try to figure out how to best organize the material so that it will be – I hope – an engaging, suspenseful and surprising story. In this case, I have a few different elements, such as the flamboyance of the Swashbuckler and the insane villainy of Demone. They come from different universes, and putting them together is part of the fun in crafting a story like this. JH: Are there any particular comics writers or series that you look to for inspiration? DL: I feel like I learn from everything I read, even the stuff I don’t think is successful. There are tons of comics writers I admire, of course, but I think the nuts and bolts guy I turn to most frequently might be Ed Brubaker. I think he’s not only a terrific storyteller, but he’s a master of the set-up. Whenever I start a new series or a new arc, I’m at least subconsciously, and sometimes overtly, thinking, “What would Brubaker do?” JH: Each issue of The Green Hornet: Reign of the Demon is clearly part of a bigger story arc, with clues about Demone’s plans that the Hornet must unravel along the way. How do you decide how much information to reveal to readers in each issue? DL: Because I started out writing prose fiction, I am always fascinated by, and love to play with, the way form and content work together in comics. In a novel, you can make any chapter as long as you’d like and spend as much time as you need developing any element of plot or character. In comics, you usually know how many issues you have for a story, and you certainly know how many pages. In this case, because it was a four issue arc, I knew I was going to need at least one major revelation, something that makes readers rethink the story or the stakes, in each of the first three issues. I like to get readers to the point where they feel like they know what’s going on and then throw out something new to make them realize things are more complicated than they realized. I know I like that sort of thing as a reader. JH: Both Casey and Kato make up the Hornet’s support staff, so to speak. Kato’s clearly handy in a fight; what would you say Casey brings to the team? How would the book likely differ without her? DL: Casey is there to do research, of course, but also as a kind of moral compass. That was something Mark Waid set up beautifully in his Green Hornet run, and I thought it would be a shame to let that slide. She holds Britt Reid to task and makes sure he remembers why he does all this in the first place. She’s also there to bring out some interesting period gender dynamics. As a woman in this period, she faces real obstacles and limitations, and it presents some great storytelling and character development opportunities to have some of these people push back against the limitations imposed by their culture. JH: The Hornet is in a unique position among costumed heroes, in that he needs to appear as a villain to the public. Are there particular lines that he won’t cross in his efforts to appear villainous? DL: The Hornet will never deliberately allow an innocent person to come to harm, though the need to create the illusion of villainy can lead to some unintended consequences. One of the things I explore in this series is how this masquerade can sometimes put the character in a difficult position, or the need to appear as a villain can actually endanger people. It’s a tightrope, and watching this character walk it is part of the appeal. JH: You weave some humor into the Hornet’s adventures, and there’s also a lot of theatricality in the characters’ disguises. How do you strike the right balance, keeping the series light and fun without letting it slide into campy comedy? DL: I think the key is to have the humor come from the characters. People use humor in all kinds of way – they crack jokes in dangerous and solemn situations – and showing that is both fun for the readers and humanizing for the characters. I think the key is to make sure the characters are generating the humor and not the butt of it. If the writer doesn’t take the characters seriously, then the reader won’t either. JH: Describe your working relationship with artist Kewber Baal. How do you two divide up the visual narrative? Do you list the number of panels on each page and provide shot descriptions, or is it a more casual arrangement? DL: I produce what I think of as a pretty standard script, in which I divide the page into panels. I’ll block each panel to the degree I think is necessary for plot and character development, but I also like to give Kewber a lot of room to put his own spin on things. I see the artist’s I work with as co-creators, not people who are there to turn my vision into reality. So I like to give artists what they need to tell the story properly, but at the end of the day, I want them to feel like it’s our story, not just mine. 12/06/25 @ 2:03 pm EST
Scarlett Johansson is said to be in negotiations to join the cast of the highly anticipated sequel, The Batman Part 2. While Warner Bros. has not officially revealed which character Johansson would portray, speculation is rife across social media and film forums. Many fans are hoping she will take on the role of a major antagonist or perhaps bring a new dimension to an existing character from the Batman lore. Johansson’s acclaimed work in action and drama—especially her iconic run as Black Widow in the Marvel Cinematic Universe—positions her as a compelling choice for a complex role in Gotham’s shadowy streets. The Batman Part 2 is currently in pre-production, with filming scheduled to commence in May of next year. The film is targeted for a theatrical release in 2026, although official dates may be subject to change. Director Matt Reeves returns to helm the sequel, ensuring continuity in the vision and tone that made the first installment a critical and box office success. Johansson’s addition is expected to boost the already stellar lineup led by Robert Pattinson as Bruce Wayne/Batman. Within hours of the announcement, social media platforms lit up with enthusiastic posts and trending hashtags. Speculation is running rampant with guesses of her role ranging from villains like Poison Ivy and Harley Quinn to love interests like Silver St. Cloud and Vickie Vale. One of the more popular suggestions is that Johansson could be playing Andrea Beaumont, a love interest and antagonist from the hit animated film Mask of the Phantasm. The casting has not been confirmed and neither the studio nor Reeves has commented since the story broke. 
12/06/25 @ 1:50 pm EST
In a dramatic shift for the entertainment industry, Netflix has announced its acquisition of Warner Bros, one of Hollywood's most iconic studios. This unprecedented deal marks a pivotal moment in the ongoing evolution of media and streaming services. Netflix, already a leader in streaming content, has been searching for ways to expand its library and production capabilities. Warner Bros, with its vast catalog of beloved films and television franchises—including the Harry Potter, DC, and Looney Tunes properties—represents a treasure trove of content and creative resources. The acquisition signals Netflix's commitment to not only dominating streaming but also to strengthening its influence in theatrical releases and television programming. Though Netflix has been against theatrical releases in the past, in a recent statement they said they planned to continue them for Warner Bros films just with a shorter release window. By purchasing Warner Bros, Netflix gains access to a library of classic and highly profitable intellectual properties. This move allows Netflix to offer exclusive streaming rights to blockbuster franchises, while also leveraging Warner Bros’ production infrastructure. The deal also positions Netflix to compete more directly with other major studios and streaming platforms, such as Disney and Amazon. Industry analysts predict that this acquisition will accelerate the consolidation trend within the entertainment sector. Other studios and streaming services may seek mergers or partnerships to remain competitive. Audiences can likely expect a surge in new content, including reboots, spin-offs, and original productions drawing from Warner Bros' legacy. For Netflix subscribers, the platform could soon become the go-to destination for both new releases and classic favorites. While some industry veterans express concern about further consolidation of media power, others see this as an opportunity for innovation and greater investment in high-quality storytelling. Only time will tell how this landmark deal reshapes Hollywood and the global entertainment landscape.  ... 11/29/25 @ 11:47 am EST
If you’re of a certain age, then you realize that Peter Hammond was not the first live-action Spider-Man to appear on television screens. That honor goes to Jim Hensen puppeteer Danny Seagren who was a regular on both Sesame Street and The Electric Company. Seagren was both a puppeteer and puppet maker and was the right hand of Ernie along with putting on the Big Bird suit on several occasions including an appearance on the Ed Sullivan Show. He was also the web slinger on the show that started the careers of Rita Moreno and Morgan Freeman as both shows fell under the Children’s Television Workshop. He went on to create puppets for other series like Curiosity Shop, Captain Kangaroo and Who’s Afraid of Opera. “Danny will be greatly missed by his family, friends and those throughout the community he loved living in,” his family said in his obituary. Seagren died on November 10th at the age of 81.  11/29/25 @ 11:31 am EST
Director Shawn Levy has officially hired renowned composer Thomas Newman to craft the score for his upcoming Star Wars: Starfighter film. The collaboration marks a significant moment for the celebrated sci-fi franchise, as Newman steps into a universe long defined by the iconic music of John Williams. His distinguished career includes memorable scores for films such as The Shawshank Redemption, Finding Nemo, and 1917, brings a fresh perspective to the Star Wars saga. Over the years, Newman has earned an impressive 15 Oscar nominations, a testament to his exceptional talent and enduring impact on the film industry. Levy, celebrated for his work on blockbusters like Free Guy and Deadpool and Wolverine, and the hit series Stranger Things, expressed enthusiasm for the partnership. He highlighted Newman's ability to blend sweeping orchestral moments with subtle, character-driven motifs—a style well-suited to the expansive and adventurous spirit of Star Wars. While plot details remain under wraps, Levy and Newman’s collaboration promises a thrilling and emotionally resonant cinematic experience.  11/16/25 @ 12:48 pm EST
While most of the focus over at Marvel Studios is currently on the pair of upcoming Avengers films, Ryan Coogler is ready to return to Wakanda for a third Black Panther film. We’d heard of the possibility of the film originally from Denzel Washington who, while speaking of his potential retirement, mentioned the film as one of his future projects and then when Nate Moore left Marvel last year, he said he would be back producing the third Black Panther film. Now, Coogler himself said while on stage talking about his film Sinners, that Black Panther 3 would be his next movie. The series kicked off with Chadwick Boseman as T’Challa, king of the African Nation of Wakanda and while he reprised the role in Avengers: Infinity War and Endgame, he sadly passed away shortly after. The sequel dealt with the characters death and passed the mantle on to his sister Shuri played by Letitia Wright who is expected to reprise the role in the upcoming Avenger films, but with talks of a potential soft reboot of the MCU, it’s unclear who will be wearing the mask for the third film.  11/16/25 @ 12:31 pm EST
The most recent news on the DCU has to do with Jimmy Olsen. Variety is reporting that Skyler Gisondo will reprise his role from Superman in a true-crime docuseries style show that focuses on villains in the universe starting with the Flash rogue, Gorilla Grodd. Tony Yacenda and Dan Perrault are set to write and showrun with James Gunn and Peter Safran joining them as executive producers. The show is planned for HBO Max and will be a mockumentary style similar to Yacenda and Perrault’s previous series like American Vandal and Players. In the original report, Variety claimed the series would be called DC Crime, something Gunn took to social media to debunk, saying there had never been any project in production called DC Crime, he then added that his saying that doesn’t mean that the rest of the report is false. This sounds like a pretty good confirmation to me.  11/15/25 @ 12:49 pm EST
A new Star Trek film is in the works and Paramount is tapping the team of Jonathan Goldstein and John Frances Daley to write, produce and direct. This news comes shortly after David Ellison, founder of Skydance who recently purchased the studio, told investors that the next Star Trek film would not be a sequel to the Chris Pine/ Zachary Quinto lead series of films. While this hasn’t been 100% confirmed, word is that the new film will be focused on new characters and not directly tied to any previous film or television series. Goldstein and Daley have a good track record when it comes to revitalizing franchises having written Spider-Man: Homecoming for Marvel Studios and wrote and directed Dungeons & Dragons: Honor Among Thieves which was very well received by fans and critics.  11/15/25 @ 12:32 pm EST
With The Fantastic Four: First Steps having moved to Disney+, the Pedro Pascal and Vanessa Kirby lead team is now first in fans minds. But one person still thinks about the First Family of Marvel presented a decade ago and what went wrong. Miles Teller, who played Reed Richards in Josh Trank’s 2015 version of the property, still thinks about the project and how he believes the problems all came down to one person. Teller was on Sirius XM’s Radio Andy show said, “You saw the movie, right? Your eyes were working during that time? I think it’s unfortunate because so many people worked so hard on that movie. And, honestly, maybe there was one really important person who kind of f***ed it all up.” While Teller didn’t say who that was, he was referring to the person who made the final cut on the film, which was not director Trank. Teller said that he wanted a superhero film on his resume to help show him as a serious leading man, but after seeing the final cut recalled, “I remember talking to one of the studio heads, and I was like, ‘I think we’re in trouble.'” The 2015 version made $167 million worldwide compared to this year’s version which made $521 million. He stopped short of calling for a director’s cut of the film.  11/09/25 @ 2:03 pm EST
The Creeper is a unique character from DC Comics, first introduced in "Showcase #73" in 1968. Created by Steve Ditko, The Creeper’s real name is Jack Ryder, a former television talk show host and investigative journalist in Gotham City. After being attacked during an undercover operation at a costume party, Ryder is injected with a serum by Dr. Yatz and gains superhuman abilities, including enhanced strength, agility, rapid healing, and a pain tolerance bordering on the supernatural. The serum, combined with a bizarre costume, transforms him into The Creeper, a vigilante known for his wild laughter, erratic behavior, and flamboyant appearance—a shock of green hair, yellow skin, and a red mane-like cape. The Creeper remains largely untouched by mainstream media, providing an opportunity to introduce audiences to a fresh face and break away from more established archetypes. His blend of horror, humor, and psychological complexity could create a film that stands out from traditional superhero fare. The Creeper’s unsettling persona and visual style lend themselves well to a film that could blend genres—horror, black comedy, and superhero action. His maniacal laugh and unpredictable methods could inject dark humor and psychological thrills, appealing to fans of films like "Joker" and "Deadpool" while carving out a distinctive identity in the DCU. Jack Ryder’s journey from cynical journalist to bizarre vigilante offers rich storytelling potential. Exploring themes of identity, sanity, and the nature of heroism, a Creeper film could delve into Ryder’s internal struggles and the impact of his dual life, making for a character-driven narrative that resonates with audiences seeking depth and complexity. And with being set in Gotham City, The Creeper’s adventures naturally intersect with the city’s gritty underworld, providing opportunities for noir-style detective storytelling. His background in journalism and investigation can be leveraged to create suspenseful plots involving corruption, criminal conspiracies, and moral ambiguity—making him an ideal protagonist for a film that explores the darker aspects of the DC Universe. The Creeper stands as one of DC Comics’ most unconventional and intriguing characters. His untapped potential, distinctive personality, and ability to straddle multiple genres make him a perfect candidate to lead a film in the new DCU.  ... 11/09/25 @ 1:37 pm EST
Predator: Badlands is doing very well, thanks for asking. The latest film in the long-running franchise set a few high franchise marks including domestic opening with $40M, best worldwide opening with $80M and best Cinemascore with an A-. The film also sits a the top of this week’s box office beating out the 2nd place film, Regretting You, by $32.9M… though that film is in its 3rd week. Other new films opening this week, Sarah’s Oil and Nuremberg, opened in 4th and 5th with just over $4M each. Badlands is the third Predator project for director Dan Trachtenberg, the first Prey showed how he could handle the franchise but then he wanted to follow it up with an animated film, Killer of Killers and then for the first time Badlands make the Predator the protagonist. 
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