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04/26/16 @ 10:21 am EST
David Walker, writer of Shaft: Imitation of Life #3, talks with writer Corinna S. Bechko about Lords of the Jungle #2, both on sale now from Dynamite. Cover by Felipe Massafera with interiors by Roberto Castro and Alex Guimaraes. DAVID WALKER: What was your introduction to the characters of Tarzan and Sheena? Do you have any nostalgic connection to either?CORINNA S. BECHKO: Sheena is pretty new to me, but I have a connection to Tarzan going back to when I was a kid. I’ve always been interested in the natural world, so of course I felt drawn to him. But I think I identified most with Jane, to tell the truth, since she had more of a choice than Tarzan did. He was raised in the jungle, but she saw it as an adult and fell in love, ultimately choosing it, and Tarzan, over the culture she was born into. DW: Were there any tricks you employed to make the characters more appealing to a contemporary audience?CSB: I think there are timeless qualities to both Tarzan and Sheena that continue to appeal to audiences across the decades. Those include loyalty, self-sacrifice in the name of a good cause, commitment to protecting their homes and loved ones, and bravery. I don’t know if it’s a trick, but I lean into those as much as I can. DW: What did you find to be the biggest challenge in doing a crossover book of this type?CSB: In this case, it was that Tarzan and Sheena are alike in many ways. Both are heroic, understand animals and nature, and are willing to fight tooth and claw to protect what they believe in. Finding the drama and tension between them was challenging at first, until I realized that it was really their attitude and approach that defined a lot of their worldview. Maybe they both end up at the same place, but there’s not much of an overlap between how they get there. DW: If you were stranded in the jungle, and could only have one person at your side, Tarzan or Sheena, which one would it be?CSB: Hmm, tough question! I’m going to go with Sheena, because she seems to have more rapport with more kinds of animals. I have spent most of my life working with animals too, so I think we would understand each other. DW: Any projects on the horizon we should be looking for?CSB: Thanks for asking! I’m currently also writing Miss Fury for Dynamite (art by Jonathan Lau), which I’m really happy about. Invisible Republic, my Image book with co-writer Gabriel Hardman (art by Gabriel as well), is ongoing, and about to enter its third arc. Then there’s Court of the Dead: Chronicle of the Underworld (created by Tom Gilliard, co-written with Landry Walker), out from Insight this month. In addition, I’m working hard on a Court of the Dead comic, out this summer from Heavy Metal.     
07/23/25 @ 1:18 pm EST
The DC Universe is expanding once again, and this time it’s giving center stage to one of its quirkiest and most beloved underdogs: Booster Gold. After years of fan speculation and stalled attempts, the time-traveling hero from the 25th century is finally getting his own live-action television series on HBO Max. Booster Gold, real name Michael Jon Carter, is a former Gotham City college football star who fell from grace due to a gambling scandal. Disgraced but ambitious, he steals advanced technology and a time machine from a museum and travels back to the present day. His goal? To become a famous superhero—not out of altruism, but for fame and fortune. Despite his self-serving motives, Booster often ends up doing the right thing, earning a complicated but endearing reputation among DC’s pantheon of heroes. The show was first announced as part of DC Studios’ “Chapter 1: Gods and Monsters” slate, but progress was slow until recently. Now, David Jenkins, creator of Our Flag Means Death, has been tapped to write the pilot and potentially serve as showrunner. Jenkins’ knack for blending humor, heart, and genre storytelling makes him a promising fit for Booster’s offbeat tone.  07/21/25 @ 5:11 pm EST
Marvel Studios President Kevin Feige has officially confirmed that Thunderbolts director Jake Schreier will helm the highly anticipated X-Men reboot, marking a pivotal moment in the evolution of the Marvel Cinematic Universe (MCU). Feige made the announcement during a press roundtable promoting The Fantastic Four: First Steps, stating, “It’s official, Jake Schreier is doing X-Men for us, and we’re very, very lucky to have him”. The script is currently underway, with screenwriter Michael Lesslie ( The Hunger Games: Ballad of Songbirds and Snakes) attached to the project. Schreier’s appointment follows his critically praised work on Thunderbolts, which showcased his ability to handle ensemble casts and emotionally grounded storytelling. Feige emphasized Schreier’s connection to younger audiences, noting that the X-Men film will be “a very youth-oriented, focused and cast movie”. Feige also promised a more comic-accurate portrayal of the X-Men, a departure from previous cinematic iterations. “We want to embrace that which was not embraced 25 years ago… those comic-accurate looks,” he said, referencing costumes and character dynamics that fans have long hoped to see on screen. The reboot is being positioned as a franchise reset, not a multiverse continuation. Feige clarified, “Reboot is a scary word… Reset, singular timeline—we’re thinking along those lines”. This approach aims to reintroduce the X-Men with fresh faces and stories, while honoring the core themes of identity, adolescence, and belonging that define the mutant mythos. The film is expected to arrive in 2028, following the conclusion of the Multiverse Saga with Avengers: Secret Wars.  07/21/25 @ 5:04 pm EST
DC Studios has officially tapped Ana Nogueira, the rising screenwriting talent behind Supergirl, to write the script for its upcoming Wonder Woman reboot—a major step forward for the studio’s evolving cinematic universe. Nogueira’s selection marks her third major project with DC Studios, following her work on the Supergirl film (set to release June 26, 2026) and the in-development Teen Titans live-action movie. James Gunn, co-head of DC Studios, has emphasized that Wonder Woman is a priority, though not fast-tracked. “Nothing is going to be shot unless we’re as sure as we can be that the script is good,” Gunn stated, underscoring the studio’s commitment to quality over speed. Gal Gadot, who previously portrayed Diana Prince in two solo films and several ensemble appearances, will not return in the role. The reboot aims to introduce a fresh take on the Amazonian warrior, aligning with the studio’s broader narrative overhaul. In addition to the film, DC Studios has been developing Paradise Lost, a television series set on Themyscira. While its status remains uncertain, the show was initially pitched as a Game of Thrones-style prequel exploring the political intrigue of Wonder Woman’s homeland.  07/20/25 @ 2:48 pm EST
James Gunn’s Superman has proven to be more than just a reboot—it’s a box office revival for DC Studios. In its first 10 days, the film has soared past expectations, delivering impressive numbers both in the U.S. and abroad. It has earned $235 million domestically, holding strong in its second weekend, dropping only 54% to bring in $57.2 million, a better-than-expected hold for a superhero film. The film now ranks as the biggest domestic hit for DC since Aquaman in 2018. It has already surpassed the lifetime domestic total of Justice League ($230M) and Thunderbolts ($189M). Overseas, Superman brought in $171.8 million, bringing its global total to $406.8 million all while the film faced challenges in some international markets due to Superman’s strong American identity, but still managed solid numbers in Latin America and parts of Europe. Top international markets include: UK: $9.8M, Mexico: $8.8M, Brazil: $5.9M, Australia: $5.3M and France: $4.2M. With a reported $225 million production budget, the film is on track to recoup costs and potentially reach $600–700 million globally. It has already outgrossed Marvel’s Thunderbolts ($383M) and is closing in on Captain America: Brave New World ($415M). Studio insiders project a domestic finish between $350M and $400M, with international markets expected to contribute further as word-of-mouth spreads. The film’s success has reignited interest in Superman across platforms: Man of Steel viewership surged on HBO Max. Christopher Reeve’s Superman: The Movie and the documentary Super/Man: The Christopher Reeve Story saw massive streaming spikes. Even Peacemaker Season 1 got a boost, showing the ripple effect across DC content. In just 10 days, Superman has not only proven its box office muscle but also reestablished the character as a global icon. With strong legs and a clear runway before Fantastic Four arrives, the Man of Steel is flying high—and the future of DC looks brighter than ever.  ...
07/19/25 @ 2:18 pm EST
HBO Max’s The Penguin has officially cemented its place as one of the year’s most celebrated limited series, earning 24 Emmy nominations—the most in its category and second only to Severance across all shows. The gritty Batman spinoff, starring Colin Farrell as Gotham’s infamous crime lord Oz Cobb, has captivated critics and audiences alike with its noir aesthetic, powerhouse performances, and meticulous production design. In the acting categories, Colin Farrell received a nomination for Outstanding Lead Actor in a Limited or Anthology Series or Movie, adding to his Golden Globe and SAG wins for the role. Cristin Milioti, who plays Sofia Falcone, earned a nod for Outstanding Lead Actress. Deirdre O’Connell was recognized for her supporting role as Oz’s mother, Francis Cobb. Behind-the-scenes the show also scored with nominations across technical categories, including: Outstanding Writing for Lauren LeFranc’s episode “A Great or Little Thing”, Outstanding Directing for episodes helmed by Helen Shaver and Jennifer Getzinger, Outstanding Prosthetic Makeup, honoring the transformative work that turned Farrell into the scarred and bloated Penguin, Outstanding Music Composition, with Mick Giacchino’s haunting score earning its own spotlight. The Penguin was recognized for: Production Design, Casting, Cinematography, Hairstyling Title Design, Sound Editing and Mixing, and Stunt Coordination and Performance. With 24 nominations, The Penguin now holds the second-highest Emmy nod count for a comic book series, trailing only HBO’s Watchmen (26 nominations in 2019).  07/19/25 @ 2:09 pm EST
With all the coverage for Superman, James Gunn, co-head of DC Studios, seems to be everywhere being asked everything. In a recent set of interviews, he has offered fresh insights into the future of several iconic heroes in the evolving DC Universe. Gunn confirmed that a new Wonder Woman film is actively in development, with a script currently being written. He expressed strong enthusiasm for the project, calling it “a very distinct take” that will differ significantly from the Gal Gadot-led version in the previous DCEU continuity. The DCU’s Batman reboot, The Brave and the Bold, is also in the scripting phase. Gunn emphasized that production won’t begin until the screenplay meets his high standards, stating, “I’d rather wait a year than go too soon”. This film will introduce a new Batman and explore his relationship with Damian Wayne. However, Gunn is mindful of overlapping timelines with Matt Reeves’ The Batman Part II, which is set for October 2027, and has hinted that the two films won’t release in the same calendar year. Fans hoping to see The Flash and Aquaman in the near future may be disappointed. Gunn revealed that neither character is expected to appear in the DCU for at least the next two years, pushing their potential returns to 2028 or later. This strategic delay allows DC Studios to rethink their approach after mixed receptions to their last solo outings.  07/19/25 @ 1:58 pm EST
Sony Pictures Animation has officially shifted the release date of Spider-Man: Beyond the Spider-Verse, the highly anticipated conclusion to its animated trilogy, from June 4 to June 25, 2027. While the delay is a modest three weeks, it marks yet another adjustment in the film’s long and winding journey to theaters. Studio insiders revealed that the new date was chosen to better align with summer break schedules—by June 25, all U.S. schools will be out, compared to only 65% on the original date. This strategic timing is expected to boost attendance among younger audiences and improve performance in international markets. Beyond the Spider-Verse picks up immediately after the cliffhanger ending of Across the Spider-Verse (2023), with Miles Morales on the run in an alternate universe. Directors Bob Persichetti and Justin K. Thompson return, while the screenplay is penned by franchise architects Phil Lord, Christopher Miller, and David Callaham. The trilogy began with Into the Spider-Verse (2018), which won the Oscar for Best Animated Feature and grossed $384 million globally. Its sequel, Across the Spider-Verse, earned a staggering $690 million and cemented the franchise’s reputation for bold storytelling and groundbreaking animation.  07/05/25 @ 1:54 pm EST
In a twist worthy of a Hollywood script, Ryan Coogler’s breakout horror film Sinners—a 2025 box office juggernaut—owes part of its haunting aesthetic to a Marvel movie that never made it to set. The film’s eerie, period-perfect costumes were originally designed for Marvel Studios’ long-delayed Blade reboot, which remains in production limbo. According to Sinners producer Sev Ohanian, the film’s costume designer, Oscar-winner Ruth E. Carter ( Black Panther), had been working on Blade when the project was shelved indefinitely. That version of Blade, starring Mahershala Ali, was once envisioned as a 1920s-set vampire thriller—eerily similar in tone and era to Sinners. When Sinners was greenlit on a tight schedule, Carter had a warehouse full of unused, period-appropriate costumes. Marvel, in a rare behind-the-scenes collaboration, allowed Coogler’s team to purchase the wardrobe “at price”. While the main cast including Michael B. Jordan, Hailee Steinfeld, and others wore custom-designed costumes tailored specifically for their characters, many of the extras in Sinners were dressed in the repurposed Blade costumes, giving the film a rich, textured authenticity without the usual prep time. First announced in 2019, Marvel’s Blade reboot has faced repeated delays due to creative changes, director exits, and industry strikes. The film was removed from Disney’s release calendar in 2024 and remains without a confirmed production date. Despite the setbacks, Mahershala Ali has expressed continued interest in the role, recently telling reporters, “Call Marvel. I’m ready”.  07/05/25 @ 1:29 pm EST
Nearly 50 years after One Flew Over the Cuckoo’s Nest became a cinematic landmark, a new television spinoff is in the works—this time told through the eyes of the character who saw everything but said very little: Chief Bromden. Producer Paul Zaentz, nephew of the original film’s producer Saul Zaentz, revealed on the CK Café podcast that he has signed an agreement with the widow of author Ken Kesey to develop a TV series based on the 1962 novel. The first season will be told entirely from the perspective of Chief Bromden, the towering half-Native American patient who pretended to be deaf and mute in the original story. Zaentz explained that the series will begin within the psychiatric hospital, as in the original, but will then follow Chief’s journey after his dramatic escape—territory the original film never explored. While Milos Forman’s 1975 film adaptation won five Academy Awards, including Best Picture and Best Actor for Jack Nicholson, it famously diverged from Kesey’s novel by shifting the narrative focus from Chief Bromden to Randle McMurphy. Kesey was openly critical of this change. The upcoming series aims to restore the novel’s original point of view and delve deeper into the Chief’s inner world. Chief Bromden’s character—played by Will Sampson in the film—was a symbol of silent resistance and eventual emancipation. The new series promises to explore his backstory, his psychological trauma, and his life beyond the institution. It’s a chance to reframe the narrative around Indigenous identity, mental health, and the long shadow of institutionalization.  07/05/25 @ 1:20 pm EST
Julian McMahon, the charismatic Australian actor known for his iconic roles in Nip/Tuck, Charmed, and the Fantastic Four films, has passed away at the age of 56 following a private battle with cancer. His wife, Kelly McMahon, confirmed that he died peacefully on July 2, 2025, in Clearwater, Florida. Born in Sydney on July 27, 1968, McMahon was the son of former Australian Prime Minister William McMahon. He began his career as a model before transitioning to acting in Australian soaps like The Power, The Passion and Home and Away. His move to Hollywood led to breakout roles in Profiler and Charmed, where he played the complex and seductive demon Cole Turner. But it was his portrayal of Dr. Christian Troy in FX’s Nip/Tuck that cemented his status as a television icon. The role earned him a Golden Globe nomination and showcased his ability to balance charm, darkness, and vulnerability. He later brought gravitas to the role of Victor Von Doom in the Fantastic Four films, becoming one of Marvel’s earliest cinematic villains. McMahon’s career spanned decades and genres. He starred in FBI: Most Wanted as Jess LaCroix, appeared in Hulu’s Runaways, and most recently played the Australian Prime Minister in Netflix’s The Residence—a poignant nod to his real-life heritage. McMahon is survived by his wife Kelly and his daughter Madison, whom he shared with ex-wife Brooke Burns. In her statement, Kelly described him as a man who “loved life… and whose deepest wish was to bring joy into as many lives as possible”.  |
