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05/27/16 @ 11:21 pm EST
David F. Walker has brought one of the iconic characters of the seventies back to the spotlight with his first Shaft mini-series for Dynamite. He continues that work with the latest series, Shaft: Imitation of LIfe and we have his writer’s commentary for issue #4 that came out this week. The cover below was done by Matthew Clark and interiors byDietrich Smith.
Page 1
The first issue of Shaft: Imitation of Life started with a sequence from the original Shaft novel by Ernest Tidyman, and I wanted to make sure that this final issue of the story made some kind of passing reference to where it all started. Hence, the flashback in Panel 3. This actual scene never occurred in the book (or the movie), but I needed a way to explain how Shaft would have so much cash on hand, and it made sense (at least while I was writing it).It’s also important to note that in every issue of Shaft, his first person narration was an integral part of the story. But with this issue, it was very difficult for me. The first draft had no narration, and I struggled with what to have Shaft say, because it just felt like this issue didn’t need him blabbering on an on. But at the same time, the precedent had been set, and not have him narrate would be weird. Some of you may notice that there is less narration in this issue.
Page 2
The supporting character of Tito didn’t start out as important as he ended up being. In fact, in the original outline, he was only in the first two issues, but as the story grew and evolved, so did the character. I specifically asked Dietrich to draw a Volkswagen Beetle for this scene, because it seems like the least badass car Shaft could be driving. I find it funny, but I don’t know if anyone else will appreciate the humor.
Page 3
I loved working with Dietrich Smith on this series. He had an incredible way of bringing my scripts to like, but the thing I like best is the way he captured the little details that were very important. On this page, the single most important detail is that Tito is taking the gun from the bag. There is nothing else that the reader absolutely has to know, but they need to know this, and they need to know that Shaft doesn’t know. Dietrich made this one bit of information truly sing.
Page 4-5
In the original script, there was only dialog in the giant panel. After seeing Dietrich’s art, I felt that there were missed opportunities on this page, if I left the remaining panels silent. I struggled with what to have the characters say. I knew I wanted Tito talking to himself in Spanish. The problem was that the character is Puerto Rican, and I wanted to make sure that what I had him saying “sounded” right for someone from Puerto Rico, because not all Spanish-speaking languages say things the same way. I think (or hope) that I got it right. If it is wrong, I apologize. As for what Shaft says, I just wanted to play around with the idea that he knows this case was a bad move.
Page 6
This mini-series has an odd history. Originally, I had written a self-contained Shaft story that was supposed to be some kind of annual, but it never got published. When Dynamite asked for a second story-arc, I decided to use material from that other script, and combine it into a second story. Essentially, Shaft: Imitation of Life is a combination of a one-shot style story, that was repurposed and combined with a second story. What we are seeing here is one of the few scenes from that original one-shot that made it into this series completely unaltered. There’s actually a certain amount of symbolism on this page, mostly in the last panel, as it represents Shaft about to enter a very absurd world.
Page 7
To the best of my knowledge, this was not how porn movies were made in the 1970s. To be honest, I have tried to keep Shaft somewhat grounded in fact, and with this, my tenth issue of the character, I have ventured into a complete and total land of make believe. That’s part of why this series is called Imitation of Life.
Page 8
If you’ve been reading this story from the start, you know that Shaft was originally hired to find this kid, Mike Prosser. The case involving Mike, and the introduction of Tito, was all part of secondary story that came about when the one-shot story was expanded. The original one-shot story was nothing more than Shaft working as a film consultant. This particular scene was never in that story, because the character of Mike wasn’t in that story. I needed away to bring both of those cases together, and thanks to the sleazy world or porn…here it is.
Page 9
The character of Lou “Lollipop” Peraino is fictional. In real life, however, there was a mobster name Anthony “Big Tony” Peraino, who was a huge player in the porn industry. Big Tony was part of the Columbo crime family, and he financed the porn film Deep Throat, which changed the world of pornography. In the world of Shaft, Lollipop Peraino is the nephew of Big Tony, which is how he got into porn.
Page 10
I try to give my artists reference material for when they have to design key characters. I don’t expect them to make the characters look exactly like the reference, but it helps the artist to get an idea of what a character can look like. For Lollipop Peraino, I sent Dietrich photos of several actors, including John Saxon, Jack Palance, and Henry Silva. To me, Peraino looks like a cross between Palance and Silva.
Page 11
It’s hard to believe that originally, Tito was a throwaway character that only appeared in the first two issues. At some point, I grew attached to him, recognized that he had a lot of potential, and even came to understand that this story is as much about him as it is Shaft.
Page 12
This scene is wrong on so many levels, and I wrestled with keeping it. I knew it would offend some people. And then I thought, “Well…f*ck ‘em.” I always wanted to take this story someplace outrageous, sleazy, over-the-top, and exploitative. I wanted to evoke the balls-to-the-wall aesthetic of some of the more outrageous grindhouse films of the 1970s, and this is how I decided to do it. I love this page. I love this scene. Dietrich captured it all beautifully.
Page 13
Of all the things in this issue that I could be worried about, this is the page that concerns me the most. I worry that people will miss the fact that Shaft is reaching for his gun in the bag, and that is not there. Perhaps I should be concerned that we are implying that Shaft is about to anally assaulted with a sausage, but that doesn’t matter to me. I just want people to realize the gun is missing.
Page 14
I love how Dietrich brought the action to life on this page. As I pointed out, there is much less narration in this issue, and I knew that at some point Shaft would have to start telling his story again. The point of the narration has always been to give the reader insight into Shaft that works either in conjunction with what is on the page or, in some cases, beyond what is on the page.
Page 15
And here we are essentially where Issue #2 started. This scene is directly from the original one-shot that never got published.
Page 16
Here we see the two different cases of this story coming together, but also a bit more than just that. Once again, Shaft: Imitation of Life was originally supposed to be a self-contained one-shot. It was the story of Shaft working as a film consultant, and was meant to be absurd, over-the-top, and, quite possibly, a bit offensive. The second storyline, the one that came about when I was asked to write another series, was the missing persons case involving Mike Prosser. That story was about Shaft failing on the case, with someone else finding the person he was looking for. That story went through many changes—especially considering that Mike was originally a teenage girl, and the character of Tito didn’t exist. But things change and stories evolve, and in some cases, two stories come crashing together in more ways than one.
Page 17
I don’t do much lettering (because I’m not that good at it, and because I don’t have the time). But I love lettering Shaft, because it allows me to play with the dialog (and even the story) up until the very last moment. This page is pretty much as I wrote, except for the second panel. The dialog was slightly different, and when I saw the emotions on the characters’ face as Dietrich had drawn them, I saw a great opportunity to add just a bit more to the story.
Page 18
I absolutely love what Dietrich did with this page. In the original one-shot story, I never showed how Shaft and Rockman escaped. But when the story expanded, and Tito was brought in, I had to have some kind of action-packed ending. I also love the use of Volkswagen. Much of this story was in response to the announced Shaft film reboot, which was announced last year, and was reported to be comedic in nature. I don’t think Shaft should be done as a comedy. But if it is going to have comedic elements, it should be him killing a warehouse full of pornographers, then jumping out of a window, and landing on the hood of VW. That is comedic gold, my friends.
Page 19
This is what we call an “expository dump.” You’ve gotta wrap up a story some way. I just wanted to end on a note that held some kind of promise of more adventures with Tito. Honestly, I’d love to write a story just about him.
Page 20
Here we have not one, but two homages. The first is to the film Midnight Cowboy. The second is to Taxi Driver. In my own twisted mind, this entire story is a bizarre mash-up of Midnight Cowboy and Taxi Driver, starring John Shaft. No one else may see it, but I know that it is there.
Page 21
This page may or may not be some kind of thinly veiled commentary on the upcoming Shaft film, or it may be some kind of deeper commentary on how film portrays black masculinity, or it just may be the end of the story.
Page 22
I love this page. I really do. At the same time, I recognize that I used the character of Honee in a way that was lacking in originality or complexity, which is a sign of my shortcomings as a writer. If there is one thing about this story that I look back on with any regret, it’s the fact that I didn’t try harder to make Honee more than just a sex object. Unfortunately, sometimes you don’t see these things until after they are done, and then all you can do is work to grow as a writer, so that next time, you don’t do it again. That said, I really love this page.
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”.  07/01/25 @ 3:12 pm EST
Jim Shooter was a towering figure in the comic book industry—both literally and professionally. He began his career at just 14 years old, writing for DC Comics, where he made a splash with stories for the Legion of Super-Heroes. His early creations included characters like Karate Kid, Ferro Lad, and Princess Projectra, as well as the villain group Fatal Five. Here’s a snapshot of his legacy: <!--[if !supportLists]-->· <!--[endif]--> DC Comics: Started as a teenage writer, contributing to Adventure Comics and Action Comics. <!--[if !supportLists]-->· <!--[endif]--> Marvel Comics: Rose to become Editor-in-Chief from 1978 to 1987. Under his leadership: <!--[if !supportLists]-->o <!--[endif]-->Oversaw iconic runs like Uncanny X-Men by Claremont & Byrne, Daredevil by Frank Miller, and Thor by Walt Simonson. <!--[if !supportLists]-->o <!--[endif]-->Introduced creator royalties and launched the Epic imprint for creator-owned work. <!--[if !supportLists]-->o <!--[endif]-->Created the first major crossover event: Secret Wars. <!--[if !supportLists]-->· <!--[endif]--> Valiant Comics: Co-founded the publisher in the early '90s, bringing characters like Solar: Man of the Atom and Harbinger to life. <!--[if !supportLists]-->· <!--[endif]-->Also founded Defiant Comics and Broadway Comics, though both were short-lived. Shooter was known for his strict editorial style, which helped Marvel stay on schedule but also led to clashes with many creators. Despite the friction, his tenure is credited with revitalizing Marvel during a critical period. Jim Shooter passed away on June 30, 2025, at the age of 73. His influence on comics—both in storytelling and industry practices—remains profound. 
07/01/25 @ 2:50 pm EST
In the ever-watchful world of fandom sleuthing, even a simple Instagram follow can ignite a firestorm of speculation. That’s exactly what happened when filmmaker and DC Studios co-head James Gunn followed actress Adria Arjona on Instagram—a move that fans quickly interpreted as a hint she might be cast as the next Wonder Woman. But Gunn was quick to clarify: “ I followed Adria on Instagram, but everybody came out, ‘He just followed her, that means she’s Wonder Woman!’” he said in a recent interview with Extra. “ She’d be a great Wonder Woman, by the way. But she was in a movie that I made seven years ago. We’ve been friends and have known each other since that time. I followed her then, I didn’t just follow her.” The film Gunn referred to is The Belko Experiment (2016), which he produced and in which Arjona appeared. Their professional relationship and friendship date back to that project, making the social media follow less of a casting clue and more of a long-standing connection. Still, Gunn’s comment that Arjona “ would be a great Wonder Woman” has only fueled fan enthusiasm. With a new Wonder Woman film currently in development and the DC Universe undergoing a major reboot, speculation remains high—even if Gunn insists fans shouldn’t read too much into his Instagram activity.  06/28/25 @ 2:09 pm EST
In a move that blends personal branding with practical necessity, It’s Always Sunny in Philadelphia star and co-creator Rob McElhenney has officially filed to change his name to Rob Mac. The decision, confirmed by McElhenney himself, marks a significant shift for the actor, writer, and entrepreneur whose surname has long been a source of confusion—and comedy. McElhenney, whose last name has famously stumped fans and media alike (despite Ryan Reynolds’ musical pronunciation tutorial), cited global business expansion as the primary reason. As his company, More Better Industries, continues to invest internationally—including ventures in Colombia and Mexico—he found that “McElhenney” was often mispronounced or misunderstood. “As our business and our storytelling is expanding into other regions of the world and other languages in which my name is even harder to pronounce, I’m just going by Rob Mac,” he told Variety. Interestingly, the name “Mac” isn’t just a simplification—it’s also a nod to his iconic Always Sunny character, known simply as Mac. It’s a full-circle moment that blends his personal identity with his pop culture persona. The name change is already being reflected in FX press materials for both It’s Always Sunny and Welcome to Wrexham, the Emmy-winning docuseries chronicling McElhenney and Reynolds’ ownership of Wrexham AFC.  06/28/25 @ 1:59 pm EST
ABC has officially pulled the plug on Doctor Odyssey, the high-concept medical drama from prolific creator Ryan Murphy, after just one season. The show, which followed a team of doctors navigating emergencies aboard a luxury cruise ship, will not return for a second voyage. Premiering in fall 2024, Doctor Odyssey starred Joshua Jackson as Dr. Max Bankman, alongside Phillipa Soo, Sean Teale, and Don Johnson. The series blended medical drama with high-seas spectacle, drawing comparisons to The Love Boat with a modern, campy twist. Its trailer broke records with 77.8 million views in 48 hours, and the premiere drew 13.6 million cross-platform viewers. Despite the flashy debut and a loyal cult following, the show struggled to maintain momentum. Ratings dipped over the season, and its linear performance lagged behind other ABC dramas. While ABC has yet to issue a formal cancellation statement, the cast contracts are expiring on Monday with no sign of renewal and the sets are being dismantled. And while the ship has sailed on ABC, Ryan Murphy retains creative control and could potentially revive the series elsewhere, such as Hulu, where it performed well on streaming platforms.  06/27/25 @ 2:45 pm EST
Is The Batman Part II script finally done? It appears so. Writer/Director Matt Reeves just posted to social media a blurry picture of himself and co-writer Mattson Tomlin that shows the title page for a script with the logo from The Batman and appears to have the title "The Batman: Part II". Co-head of DC Studios James Gunn said recently that he was expecting to get the script soon but denied that the deadline had already passed. If the script is complete and ready to move forward, it is still in plenty of time to make the current release date of October 2027. This should be good news to fans of the director and franchise and also to actor Robert Pattinson who had commented recently that he was worrying he was going to age out of the role if it took too much longer.  06/26/25 @ 3:35 pm EST
Prime Video’s hit action-thriller Reacher is shaking things up for its fourth season, and one of the most notable changes is the addition of Christopher Rodriguez-Marquette to the cast. The Barry actor steps into the role of Jacob Merrick, a small-town policeman, in a recasting that follows the departure of Jay Baruchel due to personal reasons. Rodriguez-Marquette’s casting came together at lightning speed—he was reportedly selected the same day the role breakdown was released and flown to set within days. His character, Merrick, is said to play a significant role in the upcoming season, which adapts Lee Child’s 13th Jack Reacher novel, Gone Tomorrow. The story kicks off with a tense encounter on a train that spirals into a deadly conspiracy involving powerful enemies. Season 4 also welcomes a host of new faces, including Sydelle Noel, Agnez Mo, Anggun, Kevin Corrigan, Kevin Weisman, Marc Blucas, and Kathleen Robertson. Alan Ritchson returns as the titular Jack Reacher, with Maria Sten reprising her role as Frances Neagley. Rodriguez-Marquette brings a diverse résumé to the series, with recent appearances in Barry, Mozart in the Jungle, and indie films like Grind and Fear, Inc..  06/26/25 @ 3:28 pm EST
In a move that’s sending ripples through both Hollywood and Her Majesty’s Secret Service, acclaimed filmmaker Denis Villeneuve has officially been named the director of the next James Bond movie. This marks the first 007 installment under Amazon MGM Studios’ creative leadership, following their acquisition of the franchise’s rights in 2022. Villeneuve, the visionary behind Dune, Arrival, and Blade Runner 2049, brings a reputation for cerebral storytelling and breathtaking visuals. His appointment signals a bold new chapter for the Bond saga—one that may blend the franchise’s signature espionage thrills with a deeper, more atmospheric tone. “Some of my earliest movie-going memories are connected to 007,” Villeneuve said in a statement. “I grew up watching James Bond films with my father, ever since Dr. No with Sean Connery. I’m a die-hard Bond fan. To me, he’s sacred territory. I intend to honor the tradition and open the path for many new missions to come”. The film will be produced by Amy Pascal and David Heyman, with Villeneuve also serving as executive producer alongside Tanya Lapointe. While no release date has been announced, production is expected to begin after Villeneuve completes work on Dune: Part Three, slated for release in late 2026. As for who will don the tuxedo next, speculation continues to swirl. Aaron Taylor-Johnson remains a frontrunner, but no official casting has been confirmed.  |
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