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06/12/15 @ 8:54 am EST
Writer’s commentary by David Avallone for Legenderry: Vampirella #5Legenderry: Vampirella was my first series as a comic book writer, and I have to thank Allison Baker, Chris Roberson, Bill Willingham and Joseph Rybandt for pushing me to do it, recommending me for it, and having the faith that I could pull it off. I hope they were satisfied with the results. And so here we find ourselves in the final issue. In Chapter Four I tried to set up all the elements for the climax, and now the curtain rises on my (hopefully) Grand Finale. What follows will have some MAJOR spoilers, including the really big twist I’ve been building up to: this is best read AFTER you’ve read Legenderry Vampirella Chapter Five.  Page 1: Mercy and Rudolf Rassendyll riding to the rescue of Vampirella, and arriving to see her handiwork. On the one hand I always want to stress that Vampirella doesn’t want anybody’s assistance. On the other… we could all use a little help from our friends.  Page 2 & 3: A beautiful two-page splash from David Thomas Cabrera. I take every chance I get to say nice things about DTC, because his work on this book has been extraordinary. He’s used every piece of photo reference I threw at him, and graciously accepted my occasional small tweaks on framing and layout. The title of this issue is HEARTS OF LIGHT AND DARKNESS: the reference to Jospeh Conrad (already present in the “Kurtz” character) is obvious. The reference to Roger Zelazny’s craziest novel is a little more obscure. The last page of the previous issue teased this issue’s title as THE VAMPIRE STRIKES BACK, but that was a joke.  Page 4: Vampirella has been previously established (long before I started writing her) as invulnerable. But… she’s made of matter, and a disintegrator (or “demolecularizer”, as my characters like to call them) is going to disintegrate matter. The glancing blow here isn’t quite enough to make her disappear in a puff of smoke, though. The sizzling glow where the beam hit is her body replacing cells at almost the same speed that the beam is burning them off. It’s worth mentioning here that in Chapter Three I tried to make it clear that I favor her original “Planet Draculon” sci-fi origin story, in all of its insane glory. No Biblical hoo-hah here.  Page 5: In my first drafts, I rarely gave the Clones any lines. When I see David’s art I am invariably moved to give them something to say. They’re pawns, and what’s really going on is always above their pay grade. Still, they see what’s happening and react like any confused pawn does when the important pieces start moving (and wiping them out.) Page 6, Panel 5: Doing a book set in a world populated by legends, you want to work with iconic characters. Bill Willingham, when he created the world of “Legenderry”, brought together a fantastic group of the Dynamite Comics characters and reimagined them in fun and interesting ways. When I was asked to spin-off a series with Vampirella, I was given a lot of freedom to add new characters to this setting. Working with turn-of-the-century public domain characters is not a new idea, and Alan Moore worked these fields rather thoroughly in his LEAGUE OF EXTRAORDINARY GENTLEMEN, so I had to take to my shelves to find characters I loved and wanted to write, given this opportunity. (I also took a moment to check with the irreplaceable Jess Nevins that Alan had not exploited any of these characters already in his books.) In this panel you see three at once: Kurtz, The Emperor Jones, and Rupert of Hentzau. In this “alternate universe” of Legenderry, I postulate that MY Kurtz – rather than dying – opens a trade route to the Jungle and becomes a very rich man, with some of the personality traits of a certain other famous billionaire whose initial is “K”. Likewise, the Emperor Jones survives his nightmarish flight from revolution, and finds refuge in the Council. The Devil-may-care Hentzau is much as he was at the end of The Prisoner of Zenda: out of a job, and pretty pissed off at Rudolph Rassendyll. I have loved writing these three guys, and hope I get a chance to use them again. Page 6, Panel 6: Valcallan returns, with an electro-rifle. We all know who the “mad old Sikh” is, right?  Page 8: I intended these panels to mirror each other, but left that out of the script. I thought the framing wouldn’t work. David Cabrera read my mind and did it anyway. Rassendyll is probably flashing back to his desperate assault on Zenda. His memory is hazy, though… because… (spoiler!) he’s not really Rassendyll. Page 9: The constable is named Sennett. Of course he is. Later, this man will go on to form the Keystone Kops, klearly. Page 10: I hate to send Mercy away from the big finale, but that’s how it worked out. She’s based on a pulp character from the late fifties, but I won’t say who… maybe next time.  Page 12: I love the “climbing the airship tow-rope” action beat. So did the producers of A VIEW TO A KILL. I think we’re BOTH ripping it off from a 1971 Michael York WWI movie called ZEPPELIN. And here’s a little more chatter from the Clones, for laughs. I think they’d definitely be talking about the death toll this one lady has racked up among their ranks. Page 14-15: Here we go. I’m genuinely curious if this worked… if people saw it coming. Naturally, Rupert figures it out before everyone else.  Page 16: It could be argued that Black Mass saving Vampirella here is a deus ex machina moment… but I did my best to set it up. It’s not random. Black Mass has been there all along, and he saves her because he loves her. It’s a love story. I’m pretty sure in the solicits for the first issue I mentioned that. You just forgot, in all the violence and fun. Page 17: The moment in the previous issue, where Rassendyll is looking at himself quizzically in the mirror, should come to mind here. Black Mass lost himself for a bit. The disguise was too perfect, including susceptibility to knock-out drugs. Page 18: This is a good time to mention Dave Lanphear, letterer and Robby Bevard, colorist. Like a bad movie director, all I told Dave about anything in this series was “it would be nice if there was a cool lettering treatment” (when Kurtz is orating, or Black Mass is speaking). I didn’t give him a single useful idea other than “make it cool”, and he did. In this issue, it was Robby Bevard’s idea to have the sun slowly setting, and the sky turning colors, as the story progressed. A perfect idea, beautifully pulled off, that helps the story – indeed TELLS the story – magnificently. Robby’s work on the whole series has been stunning, and always in service of the narrative. Page 19: In issue one, the story began on the airship platform of Kurtz tower. It ends there, too. I like that sort of thing.  Page 20: Last issue, Kurtz said “Exterminate the brutes!” Here he gets to use his most famous catchphrase. Page 21: Vampirella hasn’t had a reason (or a chance) to extend her wings in this series… I thought it would be lovely to do it here, at the end. I always listen to music when I write, and soundtrack nerds might find it interesting that I listened to “Taarna Forever” from Elmer Bernstein’s score for Heavy Metal when I was writing this sequence. (No one else will care.) Page 22: Our story ends, for now, with a joke from Citizen Kane, a hopeful ending not unlike Here Comes Mr. Jordan and the final payoff of the running gag about Rudolf’s silly name. I hope you enjoyed the ride… For more on Legenderry: Vampirella #5, click here.
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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