11/03/16 @ 9:27 pm EST

Source: Bleeding Cool | Categories: Dynamite

A Writer’s Commentary: Max Marks talks Wolfcop #1, on sale now from Dynamite. Cover by Thomas Hodge and interiors by Arcana Studios.



PAGE 1:

Like most people who’ve seen WolfCop possibly hundreds of times, I’ve always agreed with the notion that the movie really comes into its own when Willie and Lou are riding side by side like this. When doing a cold open into the WolfCop universe, I really couldn’t imagine a better way than the two of them going down the road, Lou drinking, and Willie cursing and raving. It’s just the buddy duo vibe they’ve got in a nutshell.The Wolf Cruiser – WolfCop’s car – fits great into this medium, I think. It’s like the Batmobile if the guy who designed it was drunk and had to make it out of a cop car in an afternoon, and I feel like it’s become a character all on its own.

PAGE 2:

Writing in Willie’s voice is probably one of the most natural things a guy can do. The way that he talks in the film is infectious, especially if you’ve had the opportunity to hear Jonathan Cherry doing it off camera. And it’s a good thing, too, since both Lou and WolfCop aren’t really heavy talkers. Like in the movie, Willie fills the air most of the time and just compounds Lou’s headaches when he’s not cheerleading him in Wolf form.If you’re a fan of the movie and want to know how or why Willie is back, the answer is never made clearly in this issue… Though you will get answers eventually in the WolfCop mythos.

PAGE 3:

Probably the best shot of the Wolf Cruiser in the comics. It’s funny that I consider it such a core part of his character, but the first thing I opted to do was essentially kill it in the middle of the road. Frankly you shouldn’t be surprised that a car whose design is mostly comprised of being half torn apart would break down a lot.



PAGE 4:

And of course, when things go wrong, Lou’s solution is always to drink more. A lot more helpful when he’s WolfCop.This page is pretty much the beginning and end of the explanation you’ll have for why WolfCop and Willie are fleeing Woodhaven. The end of the film might give you a few ideas on how things could end up this way.Of course, even when he’s fleeing the law, Lou Garou wears his cop uniform and drives around in that car. He’s not really the planning type.

PAGE 5:

And right into the action. The way I always described the outskirts of Woodhaven was equal parts Canadian prairies and Mad Max. If you’ve ever been out to Saskatchewan, you’d notice that there isn’t a huge difference between the two. Just a lot more sky and a lot fewer bands of marauding motorcycle gangs. I mean, they exist, but they’re not so aggressive.This character is named Stitch-Eye. I think it’s pretty obvious why. If he talks kind of weird, it’s because I’ve heavily based the way he talks on people I had run ins with working security around Vancouver’s downtown east side. You won’t find a Hell’s Angel talking this way, but you’ll find lots of people who want you to believe that they’re friends with Hell’s Angels talking this way. Getting creative with ways to call a cop a pig is a big one. And, of course, that plays out pretty well with the overall theme in this one.

PAGE 6:

Say what you want about Lou’s alcoholism and apathy, he’s got a sense of justice. He just decides to use it at the worst possible times.Drinking and driving is fine, but if he sees what looks like two damsels in distress, he has no problem trying to go Harry Callahan on an armed gang. And of course he gets his ass kicked. Without the moon helping him out, he’s just a drunk cop with a superhuman sense of smell.The digital watch was a new addition. Not a lot of people wear those these days, of course, but Woodhaven always had an early 90s to late 80s retro-contemporary feel to it. And of course, if you’re waiting to literally rip out of your skin, maybe you shouldn’t count on grabbing your smartphone to check in.

PAGE 7:

There are lots of ways to make werewolves transform. Lycan fans all have their own preferences, whether it’s the clean hulk-out style, ones with held back body horror and stomach shifting, vague shadows under the full moon… Or just lots of grossness.Of course, we all know Lowell’s vision with WolfCop was heavy on the gross transformations, and there’s no way I could deny fans that. And it begins with some blood and vomit…



PAGE 8:

WolfCop’s first official appearance in comic form. You do not want this guy riding shotgun with you if he’s not your friend.I like how this turned out especially because of the way WolfCop seems a lot more like just a mad werewolf than a cop in this page. You mostly just see fangs and claws. It’s a common theme for WolfCop that post-transformation he can get a lot more violent. Wouldn’t you, if you’d just torn your way out of your skin and nobody’s even offered you a drink yet?

PAGES 9-10:

Now this is WolfCop! A lot of influence from the barn battle scene in the movie, which is in my opinion hands down WolfCop’s best scene. Some people prefer either his initial transformation scene or the jailhouse sex scene. All three are excellent choices, but I’m just really into when WolfCop is being WolfCop. This is him in his element. Full moon overhead, shrugging off gunfire, and tearing apart lawbreakers in full fury. These are the moments when Lou Garou is ready to let out all that anger he’s been repressing with alcohol for the last thirty-odd years.

PAGE 11:

Stitch-Eye’s got a big gun. If you google “Nitro Express revolver” you’ll understand why. The kind of gun that could conceivably stop a WolfCop. Or a dinosaur. I don’t know why this gun exists in real life. It legitimately looks like a weapon designed for fighting fictional monsters.And Lou Garou gets his sweet revenge. Someone bites his hand and makes him drop his gun, and he bites it right off.You do not want to mess with the WolfCop. No big gun will change that.

PAGE 12:

And the gag has come off for Willie, completing the team! He’s twice as necessary when Lou’s wolfed out like this. WolfCop doesn’t generally string together more than two or three words at a time, and when he does, it’s usually to make some kind of quick pun or demand.One of my regrets in this comic was how few women were in it in general, as these two are the only ones who ever make an appearance in it. I really liked how Jenny (that’s the blonde’s name) turned out with her design and I’m hoping we’ll see her again later.

PAGE 13-14:

This girl, on the other hand, we’ll probably never see again.Though if you ask me, that’s the most rational human response to seeing a werewolf eviscerate a gang of bikers. I wouldn’t care who he was saving me from. I’d want to get as far away as possible.And we’ve got our first appearance for Pigskin. This is what I’d really consider my first big original contribution to the WolfCop mythos. Everything you’ve seen so far is sort of me going off of the world Lowell created and drawing from the best parts of the film. You’ll see nothing like Pigskin in the film. But he’s still got a real grindhouse villain quality to him. He’s the first sign of the expanded world WolfCop is walking into. And you can tell he’s a lot more comfortable with this world than WolfCop is.I kind of regret nobody ever called him by his name in-comic. If you haven’t noticed, I’m a fan of puns (they’re the DNA of all other jokes, and don’t let anyone ever tell you otherwise) and Pigskin works on so many levels.



PAGE 15:

Pigskin’s creepy henchmen, the Butcher Boys, were all made with one basic premise in mind: What weapons did WolfCop not go up against in the film that I really, really wanted to see a werewolf cop fighting? The obvious answer was chainsaws and flamethrowers. The fact that these are also very useful makeshift tools for preparing cannibalistic feasts was just a happy coincidence.On a note about the cannibalism, this was originally conceived in late 2014, a time when you might recall cannibalism was in basically every headline. I don’t know why 2014 was such a big year for cannibalism. But it’s definitely a mainstay for B-movies, and it’s welcome as all hell into the WolfCop universe.

PAGE 16:

People wanting to eat WolfCop is kind of a running theme. In the film, it was his blood. Here, it’s his flesh. Sooner or later, someone’s going to want to grind his bones to make their bread.Willie’s back riding shotgun with WolfCop here, and we’re well into the night, which is WolfCop’s best element.And here we’ve got WolfCop riding a motorcycle while chugging bourbon from a bottle. Gratuitous? Absolutely. Is that a bad thing? I will fight to the death defending the premise that it is not.

PAGE 17:

I always like views of WolfCop with the moon at his back like in this top panel. Things like this are why I’m so glad this character was brought into comics.And here we see WolfCop’s always effective master plan: Chug as much alcohol as possible before charging into combat!It’s actually not a bad plan. Alcohol is to WolfCop like spinach is to Popeye. It’s the secret sauce that makes him stronger than the average werewolf.Even if it wasn’t. I have a feeling Lou would be drinking roughly as much, though.



PAGE 18:

WolfCop with an M60. It had to happen. Even if just for one page.

PAGE 19:

And there’s the nitro pistol in action. Enough to stop a crazed cannibal in his tracks. The lack of a massive exit wound from such a big bullet is intentional, of course. Knocking him down is the best it can do.I’m always happy with the shots of Wolfcop firing into the panel. Werewolf with a gun is just one of the best ways to describe WolfCop.

PAGE 20-21:

And the butcher boys in action!Chainsaws are just such a great piece in anything b-horror, slasher, or monster related. Allan delivered the perfect scenario I’d had in my head here, of WolfCop grappling with one chainsaw while enduring another. If I had to pick a favorite panel in this whole book, it’s this.And Willie actually fires a gun! Which he never actually does in the film, in spite of owning the local gun shop. It just was never really necessary. But we’ve always envisioned him as that perfect redneck sidekick who may be a bit of a coward but is willing to lend a hand when lending a hand means sneaking up on a guy with a shotgun.

PAGE 22:

WolfCop is better when he’s on fire. Just saying. This is one of those visuals we’d never get in a 2 million dollar movie but we all desperately want to see from a character like WolfCop. The fanboy in me just went nuts when I saw these pages.

PAGE 23:

And Pigskin is standing up again. And holding that nitro bullet just so you understand what it means that it didn’t get all the way through him. As if the beatdown he gives WolfCop in the next panel didn’t get that message across.WolfCop’s a tricky character in that, in the world he’s been presented in so far, he’s more or less invincible outside of specific circumstances. I was of the opinion we needed to move away from that. We didn’t want fans to feel comfortable that, given enough moonlight and alcohol, WolfCop would always be safe. So seeing someone just completely wreck him in fisticuffs is the best way to get that settled.WolfCop’s strong, and he’s tough… But I think that what gets him by the most in a fight is his instinct. That might sound a bit weird and vague, but I think it comes across in all of his depictions to date.



PAGE 24:

This transformation was 100% everything I’d hoped it would be. Coming apart at the seems, like he was wearing that bloated body as a costume. Nice similarity as well as contrast with WolfCop’s transformations.In the WolfCop universe, a clean transformation is always unlikely.

PAGE 25:

So, people ask me, why a pig? Well, you can count on WolfCop to lay out the obvious pun there.The design here is a bit reminiscent of some of Gannon’s transformations in the Legend of Zelda series. As an avid gamer I’d be lying if I said there was no influence there. A lot of it comes from my love of Dungeons and Dragons, too. The Wereboar was always a weird monster to me, and one that didn’t get used much. Plenty of people think being part wolf or part tiget is cool. But part boar? I don’t know anyone who would volunteer for that.

PAGE 26:

And this is what I mean by instinct. He’s gutted, about to be eaten… And gun goes in the nostril!A few fellow Canadians have asked me if the burnt toast line was in any way inspired by a certain Canadian heritage minutes video you can find kicking around the web still, and I can neither confirm or deny. Well, I can confirm that there’s definitely something there. Canadian audiences are always so well-attuned to even the most obscure culture references.

PAGE 27:

And they all lived happily ever after!Sort of. WolfCop never really gets to rest, and things only get bloodier and more harrowing for him. But at least he did some good along the way. His car’s still broken down and Willie’s the only one he can rely on, but I felt this ending was enough that even if this was the only one we ever did, it was a great little walk through the potential world of WolfCop.

Thankfully, we’ve got more on the way!

08/24/25 @ 1:40 pm EST

Source: Nerdist | Categories: Dynamite

When Marvel Studios tapped Terry Matalas to helm Vision Quest, the upcoming Disney+ series centered on the synthezoid Avenger, it wasn’t just a smart hire—it was a signal. A signal that Marvel is ready to embrace deeper storytelling, character introspection, and genre-bending ambition. Matalas, best known for revitalizing Star Trek: Picard with its critically acclaimed third season, brings a unique blend of emotional intelligence, sci-fi pedigree, and serialized storytelling expertise that makes him the ideal architect for Vision’s next chapter. Vision’s arc has always been about identity. Created by Ultron, powered by the Mind Stone, and shaped by love and loss, Vision is a being caught between machine and man. After WandaVision, the original Vision was gone, and the “White Vision”—a blank-slate version with restored memories but no emotional context—was left to wander in search of purpose. This existential journey echoes the themes Matalas explored in Picard, where legacy, memory, and humanity were central. In fact, Matalas has openly stated that Vision’s arc in Vision Quest will mirror Spock’s journey in Star Trek IV: The Voyage Home, where the Vulcan grapples with his own resurrection and fragmented identity. It’s a bold, cerebral approach that fits Vision perfectly. Before Picard, Matalas created and ran 12 Monkeys, a time-travel series praised for its intricate plotting and emotional depth. He’s a showrunner who understands how to balance high-concept science fiction with grounded character drama. That’s exactly what Vision needs—a story that can explore artificial intelligence, memory, and morality without losing sight of the heart. Marvel Studios president Kevin Feige reportedly sought Matalas out after watching Picard Season 3, calling it “incredible” and wanting to find the person responsible. That kind of endorsement speaks volumes, especially in an era where Marvel is scaling back its Disney+ output to focus on quality over quantity. Matalas isn’t just continuing Vision’s story—he’s expanding it. Vision Quest will introduce new characters like Paladin (played by Picard alum Todd Stashwick) and a reimagined F.R.I.D.A.Y. AI (played by Orla Brady). James Spader returns as Ultron, promising a “unique” role that could redefine the character’s legacy. These additions suggest a layered narrative that blends Marvel lore with fresh sci-fi ideas. And Matalas is bringing his Star Trek crew with him. The production team is reportedly full of Trek veterans, creating a shorthand that allows for ambitious storytelling and thematic depth. It’s a fusion of Marvel’s superhero ethos with the philosophical weight of classic science fiction. Marvel’s early Disney+ shows often felt like extended films. But with Vision Quest, Marvel is embracing a more traditional TV model—complete with a dedicated showrunner, longer development cycles, and serialized arcs. Matalas thrives in this format. His ability to weave long-term character development with episodic intrigue makes him the perfect fit for a series that needs to rebuild Vision from the ground up. Set to premiere in 2026, Vision Quest marks Marvel’s first new live-action series pickup in nearly two years. It’s part of Phase Six of the MCU and represents a shift toward more thoughtful, character-driven storytelling. With Matalas at the helm, Vision’s journey promises to be more than just a superhero tale—it’s a philosophical odyssey through memory, identity, and what it means to be alive. In a universe filled with gods, monsters, and multiverses, Terry Matalas is the rare showrunner who can make us care about a synthetic soul searching for meaning. And that’s exactly what Vision—and Marvel—needs right now.  ...

08/24/25 @ 1:24 pm EST

Source: comicbook.com | Categories: Dynamite

Peacemaker Season 2 has officially kicked off with a bang—and a surprise. Among the new faces in James Gunn’s irreverent DC series is David Denman, best known for his role as Roy in The Office. But this time, Denman isn’t playing a hot-headed warehouse worker—he’s suiting up as a superhero. And not just any hero: Denman plays Captain Triumph, a name that might ring a bell only for the most die-hard comic book historians. Captain Triumph first appeared in Crack Comics #27 back in 1943, created by Alfred Andriola. The original character was a pair of twin brothers—Michael and Lance Gallant—who shared a mystical bond. After Michael’s death, his spirit merged with Lance, granting him powers like flight, invisibility, and near invulnerability. The character was later absorbed into DC Comics but remained largely obscure, popping up occasionally in titles like Animal Man, Titans, and Harley Quinn. In Peacemaker Season 2, Gunn reimagines Captain Triumph entirely. Denman plays Keith Smith, Peacemaker’s long-lost brother, who was tragically killed in Season 1 due to their abusive father’s twisted games. But in the Season 2 premiere, “The Ties That Grind,” Peacemaker stumbles into an alternate reality where Keith is alive—and a superhero. Denman’s Keith is part of a crime-fighting trio with Peacemaker and their father Auggie, forming the “Top Trio” in this alternate dimension. Unlike the original Captain Triumph, Gunn’s version doesn’t involve ghostly twins or mystical birthmarks. Denman confirmed in an interview that Gunn opted for a fresh take: “I actually went to James and was like, ‘Is there any of that?’ and he goes, ‘No. This is a whole new character’”. This twist adds a poignant layer to the show’s emotional core. Peacemaker, haunted by guilt over Keith’s death, now faces a world where his brother thrives—and where their family is functional. It’s a dreamscape that forces Chris Smith to confront what he’s lost and what he might still become. Denman’s performance as Keith/Captain Triumph is already being praised for its emotional resonance. The character’s presence could reshape Peacemaker’s arc, offering a glimpse into the life he might have had—and perhaps a path toward healing.  ...

08/23/25 @ 12:54 pm EST

Source: Deadline | Categories: Dynamite

Paramount has made a dramatic pivot in its handling of the Dexter franchise, leaving fans both stunned and intrigued. After initially greenlighting two new series—Dexter: Original Sin and Dexter: Resurrection—the studio has reversed course, canceling the prequel while doubling down on the sequel. Originally announced as a deep-dive into Dexter Morgan’s formative years, Dexter: Original Sin premiered in December 2024 and wrapped its 10-episode run in February 2025. The series starred Patrick Gibson as a teenage Dexter, with Christian Slater portraying his father Harry Morgan, the architect of Dexter’s infamous code. Michael C. Hall lent his voice as narrator, tying the prequel to the original series. Despite a season 2 renewal announced in April, Paramount quietly pulled the plug on Original Sin, citing a lack of scheduled production and shifting priorities following its merger with Skydance. In contrast, Dexter: Resurrection—the sequel series starring Michael C. Hall—has become a breakout hit. Picking up after the events of Dexter: New Blood, the show sees Dexter surviving his apparent death and relocating to New York, where he reconnects with his son Harrison and crosses paths with a billionaire serial killer enthusiast played by Peter Dinklage. The series has earned rave reviews, boasting a 94% Rotten Tomatoes score and drawing 4.4 million viewers in its first week. Paramount is now opening a writers’ room for a potential second season, signaling strong confidence in the show’s future—even though an official renewal hasn’t yet been announced. The decision reflects a broader strategic shift at Paramount Television Studios, now under the leadership of Matt Thunell. Following the Skydance merger, the studio is prioritizing established hits and recognizable IP, with Dexter: Resurrection leading the charge. 

08/23/25 @ 12:48 pm EST

Source: Deadline | Categories: Dynamite

In a recent interview, Margot Robbie revealed that Birds of Prey almost featured a very different villain: Oswald Cobblepot, aka the Penguin. The actress, who famously portrayed Harley Quinn in the 2020 film, shared that the original script by Christina Hodson had Penguin as the main antagonist—until Matt Reeves stepped in with his own plans for the character. While promoting her upcoming fantasy romance A Big Bold Beautiful Journey alongside Colin Farrell—who plays the Penguin in The Batman and its HBO spinoff—Robbie casually dropped the bombshell during their joint interview with Entertainment Weekly. “The first draft that Christina [Hodson] wrote of Birds of Prey, the villain was the Penguin,” Robbie said, prompting a visibly shocked reaction from Farrell. According to Robbie, Hodson’s version of the Penguin was “amazing,” and the character was set to stalk Harley Quinn and her newly formed team throughout Gotham. Robbie even teased that she still has a copy of the original draft on her computer and offered to share it with Farrell. The reason for the switch? Matt Reeves, director of The Batman, had already earmarked the Penguin for his own gritty crime saga. “Matt Reeves said, ‘Don’t use the Penguin. I’m going to use him in my thing,’” Robbie explained. To avoid overlap between DC’s cinematic universes, the Birds of Prey team pivoted to Roman Sionis, aka Black Mask, played by Ewan McGregor. This change gave the film a darker, more flamboyant crime-lord vibe, while preserving Penguin for Reeves’ noir vision. 

08/23/25 @ 12:20 pm EST

Source: Entertainment Weekly | Categories: Dynamite

James Gunn, the architect of the DC Universe, has once again stirred fan speculation—this time by teasing a “really, really, really big cameo” in the final episodes of Peacemaker Season 2. As the series continues to bridge the tonal gap between irreverent comedy and emotional depth, Gunn’s cryptic comments have fans buzzing about who might show up—and what it could mean for the future of the DCU. Season 2 of Peacemaker marks a clear shift from its DCEU roots into Gunn and Peter Safran’s newly minted DCU. The show now follows the events of Superman (2025), and features updated references to the Justice Gang instead of the Justice League. This recontextualization sets the stage for deeper integration with the broader DCU, and Gunn has confirmed that characters from Superman—including Guy Gardner’s Green Lantern, Hawkgirl, and Maxwell Lord—already appear in the season. In an interview with Entertainment Weekly, Gunn hinted at a major surprise waiting near the end of the season: “There might even be one really, really, really big cameo near the end of the show.” While he didn’t name names, the emphasis on scale and significance suggests this won’t be a throwaway gag or minor character. Given the DCU’s interconnected design, many fans suspect the cameo could be David Corenswet’s Superman himself, reinforcing Peacemaker’s relevance in the franchise’s future. This could also be an opportunity for Gunn to bring one of the Creature Commandos into live action such as David Harbour’s Frankenstein or Alay Tudyk’s Dr. Phosphorus. Gunn also mentioned the Quantum Unfolding Chamber (QUC), a piece of tech introduced in Season 1 and expanded upon in Superman. The QUC is central to Season 2’s plot, potentially opening doors—literally and figuratively—for cross-dimensional or multiversal appearances. This could allow for unexpected character returns or even alternate versions of familiar heroes. Whether it’s Superman, another Justice Gang member, or a surprise villain, Gunn’s promise of a “really big” moment suggests that Peacemaker Season 2 will end not with a whimper, but with a bang.  ...

08/17/25 @ 12:13 pm EST

Source: Variety | Categories: Dynamite

James Gunn, co-head of DC Studios and the creative force behind the 2025 box office hit Superman, has confirmed that a follow-up film is already in motion—and it’s coming fast. In a series of interviews, Gunn revealed that he’s completed an extensive treatment for the next installment, which he’s calling part of the “Superman Saga”. Gunn’s treatment isn’t your average outline. He described it as a 60-page document packed with dialogue and scene breakdowns. “My treatments are incredibly intense,” he told Collider. “They’re not regular treatments. And so, now I’m just turning that into a script. We’re planning out when we’re going to shoot that. It’s going to be much sooner rather than later”. While Gunn hasn’t confirmed whether the film is a direct sequel or a new chapter altogether, he emphasized that it continues the narrative established in Superman, which starred David Corenswet as the Man of Steel. The film grossed $589 million worldwide, making it the seventh highest-grossing film of 2025. Gunn also revealed that the events of Superman will tie directly into Peacemaker Season 2, which premieres this month. “Superman leads directly into Peacemaker,” he said. “Lots of guest stars coming up, lots of characters that are showing up that we’ve already met in Superman”. This interconnected storytelling is part of Gunn’s broader vision for the DC Universe, where each project maintains its own tone and style—ranging from horror (Clayface) to cosmic adventure (Lanterns). With the treatment complete and production scheduling underway, the next Superman film could begin shooting within the year. 

08/17/25 @ 12:00 pm EST

Source: Deadline | Categories: Dynamite

Terence Stamp, the magnetic British actor whose piercing gaze and commanding presence defined a generation of cinema, has died at the age of 87. His family confirmed he passed away peacefully on Sunday morning, August 17, leaving behind a legacy that spans more than six decades of film, television, and voice work. Stamp made an unforgettable debut in 1962’s Billy Budd, earning an Academy Award nomination for his portrayal of the angelic sailor. He quickly became a fixture of the 1960s cinematic revolution, starring in The Collector (1965), Far From the Madding Crowd (1967), and Teorema (1968). But it was his turn as General Zod in Superman (1978) and Superman II (1980) that etched him into pop culture history. With the chilling command “Kneel before Zod,” Stamp became one of cinema’s most memorable supervillains. Stamp’s career was marked by fearless genre-hopping. He played Chancellor Valorum in Star Wars: Episode I – The Phantom Menace, voiced characters in Halo 3 and Elder Scrolls IV: Oblivion, and portrayed the elegant drag queen Bernadette in The Adventures of Priscilla, Queen of the Desert, earning a BAFTA nomination. Later roles included appearances in Wall Street, The Limey, Big Eyes, Miss Peregrine’s Home for Peculiar Children, and Last Night in Soho. He even voiced Jor-El in the TV series Smallville, a poetic twist on his earlier villainous role in the Superman franchise. Born in London’s East End in 1938, Stamp grew up during the WWII bombings and found solace in cinema from an early age. He studied at the Webber Douglas Academy of Dramatic Art and became close friends with fellow actors Michael Caine and Peter O’Toole. Offscreen, he was known for his romantic entanglements with Julie Christie and Jean Shrimpton, and for his spiritual journey through India following heartbreak. He also authored several books, blending memoir with philosophical musings. In a statement, Stamp’s family said: “He leaves behind an extraordinary body of work, both as an actor and as a writer that will continue to touch and inspire people for years to come. We ask for privacy at this sad time.”  ...

08/16/25 @ 3:03 pm EST

Source: Deadline | Categories: Dynamite

Marvel fans are in a frenzy after Ryan Reynolds posted a mysterious image to Instagram that may hint at Deadpool’s involvement in the upcoming Avengers: Doomsday. The post featured a white Avengers logo defaced with a red graffiti-style anarchy symbol—eerily reminiscent of Deadpool’s chaotic aesthetic. Reynolds offered no caption, just a side-eye emoji, leaving fans to decode the meaning for themselves. What’s Fueling the Speculation? The graffiti-tagged Avengers logo was previously seen in Deadpool & Wolverine as a flag in a dystopian alternate universe. Reynolds’ new version, however, is red and stylized differently—reportedly created by a fan and reposted by Reynolds himself. The post dropped just as filming for Avengers: Doomsday ramps up in London, and Marvel has teased that more cast announcements are coming. Reynolds was notably absent from the initial cast list, which already includes legacy X-Men actors like Patrick Stewart, Ian McKellen, and Kelsey Grammer. Trade outlets are split. The Hollywood Reporter claims Deadpool will appear in Doomsday, though not as a full-fledged Avenger. Meanwhile, Deadline reports that Reynolds hasn’t been seen on set and isn’t scheduled to appear. Marvel Studios President Kevin Feige has confirmed that discussions with Reynolds are ongoing. “There absolutely have been discussions. We're in touch with Ryan a lot. So the answer is yes,” Feige said when asked about Deadpool’s future in the MCU. Given the multiverse-heavy plot of Avengers: Doomsday, a cameo or surprise appearance by Deadpool seems plausible—even if he’s not part of the main lineup. Reynolds himself has said he prefers Deadpool to be a supporting character, which aligns with the idea of a brief but memorable role. Avengers: Doomsday is set to hit theaters on December 18, 2026, with the Russo Brothers returning to direct. 

08/16/25 @ 2:53 pm EST

Source: Variety | Categories: Dynamite

Marvel Studios’ Thunderbolts—the gritty, antihero ensemble film that redefined the MCU’s tone—will officially begin streaming on Disney+ on Wednesday, August 27, 2025. After its theatrical debut in May and a digital release in July, fans can now revisit the explosive team-up from the comfort of their homes. Directed by Jake Schreier and written by Eric Pearson and Joanna Calo, Thunderbolts follows a ragtag group of morally complex characters pulled from previous MCU entries: Yelena Belova (Florence Pugh), Bucky Barnes (Sebastian Stan), Red Guardian (David Harbour), Ghost (Hannah John-Kamen), Taskmaster (Olga Kurylenko) and John Walker (Wyatt Russell). These disillusioned antiheroes are recruited by Valentina Allegra de Fontaine (Julia Louis-Dreyfus) for a covert mission—only to discover they’ve been ensnared in a deadly trap. The film explores themes of redemption, trauma, and reluctant camaraderie as the team confronts their pasts and battles for a shot at heroism. Despite underwhelming box office numbers ($382 million worldwide on a $180 million budget), Thunderbolts was a critical success, earning an impressive 88% on Rotten Tomatoes. Critics praised its emotional depth, dark humor, and fresh take on the superhero genre. Starting August 27, Thunderbolts will be available to stream on Disney+ at 12 a.m. PT / 3 a.m. ET. 

08/13/25 @ 2:16 pm EST

Source: Deadline | Categories: Dynamite

In a blockbuster move that reshapes the future of one of cinema’s most iconic spy franchises, NBCUniversal has officially acquired all rights—excluding publishing—to Robert Ludlum’s Jason Bourne and Treadstone book series in perpetuity. The deal, finalized after a fiercely competitive bidding war, ensures the Bourne universe will remain under the Universal umbrella, opening the door for new films, television projects, and cross-platform storytelling. Earlier this year, the Ludlum estate reclaimed the rights and initiated an auction led by WME. The process attracted seven major offers, including bids from streaming giants and rival studios. Ultimately, Universal matched the top proposal with what insiders describe as a “very large deal,” securing the franchise’s future at its longtime home. Since its cinematic debut in 2002 with The Bourne Identity, the franchise has redefined the spy genre with its gritty realism and kinetic action. Matt Damon’s portrayal of the amnesiac operative Jason Bourne, coupled with direction from Doug Liman and Paul Greengrass, set a new standard for espionage thrillers. The series has spawned five films, grossing over $1.64 billion globally, and includes a spinoff (The Bourne Legacy starring Jeremy Renner), a short-lived TV series (Treadstone), and even a theme park attraction (The Bourne Stuntacular) at Universal Studios Orlando. With the rights secured, Universal is already laying groundwork for future installments. Producer Frank Marshall, who has been with the franchise since its inception, will continue to oversee development alongside Captivate Entertainment’s Jeffrey Weiner and Ben Smith. A new film is reportedly in development with director Edward Berger (All Quiet on the Western Front) and a script by Joe Barton. While not yet greenlit, speculation is swirling about Matt Damon’s potential return to the role that made him a global star. NBCUniversal plans to leverage the Bourne IP across its vast media ecosystem, including film, television, streaming, and interactive experiences. “We’re energized to continue expanding the Bourne universe into the future with exciting new stories for global audiences,” said Peter Cramer, President of Universal Pictures. Jeffrey Weiner, executor of Ludlum’s estate, echoed the sentiment: “We are thrilled that the Bourne franchise will remain at Universal. We look forward to working with the Universal team to expand the Bourne franchise across Universal’s varied platforms”.  ...