New York, NY— May 26, 2026 — After his long-awaited return in The Mandalorian, Boba Fett went on to headline his own Disney+ series, The Book of Boba Fett. The hit show reintroduced the iconic bounty hunter to fans everywhere as he navigated the galaxy’s underworld and claimed control of Tatooine following Jabba the Hutt’s fall. This August, in the long-standing tradition of Marvel Comics epic Star Wars adaptations, Marvel brings this pivotal Star Wars saga to comic stands in STAR WARS: BOOK OF BOBA FETT, a seven-issue series by Star Wars veterans Rodney Barnes (Han Solo – Hunt for the Falcon, Ahsoka) and Will Sliney (Rise of Kylo Ren). The comic series marks the exciting comic book debut of several key characters, including Garsa Fwip, Dokk Strassi, Mok Shaiz’s majordomo, and more!
BOBA FETT HOLDS COURT AND FACES NEW CHALLENGES ON TATOOINE!
After escaping from the Sarlacc Pit, Boba Fett has taken over Jabba the Hutt’s syndicate—but does he have what it takes to keep Tatooine in order?
“I’ve loved Boba Fett since early childhood!” Barnes shared. “Adapting this series has been a complete joy, and I can’t wait for Star Wars fans to read it!”
STAR WARS: THE BOOK OF BOBA FETT #1 (OF 7)
Written by RODNEY BARNES Art by WIL SLINEY Cover by ALEX MALEEV Variant Covers by RICKIE YAGAWA, E.M. GIST, JERRY ORDWAY, and PETE WOODS On Sale 9/9
New York, NY— May 26, 2026 — The light had its turn.
Following up on the reveal of the all-new, all-terrifying MIDNIGHT UNIVERSE, Marvel is proud to lift the curtain on the first look inside the debut series from writer Jonathan Hickman (House of X, Ultimate Spider-Man) and artist Matteo Della Fonte (Nova: Centurion) along with a movie homage variant cover by Björn Barends.
“We were very keen to have Matteo on this series, and we have not been disappointed. His storytelling is so good, and he is absolutely nailing every aspect of Jonathan’s script,” said Jordan D. White, senior editor of the series. “I could not be more thrilled to be working on shaping the Midnight line. Everyone has been cut loose and is truly firing on all cylinders. I cannot wait for everyone to see these books.”
AN ALL-NEW, ALL-DISTURBING UNIVERSE BEGINS HERE!
The clock strikes midnight and it’s the dark dawn of a new era.The shadows of New York City are stalked by vampires and the mutant empyres. The sword of Damocles hangs over the peace between these two species and the factions within them. An outright war is brewing and the unturned will be caught in the crossfire. Blockbuster comic book writer Jonathan Hickman returns to the X-Men with a hunger for blood as this new world of terror reimagines the heroes of the Marvel Universe!
MIDNIGHT X-MEN #1 Written by JONATHAN HICKMAN Art by MATTEO DELLA FONTE Cover by DIKE RUAN Movie Homage Variant Cover by BJÖRN BARENDS On Sale 8/5
In 2003, Quentin Tarantino hadn’t made a film in six years. After the films Reservoir Dogs and Pulp Fiction, 1997’s Jackie Brown showed the restraint of Tarantino, in the only film he’s ever directed based on existing material, and with a relative quietness that his films haven’t had in quite the same way. But his fourth film would be the polar opposite: an explosion of excess, ambition, and playfulness. It was a film so big that it had to be cut into two parts. Kill Bill Vol. 1 was a wild, blood-soaked martial arts film, while Kill Bill Vol. 2, released six months later, remained a revenge film, yet one that was more focused on the dialogue that Tarantino does so well. Maybe more than any other film, Kill Bill, in both its parts, was Tarantino leaning into the genres he loved and doing his own take on them.
Splitting Kill Bill into two parts allowed more breathing room for Tarantino to add bits and pieces of this story that flesh out this world. Tarantino has said that had it originally been released as one film, Kill Bill wouldn’t have been four hours, and those segments such as the Pai Mei sequence in Vol. 2 and the anime sequence in Vol. 1 would’ve been cut significantly. However, a cut that brings the two entries together, titled Kill Bill: The Whole Bloody Affair, has screened here and there over the years, most frequently at Tarantino’s own L.A. theater, the New Beverly Cinema. Now, The Whole Bloody Affair is receiving a full-blown, 4+ hour cut in all its glory, and it’s a sight to behold — as one would expect. Over 20 years after both volumes were released, The Whole Bloody Affair isn’t just an incredible way to experience Tarantino’s most bombastic film; it’s also a great reminder of just how much QT has grown as a filmmaker over the last two decades.
For those unfamiliar with Tarantino’s fourth film, Kill Bill tells the story of The Bride (Uma Thurman), a former assassin who runs away from her lover and the leader of the Deadly Vipers Assassination Squad. Bill (David Carradine). A while later, at her wedding rehearsal, a now-pregnant Bride is gunned down in church by the Deadly Vipers. Yet it’s not that easy to kill The Bride, formerly known by the codename “Black Mamba,” and four years later, she wakes up from a coma, no longer pregnant, and ready for revenge against those who shot her down.
The Bride makes a kill list and makes her way through the squad. There’s O-Ren Ishii (Lucy Liu), who has become a yakuza leader in Tokyo over the last four years; Vernita Green (Vivica A. Fox), who is now a mother and wife in suburbia; Budd (Michael Madsen), Bill’s drunk brother who lives in a trailer in the desert; and Elle Driver (Daryl Hannah), a one-eyed assassin who hates The Bride more than any of the rest. Once The Bride has taken out her four former squad members, she will set out to finally, as the title implies, kill Bill.
The Whole Bloody Affair’s changes are relatively minor, but they do change the momentum of the story. While Vol. 1 ended with a jarring moment that put the audience on the edge of their seats waiting for Vol. 2 to be released, The Whole Bloody Affair no longer includes this moment, since it’s not needed to bring the audience back to theaters. By getting rid of this scene at the end of Vol. 1, it makes the finale of Vol. 2 even more impactful, a shot in the chest that hadn’t been hinted at two hours prior. It’s not necessarily a game-changing shift; however, for fans of Kill Bill, it is a noticeable shift in how this story is told. Also absent, understandably, is The Bride’s introduction to Vol. 2, catching up the audience on what happened in the first volume.
The Whole Bloody Affair, however, is most compelling as a look at a master filmmaker at the height of his experimentation. Tarantino has grown significantly in the two decades since Kill Bill, yet this film is an example of QT at his most maximalist, as he throws everything into the mix to see what sticks. This is a filmmaker who has made three of the defining films of the ‘’90s, making whatever the hell he wants, and gleefully doing so. Tarantino has always worn his inspirations on his blood-soaked sleeve, but Kill Bill is him completely being taken over by the films he loves, and it’s a joy to watch him play in this sandbox.
Because of this, Kill Bill still feels like Tarantino’s most ambitious project. For example, the fight with The Crazy 88s is almost as if he’s proving to himself he could make a massive samurai action sequence, and not only does he nail it, but you can almost hear him giggling behind the camera as he does it. He throws in an anime origin story, seemingly just because it’s cool as hell. And while the second half shows Tarantino reining in the wildness a bit, his love for Westerns and Japanese cinema is brazen in almost every frame. At this point in his career, Tarantino is a kid in a candy store with what he’s able to do, and Kill Bill is just about the most fun sugar rush one could imagine him making.
In the years since Kill Bill, Tarantino has made five films, and while they all have grandiose moments of absurdity, from killing Hitler in Inglourious Basterds, to Leonardo DiCaprio taking a flamethrower to Mikey Madison in Once Upon a Time… in Hollywood, Tarantino has been more acutely aware of pulling back and allowing for the ridiculousness as almost a bit of catharsis within his films. Looking back at Kill Bill, it can’t help but seem like a filmmaker who has proven himself and is having a blast, and it almost feels as though it’s from a different storyteller than the one Tarantino is now.
After all these years, Kill Bill is still a remarkable piece of work, one that’s essential to who Tarantino would become with his next five films. Naturally, the key to what makes Kill Bill great isn’t just Tarantino, it’s, of course, Uma Thurman. Thurman has never been better than she is here, and it’s an absolute wonder to watch her shift, change, and absolutely nail everything each chapter individually asks of her. In one scene, she might be killing an entire restaurant full of assassins, and in another, she’s asked to make her heart break at realizing everything Bill has truly taken from her. Thurman is tremendous in every scene, and she certainly deserved an Oscar®r nomination for this defining role.
And while Thurman truly kicks ass, sheds blood, and claims other people’s limbs as her own throughout Kill Bill, it’s the moments of true overwhelming emotion that make this performance work so well. The moment when The Bride wakes up and discovers she is no longer carrying her baby is one of the most heartbreaking and emotional scenes Tarantino has ever directed. Even though Kill Bill is packed with great fight scenes, the most impactful of both volumes remains The Bride’s ultimate showdown with Bill, a conversation that covers everything from the nature of their relationship to the secret identities of superheroes. It’s moments like these where Thurman’s acting prowess shines, showing that some of the best moments Tarantino has had in his career are tied more to his incredible dialogue than to any violence or gore.
Kill Bill: The Whole Bloody Affair isn’t necessarily the definitive version of this story — it’s just different and intriguing in its slight shifts and changes. At its core, it’s also just a great reminder of Tarantino at his coolest and most playful, and how far he’s come since making this film originally. And it’s always wonderful to watch Thurman’s The Bride cut down someone with Tarantino’s dialogue as handily as she can with a Hattori Hanzō sword. Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.
Iron Man: Super Smash By Dean Hale and Douglas Holgate 96 pages/Abrams Fanfare/$12.99
The team behind the entertaining Iron Man: Something Strange is back with a new graphic novel for younger readers, this time pairing Shellhead with the jade-jawed giant himself, the Hulk. In this whimsical adventure, Iron Man senses the Hulk has something against him, and he takes Thor’s suggestion to heart, that the pair bond through smashing things.
For the remainder of the story, the two travel together as they smash monsters, robot monsters, and rocks. Iron Man tries to get the hang of random violence rather than using his technological know-how to resolve problems. The Hulk is bemused and frustrated by his fellow Avenger. Over the course of the story, it becomes clear one person is behind the mayhem, and the reveal is a nice use of a lesser Marvel villain, one our heroes have little familiarity with but makes long-time readers smile.
The pace is brisk, and the artwork nicely complements the tone. And in a first, I believe Dean Hale has the Hulk be intentionally sarcastic in this not-too-bright incarnation.
There are nice lessons on friendship and responsibility carried throughout the story.
In the back, there are a few pages devoted to the process of going from script to finished artwork, which is a nice bonus for the young readers who will enjoy the adventure.
From writer/director Michael Sarnoski and starring Hugh Jackman, Jodie Comer, Bill Skarsgård, Murray Bartlett, and Noah Jupe. THE DEATH OF ROBIN HOOD – In theaters June 19. This retelling of his latter days is a big budget production, the first such since 2018’s Riobin Hood, which starred Taron Egerton as Robin and Jamie Foxx as John. This is a version different from the current version on streaming.
Below, Hugh Jackman offers a recap of the legend for those in need of a refresher.
RELEASE DATE: June 19 DIRECTOR: Michael Sarnoski CAST: Hugh Jackman, Jodie Comer, Bill Skarsgård, Murray Bartlett and Noah Jupe
The British Are Coming Vol. 1 By Rick Atkinson, Nora Neus, and Frederico Pietrobon 320 pages/10 Speed Graphics/$35
Adapting prose storytelling to a graphic novel is tricky. Sure, it’s easier to visualize colonial America than describe it in words, but you also need to ensure readers know what they’re looking at and why. In this adaptation of Rick Atkinson’s same-titled book, so much context is missing that it’s a breezy, empty read that won’t enhance the reader’s knowledge.
We open in 1773 and the night of the infamous Boston Tea Party. So, right from the start, we’re missing vital information. This needed to begin with the 1765 Stamp Act, which really set the colonies on the path to independence.
We meet people with a close-up and an arrow providing us with a name, but nothing else, so when John Adams, for example, shows up on page 4, he’s a lawyer and nothing more, little seen again in the narrative.
Nora Neus and Frederico Pietrobon leisurely take us from event to event between 1773 and March 1776, leaving some juicy stuff for volume two. But it’s a limited view. Nothing occurring below Virginia is discussed, the first Continental Congress is ignored, and the vital impact of the January 1776 publication of Thomas Paine’s Common Sense is entirely missing. We periodically go to England to see King George III froth, but the divide between colonists—rebels and Tories—is missing.
Instead, we are treated to leisurely depictions of marching, their rebellion suffering from degrading conditions due to little funding, and way too much time spent on the ill-fated attempt to conquer Quebec, and too little time on the theft of cannons from Fort Ticonderoga.
It appears Neus took the dialogue from primary sources, correspondence, and journals, but it’s formal and doesn’t at all sound like people speaking to one another or even the reader.
The book is nice to look at, easy to read, and robs the subject of the grit and personalities that shaped a new nation. Better the reader find the source material or watch the recent Ken Burns documentary series.
New York, NY— May 20, 2026 — A new power player emerges from the shadows of pain and heartbreak as The Hood debuts in Marvel Rivals! ORIGINS OF THE HOOD: MARVEL RIVALS #1 by Paul Allor and Francesco Archidiacono takes readers into the past to explore the beginnings of Parker Robbins, aka The Hood, and his journey from a hero-worshipping child to an aspiring power-hungry villain. Originally running in the Marvel Rivals Infinity Comic, this new print comic guest-stars Captain America, Kingpin, and more as it further fleshes out the world of the game.
PARKER ROBBINS’ PATH TO POWER!
After watching his family and his dreams fall apart, Parker Robbins decides to take matters into his own hands by attacking Kingpin’s empire head-on – only to land in prison with the childhood hero who once inspired him to keep going. As Parker confronts his hero, he realizes what he needs most…and that he’ll do whatever it takes to get it. Discover the origin of Marvel Rivals’ The Hood here!
Check out the main cover by Paco Diaz, plus a variant by Federico Sabbatini, below, and preorder ORIGINS OF THE HOOD: MARVEL RIVALS #1at your local comic shop today! For more Marvel Rivals comic stories, pick up MARVEL RIVALS: DUEL OF KINGS #1, on sale now, and read new Infinity Comic chapters weekly on Marvel Unlimited.
ORIGINS OF THE HOOD: MARVEL RIVALS #1 Written by PAUL ALLOR Art by FRANCESCO ARCHIDIACONO Cover by PACO DIAZ Variant Covers by FEDERICO SABBATINI and LUCIANO VECCHIO On Sale 8/5
May 19, Mt. Laurel, NJ: Dynamite announces a paperback volume coming this summer featuring the entirety of Gail Simone and Walter Geovani’s revered, history-making run on Red Sonja.
The upcoming release reprints all of Red Sonja #0-18 as well as a batch of extras. Across over 500 pages, fans can dig into this celebrated saga from over a decade ago that brought a whole legion of new fans to the She-Devil With a Sword. In addition to all the stories written by Simone and illustrated primarily by Geovani, a gallery of iconic covers by Jenny Frison, Nicola Scott, Fiona Staples, Amanda Conner, Stephanie Buscema, and more is included.
One of the most acclaimed and influential authors in modern comics, Gail Simone’s career spanning a quarter century now has included treasured tenures on titles including Batgirl, Birds of Prey, Wonder Woman, Deadpool, Secret Six, and more. Currently, she writes one of the all-time chart-toppers in Uncanny X-Men.
Her yarns of the Hyrkanian Heroine include a revamped origin story, a memorable supporting cast and foes, and a near-unanimous reaction from readers and critics.
Following this series, Gail continued with Sonja in Dynamite’s crossover event, Swords of Sorrow, featuring other legendary women of comics and pulp fiction, such as Vampirella, Dejah Thoris, Kato, Jungle Girl, and more. With tie-ins written by other top women in comics, the crossover is also available as a 500-page tome that serves as a perfect companion to this new edition.
Shatter the Universe By Diana Ma 316 pages/Abrams Amulet/$19.99
The Mighty Morphing Power Rangers has always been a mystery to me. I understand the concept, but found the initial series, when imported to the USA by Saban, cheap with bad storytelling. But those colorful costumes and theme of unity and power proved irresistible in the 1980s.
The franchise has endured, going through periods of high volume and attention, constantly reimagined and rebooted.
Here we have a series of novels that focus on the various Rangers, giving them the spotlight in ways the shows never could. This one follows Force of Chaos, which explored the Rangers’ origins from Yellow Ranger Trini Kwan’s point of view. For continuity buffs, this hews closely to the established stories in the BOOM! Studios comics.
Following the defeat of Rita Repulsa, Trini and Black Ranger Zack Taylor are dating in peaceful Angel Grove. However, alternate reality Rangers arrive to break them up, as their romance in this universe threatens to destroy the Morphin Grid.
Trini must decide between saving her relationship and protecting the universe, while fighting against her evil alternate self, Lady Lunara. Unlike any other version of the property, the prose books allow the characters to actually have, you know, character. Diana Ma provides just this in a light, fun manner.
The book leans heavily into the relationship between Trini and Zack, a multiracial dynamic that is not typically explored in mainstream television. Their romance is constantly interrupted by the alternate-reality Rangers doppelgängers, here with a singular goal: to break up Trini and Zack because their relationship threatens the Morphin Grid.
It’s interesting to learn that the Trini/Zack relationship is a rarity across the multiverse, which makes this coupling unique enough to give meaning to the threat.
Trini’s internal narrative is well-developed, with Ma expertly weaving in iconic elements like the Zeo Crystal and classic villains like Rita Repulsa and Goldar. That said, as a teacher, Trini sounds way younger than the 16-year-olds in my classroom.
New York, NY— May 20, 2026 — The countdown to one of the biggest milestones in comic book history officially begins! This September, Marvel Comics proudly presents the 1000th issue of AMAZING SPIDER-MAN, and is pulling out all the stops to make it one of the grandest comics it’s ever published!
AMAZING SPIDER-MAN #1000 will be led by an epic story by Joe Kelly and Pepe Larraz that serves as both a culmination of their work on the title so far AND a pivotal moment that launches into the next phase of their acclaimed run! Then, the giant-sized spectacular continues with special anniversary stories by an unprecedented lineup of renowned creators from legendary Spider-Man creators and modern superstars to surprise contributors! The talent includes the likes of John Romita Jr., Frank Miller, Peach Momoko, Stuart Immonen, Brian Michael Bendis, Dan Slott, J.M. DeMatteis, Patrick Gleason, Marcos Martin and, making his Marvel Comics debut, screenwriter Noah Hawley (Alien: Earth, Legion)! Further details will be revealed in the weeks ahead, but today fans can check out John Romita Jr.’s main cover, which unites the iconic Spidey artist with acclaimed artist Paolo Rivera for the first time, along with a variant cover by Pepe Larraz that teases the debut of the new supervillain, RAVAGE!
Spider-Man faces his greatest fear and his most frightening new villain in decades. Who is this Ravage? And how will his history-shattering power force Peter to question his very legacy? It’s one of Spider-Man’s most personal battles to date, and one that will shape his path for the next 1,000 issues!
“Writing AMAZING SPIDER-MAN #1000 has stirred up a lot of emotions for me, but gratitude is chief among them,” Kelly shared. “It’s a true honor to have the opportunity to contribute to Spidey’s legacy with a huge milestone like this. And special bonus – we get to introduce a new villain?! Amazing. Ravage is layered and complex and mysterious, and I can’t wait to unleash him on the readers with this monumental issue!”
AMAZING SPIDER-MAN #36 (LGY #1000) Written by JOE KELLY, NOAH HAWLEY, FRANK MILLER, DAN SLOTT, J.M. DEMATTEIS & BRIAN MICHAEL BENDIS, & MORE! Art by PEPE LARRAZ, JOHN ROMITA JR. PATRICK GLEASON, PEACH MOMOKO, MARCOS MARTIN, STUART IMMONEN & MORE! Cover by JOHN ROMITA JR. & PAOLO RIVERA Variant Cover by PEPE LARRAZ On Sale 9/16
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