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Daisy Goes to the Moon by Matthew Klickstein & Rick Geary

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Daisy Ashford was real. She was born in 1881, and wrote a cluster of stories in her youth: weird, oddball things with eccentric spelling and an often-shaky grasp on how people actually lived and talked to each other, all bathed in the sunny happiness of a coddled girl of the Victorian age. After she grew up, she rediscovered those stories, and some of them were published around 1919 with the help of J.M. Barrie. There have been periodic revivals and rediscoveries since then; a movie of her most famous “novel,” The Young Visiters, was made by the BBC about twenty years ago. (I know I saw it, but it must have been before the life of this blog.)

Daisy Goes to the Moon  is about Daisy, but not by Daisy. Matthew Klickstein wrote a short novel in Daisy’s style – which seems to me to be the opposite of the point of juvenilia, frankly – and it was published in 2009, full of 1950s imagery and ideas. And now Rick Geary, master of both whimsy and Victoriana, has turned Klickstein’s story into a short graphic novel, full of authentically Daisy-esque spelling and moderately appropriate Daisy-esque situations and comments.

(Daisy herself died in 1972 at the age of 90, so she’s no more going to complain about what people have done to her memory than Shakespeare is.)

This begins with Daisy about the age of nine, when she wrote her most famous works, and dressed up in the usual Victorian-girl look, down to the big bow in her hair. She’s sitting under a tree, Alice-like, when a “rokit” lands nearby. It’s piloted by Mr. Zogolbythm (Mr. Z), a tall, skinny man all in black who comes from the moon, to which he proceeds to whisk Daisy for an adventure.

The story continues somewhat episodically, somewhat along the lines of the usual tour-of-the-future style for utopian works. Daisy experiences the high-tech of the moon – including a “so-you-can-hear-and-read-too” device implanted in her brain to allow her to understand moon language – flees Moon Monsters and creatures from other planets, shops for shoes and goes to an automat, and so on.

Soon, though, another character pops up: Mr. Blahdel (Mr. B) an American time-traveler from the 1950s, lugging a TV that’s missing an important part. B and Z have some mostly minor disagreements, which lead to further adventures when they dispute over the navigation of a spaceship. We also descend into metafiction when Daisy finds a book written by her sister Angie, which retells the first half of the story badly – the bratty Angie has followed Daisy (somehow; this isn’t clear) to the Moon.

And, of course, in the end Daisy gets back home safe and sound, and declares that to the best place to be.

Geary’s art is as detailed and energetic as always; quirkiness and whimsy typically brings out some of his best work, and that’s the case here. I might think that was an odd project, but it’s done as authentically and honestly as it could be, and this is a fun, amusing story.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Imerpail War One-Shots Feature Black Panther, She-Hulk

New York, NY— May 15, 2025 — Next month, IMPERIAL, a four-issue event series by visionary writer Jonathan Hickman and superstar artists Iban Coello and Federico Vicentini, kicks off a galaxy-spanning conflict, boldly transforming the cosmic landscape of the Marvel Universe. The highly anticipated series sets the stage for a new line of intergalactic storytelling, starting with five IMPERIAL WAR one-shots that spotlight individual characters and groups as they navigate the startling developments and explosive conflicts sweeping the stars.

These key chapters of the overarching IMPERIAL narrative will each be co-written by Hickman with the first two hitting stands in August: IMPERIAL WAR: BLACK PANTHER #1 by award-winning writer Victor LaValle (Wolverine: Sabretooth War) and acclaimed artist CAFU (Venom) and IMPERIAL WAR: PLANET SHE-HULK #1 by rising superstar Stephanie Phillips (Phoenix) and extraordinary artist Emilio Laiso (Godzilla Vs. X-Men).

The Intergalactic Empire of Wakanda is under fire from all sides in IMPERIAL WAR: BLACK PANTHER! Blamed for the assassinations that have started an all-out galactic war, T’Challa will first need to survive a brutal assault from the World-Breaker Hulk and Amadeus Cho before he can even think about hunting down the true culprit! And all while his spacecraft spirals towards certain doom! Sounds like another day at the office for the Black Panther!

“Working with Jonathan Hickman on an interstellar epic—who wouldn’t be thrilled by that idea? I’m excited to start working on the Intergalactic Empire of Wakanda because there’s not enough stories about Black folks in outer space. There could always be more. By the time I’m done, T’Challa and Shuri will have constellations named after them, in some distant galaxy,” LaValle said.

Then, a brutal war of succession ignites in IMPERIAL WAR: PLANET SHE-HULK! Left behind on New Sakaar to keep the peace, Jen Walters discovers that in this savage realm, what’s needed isn’t a litigator, it’s a liquidator! Fortunately, She-Hulk is accomplished at being both!

“She-Hulk’s voice just came naturally to me from the first line—she’s so sharp, funny, and confident,” Phillips shared. “It’s been incredible getting to bring her story to life as part of IMPERIAL and see what this talented lineup of creators is building together.”

IMPERIAL WAR: BLACK PANTHER #1
Written by VICTOR LAVALLE & JONATHAN HICKMAN
Art by CAFU
Cover by FRANCESCO MORTARINO
On Sale 8/20

IMPERIAL WAR: PLANET SHE-HULK #1
Written by STEPHANIE PHILLIPS AND JONATHAN HICKMAN
Art by EMILIO LAISO
Cover by FRANCESCO MORTARINO
On Sale 8/27

William of Newbury by Michael Avon Oeming

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The publisher calls this book “Hellboy meets Redwall,” which hits the major touchpoints, as far as that goes. Yes, fighting supernatural monsters. Yes, medieval times. Yes, anthropomorphic characters. But it’s much more authentically medieval than a reader would expect, in quirky and unusual ways, much more inspired and growing out of actual research than it is a story stuck into that world for vague coolness reasons.

First and most important is that William of Newburgh – “Newbury” is a variation creator Michael Avon Oeming decided to use here – is an actual 12th century monk, and this collection of ghost-fighting stories about a raccoon and his rabbit brother is actually based on the writings of the real person.

Now, Oeming clearly fictionalized some things to turn the historical record The History of English Affairs – an actual book written by the real William covering the period known as The Anarchy when King Stephen and Empress Matilda battled for control of the country (and Normandy) after the unexpected death of Henry I and his heir – into William of Newbury , the collection of the first four comic-book issues of the anthropomorphic William’s adventures. But the bones of the story seem to be much closer to the original than I would have expected.

(For one change, I’m pretty sure the historical human William didn’t have a semi-reformed thief sidekick, Winnie, whom he was teaching to read.)

The four issues tell a continuous story, but each issue is basically one event – each works as an individual issue or story. There’s an encounter with the supernatural each time, plus complications and larger issues.

The supernatural elements are explicitly based in the medieval worldview. The dead do rise, because they are tormented by devils of Satan. The land of faerie exists, and is made up of fiends who want to torment and tempt Christians. 

William, despite the Hellboy comparison and Oeming’s moody Mignola-esque art, is not going to punch any of these creatures. He is going to talk at them, to call on the angels and saints, to use the power of God to force the devils and faeries to leave and the dead to lie still. He has a staff with a cross on it, which he brandishes at the arisen dead – who are nasty and violent and murderous and tossing hellfire at times, too – but what will stop them is not anything violent, but the power of God, possibly channeled or empowered by William’s faith.

(It does work consistently, as we see. Punching would not. This is not a world in which punching evil has any effect.)

The other major theological point, which is an important undertone throughout and becomes central in the fourth issue, is that William and his brother Edward were almost kidnapped by the faeries as children, and that means their souls were stolen and they are doomed to oblivion after death. (Not even hell, as they understand it: their souls are gone, so they will just die.) There’s a hint at the end that this may not be entirely true, and it may be theologically suspect as well – can an immortal soul be stolen? do these pagan spirits have the power to destroy something made by God? – but that, as they say, is probably for the next volume of William of Newbury stories.

William himself is a fascinating, quirky character: devout, scholarly but muscular in his faith, devoted to doing good as he sees it and using his abilities to help those around him. But also scattered and often cheated in everyday things, not necessarily that good at the rough-and-tumble of life – which is understandable for a monk. I think there will be more of these stories, and I hope so: I don’t know how much more of William’s writings Oeming still has to work from, but there’s enough material here for at least another couple of stories of this length.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

REVIEW: Dune: Prophecy

Frank Herbert didn’t necessarily intend to create a large, enduring legacy like Dune became. But once the novel finally arrived in the mid-1960s, it was immediately embraced and spawned several sequels until Herbert’s death. His son Brian, in concert with Kevin J. Anderson, has been keeping the flames burning bright with a series of prequels and sequels that further the ideas first presented sixty years ago.

Herbert thought on a grand scale, his history spanning tens of thousands of years, so HBO Max’s Dune: Prophecy is set 10,000 years before events found in Dune (and therefore, the first two Denis Villeneuve film adaptations). While drawing material from Herbert and Anderson’s Sisterhood of Dune, it charts its course, focusing on the evolution of the female-centric Bene Gesserit.

Legendary Entertainment is used to thinking in grandiose terms given their work with Godzilla and King Kong, and here, plans for the TV tie-in began in 2019, well before the first feature film was released. The six-episode first season aired last winter and is now available on 4K Ultra HD from Warner Home Entertainment.

There are timeframes running in parallel, tracing the relationship between two sisters: Valya Harkonnen (Jessica Barden) and Tula Harkonnen (Emma Canning) as they leave home for training in the mystic order. As adults, the two (Emily Watson and Olivia Williams respectively) contend with changes within the order, including a threat in the form of Desmond Hart (Travis Frimmel), who is the fly in the Sisterhood’s ointment, immune to Vialya’s Voice, a power that compels people to do her bidding. The emperor has no use for the Bene Gesserit and wants them eradicated.

As one would expect, the two timelines are populated with friends, kin, and enemies, sometimes making it hard to track who is who and who is out to get whom. Still, there are many familiar terms and images, notably the Sandworm of Arrakis. Despite the ten-thousand-year difference, it still looks and feels like Villeneuve’s Dune. There are enough intriguing details and character moments to make each episode interesting and keep you coming back.

In the hands of showrunner Alison Schapker, the stories have some pleasant, compelling moments and fun characters. The series boasts an attractive and talented cast, which connected with the audience, leading to a second season being commissioned before the first season was completed airing last December.

The series is available as either 4K or Blu-ray without a combo pack or digital code. The HVEC/H.265 encoded 2160p transfers in 2.00:1 is rich in visual detail, nicely capturing the color palette, and looks fabulous on a home screen. It pairs quite well with the immersive Dolby Atmos audio track.

Alas, being a repackaging of the series, the Special Features are drawn mainly from the Inside the Episode packages that accompany most Max productions. Disc One also offers up Entering the Dune Universe (2:58) and Houses Divided (2:47). Disc Two provides us with Truth or Lie (5:38) and Expanding the Universe (2:32) while Disc Three has Behind the Veil (34:45) and Building Worlds – Home Entertainment Exclusive (HD; 13:04) is another production design focused featurette. One wishes the features were as rich in detail as the episodes themselves.

Dune: Prophecy

REVIEW: Iron Man: Something Strange!

Iron Man: Something Strange!
By Dean Hale and Douglas Holgate
Abrams Fanfare/96 pages/12.99

After three team-up books featuring Spider-Man, the young reader line shines the spotlight on Iron Man and Doctor Strange, and it’s a fun time. Aimed at 5-9-year-old readers, the book ostensibly is about an alien infestation that comes to shellhead’s attention when the Avengers’ communication system fails. It turns out the ten little creatures are the offspring of an interdimensional creature who is none-too-happy to be on Iron Man’s plane of existence.

When the Golden Avenger runs out of science-based options, he takes Thor’s advice and seeks supernatural help from the Master of the Mystic Arts. Here’s where the real theme emerges: science versus magic becomes a running gag between the two heroes. With just an hour to collect the children of Great Gargantos, Scourge of the Outer Planes, Tonty Stark challenges Stephen Strange to see who can corral the most children.

Dean Hale is no stranger to writing young superhero stories, and here, he does a fine job simplifying all the heroes into child-sized personalities without losing Stark’s egocentrism. He finely weaves in humorous cameos from the Avengers and Spidey. It’s interesting that the most wisdom comes not from the armored Avenger or Sorcerer Supreme but from Ms. Marvel, in another cameo. The only sour note is his bad explanation for why the armor’s AI is named Friday.

Douglas Holgate’s art is well-suited to the characters and the story, keeping things easy to follow and filled with nice little touches throughout. Ian Herring’s colors keep up with the frenetic pace.

This is a solid addition to the Mighty Marvel Yea-Ups from Abrams Fanfare.

Christopher Priest Takes on the She-Devil with a Sword

May 16, Mt. Laurel, NJ: One of the most legendary creators in comics history meets one of its most celebrated characters, as Sonja Reborn slashes into stores and readers’ pull lists this August!

Reborn is a tale of survival which takes a hard look at what life in the Hyborian Age might actually be like for a modern woman who finds herself suddenly thrust into it! How might a single woman survive a land of mystical threats and monsters without caving into her fears, dying of infection, or losing the at-best conditional loyalty of her ragged band of male cutthroats? What might this woman really be like and how could she possibly survive?

Christopher Priest (Superman Lost, Conan the Barbarian, Black Panther) has been a boundary-smashing figure in comics for nearly five decades, both on and off the page. With works of his serving as the foundation for billions-grossing blockbusters, Dynamite has been fortunate to work with him through the years and particularly on the Daughter of Drakulon, Vampirella. While he continues innovating in those tales, now in 2025 he also presents an inventive take on the other crown jewel among the Women of Dynamite, Red Sonja.

“We might have called this book ‘Becoming Red Sonja,’” Priest said. “The book delves into the culture shock of a presumed nightmare from which you cannot awaken. Both Black Panther and Quantum & Woody employed observational humor of the sidecar character, a voice from outside of the conceit of the fictional universe it observes, which can underscore both the drama and the humor of a world gone completely insane. Sonja Reborn is our “Kelvin Universe” alternate take on the classic, branching off from familiar paths in order to spiral chaotically into the unknown. I’m having a blast writing it, which is equal parts endorsement and warning!”

Priest acolytes and Hyborian Age scholars may know that Priest is no stranger to the mythos or even Sonja herself, who featured prominently in storylines from his runs on her barbarian compatriot. Yet now, back after more than three decades, with full focus and creative rein, fans will experience his unparalleled approach to the character and her world. This new series brings his trademark missing-puzzle-piece plot assembly and twisted sense of humor, for a historic reimagining of the classics by Roy Thomas, Frank Thorne, Barry Windsor-Smith, Esteban Maroto, John Buscema, and more.

Sonja Reborn presents a new Sonja for a new age. Ancient and codependent gods The Light and The Dark are engaged in a cosmic contest to decide the fate of the world. Young British diplomatic clerk Maggie Sutherland, stolen from the year 2025, suddenly finds herself their pawn in play. Ripped from a modern 21st century world and transported into the wilds of Hyboria, Maggie awakens transformed into the fiery-haired Hyrkanian reaver Red Sonja.

Caught perilously out of her environment amidst a world of gods and monsters, constant threats, new friends and foes alike, Maggie / Sonja must try to figure out what fate has beset her and struggle to find her way home. Together, Priest and Sonja veteran artist Alessandro Miracolo set out with their readers on a quest to reexamine the crimson-maned warrior from the inside out, creating a riveting reinterpretation of Maggie’s hero’s journey to reveal what it might actually take for a woman to survive and thrive in a brutal world of swords, sorcery, and barbarism!

Latest Doings in Forthcoming One World Under Doom Tie-Ins

New York, NY— May 9, 2025 — Doctor Doom’s rule shows no signs of weakening as ONE WORLD UNDER DOOM overtakes the Marvel Universe throughout the summer!

No mere event, ONE WORLD UNDER DOOM has ushered in an entirely new status quo-shifting era. The developments in Ryan North and R.B. Silva’s core series reverberate through Marvel Comics storytelling in various tie-in issues and limited series. The nine-issue series will skip July, only to return in August with a pivotal issue that sets the stage for the event’s final months.

Today, peek ahead at what’s to come with the reveal of ONE WORLD UNDER DOOM tie-in issues on sale in August. Plus, enjoy a special first look at next month’s ONE WORLD UNDER DOOM #5 that shows Doom in the aftermath of his brutal battle with Dormammu and the Avengers seeking the help of the All-Father in their mission to overthrow Earth’s new emperor!

ONE WORLD UNDER DOOM #6
Written by RYAN NORTH
Art by R.B. SILVA

Doom’s reign has been a success for months, with even some heroes questioning if they’re on the right side. A final desperate gamble is conceived, and Reed reveals a terrible secret he’s acquired about Doom’s global domination – but will it be enough? And what has Doom been hiding under that Latverian Dome? All is revealed – at terrible cost! It’s the beginning of the end for some, and the beginning of a new age for others…

RED HULK #7
Written by BENJAMIN PERCY
Art by JETHRO MORALES

LAB RAT!

Machine Man and Deathlok evade police as they hunt for Thunderbolt Ross, A.K.A. RED HULK! But they don’t fully understand the dangers that await them at Project Alpha! Here, at this secret lab located deep in the mountains, General Ryker reveals his plans for the Red Hulk, who is now both a prisoner and an experimental weapon. BEWARE THE NEW WAR WOLF!!!

RUNAWAYS #3 (OF 5)
Written by RAINBOW ROWELL
Art by ELENA CASAGRANDE

DOC JUSTICE, KAROLINA DEAN… AND THE WILL OF DOOM!

Doctor Doom will not be disobeyed! Doombot struggles with a significant decision when an attack on the Runaways is in even greater force! Will an (un)happy reunion save them? And what happens when it’s the last straw for Nico Minoru?!

“Emperor Doom dislikes chaos and messes. Which the Runaways excel at,” Rowell teased in a recent interview with ComicBook.com.

SUPERIOR AVENGERS #5
Written by STEVE FOXE
Art by LUCA MARESCA & KYLE HOTZ

KILLMONGER STRIKES!

Is this a sign of budding romance? Or MURDER? The pieces are falling into place, and the team is ready for their true mission to begin. But who is playing who?

An Embarrassment of Witches by Sophie Goldstein and Jenn Jordan

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This is not a sequel to Darwin Carmichael Is Going to Hell . It is, though, the only other project I know of by the team behind that webcomic, and it’s set in a world very similar to Darwin Carmichael‘s. It may even be the same world, though not necessarily so.

Darwin Carmichael ran from 2009 through 2013 and then was collected into a book. Sophie Goldstein drew about 90% of it and co-wrote it all, as far as I can tell, and Jenn Jordan drew a few bits and did the other half of the writing.

An Embarrassment of Witches  was a 2020 original graphic novel. This time out, it looks like Goldstein (the professional comics-maker and teacher) did all of the art, but the book is still vague about their roles, so I continue to assume they write it together, in whatever way. (Probably not Marvel Method. My guess would be some variety of co-plotting, with Goldstein maybe doing page breakdowns and then coming back together for dialogue.)

Darwin was set in a modern NYC where everything in myth was true – there were minotaurs on the subway and stoner angels were important to the plot. In Witches, we only see humans, but it’s a world with industrialized, systematized magic – our milieu is the academic world around magic, focused on two young women and their post-graduate lives.

As required in a story about two people, they’re quite different: Rory is impulsive, unsure, flitting from one idea to the next. Angela is driven, focused, serious. And the story is thus mostly about Rory, since she’s more interesting and active.

They’ve both just graduated. Angela is about to start an internship with Rory’s Type A mother, Dr. Audrey Rosenberg. Rory is heading off to work at a dragon sanctuary in Australia with her boyfriend Holden…who, just before getting on the plane, tells her that he wants to open up their relationship to other people. (We get the sense that this sort of thing happens to Rory all the time – she misreads signals, dives into everything headfirst, and gets hurt all the time by everything before bouncing off into something totally different after a big emotional scene.)

So Rory impulsively doesn’t go to Australia, begs Angela to let her stay in the walk-in closet of their apartment – they’ve sublet her room to a guy named Guy for the summer – sells off most of her stuff, and then falls for Guy and decides to follow him into his new Interdisciplinary Magick program. (Every time Rory does something, you can assume the word “impulsively” is there. The narrative doesn’t say she always does this about a boy, but the two cases we see here both fit that pattern.)

Meanwhile, Angela, in a somewhat more low-key manner, is one of six interns working for Dr. Rosenberg (Rory’s mother, again), who is demanding and exacting and apparently has not one iota of human feeling for her employees or family.

They both crash, of course. Angela because she’s been doing the boiling-frog thing, with pressure building up bit by bit probably since she was five, and she just cracks. Rory because that’s what she always does: throws herself into something but only half-asses it, misunderstands other people and doesn’t say what she wants or needs, and then collapses into an emotional wreck when it inevitably breaks apart. 

They yell at each other, they break their friendship…but only briefly, because it’s that kind of story. They also have familiars – I think everyone in this world does, but the familiars are pretty independent and seem to wander off for weeks at a time – who kibitz on their relationship, squabble with each other, and help to mend everything in the end.

It’s a story I’ve seen many times before – you probably have, too. One part quarter-life crisis, one part best friends assuming too much of their relationship. Goldstein and Jordan tell it well, and their quirky, specific world adds a lot of depth and intertest to what could otherwise be a pretty general and bland story. Rory would be deeply annoying in most stories; she’s the kind of person who goes out of her way to step on every damn rake on the ground, over and over again.

In the end, they both move on to things that we think are good for them – at least, we hope so, and it is the end, so we’ll give them the benefit of the doubt. It’s a solid ending, open and forward-looking. I don’t know if we’ll get another story by Goldstein and Jordan set in a world of industrialized magic, but…if we got two, surely there’s no reason there couldn’t be three?

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

New Age of Apocalypse Event Coming in September

New York, NY— May 9, 2025 — This September, Marvel Comics marks the 30th anniversary of Age of Apocalypse, a groundbreaking X-Men storyline, with X-MEN OF APOCALYPSE, an all-new six-part event series by legendary writer Jeph Loeb, one of the creators behind the original Age of Apocalypse, and, in his first series since returning to Marvel earlier this year, Eisner nominated artist Simone Di Meo.

Mirroring the first Age of Apocalypse saga, X-MEN OF APOCALYPSE will kick off in X-MEN OF APOCALYPSE ALPHA #1, continue through X-MEN OF APOCALYPSE #1-4 starting in November, and conclude in X-MEN OF APOCALYPSE OMEGA #1. A prelude to the event will be featured in Giant-Size Age of Apocalypse #1 next month, where Loeb and Di Meo team up for the one-shot’s special Revelations Backup story.

THE X-MEN OF APOCALYPSE CRASH INTO THE MAIN MARVEL UNIVERSE!

A dystopian future created when Charles Xavier was killed, AGE OF APOCALYPSE is home to a wartorn group of X-Men led by Magneto. In order to free their Earth from Apocalypse’s cruel reign, they were willing to sacrifice their very existence—or so they thought! The main timeline was restored, Apocalypse was defeated, but their world lived on!

Taking place in the direct aftermath of the original crossover’s explosive finale, X-MEN OF APOCALYPSE reignites the mission of this iconic reality’s X-Men as they journey here to ensure their universe’s survival. This desperate mission will take them into the main Marvel Universe, where they will come into conflict with their classic counterparts, forever impacting both team’s destinies!

“Thirty years ago, THE X-MEN OF APOCALYPSE took the comics world by storm and I was lucky enough to be part of it,” Loeb shared. “There were new characters! New designs! Heroes who were villains and villains who were heroes! Now, for the 30th anniversary, an all-new, all-different story with spectacular art by Simone Di Meo brings us to this uncanny team that shouldn’t even exist — and they are coming here! Join Gambit, Sabretooth & Wild Child, Blink, Forge and Morph and more as they try to save one universe without dooming another!”

“Working with a legend like Jeph is really exciting,” Di Meo said. “I’ve known his work for years along with the great impact it’s had on this industry and I’m really honored. Beyond that, I’ve really found a friend and someone who’s passionate about his work so it’s really nice to work with him, Marvel and Tom [Brevoort] together day by day trying to build the best book of my career.

“Being able to touch a legendary story like Age of Apocalypse is unexpected for me, that event has an important place in Marvel history, and being able to enter it and give my own take is absolutely incredible. I’m giving my all to make all the readers happy, from the longtime fans who loved the event in the ‘90s and the new ones who I hope can become just as passionate about it. I’m excited and nervous at the same time!”

X-MEN OF APOCALYPSE ALPHA #1
Written by JEPH LOEB
Art and Cover by SIMONE DI MEO
On Sale 9/3

X-MEN OF APOCALYPSE #1 (OF 4)
Written by JEPH LOEB
Art and Cover by SIMONE DI MEO
On Sale November 2025

Lethal Weapon Finally Makes its 4K Debut in June

Burbank, Calif., May 6, 2025 – Lethal Weapon, the 1987 action thriller film from director Richard Donner and starring Mel Gibson and Danny Glover, will be available for purchase Digitally in 4K Ultra HD and on 4K UHD Blu-ray Disc on June 24.
 
The box office hit was nominated for the Academy Award® for Best Sound and spawned a franchise with three sequels and a television series.
 
The Digital and 4K UHD disc release includes the 1987 theatrical version of the film and the 2000 Director’s Cut, which features an additional 7 minutes of footage not seen in theaters.
 
Directed by Donner (Superman), the film stars Gibson (Braveheart) as Detective Martin Riggs, Glover (Predator) as Detective Roger Murtaugh, and Gary Busey (Point Break). Shane Black wrote the script, and Donner, Joel Silver, and Silver Pictures produced it.
 
Lethal Weapon will be available on Ultra HD Blu-ray Disc online and in-store at major retailers and Digitally from Amazon Prime Video, AppleTV, Google Play, Fandango at Home, and more.
 
About the Film
Mel Gibson stars as a one-man killing machine, a Los Angeles policeman who recently lost his wife and has been acting increasingly unstable. Danny Glover plays a by-the-book homicide detective with an impeccable record and a loving family. Now the two are stuck with each other as partners, investigating a suicide that leads to an international crime ring and ever-increasing danger in this blockbuster action thriller.
 
Lethal Weapon Digital release and Ultra HD Blu-ray disc contain the following new special features:

  • A Legacy of Inspiration: Remembering Richard Donner
  • “I’m Too Old for This…”

BASICS

Lethal Weapon
Ultra HD Blu-ray Languages: English, Spanish, Parisian French
Ultra HD Blu-ray Subtitles: English SDH, Spanish, Parisian French
Theatrical Version Run Time: 110 minutes
Director’s Cut Run Time: 117 Minutes
Rating: R for strong violence, strong language, brief drug use, and some nudity
Digital Street Date: June 24, 2025
Physical Street Date: June 24, 2025