DF Interview: Peter J. Tomasi confronts the battle of nature vs. nurture in ‘Blood Tree’



By Byron Brewer

Two obsessed NYPD detectives hunt for a vicious butcher called the Angel Killer, a sociopath who preys on the innocent family members of known murderers in order to "purify" the rest of society.

From comics super team Peter J. Tomasi (Batman and Robin, Superman, Black Adam: The Dark Age, Super-Sons, Detective Comics) and Maxim Šimić (Escape from New York, Conan) comes Blood Tree, a story that confronts the battle of nature versus nurture, considers how present and future generations are tainted by past generations, and asks the age-old question: Who must pay for the sins of the fathers – and perhaps even the sins of the mothers?
I caught up to scribe Tomasi and here’s what he had to say about the new book.


Byron Brewer: Peter, at least one version of Blood Tree has been running weekly through the online newsletter, Zestworld. Will the Image comic be an opportunity for readers to see those issues in print? And if so, will there be new material coming from artist Maxim Šimić and yourself?



Peter J. Tomasi: Yes, exactly. Blood Tree came out initially through Zestworld.com in only a digital version. They were great to work with. The Image comic will be the first time it's out in print, an actual floppy. Being as old school as I am, it doesn't feel real until I can hold it in my hands, tangible so to speak. Also, for me, writing all day and staring at my Macbook screen, reading for pleasure is something I like to do without a screen. Books, comics, newspapers, magazines. I catch crap from my wife all the time with all the stacks around. There is no new material included in the monthly floppies, but there will be a bunch of stuff for the trade paperback.



Byron: The inspiration for Blood Tree, as I have heard it, not only demonstrates you are an author with patience, but it is one of the funniest tales I have ever heard. Would you please share the inspiration that, if memory serves, begins with you walking in Central Park?



Peter J. Tomasi: Well, I was walking in Central Park one day having just watched a re-release of Lawrence of Arabia on the big screen, and a white feather fluttered down in front of me. I looked closer and discovered it was spotted with blood. So, as my mind took off on its usual free association roller-coaster, I imagined that unseen in the heavens above some angels were duking it out and one of them crashed down into the park. Heading home on the 'A' train, I took out my handy dandy pocket notebook that I always have on my person, and jotted it down. Over the years I kept embellishing upon that singular premise and formed a story I kinda geared on.



Byron: Talk a little about the canvas here, the world/mood/atmosphere Maxim and you are weaving.



Peter J. Tomasi: For me, my creator-owned books, up till now, have all been non-superhero stories except The Mighty (plug plug: check out the recently released Image trade paper back), and I've been focused in staying in the 'real' world, so to speak, instead of continuing to delve into worlds/cityscapes filled with capes and cowls that I've been doing for 30 years. I love super-heroes but I felt to keep any of my future superhero work fresh, I needed to step away for a bit. Anyway, the main objective was to give this story a very straight ahead point of view. We purposefully steered away from getting too operatic in a way, by which I mean lots of big splash pages and crazy angles or distorted shots. We wanted to go with a humanistic eye level, no bombastic superhero tropes. This is a story about several characters going down a severe road that breaks away from their mundane daily life and job expectations and forcing them towards a self-realization that they might not want to look at. Seven, Dexter, and Silence of the Lambs are films/TV that Maxim and I spoke about in regards to the tonal vibe we were shooting for.



Byron: Introduce us to protagonists Dario and Maria. Who are they, what is their relationship and chemistry, and what type of personal challenges await them in the series?



Peter J. Tomasi: Well, I went with the tried and true template of Dario Azzaro as our grizzled NYC detective who's seen it all -- or at least has thought so until the strange killings begin. And of course the younger detective, Maria Diaz, who's got her own world view that deviates from the beliefs of her veteran partner. It's always fun to take a template and shake it up in an unusual way while also peeling away some layers and seeing how this particular case affects their mental and physical stability, and of course their family life. They've got some insane obstacles to face and I hope readers are emotionally invested in their journey because I feel there's some real unexpected twists heading their way.



Byron: What other characters loom large as this series progresses? Can you spotlight a few?



Peter J. Tomasi: I don't wanna give anything away this early, but what I can say is that every character has a specific arc, even the smallest ones who you might not expect.

Byron: Talk more about the collaboration between artist Maxim Šimić and yourself. What does his awesome art bring to this gritty gathering?


Peter J. Tomasi: Working with Maxim has been great. He's got this organic, raw vibe to his art that really works well with Blood Tree and he's a talented storyteller who puts ya right into the heart of the story. Also, the work on the book from colorist John Kalisz and letterer Rob Leigh has been great, not to mention the beautiful covers by Christian Alamy and the cool variant cover to issue #1 by Gary Frank. And then of course there's Brian Cunningham, who's helping juggle all the plates!



Byron: Peter, what other coming projects of yours, inside or outside comics, can you tell readers about?



Peter J. Tomasi: My next creator-owned book from Image will be out either in late 2023 or early 2024 called Snipe and Slug with my storytelling partner the uber-talented Brad Walker. The first three issues are complete and colored and they look unbelievable. Also putting together some other creator-owned books, but all hush-hush for the moment. Not sure if anyone caught my first Marvel work, but I wrote the Old Man Logan: Wastelanders series for Sirius that I was proud of, and there's some TV stuff percolating that's better left unsaid until it firms up some more. There's also a DC series in the works that will be out in late 2023, but again, too early to tell ya much about. And I'm also excited about some DC Omnibuses that are on the horizon.



Dynamic Forces would like to thank Peter J. Tomasi for taking time out of his busy schedule to answer our questions. Blood Tree #1 from Image Comics is slated to be on sale February 1st!



For more news and up-to-date announcements, join us here at Dynamic Forces, www.dynamicforces.com/htmlfiles/, “LIKE” us on Facebook, www.facebook.com/dynamicforcesinc, and follow us on Twitter, www.twitter.com/dynamicforces.

Takashi Yamazaki’s follow-up to the 2023 Godzilla Minus One is set to hit North American theaters on November 6th, 2026, three days after its premier in Japan. The Academy Award winning film took in $11.4 million in the US on its opening weekend and $57 million total during its domestic box office run. Godzilla Minus Zero is the second film in the franchise from Gkids since taking Toho acquired the company in 2024. David Jesteadt, president of Gkids, said in a statement: “Gkids is proud to bring Godzilla Minus Zero to North American audiences, following the incredible global reception of Godzilla Minus One. This next chapter is sure to become another defining moment for the most colossal monster ever to dominate the screen. It is only fitting that this bold, new Godzilla event be experienced in its fullest theatrical glory, and we’re honored that Toho has entrusted us to carry this legacy forward.” 

As we get closer to the start of production on Matt Reeves’ The Batman Part 2, the cast starts to take shape with the second MCU veteran being added to the cast. We heard of Scarlet Johansson’s casting earlier in December and now multiple sources are saying Sebastian Stan has come on board as well, with the Hollywood Reporter’s Heat Vision report claiming that the actor who plays Bucky Barnes will now take on the role of District Attorney Harvey Dent aka Two-Face. This lines up with the rumors that Johansson would be playing Gilda Dent and that the story may be following the Long Halloween, a popular comic arch by Jeph Loeb and Tim Sale. While the story does focus on the Dents, many of the other characters in the story have already appeared in The Batman and The Penguin and have already been eliminated. Plus, the setting of the sequel is said to be set around a week after The Penguin series ended, just before Christmas. How ever the characters are used, if Stan is in the film, it then puts the fate of his MCU character in question as The Batman Part 2 will be filming around the same time as Avengers: Secret Wars. While the casting of both Stan and Johansson have not been made official, neither have they been denied by Reeves, James Gunn or DC Studios. 

Deadline is reporting that Mike Flanagan is working on a new adaptation of Stephen King’s The Dark Tower series. Flanagan said his plan is to adapt the beloved franchise into a five-season series that would then be capped off by two stand-alone movies. The acclaimed horror director recently told Empire Magazine, “We’ve got a lot of scripts done for it. It’s the first priority.” He also made it clear that he doesn’t want the 2017 Idris Elba/Matthew McConaughey film to be the final word on the property. That adaptation has a 16% critic rating on Rotten Tomatoes. Though Flanagan and Intrepid Pictures have a deal with Amazon, the rights to the Dark Tower were specifically carved out of their arrangement and could end up with another studio, but Amazon is also a possibility. Flanagan is known for his work on films like Gerald’s Game, Doctor Sleep and the Life of Chuck as well as series like The Fall of the House of Ushers, The Midnight Club and Midnight Mass. He also came up with the initial story and script for the upcoming Clayface movie that was so strong that James Gunn and Peter Safran has to greenlight a body horror film starring a B-level Batman villain as the third film released in their new DCU.   

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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. 

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. 

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.