Let the Exquisite Corpses game begin… The twelfth and final hired killer, The Lone Gunman, was revealed yesterday.

Now all 12 of the hired killers will hit the small town of Oak Valley, Maine, for this year’s bloody battle royale as fans speculate on who will be the last one standing after the gore hits.

Tiny Onion and Image Comics’ Exquisite Corpses—crafted by masterminds James Tynion IV (The Deviant, The Department of Truth), Michael Walsh (Universal Monsters: Frankenstein, The Silver Coin), and the “Corpse Crew” of creators—launches with the first issue hitting shelves next Wednesday, May 14, followed by the kickoff of the Corpse Tour ’25 at Revenge Of next Friday, May 16, with a Halloween-themed bash.

Exquisite Corpses will launch as an initial 13-issue story arc, but will expand with additional stories in the future. There will also be a companion trading card game launching soon, and fans can start collecting killer cards early with ones exclusively found in polybagged Cover C variants of each issue.

In Exquisite Corpses, every five years on Halloween, the wealthiest families in America play a game. Twelve of the deadliest people in the world are dropped into a small town with just one goal: the last killer standing wins. For the citizens of Oak Valley, Maine—this year's unlucky arena—the goal is much simpler. They must survive the night.

The series uniquely came together in a writers’ room led by Tynion IV and Walsh and made up of “Corpse Crew” comics superstars Adam Gorham (Hellhunters), Becca Carey (Absolute Wonder Woman), Che Grayson (Dark Spaces: Good Deeds), Claire Roe (Dark Spaces: The Hollywood Special), Gavin Fullerton (The Closet), Jordie Bellaire (Redlands), Marianna Ignazzi (Catwoman), Pornsak Pichetshote (The Good Asian), Tyler Boss (You’ll Do Bad Things), and Valentine De Landro (Bitch Planet). Each issue of the series will build upon the last in a true 'exquisite corpse' game style, with a passing of the baton, from creator-to-creator, to unfold the story in a collaborative and competitive fashion.

The first round of hitters was previously revealed, and now a new contingency of cold-blooded killers are entering the game to fill out the roster. In the spirit of March Madness, each issue of Exquisite Corpses will feature playoff brackets that track the in-world competition—and readers will be able to play along at home, guessing who they think will live, who will die, and who will ultimately win the game.





The Lone Gunman is a tall, dark, and mysterious player who never misses his mark. Here’s his official description from the confidential game dossier files:





MASSACHUSETTS selects LONE GUNMAN to wield THE GUN. Kill Count: REDACTED, Height: 6' 3”. Highly trained and highly dangerous, LONE GUNMAN puts years of combat training to use as he efficiently dispatches his opponents—or any collateral damage who get in the way. Dishonorably discharged for battlefield atrocities now sealed in government records, LONE GUNMAN'S penchant for excessive violence has become a benefit, not a hindrance, to his performance in this tournament…

"Lone Gunman is the embodiment of the Exquisite Corpses competition, in many ways," said Tynion. "This smirking, ornate mask being handed down generation to generation, turning tributes into faceless killing machines at the whims of the oligarchs...Tough to get much scarier than that."

Lone Gunman joins the ranks of these already revealed killers:





LEOPOLD STRONG:

NORTH CAROLINA selects LEOPOLD STRONG to wield THE HAMMER. Kill Count: 23. Height: 6' 5". Some killers might be afraid that an opponent could steal their signature weapon, but not LEOPOLD STRONG. He alone is strong enough to heft the massive mallet that he wields to pound flesh and bone into so much bloodied paste. It's unknown if he truly comes from the circus or merely likes the theatricality of the look, but what is clear is that LEOPOLD STRONG is easily the most physically imposing murderer in this year's games. Heave ho!





RECLUSE:

RHODE ISLAND selects RECLUSE to wield THE ROPE. Kill Count: 64. Height: 5' 10". An artist with wires and ropes, RECLUSE sets her own field of battle, drawing opponents into traps from which few leave intact. Though she's deadly on the move with a garrote in hand, RECLUSE prefers a patient approach, lying in wait until her razor-wires snare her opponents. Some say her love of ropes borders on fetishism, but few get close enough to find out the truth.




FOX MASK KILLER:

NEW YORK selects FOX MASK KILLER to wield THE SWORD. Kill Count: 87. Height: 5' l". Among killers-for-hire, there are a select few feared even by other assassins. The enigmatic swordswoman known as FOX MASK KILLER is at the top of that list, having achieved a reputation for completing her jobs with ruthless efficiency--and for chasing increasingly challenging targets. Whether she sees the tournament as just another paycheck, or a chance to push herself past her limits, remains to be seen.



PRETTY BOY:

GEORGIA selects PRETTY BOY to wield THE AXE. Kill Count: 36. Height: 6' 2". Despite what Hollywood tries to sell the masses, most serial killers are charmless, asocial monsters. Most, anyway. PRETTY BOY, on the other hand, could kill with a wink and a flash of his pearly whites. He prefers an axe, though. Like many a heartthrob, PRETTY BOY takes out his pent-up rage through wanton violence, splattering his six-pack abs with gore with every swing of the axe. He has the honor of wielding the weapon that won the very first game ever conducted, but the significance is lost on him--he's just here to look good and get bloody.




LADY CAROLINA:

SOUTH CAROLINA selects LADY CAROLINA to wield THE ARROW. Kill Count: 7 Height: 5' 8". No one from the patron families enters the games themselves. It is simply unheard of. So when LADY CAROLINA stepped foot inside the arena, the other families were aghast. She comes from noble stock and received the best training their money could buy, but it still feels like a transgression. Is she simply seeking a death-defying thrill? Or does she have a more personal reason for aiming her crossbow at this year's set of killers…





THE CONGREGATION:

NEW HAMPSHIRE selects THE CONGREGATION to wield THE KNIFE. Kill Count: 39. Height: 6' 0". The only killer in the game to turn down a fee from his patron family, THE CONGREGATION feels that taking a life is a higher calling--a monk-like tribute to whatever dark gods whisper in his ears. And while he's almost certainly a raving lunatic (you'd have to be, to cover yourself in the sliced-off faces of your victims), THE CONGREGATION'S knife has brought many offerings to his altar, and will no doubt bring many more still before his prayers are finished.





RASCAL RANDY:

NEW JERSEY selects RASCAL RANDY to wield THE HANDS. Kill Count: 19. Height: 5' 11". There is a man inside the RASCAL RANDY costume, but that man doesn't matter. That man has never mattered. He was no one until he put the mascot head on for the first time, until he felt the life leave someone's body through the thickly furred gloves of the suit. The man inside the suit will wear any disguise if necessary, but his true skin is RASCAL RANDY, and god help anyone who sees him coming toward them on a dark night.





LAYLA BLAZE:

DELAWARE selects LAYLA BLAZE to wield FIRE. Kill Count: 335. Height: 5' 3". They say some people just want to see the world burn, but LAYLA BLAZE will settle for seeing anything go up in flames. It's unclear if the burn marks that criss-cross her body are the results of fires that got out of control...or LAYLA BLAZE running out of any other kindling. All that can be said for sure is that she burns hot in life, love, and the act of killing, and leaves only ashes in her wake.





SLATER:

MARYLAND selects SLATER to wield EXPLOSIVES. Kill Count: 124. Height: 5' 10". Tick...tick...BOOM! The hot young thing known as SLATER has never had a problem attracting attention, but his entourages have a habit of blowing up—as does anything else in his vicinity. Under the right circumstances, SLATER might have channeled his fascinations with pyrotechnics into something productive—instead, he's just a walking powderkeg.




NURSE PETE:

VIRGINIA selects NURSE PETE to wield POISON. Kill Count: ???. Height: 5' 6". No one would guess that the unassuming, schlubby NURSE PETE had a body count approaching three figures, and that's just how he likes it. A compulsive killer who endlessly tweaks his deadly cocktails of paralyzing narcotics and tests them on patients around the country, NURSE PETE is usually content to slip from hospital to nursing home to pediatric ward, changing identities just in time to avoid being noticed. But the sum offered to him for joining this game would pay for oh so many tantalizing new chemical components...





G4M3R_KlD & CALVIN:

CONNECTICUT selects G4M3R_KlD to wield ELECTRICITY. Kill Count: 9. Height: 4' 0". Aww, c'mon—you wouldn't hurt a little kid, would you? A product of the iPad generation, weaned on slur-filled gaming lobbies, G4M3R_KlD has no business being anywhere near an event like this, but he's so desensitized to violence that he has no qualms piloting CALVIN, his heavily armed drone, and aiming it at any target in sight. Kill counts are just high scores to this tyke, and he wants to see his name on the leaderboard.


Exquisite Corpses #1 will be a triple-length debut issue, featuring 60 pages of story content for just $4.99, and will be available at comic book shops on Wednesday, May 14. The Cover C variant not only features the extra-length issue, but also an exclusive Exquisite Corpses: The Game killer card within a protective polybag for $6.99.

Cover A by Walsh – Lunar Code 0325IM247

Cover B by James Stokoe – Lunar Code 0325IM248

Cover C by Walsh (polybagged with game card) – Lunar Code 0325IM249

Cover D blank sketch cover – Lunar Code 0325IM250

Cover E "stealth variant" by Jenny Frison – Lunar Code 0325IM251

Cover F 1:25 copy incentive by Alex Eckman-Lawn – Lunar Code 0325IM252

Cover G 1:50 copy incentive by Nimit Malavia – Lunar Code 0325IM253

Cover H 1:100 copy incentive by Jae Lee & June Chung – Lunar Code 0325IM254

Exquisite Corpses #2 will be available at comic book shops on Wednesday, June 18 (Final Order Cutoff deadline for retailers is May 26):

Cover A by Walsh – Lunar Code 0425IM328

Cover B by Marianna Ignazzi – Lunar Code 0425IM329

Cover C by Walsh (polybagged with Killer card) – Lunar Code 0425IM330

Cover D "stealth variant" by [to be revealed] – Lunar Code 0425IM331

Cover E 1:25 copy incentive by Riley Rossmo – Lunar Code 0425IM332

Cover F 1:50 copy incentive by Martin Simmonds – Lunar Code 0425IM333

Exquisite Corpses #3 will be available at comic book shops on Wednesday, July 23 (Final Order Cutoff deadline for retailers is June 30):

Cover A by Walsh – Lunar Code 0525IM344

Cover B by Valentine De Landro – Lunar Code 0525IM345

Cover C by Walsh (polybagged with Killer card) – Lunar Code 0525IM346

Cover D "stealth variant" by [to be revealed] – Lunar Code 0525IM347

Cover E 1:25 copy incentive by Ricardo Lopez Ortiz – Lunar Code 0525IM348

Cover F 1:50 copy incentive by Joshua Hixson – Lunar Code 0525IM349

Exquisite Corpses will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

Lanterns is stepping into the spotlight as one of the DCU’s most ambitious projects, and the past week has delivered the clearest picture yet of what James Gunn’s cosmic detective drama is becoming. With major reveals at San Diego Comic-Con, a full trailer drop, and new confirmations about cast, villains, and tone, the series has transformed from a mystery-shrouded production into a fully realized cornerstone of Gods and Monsters. HBO’s upcoming Lanterns series is officially positioned as a prestige crime thriller with cosmic stakes, blending the grounded tension of True Detective with the mythic scale of the Green Lantern Corps. The show follows veteran Lantern Hal Jordan (Kyle Chandler) and newcomer John Stewart (Aaron Pierre) as they investigate a murder in the American heartland—one that quietly spirals into an interstellar conspiracy. At SDCC 2026, fans got their first real look at the show’s tone and scope. The trailer, which premiered during the panel, confirmed a TV‑MA rating and showcased a moody, atmospheric world where Lanterns operate more like detectives than superheroes. The footage highlighted the uneasy partnership between Jordan and Stewart, the eerie rural setting, and the creeping sense that something far larger is unfolding just out of sight. The biggest surprise came from the villains. While Sinestro (Ulrich Thomsen) appears in the series, he’s not the primary antagonist—at least not yet. Instead, Season 1 centers on the Manhunters, ancient robotic enforcers who have infiltrated Earth. One clip showed Hal interrogating a possible Manhunter disguised as a human, revealing that these machines carry nuclear‑level payloads and are quietly preparing for something catastrophic. The SDCC panel also featured a crowd‑pleasing cameo from Nathan Fillion, who introduced a new clip of his irreverent Guy Gardner, continuing the character’s thread from Superman (2025). Meanwhile, Laura Linney was confirmed to play one of the Guardians of the Universe, adding gravitas to the cosmic side of the story. Behind the scenes, the creative team is stacked: showrunner Chris Mundy (Ozark), alongside Damon Lindelof and Tom King, with James Gunn and Peter Safran executive‑producing. Directors James Hawes, Stephen Williams, Geeta Vasant Patel, and Alik Sakharov round out a lineup built for prestige television. With its August 16, 2026 premiere on HBO and HBO Max, Lanterns is shaping up to be the DCU’s most grounded yet mythologically rich project—one that not only redefines the Green Lantern mythos but also sets up major cosmic threads for the films to come, including John Stewart’s confirmed appearance in Man of Tomorrow. 

There’s a running joke on the internet about how many movies are about trying to get Matt Damon home. The answer is four and Hollywood has spent over an estimated $600 million on this premise but they’ve made good money doing it. The real question is why are so many people interested in seeing him try to get home? In 1998 he was the titular Ryan in Saving Private Ryan and while it only opened for $30 million, it made $482 million worldwide over its theatrical run. In 2014 audiences flocked to Interstellar with a $47 million domestic opening and $764 million worldwide run. And just a year later he was stranded again in The Martian and the film opened for $54 million and made $630 million in theaters. This weekend Christopher Nolan is rolling out his epic adaptation of The Odyssey and in the lead role of a Greek soldier trying to get home to his wife he decided to work again with Damon… and other stars like Robert Pattinson, Anne Hathaway, Zendaya and Tom Holland to name a few. And the new film is looking to open at almost what all three films opened for combined. The film is expected to open for $120 million domestically making it the highest opener of 2026, but it’s doing just as well internationally and is expected to have a worldwide opening of $257 million, surpassing Nolan’s previous best with The Dark Knight Rises. Looks like Odysseus is going to beat Batman… maybe Nolan and Damon should team up one more time in a movie about Batman trying to get back to the Batcave. I mean, it's obvious people would go see it. 

The pandemic affected most everyone in one way or another, but for actor Kyle Chandler it left him in a unique state of mind. The Friday Night Lights actor wouldn’t call it a depression or anxiety or even an agoraphobic reaction but rather a “strange haze in the air” that “kind of shook me up” and left him in ruminations. What got him out of it is his upcoming role as former test pilot and intergalactic space cop Hal Jordan in the upcoming HBO series Lanterns. Chandler talks about taking on the DC Franchise as "The old man upstairs said, 'Hey, I'm gonna give you a gift.' He threw me a bone, and I chewed that thing all the way through. Before I went out, I decided I'm gonna have fun. Damn the torpedoes." The veteran actor is paired with rising star Aaron Pierre as John Stewart in a prestige crime thriller likened to the hit HBO series True Detective. While the series has a cosmic origin, the approach to this first season at least is much more grounded as Jordan comes to investigate a murder in a small, midwestern town and brings along the new recruit forced upon him by his bosses, the Guardians. Stewart is the first recruit selected by the Guardians where all the other Green Lanterns were selected by the rings after the previous owner dies. Jordan doesn’t respond well to his new partner and that animosity carries over into their investigation. The series will take place in two timelines set ten years apart with the investigation starting in 2016 and then we see what is happening now. The series premieres on August 16th and while a second season has not been green lit yet, writer Christopher Cantwell (Halt and Catch Fire) has been hired to work on scripts for season two… so DC Studios and HBO must like what they’ve seen. 

Long before Lin Manuel Miranda took the Founding Fathers to Broadway with the Tony Award Winning Hamilton, the likes of Thomas Jefferson, John Adams and Benjamin Franklin sang about the birth of the United States of America and the musical led to an amazing musical called 1776. With this being the 250th anniversary of the signing of the Declaration of Independence, now would be a good time to watch this classic film that’s available on streaming services like Hulu and Tubi. The film adapts the celebrated musical by Peter Stone with an all-star cast that includes William Daniels (Boy Meets World), Ken Howard (The White Shadow), Howard de Silva (The Great Gatsby) and Blythe Danner (Meet the Parents). The film focuses on the days leading up to the Continental Congress debating and eventually declaring independence and gives us look at the chaos that existed leading up to the birth of the nation. While dealing with a serious topic, the film is laced with humorous moments and unforgettable songs while showing just how difficult it really was to get the thirteen colonies to agree and how different parts of the country had different priorities. Not too unlike the way the country is now. 1776 is entertaining and sneakily educational and I watch if every July 4th… which I’m doing as I type this article. 

With Supergirl underperforming at the box office there is a rush to point fingers… as often happens when it comes to big studios like DC, Marvel and Star Wars. Will there be similar handwringing with the latest Minions film coming in about $17 million below it’s expected opening… probably not. But The Hollywood Reporter has exclusive details about what happened with the Milly Alcock project that seems to pit director Craig Gillespie against James Gunn and the studio. The criticism of the film varies with complaints about the editing, the musical choices, the depth of character for the villain to the changes from the source material. The new report focuses on a few of those and talks about the test screenings happening back in March of this year. Gillespie was given free reign on his film until test audiences had their say and the best the film was able to do was score in the 60s. This led to the studio getting involved and creating their own cut of the film. Gunn brought in Guardians of the Galaxy editor Fred Raskin to re-edit and Jeremy Slater of Godzilla X Kong to work with screenwriter Anna Nogueira on a few new scenes. Then Gillespie’s original cut, edited by Tatiana S. Riegel from Cruella, and the new cut were both shown to audiences to see which would faire better. Neither film stood out too much with the studio version scoring about two points more than Gillespie’s. While the director’s cut came in about 11 minutes longer and scored higher on the villain and the music, two things complained about in reviews, the overall score favored the studio cut and it was chosen to be the theatrical release. Though reports don’t say what the specific scores were, it does say the highest score reached among all the testing was only 70 out of 100. While this may sound like a behind-the-scenes struggle and signs of studio interference, things like this happen all the time in Hollywood with the goal of putting out the best film possible and had the film had a higher opening, this probably wouldn’t be news at all. An on-line movement is now building to have the “director’s cut” released even though a handful of people claim to have been in the audience for the Gillespie cut and claims that the film isn’t that different than what was released to theaters. Perhaps the deleted scenes will be included on the Blu-ray release. 

DC Studios and Warner Bros. Animation used this week’s Annecy International Animation Film Festival to signal a broader push into animation, unveiling three new series built around some of DC’s most recognizable characters. The slate includes Absolute Batman, Joker: Laugh Riot, and Krypto, each aimed at a different corner of the superhero audience. The boldest announcement may be Joker: Laugh Riot, described as DC Studios’ first anime series. Produced with Sola Entertainment and directed by Yasuhiro Aoki, the show imagines a Gotham where Batman has been murdered and the Joker hunts for the killer who robbed him of his greatest obsession. That premise turns the usual Batman-Joker dynamic inside out, pushing the Clown Prince of Crime into uneasy detective territory. Absolute Batman adapts the recent comic by Scott Snyder and Nick Dragotta, reimagining Bruce Wayne as a working-class hero rather than a billionaire crimefighter. Snyder is expected to serve as executive producer and showrunner, while Dragotta will produce. The series’ “no manor, no money” approach positions Batman as a more grounded figure facing wealth, power, and corruption from the outside. Rounding out the lineup is Krypto, a children’s animated series centered on Superman’s loyal super-dog. Developed by C.H. Greenblatt, the project gives DC a lighter, family-friendly entry alongside the darker Batman and Joker titles. Together, the announcements show DC Studios treating animation not as a side lane but as a flexible creative engine. From anime to kid-focused comedy to a radical Batman reinvention, the Annecy slate suggests DC is betting that familiar icons can still feel new when placed in unexpected formats and tones. 

How well is Supergirl going to do in theaters? It’s really hard to say, especially if you are reading on-line takes. Since the tickets were made available for presale, the opening projections have moved all over the place with initial thoughts being between $40 - $50 million, then after a few really positive days it jumped to $60 - $75 and has bounced higher and lower to where now they’re saying $50 - $60. The film is set to open against a popular Toy Story 5 that will be on its second week and likely to stay at the top of the box office if it has an average second week drop. Bottom line the expert seem to be having a hard time locking in on this one. What about critics’ thoughts? The film was screened for reviewers and while originally embargoed until next week, the studio lifted the embargo for reactions a week early and now you can see what they thought. Not their full reviews, but their short initial reactions and if you look online most sites are claiming they’re “mixed”… unless you go into the comments and read them yourself. Even sites like Deadline are saying that yet of the reactions they list, the positives outnumber the negatives three or four to one. There is consistent praise for Milly Alcock, Jason Momoa, the action and the heart of the film. The villain is often called bland and the pacing gets called out, but to call it mixed is a stretch. The problem is that like everything in life, film coverage has become political. Sites use negative headlines to get attention and with DC Studios particularly you have a split fan base between what is happening now and those that prefer the previous films… which means that narrative gets created to further their own cause. The truth is, Supergirl will struggle a bit with a film like Toy Story 5 going against it, the character is not popular on her own and is a derivative of a bigger character and in a lot of ways, the previous incarnations, while entertaining, did nothing to make the character stand on her own. Regardless of how it does, there will be a narrative claiming success and another claiming failure. The only way to judge the truth is to see the movie yourself and decide… but that’s really how we judge all movies isn’t it?   

We’re just weeks away from the release of the first Supergirl movie in over 40 years and with ticket presales well underway, experts are making their projects on opening weekend. After the initial sales started happening, most sites were predicting anywhere from $45 to $55 million domestically, but after a few days of higher-than-expected numbers, some sites have adjusted up to as high as $60 to $77 million. This would put the Milly Alcock lead film right in line with the last few Marvel Studios films (except Deadpool and Wolverine). While there has been some debate, Deadline claims the film’s budget is $175 million and the breakeven point would be around $315 million. Other sites claim it’s as high as $425 million globally to call it a success. Only DC Studios and its co-heads James Gunn and Peter Safran know what would make this film a success for them, but with trying to rebuild a franchise that had been pretty much run into the ground with underperforming films like The Flash, Aquaman 2 and Shazam 2, having a film that makes most of its money back and is a critical and audience success could be more valuable. Coming off the success of last year’s Superman film, DC is hoping that Craig Gillespie’s vision will continue to excite fans and keep building the new DCU to higher and higher heights. The success of this film and this universe may be driven more on word-of-mouth than box office numbers and the studio appear to be confident enough in the film that they have already had media screenings over two weeks before the film’s release. Yes, there is still an embargo so they can have those reviews come out closer to when the film is in theaters, but you can probably tell the way the project is being covered whether or not it was well received.   

A new rumor is shaking up what fans are expecting from The Batman Part 2. On the same day that writer/director Matt Reeves posted that filming had begun, insider Jeff Schnieder posted about how everything we knew about Sebastian Stan’s role in the project was wrong. Sites had been reporting that Stan would be playing Harvey Dent/Two-Face and while that had never been confirmed by Reeves or DC Studios, people took comments from Stan as confirmation such as how he would be playing, “multiple roles” as a hint at him playing the split-personality of the Batman villain. But the new report claims that Stan is not Dent but rather the serial killer Victor Zsasz and actor Bryan Tyree Henry would be playing Dent. Other insiders have some out since and claim to have collaborating information. Zsasz is an interesting character, a killer who notches a mark on his skin for every kill. He’s been portrayed in live action a couple of times including on Gotham and in the Birds of Prey movie but has never been the main focus of a story. This would match up to Reeves saying that the film would be exploring a story never done in film before. It doesn’t really match up to Stan’s comment about “multiple roles” or reports that he was already working with make-up to figure out the look. Reeves is not confined by what is in the comics so he could make major changes to characters, even to the point of making Zsasz a divergent personality of Harvey Dent that manifested prior to the acid attack causing Two-Face to emerge. It’s also possible that Schneider’s information is slightly off and instead of playing the serial killer, Stan could be playing Charles Victor Szasz who is also known as Victor Sage or The Question. How’s that for a twist? The bottom line here is that Schnieder is hearing this from an insider, and it has not been confirmed by any official source and I wouldn’t put it past film studios to start leaking false information to protect a movie that is just starting to film. I think this one stays in the, “take with a grain of salt” category and we wait to find out more. 

DC Studios and their co-head James Gunn have talked about a lot of potential series and films with some of them being mentioned and then sort of forgotten about. One of those seemed to be Paradise Lost, a Wonder Woman prequel series showing life on Themyscira before the birth of Diana. Though after its initial mention, the project hadn’t been talked about in a while and someone asked Gunn its fate. Gunn insisted the project was still in the works and now we are seeing some possible confirmation. Back in 2024, two names were attached as writers on the series Kira Snyder and Janet Lin and now, according to the WGA website, both are set to work on Paradise Lost for 2027-2028. Snyder is known for writing and producing on The Handmaid’s Tale and The 100 while Lin has credits on Bridgerton, Cursed, and Bones. There has been talks recently about trying to fast track a new Wonder Woman film and while there is no confirmation, rumors persist that the character may debut in Man of Tomorrow, so seeing Paradise Lost finally moving forward would make a lot of sense.