DF Interview: Marc Guggenheim promises espionage intrigue in the ‘Too Dead To Die’ OGN

By Byron Brewer

In the 1980s, Simon Cross was America’s top super-spy. In Too Dead To Die, he faces down today’s very different world and a past that has come back to haunt him, forcing him out of retirement for one final adventure.

The writer/artist team of Marc Guggenheim and Howard Chaykin (Blade, Wolverine) reunites for an original graphic novel in the forthcoming Too Dead To Die. This all-new story promises classic spy novel suspense and is set to hit shelves from Image Comics this December. Whose espionage-loving motor wouldn’t be revved by the mention of these two comics creators? I sat down with my friend Marc Guggenheim to discuss the OGN.


Byron Brewer: Marc, Coronavirus and the pandemic affected all of us in many ways. Tell readers how this was instrumental in your coming graphic novel, Too Dead To Die.



Marc Guggenheim: Well, I locked the sound mix on my first directing efforts (Legends of Tomorrow, Episode 514) and the next day was lockdown. The shutting down of all production meant that I was able to focus on writing things that I wouldn’t otherwise have had time to work on. Among those projects was a push back into creator-owned comics. I had had the idea for what became Too Dead To Die for several years, but never had the time to actually work on it. Suddenly, I did.



Byron: And before we get to the book proper (well, kinda), relate the very ironic/amusing story of how artist and frequent collaborator (Blade, Wolverine) Howard Chaykin got involved with the OGN.



Marc Guggenheim: Howard and I had worked together on four projects previously: Blade, Wolverine, a four-page story for an anti-bullying special, and an unpublished eight-page Spirit story. Like I said, what became Too Dead To Die was something I’d been kicking around in my head for a number of years. The pandemic gave me a chance to finally work on it. I just started writing the first issue. This was, obviously, before I knew it would take the form of a graphic novel. But halfway through writing those first twentysomething pages, I realized I was picturing Howard’s art in my head as I wrote. When I finished the script, I sent Howard an email -- we’ve kept in touch over the years -- and asked if he had any interest in reading it. He said he did and evidently he liked what he read, because we were suddenly off to the races.



Byron: Introduce us to Simon Cross. Who was he, who is he, what challenges does life hold for him today?



Marc Guggenheim: I like to describe Cross as a super-spy who is as close to James Bond as I could get without being sued. He’s basically America’s answer to James Bond: Like Bond, he likes women and the finer things in life, but being American, he’s more coarse. He’s less proper. He has a tendency to break the rules. I don’t think he takes orders as well as Bond does.

I’m using the present tense here, but the truth is that that’s all in the past for Cross. When we meet him, he’s in his seventies and long since retired from the field. He has a collection of medications that have been prescribed to manage all the conditions decades of hard living have left him with. His liver is a mess. His back is in shambles. He has STDs. He’s basically falling apart when we meet him.


Byron: Talk a little about Cross’ world in the 1980s. And did you or Howard do any research for the period?



Marc Guggenheim: Howard and I both lived through the Eighties, so I don’t think either of us felt an overwhelming need to do too much research on that score. In any case, the majority of the graphic novel unfolds in the 21st Century. Although there is a prose short story in the graphic novel that’s set in the Eighties which I had to do a fair amount of research for. All I can say is, thank God for Google. It’s truly amazing how many specific facts are right at your fingertips.



Byron: Can you let us know about any important characters aside from Cross in the book, maybe introduce a few of them here?



Marc Guggenheim: The most significant co-star is Cross’ daughter, Lily. As more than one character points out, it’s statistically impossible for Cross to have had sex with so many women without siring at least one child. That’s Lily. But the important thing to know about her is that she’s no damsel. She’s smart and formidable and has her own point of view on things. At the same time, I worked hard to avoid the expected cliché of her having resentment towards her father which Cross has to overcome. Their relationship is much more nuanced -- in fact, Lily’s surname is Nuance -- than that.

There’s also Olivia Goodlay, who was a former co-worker of Cross’ and, yes, a former lover. Today, however, she’s a Director at the CIA. I was interested in seeing how a two-dimensional “Bond girl” would grow and change over time. Her interactions with Cross are among my favorite in the graphic novel. She’s got his number and has no compunctions about giving him the business.


Byron: Can you give readers an elevator pitch for the book (without spoilers, of course). And what sort of difficulties does a former 1980s Cold War superspy have operating in the 21st century?



Marc Guggenheim: The elevator pitch is that Simon Cross was America’s preeminent super-spy in the 1980s. But it’s now 2022 and the world has passed him by. All his heroism and sacrifices have been forgotten. He never settled down. He lives a rather sad and lonely existence. But all that changes the day he learns that one of his many assignations produced a daughter. The fact that she’s in danger draws him out of retirement for one final adventure.



Byron: Discuss your collaboration(s) with Howard in depth. Your story about how he got with this graphic novel says a lot about you guys as a creative team.



Marc Guggenheim: When I write a comic, I’m always seeing the art in my head as I go. With Too Dead To Die, I was seeing Howard’s art in my mind’s eye, as I mentioned. What’s interesting, however, is that I often don’t see Howard’s layouts -- how the art is arranged on the page -- and that’s actually an aspect of Howard’s art that he doesn’t get enough credit for, in my opinion. The way he’ll arrange close ups or tight shots of characters’ faces in panels that are confined to the left or right side of the page -- leaving the middle of the page for wide or action shots -- is really rather ingenious. And wholly original. It’s the most quintessentially “Chaykin” thing about Howard’s art, but nobody notices because his style -- his voice as an artist -- is so wonderfully specific. When you look at a piece of Howard’s art, you have no doubt who drew it.

Also, just by the design of the cover of the OGN, I get the feeling this may NOT be the last time we see or hear of Simon Cross OR the team of Guggenheim/Chaykin. Do we have more Simon coming to our lives in the future?
Well, to quote the title of Sean Connery’s last turn as James Bond, Never Say Never Again, I’d say “never say never.” I love working with Howard and I believe the feeling is mutual. And, yes, the story is built such that there can be sequels and prequels. It all depends on the success of the OGN, to be honest. In success, all things are possible. At the moment, I’m working on the screenplay for a feature film adaptation of Too Dead To Die -- Howard and I sold the rights recently to a major Hollywood studio. In my perfect world, we’d publish a follow-up OGN -- which, I promise, will not be called 2 Dead 2 Die -- contemporaneously with the release of the movie. But you never know what fate has in store…


Byron: Marc, I know you are active in all types of media, everything from comics to the screens big and small. What projects to you have coming, inside or outside comics, that you can tell readers about?



Marc Guggenheim: “That [I] can tell readers about” is the key phrase in that question. For the past few months, I’ve been writing a weekly newsletter -- LegalDispatch -- on Substack (marcguggenheim.substack.com) and I feel like many editions are just a laundry list of project codenames because I haven’t gotten the greenlight to talk publicly about them.

In terms of television, I’m just in the development phase on several projects. These days, a show can take four years between conception and streaming, so I’ve buckled in for what I know will be a long process on all of these. It’s not like the old days where you would pitch in June, shoot the pilot in March, and be on the air in October, unfortunately.
Right now, most of my public-facing (i.e., announced) work is in the comic book space. The trade paperback edition of Last Flight Out, the pre-apocalypse father/daughter story I published through Dark Horse, hit comic book stores on November 16. The week after saw publication of the first trade collection of Star Wars: Han Solo & Chewbacca on November 23. That same day, we dropped Star Wars: Revelations -- a really ambitious 40-page one-shot which previews events that are happening across the Star Wars line in 2023. Speaking of 2023, on January 25, we’ll release another OGN through Dark Horse called Fragmentation, which I describe as “what if Christopher Nolan directed a family drama?”
Like I said, LegalDispatch is the place to go for teases of all my heretofore unannounced projects, including Project Artery which will be animated. I also talk a lot about the state of the entertainment industry and how it’s been contracting of late -- which probably seems strange given how busy I am, but it’s a strange time…

Dynamic Forces would like to thank Marc Guggenheim for taking time out of his busy schedule to answer our questions. The Too Dead To Die OGN from Image Comics is slated to be on sale on December 14th!



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.

Netflix has just unveiled the trailer for Season 4 of The Witcher and set to premiere date to be October 30, 2025. The most significant change this season is the introduction of Liam Hemsworth as Geralt of Rivia, taking over the role from Henry Cavill. The trailer gives us our first glimpse of Hemsworth in action, showcasing his portrayal of the iconic monster hunter. In the teaser, Geralt is seen battling a wraith, a classic monster from the Witcher universe, using his usual mix of swordplay and magic. The storyline for Season 4 picks up after the events of Season 3, with Geralt, Yennefer, and Ciri separated by a raging war and countless enemies. As their paths diverge, they encounter unexpected allies and face new challenges that test their limits. The official synopsis hints at divided paths and the discovery of new allies, setting the stage for an epic journey. In addition to Hemsworth, the cast includes returning favorites such as Anya Chalotra as Yennefer, Freya Allan as Ciri, and Joey Batey as Jaskier. New cast members include Laurence Fishburne as Regis, a mysterious and world-wise barber-surgeon who joins Geralt on his journey. The fourth season will consist of eight episodes, all dropping on October 30. This season is also notable for being the penultimate chapter of the series, with the fifth and final season already in production. 

Conventions can be great places to get quotes on the latest movies and shows in production. Zanda Gubecka of FeatureFirst.Net used their time at the OZ Comic Con in Brisbane this year to chat up actor Con O’Neill about all things DC. While Con is a distinguished actor with a long list of credits, the two roles he may be best known for right now are Chief Mackenzie Bock in the Batman Epic Crime Saga and as Izzy Hands on Our Flag Means Death. He first spoke about David Jenkins, the creator of OFMD and who is attached as the showrunner for the upcoming Booster Gold series, praising the writer as a kind man and a creative who the world so desperately needs. O’Neill said Jenkins is the type of guy that likes writing and developing nuanced stories that understand the human experience by promoting positivity. Similar to how the actor saw the newest Superman movie, praising it for its portrayal of the titular character and the promotion of kindness. He also had a message to those who call out that portrayal as wrong, saying “There are people who think Superman shouldn’t be kind like that. F*** those people.” Then moving over to his role in The Batman and The Penguin and where he’d like to see Bock go, O’Neill joked, “I love Bock. Matt Reeves and Matt Reeves’ mind is unquestionably one of the most extraordinary places I’ve been invited into. So wherever I thought or think Bock should be, it isn’t going to be what Bock will be. So I’d just go by the genius of Matt Reeves. I mean… the man is a fucking genius. If you haven’t seen Matt Reeves’ other films… Watch them! They’re fucking awesome.” 

Eric Kripke, the creator and showrunner of the hit series "The Boys," recently shared an exciting update about the highly anticipated spin-off, "The Boys: Mexico." In a recent interview, Kripke revealed that the pilot for "The Boys: Mexico" is currently in development and described the project as "super fun" with a "totally different tone" compared to the original series. Kripke emphasized that while the new spin-off will exist within the same universe as "The Boys," it will offer a unique perspective and style. He praised the involvement of executive producers Gael García Bernal and Diego Luna, noting that they are deeply engaged with the project. The script for the pilot, penned by Gareth Dunnet-Alcocer, is reportedly "good," and Kripke expressed confidence in its potential. "The Boys: Mexico" was first announced in 2023, and the series is expected to film in Mexico, though specific plot details remain under wraps. Bernal and Luna, who are longtime friends and collaborators, may also appear in the series, albeit in smaller roles. This new spin-off is part of a broader expansion of "The Boys" universe, which includes other projects like "Gen V," "Vought Rising," and the animated series "The Boys Presents: Diabolical”. With "The Boys" preparing to wrap up its fifth and final season in 2026, "The Boys: Mexico" represents a significant step in continuing the franchise's legacy and exploring new narratives within its satirical superhero world. 

Sean Astin, the beloved actor known for his roles in "The Lord of the Rings," "Stranger Things," and "Rudy," has been elected as the new president of SAG-AFTRA, the union representing approximately 160,000 actors, announcers, broadcast journalists, dancers, DJs, program hosts, recording artists, and other entertainment and media professionals . Astin, who is the son of the late Academy Award-winning actress Patty Duke, succeeds Fran Drescher, who served as the union's president for four years . Astin's election marks a significant moment for the union, as he received an overwhelming 79% of the vote, defeating his opponent, Chuck Slavin . Michelle Hurd, known for her roles in "Ash vs. Evil Dead," "Blindspot," and "Star Trek: Picard," was elected as the union's secretary-treasurer . In his acceptance speech, Astin expressed his gratitude to the members for their support and emphasized the importance of optimism and creativity as the union navigates through challenging times . He also acknowledged the legacy of his mother, Patty Duke, who served as the president of the Screen Actors Guild from 1985 to 1988 . Astin's election comes at a critical time for SAG-AFTRA, as the union prepares for upcoming contract negotiations with the major studios. The industry is facing numerous challenges, including the impact of artificial intelligence on performers' work, streaming residuals, and the increasing costs of healthcare . Astin's leadership and experience on various negotiating committees will be crucial in addressing these issues and advocating for the rights and interests of the union's members . With his extensive career in Hollywood and strong union ties, Astin is well-positioned to lead SAG-AFTRA into a future defined by confidence, progress, and fierce advocacy . His election is a testament to the trust and support he has garnered from the union's members, and his commitment to representing their interests and ensuring their voices are heard . 

The first three episodes of Peacemaker season two has led to a lot of speculation about the “Best Dimension Ever” as Chris Smith calls it and just what might be the big twist coming up later in the season. And while we are not getting into the spoiler game, we thought it would be helpful to explain what everyone is talking about.   So possibly spoilers if everyone is guessing right. Leave now if you don’t want to know.   Still here? Okay.   In DC Comics’ multiverse, few alternate Earths are as haunting and politically charged as Earth-X. First introduced in Justice League of America #107 (1973), Earth-X imagines a world where Nazi Germany won World War II, plunging the planet into a totalitarian nightmare. Earth-X is a parallel universe within DC’s Pre-Crisis Multiverse. Unlike Earth-One or Earth-Two, Earth-X is defined by its alternate historical trajectory: the Axis powers emerged victorious in WWII, and the Nazi regime continues to dominate global affairs well into the 20th century. Some of the unique things about the dimension is that there were no native superheroes originally existed on Earth-X. The planet’s defenders are immigrants from Earth-Two, led by the patriotic spirit Uncle Sam. The world is locked in a perpetual struggle between fascist control and scattered resistance movements. To combat the oppressive regime, Uncle Sam formed the Freedom Fighters, a ragtag team of heroes from other Earths who chose to stay and fight that includes: The Ray, Phantom Lady, Black Condor, Doll Man, Human Bomb, and Red Bee. Doll Man was mentioned in season one of Peacemaker. These characters came from DC’s acquisition of Quality Comics similar to how Peacemaker was part of DC’s acquisition of Charlton Comics. If this is the direction James Gunn is going in season two, and the clues so far do point in this general direction, this would not be the first time we’ve seen Earth X represented in live action. The Arrowverse did a crossover event called Crisis on Earth-X which introduced us to variations of characters like Green Arrow and Supergirl and brought the Ray to television screens. While this remains to be just speculation, the reality that Peacemaker is visiting does have a few oddities to it that are leading fans to this idea including how Chris along with his dad and brother are revered when Auggie was an over-the-top racist in the main DCU. And then if you look closely when Chris is in that reality you’ll notice an extreme lack of diversity among the background actors where Gunn is known for the opposite in his other projects. While this may not end up being Earth-X, it does feel like Gunn is setting up a twist that will pull the rug out from under Peacemaker.     

The first night of the 2025 Creative Arts Emmy Awards lit up the Peacock Theater in downtown Los Angeles with a celebration of television’s behind-the-scenes brilliance and standout guest performances. While the Primetime Emmys are still a week away, this precursor event honored the artisans, designers, and guest stars who bring depth and texture to the small screen. Here’s a breakdown of the biggest winners and standout moments from Night One: 1. The Studio (Apple TV+) – 9 Wins Apple TV+’s satirical drama The Studio dominated the evening, taking home nine trophies. Among its accolades: <!--[if !supportLists]-->·         <!--[endif]-->Outstanding Contemporary Costumes for a Series <!--[if !supportLists]-->·         <!--[endif]-->Production Design for a Narrative Contemporary Program <!--[if !supportLists]-->·         <!--[endif]-->Guest Actor in a Drama Series – Bryan Cranston 2. The Penguin (HBO) – 8 Wins HBO’s gritty crime drama The Penguin followed closely with eight awards, showcasing its technical prowess: <!--[if !supportLists]-->·         <!--[endif]-->Contemporary Makeup (Non-Prosthetic) <!--[if !supportLists]-->·         <!--[endif]-->Prosthetic Makeup <!--[if !supportLists]-->·         <!--[endif]-->Contemporary Costumes for a Limited Series <!--[if !supportLists]-->·         <!--[endif]-->Hairstyling <!--[if !supportLists]-->·         <!--[endif]-->Sound Editing and Mixing <!--[if !supportLists]-->·         <!--[endif]-->Special Visual Effects 3. Severance (Apple TV+) – 6 Wins The psychological thriller Severance continued its critical streak: <!--[if !supportLists]-->·         <!--[endif]-->Production Design <!--[if !supportLists]-->·         <!--[endif]-->Guest Actress in a Drama Series – Merritt Wever 4. Arcane (Netflix) – 4 Wins The animated series Arcane impressed with: <!--[if !supportLists]-->·         <!--[endif]-->Outstanding Animated Program <!--[if !supportLists]-->·         <!--[endif]-->Character Voice-Over Performance – Julie Andrews <!--[if !supportLists]-->·         <!--[endif]-->Background and Color Design Notable Guest Acting Wins <!--[if !supportLists]-->·         <!--[endif]-->Bryan Cranston (The Studio) – Guest Actor in a Drama Series <!--[if !supportLists]-->·         <!--[endif]-->Julianne Nicholson (Hacks) – Guest Actress in a Comedy Series <!--[if !supportLists]-->·         <!--[endif]-->Shawn Hatosy (The Pitt) – Guest Actor in a Comedy Series <!--[if !supportLists]-->·         <!--[endif]-->Merritt Wever (Severance) – Guest Actress in a Drama Series Craft and Design Highlights <!--[if !supportLists]-->·         <!--[endif]-->Bridgerton dazzled with a win for Outstanding Period Costumes <!--[if !supportLists]-->·         <!--[endif]-->House of the Dragon earned recognition for Fantasy/Sci-Fi Makeup <!--[if !supportLists]-->·         <!--[endif]-->Andor took home awards for Costumes, Production Design, and Picture Editing With Night Two set to continue the celebration of television’s finest in writing, casting, and editing, the Creative Arts Emmys have already set a high bar. And with The Studio, The Penguin, and Severance leading the charge, the Primetime Emmys promise a thrilling showdown.  

The DC Universe is expanding rapidly, and with James Gunn’s announcement of Man of Tomorrow—the next chapter in the Superman Saga—fans are dissecting every social media breadcrumb for clues. One of the most intriguing reactions came from Lanterns star Aaron Pierre, whose subtle comment has ignited speculation that his portrayal of John Stewart may leap from HBO Max to the big screen. James Gunn revealed Man of Tomorrow will hit theaters on July 9, 2027, featuring returning stars David Corenswet as Superman and Nicholas Hoult as Lex Luthor. Though Gunn clarified it’s not a direct sequel to Superman (2025), the film is expected to be a major ensemble piece, continuing the “Superman Saga” with a broader Justice Gang presence. Aaron Pierre, who is set to debut as John Stewart in HBO’s Lanterns next year, responded to Gunn’s Instagram post with a simple but tantalizing comment: “Yes, indeed!”. While brief, the timing and context of the comment—especially as a reply to Hawkgirl actress Isabela Merced’s “See you soon”—suggest Pierre may be hinting at his involvement in Man of Tomorrow. Fans immediately latched onto the exchange, interpreting it as a soft confirmation that Stewart will join Superman, Hawkgirl, and potentially other Justice Gang members in the upcoming film. Given Stewart’s prominence in DC lore and his longstanding partnership with Superman in animated series like Justice League Unlimited, the move would make narrative sense. Pierre’s portrayal of John Stewart is already generating buzz ahead of Lanterns, where he stars opposite Kyle Chandler’s Hal Jordan and Nathan Fillion’s Guy Gardner. Stewart is expected to be the emotional anchor of the series, and many believe he’s being positioned as the DCU’s flagship Green Lantern. Pierre’s comment joins a wave of social media teases from other cast members. Isabela Merced, Rachel Brosnahan, and Skyler Gisondo have all hinted at their return, while rumors swirl around appearances by Supergirl, Peacemaker, and even Lobo. Though Gunn has yet to confirm Pierre’s involvement, the director has stated that Man of Tomorrow will feature “a group of characters we’ve already met”—a description that fits Stewart perfectly. 

Marvel fans have been buzzing for weeks, dissecting every cryptic post and offhand comment from Ryan Reynolds in hopes of confirming Deadpool’s involvement in the upcoming Avengers: Doomsday. Now, Reynolds has finally addressed the rumors—and in true Deadpool fashion, he’s left us with more questions than answers. It all began with a seemingly innocuous Instagram post: Reynolds shared an image of the Avengers logo spray-painted with a red “A,” igniting speculation that Deadpool would join the MCU’s biggest ensemble since Endgame. The timing was suspicious—just weeks after Marvel unveiled the Doomsday cast, notably without Reynolds’ name. During a press tour for his new documentary John Candy: I Like Me, Reynolds was asked point-blank about his involvement in Avengers: Doomsday. His response? “There’s four [John Candy Easter eggs] that I’ve got in there. Of course, I’ve written them all at home in my PJs, and nobody’s seen ’em nor have I stepped foot on set. But, yeah, that’s about as far as I’ll go on that one.” It’s a classic Reynolds dodge—playful, vague, and just enough to keep fans guessing. In a separate interview, Reynolds clarified that the red “A” logo wasn’t a tease for Doomsday, but rather a variant flag design from Deadpool & Wolverine that didn’t make the final cut. He explained: “That was just a flag. I came across it and thought, ‘Oh yeah, I loved that flag. The red and black vibe.’” Marvel Studios president Kevin Feige has hinted that not all cast members have been revealed, leaving the door wide open for Reynolds to make a surprise appearance. While Reynolds remains coy, insiders suggest that even if Deadpool doesn’t appear in Doomsday, he may play a pivotal role in Avengers: Secret Wars, the Phase 6 finale. With a solo X-Men project reportedly in development, the Merc with a Mouth isn’t going anywhere. 

It’s a weird weekend at the box office as Weapons returns to first place on its fourth weekend with $12.4M for the four-day stretch. A re-release of the classic Jaws takes second with $9.8M while the two new releases Caught Stealing ($9.5M) and Roses ($8M) take third and fifth respectively. Also on it’s fourth weekend, Freakier Friday pulls in $8.3M for fourth place. The big summer superhero films are hanging on with the Fantastic Four making $6M for seventh place and Superman swooping up another $3.28M even though it has already been released on home consumption. Not quite breaking into the top ten is the Toxic Avengers finally getting a theatrical release and earning $2.2 million over the holiday weekend. 

With the new season of Peacemaker underway, DC fans have been wondering about the announced series set to focus on Amanda Waller, former head of ARGUS and Taskforce X. While on-line scoopers have called the series dead, co-head of DC Studios, James Gunn says that Viola Davis lead series is still in the works. The writer/director of Superman told People, “We’re working on it, so we’ll see what happens. Some things have moved faster than others. Waller’s not been the fastest. But I can’t wait to see Viola put on their Waller pants again.” The series was originally planned to run prior to the second season of Peacemaker, but Gunn has admitted that Waller has been a difficult series to crack and that he wrote the second season of Peacemaker quickly, which is why it came out first. The most recent update had Christal Henry from Watchmen and Doom Patrol creator Jeremy Carver on board to write the series, but those announcements were made a few years back.