SYNOPSIS Expanding upon the world created by Danny Boyle and Alex Garland in 28 Years Later—but turning that world on its head—Nia DaCosta directs 28 Years Later: The Bone Temple. In a continuation of the epic story, Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship —with consequences that could change the world as they know it —and Spike’s (Alfie Williams) encounter with Jimmy Crystal (Jack O’Connell) becomes a nightmare he can’t escape. In the world of The Bone Temple, the infected are no longer the greatest threat to survival—the inhumanity of the survivors can be stranger and more terrifying.
SPECIAL FEATURES
4K UHD, BLU-RAY™ & DIGITAL EXTRAS • Commentary with Director Nia DaCosta • Behind The Scenes: New Blood, The Doctor and the Devil, Beneath the Rage • Deleted Scene • Infected Takes: Bloopers 4K UHD & Blu-ray™ include a Digital code for the movie and bonus materials as listed above, redeemable via Movies Anywhere for a limited time. Movies Anywhere is open to U.S. residents age 13+. Visit MoviesAnywhere.com for terms and conditions.
DVD EXTRAS • Commentary with Director Nia DaCosta • Behind The Scenes: New Blood, The Doctor and the Devil, Beneath the Rage
CAST AND CREW Directed by: Nia DeCosta Produced by: Andrew MacDonald, Peter Rice, Bernard Bellew, Danny Boyle, Alex Garland Written by: Alex Garland Executive Producer: Cillian Murphy Cast: Ralph Fiennes, Jack O’Connell, Alfie Williams, Erin Kellyman, Chi Lewis-Parry
SPECS Run Time: Approx. 109 minutes Rating R: Strong Bloody Violence, Gore, Graphic Nudity, Language Throughout, and Brief Drug Use
4K UHD: 2160p Ultra High Definition/ 2.39.1• Audio: English Dolby Atmos (Dolby TrueHD 7.1 compatible) • English, French (Doublé au Québec), 5.1 DTS-HD MA, Spanish 5.1 Dolby Digital, English & French (Doublé au Québec) Audio Description Tracks 5.1 Dolby Digital Subtitles: English, English SDH, French, Spanish • Approx 109 Mins • Color Blu-ray™: 1080p High Definition / 2.39:1 • Audio: English, French (Doublé au Québec) 5.1 DTS-HD MA Spanish 5.1 Dolby Digital, English & French (Doublé au Québec) Audio Description Tracks 5.1 Dolby Digital • Subtitles: English, English SDH, French, Spanish • Mastered in High Definition • Color • Some of The Information Listed May Not Apply To Special Features.
DVD: Feature: 2.39:1 Anamorphic Widescreen • Audio: English, French (Doublé au Québec), Spanish 5.1 Dolby Digital, English & French (Doublé au Québec) Audio Description Tracks Stereo• Subtitles: English, English SDH, French, Spanish • Approx. 109 Mins. • Color Some of the information in the above listing may not apply to Special Features
PROGRAM DESCRIPTION The legendary folk hero is revived in sweeping and romantic adventure “Robin Hood,” available on March 30th on electronic sell-through from Lionsgate. Focusing on the relationship between Robin Hood and Maid Maraian while the heroic outlaw leads a rebellion against the Sheriff of Nottingham and avenges his father. “Robin Hood” will be available for the suggested retail price of $10.49.
OFFICIAL SYNOPSIS Robert of Locksley’s journey from forester’s son to outlaw leader begins. Rebellion ignites in Sherwood, intrigue builds, and a legend is born.
CAST Sean Bean The Lord of the Rings franchise, GoldenEye, TV’s “Game of Thrones” Connie Nelson Gladiator, Wonder Woman, Nobody Steve Waddington TV’s Slow Horses, Uncharted, Edward II Lauren McQueen Here, TV’s Masters of the Air, Hollyoaks Lydia Packham Nuremberg, Kingdom of the Planet of the Apes, “Cowboy Bebop (2021)” Marcus Fraser TV’s Foundation, Small Axe, The Book of Clarence
PROGRAM INFORMATION Type: TV Rating: TV-PG Genre: Drama Episodes: 10 Run Time: 56 min approx. per episode EST Closed-Captioned: Yes EST Subtitles: None EST Format: 16×9 (1.78:1) Presentation EST Audio: English 5.1 and 2.0 Stereo
New York, NY— February 17, 2026 — Joshua Williamson and Carmen Carnero’s new run of IRON MAN is a certified hit! The debut issue arrived last month to critical acclaim and will return next month with a much-demanded second printing. Today, fans can peek ahead with the reveal of issue six, on sale in May. Featuring art by guest artist Juann Cabal, the issue will guest star Spider-Man and Norman Osborn.
Praised for delivering a back-to-basics approach while also planting seeds for a riveting future, IRON MAN #1 ended with a startling cliffhanger. As Tony raced to confront A.I.M. for stolen tech, Captain America hosted an eclectic group, warning them to keep a watchful eye on Tony’s recent actions. Among the familiar faces were fellow heroes like Captain Marvel, lifelong best friends like War Machine, and former adversary Norman Osborn!
Norman and Tony’s bitter rivalry defined Marvel’s “Dark Reign” era, in which Norman led the Dark Avengers and S.H.I.E.L.D. as the Iron Patriot. Now, he struggles to find redemption in the pages of Joe Kelly, John Romita Jr., and Pepe Larraz’s Amazing Spider-Man. Can Spider-Man prevent Norman’s old feud from resurfacing, or will Tony cause Norman to prematurely slip back to his old ways? In addition to Ryan Stegman’s main cover, IRON MAN #6 will feature stunning variant covers, including a special foil cover by Salvador Larroca, an homage to Larroca’s Invincible Iron Man (2008) #7 cover during his run on the title with Matt Fraction, and the latest in Todd Nauck’s “Ironic” series spotlighting the Iron Patriot armor, which makes a comeback in the story.
SPIDER-MAN MUST SAVE NORMAN OSBORN… FROM IRON MAN?!
Tony Stark and Norman Osborn have history. They’ve known each other longer than you might know. And when the Iron Patriot armor is stolen, all signs point toward the former Green Goblin. Only problem is Iron Man has just one, little, tiny thing standing in his way to take down Norman: the AMAZING, SPECTACULAR, FRIENDLY NEIGHBORHOOD SPIDER-MAN!
“The response to our new Iron Man series has been tremendous and inspiring,” Williamson shared. “It’s great to see Marvel readers embrace our take on the Armored Avenger. And we’re just getting started. IRON MAN #6 is the first of our ‘Iron Man Team-up’ issues and follows up on the Norman Osborn tease from the first issue’s cover.”
“I’ve always been fascinated by the rivalry between Tony and Norman and how in a different world they could have been allies or maybe even friends,” he continued. “But Tony doesn’t trust that Norman has turned to the side of the angels, which puts them into conflict. With Spider-Man caught in the middle. This is my first time writing the wallcrawler, and it’s been a dream come true. But it’s not all fun and games…This issue will be key for the future of Iron Man!”
Here’s what critics had to say about IRON MAN so far:
Iron Man #1 is everything I was hoping for, and the future couldn’t be brighter for one of Marvel’s premier heroes.
– ComicBook.com
This is everything you could want in an Iron Man series.
– SuperHeroHype
Ol’ Shellhead is back with a run you can’t miss!
– Fanlight Zone
The entry point to Iron Man that Marvel has been looking for a long time.
When I started writing for the Tom and Jerry syndicated newspaper strip in 1990, I was given three rules:
1. Tom could chase Jerry but not catch him.
2. No violence! Not none, not never!
3. No puns.
The first two rules contravened fifty years of animated history, spanning more than 160 anvil-dropping, tail-chopping, dynamite-explosive shorts from MGM, Gene Deitch, and Chuck Jones. The third always sort of applied to the cartoons anyway, since they were largely pantomime and didn’t rely on dialogue or wordplay, but Tom and Jerry both spoke in the syndicated strip. The reason puns weren’t allowed wasn’t that anyone thought there was anything wrong with them per se, but because the majority of newspapers that carried Tom and Jerry were located outside the United States and published in languages other than English—it was very popular in Middle Eastern countries if I’m remembering correctly—and puns, of course, don’t translate.
The irony is that the original Tom and Jerry cartoons were violent. Very violent. Animated shorts from the major movie studios of the 1930s and 1940s weren’t produced for children. They were part of the larger entertainment package moviegoers of the era were offered along with their double features, so for the price of admission, they also got short features, two-reel comedies, newsreels, coming attractions, and cartoons. That’s not to say kids didn’t enjoy Bugs Bunny for the frenetic action and slapstick, but their parents, who paid for those tickets, were laughing at the double entendres and satiric social commentary.
It was only with the coming of television and the relegation of animated shorts to the cartoon ghetto of children’s after-school and Saturday-morning time slots that anyone began to worry about the content. The repurposed theatrical shorts featuring Bugs Bunny, Daffy Duck, Roadrunner, Woody Woodpecker, Tom & Jerry, Popeye, Mighty Mouse, and others that made it to TV were trimmed of perceived child-unfriendly bits.
Tom and Jerry wasn’t very high up on the list of must-see cartoons. At the top was Bugs and just about any of the anarchic Warner Bros. Looney Tunes and Merry Melodies shorts, and at the bottom was Mickey Mouse and just about any Disney cartoon, which I always felt were trying to teach me a lesson. And somewhere in between were the cat and the mouse.
I didn’t give cartoons much thought or watch many of them after college in the mid-1970s. Even when I started writing the Tom and Jerry newspaper strip in 1990, I didn’t really need a refresher course on the characters. The dynamic was simple enough: cat chases mouse, cat catches mouse, cat gets his ass kicked. But the strip had a different dynamic: no asses got kicked, and they spoke.
Then, in 2009, I was asked to review Tom and Jerry: The Chuck Jones Collection, the 34 shorts made between 1963 and 1967 by Jones’ Sib Tower 12 Productions for MGM. And Tom and Jerry, at least in the cartoons by Chuck Jones—the genius behind my favorite vintage Warner Bros. cartoons and The Grinch Who Stole Christmas—suddenly shot up my list.
Now, I get to go back to where this 86-year long feline vs rodent rivalry began with the Tom And Jerry: The Golden Era Anthology 1940–1958 DVD collection—which, I might add, is labeled as “intended for the Adult Collector and May Not Be Suitable for Children”—an 817 minute, or close to 14 hour collection of all 114 MGM cartoon shorts.
It could also have been called “Tom and Jerry: The William Hanna & Joseph Barbera Golden Age Era Anthology,” for one of Hollywood animation’s most productive partnerships during the period when short-form animation was a central component of the moviegoing experience. Hanna had trained as an engineer and worked his way into animation through the technical and story departments at MGM, developing a reputation for timing, structure, and efficient production. Barbera came from a more conventional artistic path, having studied art and working as a gag writer and layout artist. In the late 1930s, the large MGM animation unit was overseen by producer Fred Quimby, and its directors, writers, and animators were routinely paired and reassigned.
Their partnership began with one such routine pairing, the result of which was “Puss Gets the Boot” (1940), the prototype for all future Tom and Jerry shorts, starring a cat called “Jasper”and a nameless mouse. The short was a fine balance between Hanna’s emphasis on pacing and Barbera’s focus on visual storytelling. The story was simple: after breaking a vase while chasing the mouse, Jasper is under the threat of banishment if he does any more damage. The mouse turns the tables on his tormenter, and Jasper spends a large chunk of the cartoon’s eight and one-half minutes trying to save every dish and glass in the house from being smashed by the gleeful mouse.
That first Hanna-Barbera collaboration introduced a cat-and-mouse dynamic that proved endlessly adaptable, economical, and, most importantly, popular with audiences. MGM soon committed the team to a continuing series, all of which are included in the five-disc DVD anthology (the Blu-ray collection includes a sixth disc with featurettes and documentaries). It was during those years that Hanna and Barbera refined their production model, balancing high animation standards with tight schedules and budgets. Working with a stable group of animators, background artists, and composers—most notably Scott Bradley—the duo produced an average of six shorts a year, films designed for widescreen theatrical exhibition, with detailed backgrounds, expressive character animation, and carefully timed musical scores that carried much of the storytelling. The shorts were nominated for 13 Academy Awards for Best Short Subject: Cartoons and won seven, making them one of the most honored series in their field.
Tom And Jerry: The Golden Era Anthology gives lie to the often assumed repetitive formula nature of these cartoons. It’s true the central conflict rarely changed, but the shorts experimented with setting, period parody, and tone, moving from domestic slapstick to fairy tales, historical pastiches, and contemporary satire. The absence of dialogue emphasized the story’s pacing and rhythm, which, like the great silent comedies, proved animation’s ability to communicate across language barriers.
Academy Award-winning “The Yankee Doodle Mouse” (1943), produced during World War II, is a prime example of the adaptability of Tom and Jerry’s “formula.” Set in a basement transformed into a miniature battlefield, Tom and Jerry are opposing military forces, complete with improvised weapons and patriotic music, their violence escalating into outright demolition. Jerry rigs Tom with improvised explosives, detonating him multiple times with firecrackers and makeshift bombs. Tom is blown apart, blackened, and reduced to scattered parts before reassembling himself for the next assault, mirroring horrific battlefield imagery that would have been familiar to contemporary audiences.
In “Safety Second” (1950), the mayhem moves to a skyscraper construction site, where Jerry engineers a series of situations leading to Tom being sawed, smashed by girders, dropped from heights, and nearly chopped apart by industrial machinery. The violence is sustained and severe, using modern urban hazards as tools of dismemberment.
Even the introduction of culture couldn’t save Tom from extreme abuse. Academy Award winner “The Cat Concerto” (1947), perhaps one of the most famous of the series, places Tom at a concert piano performing Liszt while Jerry interferes from inside the instrument. While remembered for its musical sophistication, the physical comedy isn’t any less severe. Fingers are slammed, tails are crushed, and the piano itself becomes a blunt instrument. Time was no barrier to mayhem either, as in “The Two Mouseketeers” (1952), a period parody of Dumas, with Jerry and his cousin Nibbles (aka Tuffy) attack Tom with swords, cannon fire, and heavy weaponry, repeatedly stabbing, blasting, and reducing him to smoking remains, only to have him reappear for the next assault.
On the other hand, “Quiet Please!” (1945) flips the formula on its head. Built around Tom’s desperate attempt to avoid waking a sleeping bulldog, it plays with sustained tension rather than constant and frenetic motion for laughs, the humor coming from restraint, anticipation, and carefully timed bursts of violence when things inevitably go wrong.
I don’t know if Hanna and Barbera knew that “Tot Watchers” (1958) would be their final Tom and Jerry short, but it featured a rare truce between cat and mouse when they’re forced to work together, as they’d done only seven or eight times before in past shorts, to protect a wandering infant from danger while the babysitter is preoccupied on the telephone. Tom still takes a beating, but not at the hands of his usual opponent.
Tom and Jerry: The Golden Era Anthology restores these cartoons to their original context as theatrical shorts designed for adults. If the violence was excessive, at least it proved that there were an infinite number of ways a simple chase could be restructured through setting, music, pacing, and escalation. And from a contemporary vantage point shaped by Adult Swim, Rick and Morty, BoJack Horseman, and other explicitly adult animated fare, the hand-wringing that once accompanied the broadcast of unedited Tom and Jerry cartoons seems silly. Modern animation is a no-holds-barred exercise in graphic violence, nihilism, and verbal cruelty, marketed without apology to grown-up audiences. But it’s a matter of context: Hanna and Barbera’s cartoons weren’t intended as children’s programming until television repurposed them as such. But seen alongside today’s “anything goes” animation, the MGM Tom and Jerry shorts don’t seem so much transgressive as quaint.
GRASS VALLEY, CALIFORNIA, January 28, 2026 /budsartbooks.com/ – Longtime comics industry icon Bill Schanes, who entered the comics field at the age of 13 selling at local Southern California comic shows, has concluded his bid to purchase the online mail order business, Bud’s Art Books, the long-serving purveyor of comic strip, comic book, fantasy, horror, and sci-fi illustrated books and graphic novels, originally launched by legendary retailer, distributor, publisher, collector and historian, Bud Plant.
The deal, which was officially completed on January 15, 2026, gives Schanes ownership and control of Bud’s Art Books (a.k.a. Bud Plant Comic Art), the online mail order business that sells new and rare books related to comic books, fantasy art, illustration, and related subjects. This is a purchase of the overall assets of Bud’s Art Books.
Schanes and Plant began their storied careers in comics in the early ‘70s and the late ‘60s, respectively, each transitioning from retailer to publisher to distributor in Northern and Southern California. Over the years, their paths have intersected on both personal and business levels, with Plant purchasing the assets of Schanes’ Pacific Comics distribution company in 1985. Now, over 40 years later, Schanes has purchased Bud’s Art Books, completing a comic book industry loop worthy of a special issue.
Schanes is joined in this new endeavor by his business partner, Sasha Fera-Schanes. Fera-Schanes is the President and CEO of POP-KING, Inc., a longtime player in the comic book and pop culture industry. Both PopKing and Bud Plant will operate as separate business entities, but cooperation and mutual support between the companies are planned going forward.
Schanes, who retired in 2013 from his role as Vice President of Purchasing at Diamond Comic Distributors, Inc., where he had served since 1985, has spent the years since his exit from Diamond travelling the world and visiting comic, game, and collectibles stores wherever he found himself. He chronicled his travels via Facebook posts, visiting shops in over 160 countries and experiencing our world as few have ever done. In regard to his acquisition of Bud’s Art Books, Schanes stated, “After travelling around the world for over a decade, I returned to the United States and my children. I missed seeing them while I was away, and I also missed the industry. Acquiring Bud’s Art Books, a company with a long history of serving comics and fantasy art fans was, to me, the perfect way to get back into the business I love, while also providing a solid future for my family.”
Bud Plant
Plant, who announced in 2011 plans to sell his mail-order business and retire, continued the business when no potential buyers emerged after a year. Since then, Bud’s Art Books has continued to serve fans of comics and illustration with its curated catalog of new and rare books. When he was approached by Schanes about acquiring Bud’s Art Books, Plant knew he had found his buyer.
The deal was completed surprisingly quickly, as both parties shared a similar vision and mutual trust formed over 50 years of interaction and cooperation, on January 15, 2026. Following the sale, Plant will remain available onsite during the transition period in an advisory capacity as the new team (including Marty Grosser, most recently Diamond PREVIEWS Editor, and former Comics & Comix/Bud Plant staffer) familiarizes themselves with the Bud Plant business model. Schanes and his team officially take control of the operation as of February 1, 2026.
With the sale of his company completed, Plant reflected on his long history in the industry and the end of an era for him: “I’ve been privileged to share my passion for all things comics as well as illustration and art history… for an amazing run of 55 years. I’m so lucky to have had the support of wonderful customers as well as comic book creators, many of my good friends. I’ve loved picking catalog covers featuring my favorite artists, creating cool signed bookplates (thanks to all you artists and writers!!), and last but not least, helping deserving books get to people who appreciate them. As if that’s not enough, I’ve been told I’m being inducted into the Will Eisner Hall of Fame at Comic-Con this July. Life is good! I’m super pleased Bud Plant Comic Art will carry on with our present great staff and also new people like Marty Grosser and Bill Schanes to keep up the good work and add new dimensions to what I’ve achieved.”
In his new role as Owner and President of Bud’s Art Books, Schanes has long-range plans to expand the company’s reach into new online forums and to also expand the company’s already comprehensive pool of titles. “My vision for this company is comprehensive, and I have mapped out our future plans to take it into new markets, new audiences, and offering even more books and products than ever. The demand for comics and fantasy art has never been stronger, with comics currently in a strong period of sales. We will strive to be an important facet of that market, and look forward to serving their comic art needs.”
There were three major comics memoirs by women in the fall of 2025, all about the same cluster of topics: eating, cooking, family, and how those things are connected. I don’t know if it’s going to be surprising to anyone that many women have issues around both eating (their bodies are often policed by others) and cooking (they are generally assumed to be responsible for feeding the people around them), but the cluster is an interesting thing, and I hope someone better-qualified than me (an actual woman, at a minimum) digs in and looks at the three books together.
I first saw Jennifer Hayden’s Where There’s Smoke, There’s Dinner, published in November, leaning towards the production side of food and making comic hay about Hayden’s inability or unwillingness to do it well. Then I noticed My Perfectly Imperfect Body by Debbie Tung from September, which is more focused on the consumption side of food, and a bout of disordered eating in Tung’s youth.
Published in between the two of those is The Joy of Snacking, from Hilary Fitzgerald Campbell, whose work I’ve seen as a cartoonist in The New Yorker, but has also done a previous comics memoir, illustrated several other books, made a few documentary movies, and also works in burlesque.
Snacking is mostly about eating – young Hilary was what we call “a picky eater,” and that’s continued into her adult life. (She’s now in her early thirties.) The spine of this book is, as the title implies, “snacking” – Campbell is one of those people who eats lots of little bits all day long, isn’t terribly fond of big meals, and tends to focus on a few preferred, beloved, standard snacks. (She also says this is a youngest-kid thing, which made me realize my younger son is also a grazer – there’s a kind of bowl that he uses to gather stuff to eat, and we see them pile up in the sink – so I tentatively think her theory has some merit and she should get a major research grant to investigate it.)
Campbell organizes Snacking into loose chapters, bouncing between two timelines: her childhood and young-adulthood, as she discovered new foods and mostly tried to avoid them, and the last few years and her tumultuous relationship with a man she calls E. Separating scenes or sections are cookbook-like pages, which are each about a food Campbell likes – apples and peanut butter, or “a baggie of goldfish,” or “a bowl of potato chips,” or Cool Ranch Doritos – with details on how to “prepare” them, when and where to eat them, and their significance to her.
It might be the fact that this isn’t her first memoir, but I found Campbell to be harder on herself than other people – in particular, E comes across (maybe, though, because I am a man) as a fairly reasonable guy trying to live with Campbell’s issues, as the two of them snipe at each other in that deeply nasty way some couples develop. I’m sure he had his flaws, but I felt that Campbell presented him in a mostly-positive light: he’s a guy who is in many ways her opposite (a foodie who works selling wine to restaurants!), but they made it work, more or less, for a number of years.
This is not a how-I-changed book, or a I-fixed-my-problem book. Campbell likes snacking. She’s going to continue doing it. On the other hand, this isn’t entirely a celebration, since she’s also clear that she had a weird, often unpleasant childhood because of her food issues, and that it’s affected her adult life in ways she doesn’t like. That tension plays out throughout the book – can she be herself, eat the stuff she likes (and maybe “normal” food, too, OK, sure, sometimes), and go through life with less stress and anxiety? Well, maybe. But how about some popcorn and white wine now, while she thinks about it?
This is a big book, with some aspects I’ve not even mentioned – Campbell traces the eating habits of her parents as well in flashback sections, so it’s not just a book about her individually – and a warm open-heartedness I found deeply engaging. Campbell has a cartoony, dense style here: her people are loosely defined with thin lines, her panels are many and jammed together without gutters, her dialogue is long and rambling, like real people. This is a fun book about a distinctive person who’s not afraid to show herself being odd and quirky – that’s the whole point of the exercise. I don’t know if anyone else eats quite like Hilary Fitzgerald Campbell does, but, then again, do any of us really eat like all of the rest of us? This book made me wonder that – and that’s a good thing to wonder about.
Wake Now in the Fire By Jarrett Dapier and AJ Dungo 464 pages/Ten Speed Graphic/$38 (hardcover) $24.99 (softcover)
For several years, I taught Marjane Satrapi’s Persepolis in my high school English classes, a chance to introduce readers to the graphic novel storytelling style while helping see what people their age endure in other countries. Last year, after a few parents complained about language and sex, I was asked to remove it from the curriculum (although I could keep it in my class library).
When I introduced the story, I referenced its international awards as well as the brief 2013 ban of the book from Chicago Public Schools. So, the parallels were not lost on me. But I never knew the full story.
Former teen librarian at the Evanston and Skokie public libraries, Dapier knows his audience, and the teenagers in this fictionalized account of the true event sound authentic. As the students at Curtis Technical College Preparatory High School arrived on Monday, March 11, 2013, we see how a memo from the district began the sequence of events.
First, an English teacher has to take the books out of the classroom, and then we discover the entire district has to comply, which involves collecting and disposing of them. She bravely preserved her class set.
As word spreads, we focus on several sets of students, including those working on the school newspaper, who begin researching the event. For whatever reason, the Chicago CEO of Schools, Barbara Byrd-Bennett, refuses to respond to requests for comment. Satrapi, though, does, and mainstream media are directed to retrieve her quote from the student journalist.
Dapier does a nice job weaving the growing student discontent into their personal lives, making things complex and realistic. Apparently, the characteristics and life events were real, although characters were changed for dramatic reasons. I appreciate seeing the classroom discussions across the disciplines to make sure all voices and opinions are reflected.
As the 451 Banned Books Club plans a Persepolis read-in and others plan a walkout protest for that Friday. We watch each student wrestle with their choice of action and its consequences. This makes the book a rich reading experience as well as a breezy one.
Dungo’s artwork is relatively simple, mixing real and cartoon elements with thick ink lines, using a limited blue palette, with just red reserved for the banned book’s cover. I wish Dungo tightened the balloon shapes, which wasted a lot of space and, instead, provided more backgrounds, making much of the story seem simplistic/ I found the balloons (but not the captions, go figure) distracting throughout.
In the Note from the Author, we discover it was Dapier who used the Freedom of Information Act to retrieve the vital documents which proved Byrd-Bennett was behind the ban, despite lying about it, and this proved to be one of many instances of her misconduct, ultimately leading to her firing.
With books still under attack across the country, this book is a vital resource that shows students how to take action, have a voice, and hold adults accountable. It’s a compelling read, one I raced through and suspect you will, too.
New York, NY— January 16, 2026 — OnApril 29, Marvel Comics will shine a special spotlight on the X-Men’s Jubilee in celebration of Asian American and Pacific Islander Heritage Month! The iconic mutant firecracker, currently starring in Gail Simone, Dave Marquez, and Luciano Vecchio’s Uncanny X-Men, will strike out on her own in JUBILEE: DEADLY REUNION #1, a Marvel’s Voices one-shot written by Eisner Award-winning writer Gene Luen Yang (Shang-Chi) and acclaimed rising star artist Michael YG (Iron Fist). The saga kicks off when Jubilee’s long-lost cousin shows up at the X-Men’s doorstep—with mutant powers of his own and a mission that will force Jubilee to explore her Chinese heritage and family history in a profound way!
JUBILEE’S X-CELLENT ADVENTURE!
Jubilation Lee always puts her life on the line for those in need – but for family? She’ll do anything! When the cousin she never knew is suddenly in need of help, Jubilee tracks him down to save him! But Jubilee may find that her familial bonds aren’t as strong as she hoped! What secrets does her cousin hold? And what dangerous mutant power does he wield?! Join Jubilee as she embarks on a bombastic and life-altering journey of family, heart and heartbreak!
“I’ve been a big fan of Jubilee since high school, when I was reading the Chris Claremont and Jim Lee X-Men run,” Yang shared. “She just felt like someone I would’ve been friends with at school, except she’s an X-Man. She’s also an American Born Chinese like me, so I’ve always wanted to tell a story about her uneasy relationship with her roots. I’m thrilled to finally get the chance.”
“I’m greatly honored to collaborate with Gene Luen Yang once again,” Michael YG shared. “This project is truly a celebratory highlight for me, just like a jubilee itself!”
Throughout the year, Marvel’s Voices delivers super-powered storytelling that spotlights characters and creators, including renowned and emerging talent, exploring the multitude of unique backgrounds, journeys and identities found in the Marvel Universe.
New York, NY— January 15, 2026 — All your favorite webheads will band together in a brand-new way this April in THE AMAZING SPIDER-MAN: SPIDER-VERSITY! Announced at IGN, the five-issue limited series will be written by Jordan Morris (Predator: Bloodshed) and Joe Kelly (Amazing Spider-Man) and drawn by artist Pere Perez (Amazing Spider-Man: Torn).
Spinning directly out of Kelly’s hit run of Amazing Spider-Man, THE AMAZING SPIDER-MAN: SPIDER-VERSITY sees Norman Osborn take various Spider-heroes under his wing to train them against a deadly incoming threat—himself! Following up on Norman’s heroic turn as Spider-Man—as well as his looming descent back to madness—and bringing the entire Spider-family together as a united front, the series is an essential chapter in the lead-up to AMAZING SPIDER-MAN #1000, the mega milestone issue coming later this year.
LEARNING TO CRAWL!
Miles Morales, Spider-Gwen, Silk, Araña, Spider-Boy and Spider-Girl have one thing in common – THEY AREN’T READY. According to former Resolute Spider-Man Norman Osborn. So he and Spider-Woman are going to train them to meet the next threat – the only way the Green Goblin knows how. Because the next threat might well BE the Green Goblin!
On how the Spider-heroes react to their new mentor, Morris told IGN, “The younger Spiders all have their own take. Some of them are stoked, some are more wary (specifically the ones Norman has killed before). To a certain extent, they’re all students of Pete. Even the ones who haven’t trained with him specifically see him as a role-model. Since Pete has forgiven Norman, the other Spiders are willing to give him a chance. Even though certain members of the team are more prickly, they all share the try-and-see-the-best-in-people ethos that is so important to Pete.”
“Spider-Versity spins directly out of the events of Amazing Spider-Man,” Kelly added. “Norman has a definitive threat in mind that he’s trying to protect the young Spiders against. One he knows intimately. But even for a master planner like Norman, things may perhaps go awry, and the kids will face some unexpected threats. Nothing like learning on the job!”
New York, NY— January 15, 2026 — The roadto ARMAGEDDON, an upcoming Marvel Comics event written by Chip Zdarsky, officially begins this month in CAPTAIN AMERICA #6, the start of an all-new arc in Zdarsky’s acclaimed run. Zdarsky will also set the stage for the event in WOLVERINE: WEAPONS OF ARMAGEDDON, a four-issue prelude series kicking off next month. Both series team Zdarsky up with top artists including Valerio Schiti, Delio Diaz & Frank Alpizar and Jan Bazaldua on CAPTAIN AMERICA and Luca Maresca on WOLVERINE: WEAPONS OF ARMAGEDDON. Today, fans can peek ahead at what’s to come in April with the reveal of CAPTAIN AMERICA #9-10, new parts of the ARMAGEDDON lead-in arc, and WOLVERINE: WEAPONS OF ARMAGEDDON #3.
ARMAGEDDON picks up in the aftermath of One World Under Doom. With global tensions rising to determine the fate of Latveria, it’s up to Captain America and the all-new S.H.I.E.L.D. to prevent various groups from erupting into all-out war, including one with a startling connection to Doom’s legacy. Meanwhile, Wolverine investigates a mysterious new super soldier program, but is too late to stop them from creating a deadly new Weapon X. All this while origin boxes, brought over to the 616 from the new Ultimate Universe, begin to surface, giving rise to new heroes and ushering in the next era of Avengers…
Read on to learn more!
CAPTAIN AMERICA #9 Written by CHIP ZDARSKY Art by JAN BAZALDUA A CAPTAIN CORNERED ON THE ROAD TO ARMAGEDDON!
After discovering how far Salvation’s True Latveria insurgency is willing to go for power, Captain America goes rogue, throwing in with the Latverian Liberators to take down Salvation before he can become the next Doctor Doom. But Salvation is prepared for Steve’s next attack, and his new ploy has heartbreaking consequences for the team…
CAPTAIN AMERICA #10 Written by CHIP ZDARSKY Art by VALERIO SCHITI UNITED THEY FALL ON THE ROAD TO ARMAGEDDON!
A shocking betrayal leaves Captain America’s S.H.I.E.L.D. team at odds – just in time for Doom’s ultimate weapon to be dragged into the light. But it’s not what anyone thought it was, and as an all-out feeding frenzy ignites between Salvation, Red Hulk, and S.H.I.E.L.D., it’s up to Steve to get his hands on the weapon before it’s too late!
WOLVERINE: WEAPONS OF ARMAGEDDON #3 (OF 4) Written by CHIP ZDARSKY Art by LUCA MARESCA THE PENULTIMATE CHAPTER ON THE ROAD TO ARMAGEDDON ENDS WITH A BANG!
The shadows of David Colton’s past are collapsing over Wolverine. The high-risk hunt for the newest WEAPON comes to a head as all the players are on a crash course with each other!
ARMAGEDDON is coming…and no one is ready. In the words of Nuke: GIVE ME A RED! Check out the main covers for CAPTAIN AMERICA #9-10 and WOLVERINE: WEAPONS OF ARMAGEDDON #3, along with a CAPTAIN AMERICA #10 variant cover by Paco Diaz and a WOLVERINE: WEAPONS OF ARMAGEDDON #3 variant cover by Phil Noto, and preorder both series at your local comic shop today. Stay tuned for more soon on this June’s ARMAGEDDON and how it’ll change the face of Earth’s Mightiest Heroes!
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