WB Supercut Top 5 Sci-Fi OTR Dramas

Today on Word Balloon, I’m talking with two legends of Disney TV animation—Greg Weisman, the creator of Gargoyles, and Tad Stones, the mind behind Darkwing Duck. They’re teaming up for the first time in decades for a brand-new crossover comic series — Gargoyles / Darkwing Duck, debuting this January from Dynamite Entertainment.We’ll dig into how this unlikely mash-up came together, what it’s like blending the gothic mythos of Gargoyles with the high-energy satire of Darkwing Duck, and how the characters reflect two very different eras of Disney storytelling. Beyond the comic,Greg and Tad share their memories from the golden age of Disney Afternoon syndication—what it was like building shows like DuckTales, Chip ‘n Dale Rescue Rangers, Aladdin: The Animated Series, and of course, Gargoyles—when animation was a daily fixture for millions of kids. And we’ll get real about today’s landscape—how streaming has upended the business model that supported those kinds of shows, what that means for creators, and whether there’s still room for original animated series to thrive outside of nostalgia. 

Today, we’re heading off-world — straight into the events of Marvel’s massive Imperial Cosmic Epic, as the Green Goliath of Law gets a brand-new chapter in Planet She-Hulk. Writer Stephanie Phillips and artist Aaron Kuder join me to break down how Jennifer Walters finds herself at the heart of an intergalactic power struggle — torn between the laws of a reformed empire and the raw fury that made her a legend. We’ll talk about the tone of this new book — part political sci-fi, part space opera — how it connects to Hickman’s larger cosmic tapestry, and what fans can expect from Kuder’s out-of-this-world visual design and Phillips’ signature balance of empathy and grit. Whether you’ve followed She-Hulk since the Byrne and Slott days, or you’re jumping on now, this is the perfect gateway into Marvel’s next great cosmic saga.

In this Scene Missing episode, John Siuntres joins Wayne Mousseau and Mitch Hallock to dissect the newly unearthed Director’s Cut of the infamous 1990 Captain America film. Long dismissed as a curious relic of pre-MCU comic-book cinema, this version restores nearly 20 minutes of footage, deepening the Cold War paranoia and emotional stakes that the theatrical release fumbled.The trio dives into how director Albert Pyun’s original vision—once buried under studio edits and budget constraints—finally gets its due. They discuss the extended opening in 1943, richer character beats for Steve Rogers and the Red Skull, and the tonal tug-of-war between gritty espionage and pulp heroics.Wayne spotlights Pyun’s visual ambition on a shoestring budget; Mitch breaks down how the new cut reframes Cap as a tragic man out of time; and John connects the film’s underdog spirit to the larger legacy of Marvel adaptations before Blade and X-Men changed the game. It’s a spirited, funny, and surprisingly affectionate reassessment of a movie once mocked and now rediscovered—part history lesson, part fandom therapy session. Scene Missing proves again that even flawed heroes deserve a second look.

On this episode of Kinescope, John Siuntres, Jeff Parker, and Gabriel Hardman spotlight the remarkable live television work of Boris Karloff — best known as Hollywood’s original Frankenstein Monster but equally commanding on the small screen. From the tense anthology dramas of the early 1950s to his chilling appearances on Studio One, Westinghouse Studio One, Climax!, Suspense, and The United States Steel Hour, Karloff proved that terror and empathy could coexist in real time — without retakes.The hosts revisit surviving kinescopes that capture Karloff’s range — cultured villains, haunted men, and tragic figures performed before live audiences. They explore how these broadcasts bridged the golden age of horror and the birth of television drama, revealing how Karloff’s gravitas and restraint brought unexpected humanity to live anthology television. Expect insights, behind-the-scenes stories, and production history from the era when Boris Karloff mastered the art of live fright.

On this episode of To the Outer Limits, John Siuntres is joined by Gabe Hardman, William J. Meyer, Ian Brill, Jeff Parker, and Ande Parks for a lively and insightful discussion of the 1964 episode “Soldier.” Written by Harlan Ellison and directed by Gerd Oswald, this hard-edged science fiction story follows a genetically bred warrior from a future war who’s accidentally transported back to 20th-century Earth — a man who knows nothing but battle.The panel breaks down the episode’s sharp performances by Michael Ansara and Lloyd Nolan, its minimalist production design, and Ellison’s cynical view of endless human conflict. They explore the episode’s themes of nature versus nurture, Cold War paranoia, and the moral cost of a society addicted to warfare.The group also examines “Soldier”’s lasting influence — including its famous connection to The Terminator copyright dispute — and why it stands as one of The Outer Limits’ most haunting reflections on what it means to be human in a world built for war.

On this episode of To the Outer Limits, John Siuntres is joined by Gabe Hardman, William J. Meyer, Ian Brill, Jeff Parker, and Ande Parks for a deep-dive discussion of the classic 1964 episode “Demon with a Glass Hand.” Written by Harlan Ellison and directed by Byron Haskin, this landmark story starring Robert Culp remains one of the series’ most haunting and influential hours. The panel unpacks the episode’s noir atmosphere, its striking use of the Bradbury Building, and Ellison’s blend of human emotion with high-concept science fiction. Along the way, they explore the show’s visual style, its lasting influence on later genre storytelling—from The Terminator to modern cyber-noir—and what makes Demon with a Glass Hand one of The Outer Limits’ definitive masterpieces.

In this episode, I sit down with writer–artist Jeremy Haun, one of the most distinctive voices in modern comics, to talk about the evolution of his hit Image series The Beauty — the dark, provocative thriller about a sexually transmitted disease that makes its victims physically perfect… until it kills them. The book is now in production as an FX television series, and Jeremy shares behind-the-scenes details on how that adaptation is shaping up, what he’s learned from the process, and what fans can expect when The Beauty makes the jump from page to screen.We also dig into his brand-new creator-owned mini-series Murder Podcast, a twisted and timely story about obsession, media exploitation, and the true-crime culture we can’t seem to turn off. Jeremy breaks down the premise, his inspirations, and how the book blurs the line between audience and accomplice.Finally, we talk about Jeremy’s next big step — his new publishing venture, Ignition Press, built to give creators more control, flexibility, and creative freedom in the shifting landscape of independent comics

Here are the full radio episodes of my top 5 sci-fi clasisic dramas 

This Halloween, Word Balloon heads back to the golden age of radio for a special countdown of my Top 5 Sci-Fi Old Time Radio Show Adaptations — stories that defined cosmic horror and speculative imagination long before television ever caught up.We’ll explore chilling classics like Ray Bradbury’s “Mars Is Heaven” and “Zero Hour,” the unnerving double-life tale “Marionettes, Inc.”, the surreal mystery of “The Junkyard,” and James Blish’s haunting micro-evolution fable “Surface Tension.” This episode features authentic audio clips from each of these legendary radio adaptations — the sounds, the voices, and the atmosphere that made 1950s sci-fi radio unforgettable.And stay tuned — a follow-up episode will present each of these radio shows in their entirety, so you can experience the full broadcasts as they were originally heard. It’s a celebration of science fiction, suspense, and Halloween chills 

Welcome back, everybody — it’s Word Balloon, the comic book conversation show. I’m your host, John Siuntres. Today, I’m catching up with one of the busiest and most inventive creators in comics right now — Tony Fleecs. You know him from his breakout hit Stray Dogs, and now he’s back building on that legacy with not one, but two killer new creator-owned projects — Feral and Uncanny Valley. Feral takes the “cute-meets-terrifying” idea from Stray Dogs and turns it loose in a whole new world — a horror-survival story about cats, secrets, and survival that’s every bit as emotional as it is brutal. Meanwhile, Uncanny Valley dives into something totally different — a wild, imaginative blend of cartoon logic and family mystery, about a kid discovering he’s literally part-animated in a world that doesn’t make sense. It’s heartfelt, it’s weird, and it might be Tony’s most ambitious story yet.But that’s not all — Tony’s also been flexing his storytelling muscles over at Marvel. He’s got the Omega Kids X-men mini series, a brand-new Winter Break Special, and the Thing mini-series that digs deep into Ben Grimm’s humanity with that signature mix of humor and heart.We’ll talk about balancing the Marvel work with creator-owned books, how he builds tone between horror, humor, and heroism, and what it’s like to be one of the few creators who can make you cry over cats and cheer for the ever-lovin’ blue-eyed Thing — all in the same year. It’s Tony Fleecs — back on Word Balloon — stick around, this one’s a great conversation.