The Loeb Report pt 2 The return to The X-Men At Marvel

The stunning crossover of the league of word balloon listeners and the bendis discord join forces to discuss the first volume of brian k vaughn and fiona staples sci-fi epic. 

n Part 2, Alex opens up about the growing role of AI in art and how it raises serious concerns for creators like himself. We also take a nostalgic turn as he shares his childhood memories of 1960s Japanese animation — Speed Racer — and his thoughts on the rise of modern American adult animation.Alex reflects on the long-overdue recognition of classic comic book creators in today’s Marvel and DC films, and what it meant to meet legends like Jack Kirby and Neal Adams. We revisit the origin stories behind Marvels and Kingdom Come, and reveal a near-miss — when Alex almost helped design a new Gatchaman team for an American rights holder. And for fans of Fantastic Four, Alex shares the story behind his Earth X visions of Marvel’s First Family, and how it continues to influence his creative work.

In Part 1 of our deep-dive conversation, I’m joined by one of the most influential visual storytellers in comics — Alex Ross. We begin with a look at Alex’s current exhibit, “Heroes and Villains”, now on display at the Dunn Museum in Libertyville, Illinois. It’s a stunning showcase of his iconic artwork, celebrating both the legendary figures of comics and the craftsmanship behind them.From there, we dive into Alex’s work spotlighting public domain superheroes of the 1940s, and we discuss the looming creative shift coming in the 2030s, when characters like Superman and Batman may enter the public domain — and what kind of storytelling opportunities or chaos that might unlock. We also revisit Alex’s graphic novel Fantastic Four: Full Circle, talk about his thoughts on the new Superman movie, and touch on his conversations with Marvel Studios creatives about the evolution of the MCU. Finally, we explore Alex’s candid thoughts on the rise of AI in film and television, its potential dangers for artists, and how creators need to prepare for this rapidly changing landscape. It’s a wide-ranging conversation with one of comics' true visionaries.

Today, I’m joined by one of the architects of modern Superman lore — Dan Jurgens. From crafting The Death of Superman to introducing two of the most iconic villains in the mythos — Doomsday and Hank Henshaw, the Cyborg Superman — Dan’s work continues to define the Man of Steel for generations of readers.We break down his brand-new 80-page, treasury-sized Superman special, drawn by Bruno Redondo, and how this oversized story captures the timeless ideals of truth and hope at the heart of the character.We also talk about James Gunn’s new Superman film, how it reflects or deviates from the core mythology, and Dan’s thoughts on Superman’s evolving presence in pop culture. Plus, a sneak peek at Dan’s upcoming DC mini-series "Bat-Man: The Second Knight" with artist Mike Perkins — an Elseworlds-style tale that takes 1930 Bruce Wayne down a dramatically different path.

In this third installment of The Loeb Report, writer and producer Jeph Loeb returns to talk with John about the evolving world of superhero television and film—where it’s been, where it is, and where it’s headed.Loeb gives a candid look at the realities behind the scenes of Marvel TV, discussing the creative and financial challenges that came with making shows like Daredevil, Agent Carter, and more. From tight budgets to balancing quality with studio expectations, it’s an eye-opening look at the business of superhero storytelling. They also dive into the future of the Marvel Cinematic Universe, unpacking the uncertainty left by the departures of Robert Downey Jr. and Chris Evans. Loeb shares his thoughts on the looming risks tied to upcoming projects like Fantastic Four, Avengers: Doomsday, and Secret Wars, and the franchise’s urgent need for a new leading figure.Plus, more reflections on the Superman film, memories of Smallville, and broader thoughts on the impact of streaming platforms on television production. It’s an unfiltered and insightful chat about an industry in transition—from someone who helped shape it.

In Part 2 Loeb discussed his return to Marvel Comics, explaining that he was approached by CB Cebulski  Marvel's editor-in-chief, to write a new X-Men story. Loeb shared his histto run Marvel Television. He expressed interest in writing a story that would affect the main X-Men continuity, rather than creating a separate dream sequence.Loeb and Tom Brevoort,Marvel editor, discussed how to integrate the story of the Age of Apocalypse characters into the main Marvel Universe. The new story will feature characters from different X-Men timelines meeting in the present day.

In Part 1 Jeph discussed his return to Batman comics, sharing insights on his creative process, collaborations with artists, inspired by a tribute to the late Tim Sale. He explained how he approached 10 different artists, all friends of Sale's, to contribute to "Last Halloween". For "Hush 2," with Jim Lee, which will be released as a 12-part story split into two six-issue arcs.Loeb emphasized that the story will not interfere with Matt Fraction's Batman run and will end with a cliffhanger. He also noted that "Hush 2" will be released monthly, with the second half likely coming out after a few month's break 

Today, we’re throwing it back to a special conversation recorded in 2020 during the virtual Baltimore Comic Con. My guests are the legendary team of J.M. DeMatteis and Kevin Maguire, two of the creative forces—alongside Keith Giffen—behind one of the most beloved and influential Justice League runs of all time.Their groundbreaking late-‘80s take on Justice League International reinvented the team book with heart, humor, and character-driven storytelling. It was a bold departure from grim and gritty trends, instead focusing on the humanity—and hilarity—of heroes like Blue Beetle, Booster Gold, Martian Manhunter, and Guy Gardner. And now, decades later, the spirit of that run has resurfaced in a major way, inspiring the tone and team dynamic of the Justice Gang in the new Superman film from James Gunn’s DCU.

Today’s episode is a deep dive with writer James Robinson, recorded back in 2011 during a fascinating stretch of his DC Comics career. We cover a lot of ground—from his return to one of his most beloved characters in The Shade, spinning off from the Starman mythos, to the behind-the-scenes realities and editorial limitations that shaped his Justice League of America run.Robinson opens up about his creative choices during the Flashpoint event, particularly his darker take on The Outsider, and how the Superman stand-in Mon-El came to headline the Superman books during a major story pivot.We also talk about the launch of the New 52, and his reimagining of the Justice Society of America and Earth-2, showing how he brought fresh perspective to classic Golden Age characters under a new editorial mandate. Throughout the conversation, James shares his passion for DC’s B- and C-list heroes—characters like Solomon Grundy, Donna Troy, and Congorilla—and how he always strived to give them depth and relevance.And for fans of comics history, there’s a charming detour into his childhood in England, and how kids in the ’70s got their hands on American superhero books across the pond.It’s a candid, passionate, and sometimes frustrating look at what it means to write in a shared universe—and what it takes to elevate the characters that don’t always get the spotlight.

Today, we’re diving into a no-spoiler review of the brand-new Superman film from writer-director James Gunn. This marks the dawn of a new DC cinematic era, and all eyes are on how Gunn reintroduces the Man of Steel to a modern audience. We’ll talk tone, performances, world-building, and how this version stacks up against previous big-screen takes and beyond. No plot points ruined, no twists revealed—just honest impressions of the filmmaking, the cast, and whether this Superman feels like the hero we’ve been waiting for. If you’re on the fence about seeing it, or just want a vibe check before heading to the theater, this episode’s for you.