Chadwick Boseman’s family has become embroiled in a bitter legal dispute nearly six years after the “Black Panther” star’s death.

The late actor’s brothers, Kevin and Derrick Boseman, are asking a Los Angeles court to remove his widow, Taylor Simone Ledward Boseman, as administrator of his estate. They accuse her of withholding information, delaying court-ordered distributions, and maintaining exclusive control over valuable assets tied to Chadwick’s finances and legacy.

However, the allegations have not yet been proven in court.

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Kevin and Derrick filed legal documents on Friday outlining several reasons they believe Taylor should no longer control their brother’s estate, according to TMZ, which obtained the filing. The brothers allege that Taylor has kept their family in the dark about the estate’s status despite a 2022 court order dividing its assets between her and Chadwick’s parents, Leroy and Carolyn Boseman.

Under that agreement, Taylor was entitled to 50% of the estate, while Leroy and Carolyn were to share the remaining half. Previous court filings valued the distributable estate at approximately $2.3 million after expenses, although its total inventoried value had reportedly reached more than $3.8 million.

Nearly four years after that arrangement was approved, Kevin and Derrick claim the administration remains unfinished and that their parents still have not received everything to which they are entitled. They allege the unresolved estate includes more than $3 million held across various bank accounts, along with film residuals, royalties, investments, insurance policies, intellectual property rights, personal property, and income connected to Chadwick’s name and image.

Taylor has not publicly responded to the allegations.

The Brothers Want A Full Accounting Within 30 Days

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The filing reportedly identifies several tasks the brothers believe remain incomplete. Kevin and Derrick claim Taylor has not transferred a long-term care insurance policy to their mother, properly closed and distributed funds from Chadwick’s bank accounts, or fully accounted for SAG-AFTRA residual payments generated after his death. They also allege that she has failed to collect and distribute unclaimed property belonging to the actor.

Residual payments can continue arriving years after a performer’s death through television broadcasts, streaming, home entertainment, and other uses of past work. In Chadwick’s case, that could involve projects throughout his career, including his appearances in the Marvel Cinematic Universe and his acclaimed final performances.

The brothers are asking the court to order Taylor to provide a complete accounting and distribute the remaining estate assets within 30 days. They also want her held in contempt for allegedly failing to comply with the 2022 order.

Under California’s probate process, an estate administrator is responsible for identifying and collecting assets, resolving debts and taxes, maintaining financial records, and distributing the remaining property to the legally recognized beneficiaries. An accounting would document the money received, expenses paid, assets retained, and distributions made during the administration.

Kevin And Derrick Boseman Want A New Administrator Appointed

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Kevin and Derrick are not merely asking the court to impose a deadline. They want Taylor permanently removed from her position and attorney Jason Rubin appointed to oversee the remaining work.

California courts can remove a personal representative when legally recognized grounds exist, including mismanagement, failure to perform required duties, or conduct that places an estate’s property at risk. Filing a removal petition does not automatically establish that any misconduct occurred; the brothers will still need to support their allegations before the court decides whether intervention is warranted.

They are also asking the judge to prevent Taylor from signing major contracts involving Chadwick’s estate without the family’s approval and require her to provide copies of existing estate-related agreements.

According to the filing, the alleged delays have left Chadwick’s parents without money and insurance benefits they were awarded. His brothers further claim the family has been unable to pursue certain business opportunities involving his legacy while Taylor continues to profit from his name and likeness.

Kevin and Derrick say they made numerous attempts to resolve the matter directly before turning to the court. They now want Taylor ordered to cover the family’s attorney’s fees and other legal expenses.

Chadwick Boseman Died Without Leaving A Will

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The ongoing conflict is rooted partly in the fact that Chadwick died intestate, meaning he did not leave a legally enforceable will directing how his probate assets should be handled.

Taylor petitioned to become administrator shortly after his death and was appointed as the estate’s personal representative with limited authority in November 2020. At the time, the estate was initially estimated to contain approximately $938,500 in assets. Later filings revealed additional funds, including residual payments, that substantially increased its reported value.

Because Chadwick had no children and left no will, California succession laws determined who could inherit the probate property. However, not everything associated with a deceased celebrity necessarily falls into a single probate estate. Insurance proceeds with named beneficiaries, jointly owned accounts, trusts, corporate assets, and certain contractual rights can be governed separately.

That distinction may become important as the court examines the brothers’ claims regarding insurance, intellectual property, royalties, and contracts connected to Chadwick’s image.

The dispute also highlights why the administration of a celebrity estate can continue long after an initial distribution order. Unlike a single bank balance, residuals and licensing income may keep arriving, while the commercial use of a performer’s name and likeness can create continuing financial and approval questions.

The Legal Battle Follows A Public Display Of Family Unity

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The court fight presents a stark contrast to the united image Chadwick’s loved ones displayed only months ago. In November 2025, Taylor, Kevin, and Derrick attended the actor’s posthumous Hollywood Walk of Fame ceremony. Taylor accepted the honor on her husband’s behalf, while his brothers joined fellow stars and collaborators in celebrating his legacy.

Chadwick died on August 28, 2020, at age 43 after privately battling colon cancer for four years. He continued filming projects such as “Black Panther,” “Da 5 Bloods,” and “Ma Rainey’s Black Bottom” while undergoing surgeries and chemotherapy.

“A true fighter, Chadwick persevered through it all and brought you many of the films you have come to love so much,” his family said while announcing his death, per BBC. “It was the honor of his career to bring King T’Challa to life in ‘Black Panther.’”

Now, the court must determine whether Taylor has failed to complete her legal responsibilities or whether she can adequately account for the estate’s remaining assets. Until the judge rules, Kevin and Derrick’s claims remain allegations, and Taylor continues to serve as administrator.

By Chris Snellgrove
| Published 22 seconds ago

In some ways, it’s fair to call RoboCop the most universally appealing hero of the ‘80s. Despite the movie’s R-rated and obscene amounts of violence, the film was a hit with children who enjoyed how the main character merged two of their favorite heroes: cop and robot. Meanwhile, adults appreciated the film for being an absolutely brutal satire of capitalism. Of course, children and adults alike enjoyed how the heavy messages of the movie are wrapped in unforgettable fight scenes and ridiculously quotable dialogue. As films go, RoboCop is truly one of a kind. Unfortunately, that proved to be a problem when it came to growing the franchise.

You see, RoboCop is a bit like Highlander: each franchise has one good movie followed by worsening films and mediocre TV shows. After RoboCop 2 and 3, we got two crappy television series (RoboCop and RoboCop: Prime Directives) followed by the abysmal 2014 reboot. Those failed projects frustrated fans and creators alike because RoboCop is one of the coolest characters ever created; how hard can it be to give him a good story? We’re about to find out. After announcing development of the series three years ago, Amazon has officially given the green light to a new Robocop TV show.

Somehow, Robert Cop Returned

The premise of the first RoboCop movie is that after one of Detroit’s top cops is killed, he is brought back to life with the help of a cyborg body. This proves to be both a blessing and a curse: while his transformation has made him the most dangerous creature to ever walk the streets, RoboCop struggles with the humanity he has lost. Fortunately, he is kept emotionally grounded by his old partner. Together, they fight crime ranging from petty criminals to the corrupt corporate stooges who are busy running the city into the ground.

Now, RoboCop is getting a new show on Prime Video. The first season will have eight episodes, and the series is being produced by Blumhouse Atomic Monster. The showrunner for Robocop is Peter Ocko (best known for Lodge 49). Ed Neumeier and Michael Miner will serve as executive producers, which is notable because they are the co-creators and co-writers of the original RoboCop movie. Other executive producers include Rob Hackett, Michael Clear, and genre legend James Wan, who described this project “a dream” in a written statement. He called the original movie “decades ahead of its time” and said “its questions about technology, identity, and who corporations really serve have only grown more urgent. “

All Cops Are Bots

Wan is confident that the new Robocop show will be able “to honor what made the original iconic and highlight its relevancy in this modern, tech-driven world, while building something unmistakably new for a global audience.” Amazon’s Head of Global Television, Peter Friedlander, is similarly optimistic, saying, “Peter Ocko has crafted a vision that honors the soul of what made the original so enduring while building something entirely fresh and urgent for today.“ According to the official description, the show will explore topics such as “humanity versus technology and the consequences of unchecked corporate power feel more relevant today than ever, making it the ideal property to reimagine for a new era of television.” 

Much like Wan, I’ve been a huge nerd for RoboCop for most of my life. But if I’m being honest, the franchise has felt like Alex Murphy’s final moments. It’s wounded, bleeding out, and teetering right on the edge of death. However, Prime Video is about to do for this franchise what OCP did for RoboCop, taking the spark of what’s left and putting it in a newer, stronger body. If the new show is great, fans can joyously shout “I’d buy that for a dollar!” If the new season sucks, though, we can tell all the episodes what Boddicker told all those ladies: “bitches leave!”

By Chris Snellgrove
| Published 10 seconds ago

Growing up, I wasn’t a huge fan of King of the Hill. Sure, I found it enjoyable enough, but I never went out of my way to regularly watch it. To my teenage sensibilities, Mike Judge’s other major cartoon, Beavis and Butt-Head, was more endearing. Fast forward more than a decade later, though, and I discovered just how brilliant this show was. It helped that I had become a father, raising my own son in a tiny Southern town full of colorful personalities. Hank Hill was no longer a character I couldn’t understand; rather, he was someone I knew a little bit better every time I looked into the mirror.

That kinship with Hank is a big part of why I loved King of the Hill’s triumphant return on Hulu. Much of the revival’s first season focused on the relationship between Hank and Bobby, one which had changed since Bobby (much like my own son in the intervening years) had become his own man. Once more, Hank felt like my own reflection: someone trying to find his place in a world where everything changed but him. That consistency is at the heart of the newest season, which uses top-notch characterization to give us the best storytelling in this show’s history.

Bobby Loves Connie

To me, the most exciting thing about the King of the Hill revival was seeing the kind of man young Bobby had grown into. Making him a chef and restaurant owner was a stroke of genius because it highlighted the character’s passion and strengths while also underscoring that he still has more than a few things to learn. Bobby grew over that season in several ways, but none more so than finally beginning a relationship with his childhood crush, Connie Souphanousinphone. These two hooking up was the emotional climax of the previous season, and this season explores how their relationship has evolved.

As usual, the King of the Hill revival approached their changed dynamic with humor and bemusement, like when they wrestled with the decision to give their relationship a hard launch or a soft launch. They faced some predictable relationship woes, including arguments over exes and flirtatious women. All of this felt very real, but the show never resorted to cheap tricks by making us think they are going to break up. They always work things out and always lift each other up. Just as Hank constantly models good fathering, Bobby and Connie model a healthy relationship, and it is just infinitely rewarding to watch this couple do its thing. 

Never Too Old For An Arc

If the King of the Hill revival’s first season had one weakness, it was that it arguably focused a bit too much on Hank and Bobby. While these two are still front and center in most stories, many of the newer episodes focused on other older characters, with a special emphasis on how they have changed over time. For example, we see Nancy finally decide to work on her relationship with Dale rather than constantly cucking her husband with John Redcorn. We also see more of the fallout of Kahn and Minh’s divorce. Heck, even Bill gets major development, both as Kahn’s roommate and as a man suffering from crippling depression.

Giving the older characters these major arcs infuses the new season with a special power. After all, these are characters most fans grew up with, and seeing their evolution is a keen reminder that it’s never too late for any of us to change. Plus, the resolution to these arcs is often emotionally rewarding. My favorite was seeing Hank go all out to help Peggy with her menopause; overwhelmed, she asked him to be the one thing that never changes. It’s a beautiful moment because Peggy’s praise reinforces Hank’s idea of himself. As for Hank, we see his biggest secret: that he’s willing to make major changes to help the ones he loves.

As an avowed wife guy, moments like this are absolutely beautiful. Fair warning: you may want to keep some manly tissues handy because it’s hard not to tear up at the sheer sweetness of these characters.

He Walks The Line

The last thing I wanted to highlight about the King of the Hill revival’s latest season is how well it walks the scariest tightrope of them all: politics. Hank is a conservative character living in a very conservative area, but he is defined more by a personal moral compass than a political compass. The show often emphasizes this by showing how reasonable and moderate Hank is, especially in the face of weird extremism. The mildest example of this is when some Comic-Con nerds mock Hank for being old and out-of-touch; he ultimately bonds with them by watching their favorite nerd show and crafting a hero-quality prop of their favorite fantasy weapon.

The most extreme example involves a hen becoming a rooster, something that is rare but scientifically possible. When Hank innocuously mentions how this is neat, some parents start screaming at him about teaching false gender ideology and how he must support trans kids playing sports. Hank doesn’t pop off a speech about trans rights; instead, he calmly reminds his accusers that they were talking about something entirely different and trying to twist his words. The whole plot is a perfect satire of trans panic, keeping Hank Hill in character while highlighting that the loudest voices on any political issue are more interested in being heard than actually having a discussion.

Time To Grab Some Brews With The Boys

A stinging satire of culture war bullsh*t that doesn’t get preachy and merely points out how stupid extremist positions are? Simply put, there is no other modern comedy (cartoon or otherwise) firing on all cylinders like King of the Hill.

If you were waiting for my TL; DR review, here it is: the new King of the Hill season is television at its finest. You should really drop whatever you’re doing and go stream it on Hulu. And here’s a little recommendation: while you’re up, get in some comfy clothes and grab your favorite drink and coziest blanket. All the episodes are out now, and trust me: you’ll want to binge this bad boy all night long!

KING OF THE HILL REVIEW SCORE

Jennifer Garner is opening up about the lengths the paparazzi would go to for pictures of her and Ben Affleck’s children.

“If I went through a yellow light, 15 cars would go through the red [light] behind me. They would drive up onto people’s lawns, even on a hillside,” Garner, 54, recalled in an interview on the Tuesday, July 21, episode of the “Shut Up Evan” podcast.

Garner and Affleck, 53, were married from 2005 to 2018 after costarring in 2003’s Daredevil. They share three children: Violet, 20, Seraphina, 17, and Samuel, 12.

“We were trying to have our little one play soccer, and the association asked us to stop because there were 20 cars coming,” the Five-Star Weekend actress remembered. “It wasn’t just about us, it was just an industry that had gotten out of control.”

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“If you show up and you’re trying to get into the pediatrician and you have a sick kid on your shoulder and you’re scared, and you can’t get into the door because you’re blocked by photographers, there’s something wrong with that,” Garner said. “And the kids are paying the price.”

“Kids were getting knocked over coming out of preschool by photographers who were so hungry to get to me or to Ben, trying to get to our kids,” she added.

According to Garner, photographers were particularly interested in snapping pictures of her and her children despite “more famous” people living nearby.

“It just got silly,” she said. “I mean, I lived on the street with a lot of much more famous and successful people than I, but they followed me because I had the kids.”

Garner continued, “They wouldn’t follow Ben, they wouldn’t follow Matt Damon … they were like, ‘There’s the chick with the kids.’”

The Alias alum said she is still followed by at least two photographers and has developed something of a rapport with one of them.

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“I have two [photographers] every day who’ve been assigned to me for 20-plus years, 25 years,” Garner said. “I have a very interesting relationship with my main guy. I’ve done anything to ask him to leave, and at the same time, we have an odd respect for each other.”

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“We’ve had some really real-life moments together,” the actress explained. “I was followed by someone who, for whatever reason, I thought was gonna hurt me, and I ran to him because I knew him and trusted him, and I knew he and I would be OK.”

Garner added, “There’s kind of a Stockholm syndrome thing and at the same time, I’ve called the cops on him a million times and been like, ‘Can you please just give me a walk around the block with my kids and my dog?’”

Christopher Nolan‘s latest filmmaking rule has become one of the most talked-about details from the set of “The Odyssey,” and it has nothing to do with cameras or special effects.

Instead, the Oscar-winning director has drawn attention for banning one surprisingly ordinary fashion item, a decision he says helps actors remain fully immersed while bringing Homer’s legendary epic to life.

The conversation began when Anne Hathaway appeared on Brittany Broski’s “Royal Court,” where she was asked about Christopher Nolan’s famously disciplined productions.

Rather than discussing the scale of “The Odyssey,” Hathaway revealed one of the director’s more unexpected “commandments.”

“Thou shalt not wear Uggs,” Hathaway said, prompting laughter during the interview.

Her co-star Matt Damon followed with another claim about working with Nolan.

“Thou shalt not sit down. There are no chairs on set,” Damon joked. The actor expanded on Nolan’s dislike for Uggs, noting, “Oh yeah, that’s a good one. He hates Uggs. I think they just symbolize leisure in a way that he’s not comfortable with.”

Those remarks quickly spread online, fueling renewed interest in the filmmaker’s unconventional production style. However, the “no chairs” claim has long been disputed.

In 2020, a representative for Nolan responded to similar stories by saying the only items officially prohibited on his sets are cell phones and smoking, not chairs.

Still, Hathaway’s comment opened the door for Nolan himself to explain why something as simple as a pair of boots matters so much.

Nolan Says Modern Items Break The Illusion

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During an appearance on “CBS Mornings,” Christopher Nolan was asked directly about Anne Hathaway’s revelation.

Rather than dismissing it, the filmmaker explained that modern objects can interrupt the atmosphere actors need while performing period stories.

“The funny thing is you can be on set where you’ve got, you know, a guy holding a microphone. You’ve got a giant camera, you’ve got crew everywhere, but something like [UGGs] can actually weirdly take you out of the reality,” Nolan said per Entertainment Weekly.

He explained that the issue extends beyond footwear, noting, “There are just certain things that remind you you’re in the real world as opposed to the world we’re trying to create for the actors. I want to stay in the moment, we want the actors to stay in the moment.”

The comments fit neatly into a philosophy Nolan has embraced throughout his career.

The British filmmaker has never owned a smartphone and has repeatedly said he prefers not to use email, believing constant digital communication can become a distraction.

His productions have similarly developed a reputation for minimizing interruptions, allowing cast and crew to focus almost entirely on the work in front of them.

Christopher Nolan’s Demanding Sets Go Beyond Dress Codes

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The rules on “The Odyssey” extend far beyond wardrobe.

Earlier this year, GQ documented one of the production’s most physically demanding locations while profiling stars Matt Damon, Tom Holland, and Robert Pattinson.

Filming at Sicily’s Castello di Santa Caterina required actors and crew to climb roughly 900 feet to reach the set because construction crews had been unable to build an access road before production began.

Pattinson later recalled making the trek wearing sandals that matched his costume. When asked about the story on “CBS Mornings,” Nolan confirmed it was accurate.

He said per the Daily Mail, “When [Pattinson] started on the film, we were shooting at the top of a mountain a thousand feet in the air and we hadn’t been able to get any kind of road built up or anything.”

He added, “But yeah, we’re starting with this tremendous hike and then absolutely exhausted you [before starting] your day’s work.”

The difficult climb reflected another hallmark of Nolan’s productions, a willingness to work in real environments whenever possible instead of recreating locations on soundstages.

Christopher Nolan Has Built A Career On Authentic Filmmaking

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The same philosophy behind the UGG rule has shaped many of Nolan’s biggest films.

Rather than relying heavily on computer-generated imagery, he has consistently favored practical filmmaking.

“The Dark Knight” famously featured a real truck flip, “Tenet” included the destruction of an actual Boeing 747, and “Oppenheimer” relied extensively on practical effects to depict the Trinity nuclear test instead of using CGI.

Those creative decisions have become part of Nolan’s reputation, helping distinguish his work from many modern blockbusters.

“The Odyssey,” adapted from Homer’s ancient Greek poem, continues that tradition. Universal Pictures assembled one of the director’s most impressive ensembles for the movie, including Matt Damon, Tom Holland, Anne Hathaway, Zendaya, Robert Pattinson, Charlize Theron, Lupita Nyong’o, Jon Bernthal, and Mia Goth.

Nolan’s Methods Have Earned Praise From Longtime Collaborators

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Christopher Nolan’s demanding approach has become a recurring theme among actors who return to work with him.

Matt Damon, who previously collaborated with the filmmaker on “Interstellar” and “Oppenheimer,” signed on for “The Odyssey” after publicly praising Nolan’s preparation and the confidence he gives performers once production begins.

Anne Hathaway has also become one of Nolan’s most frequent collaborators, with “The Odyssey” marking their third film together after “The Dark Knight Rises,” and “Interstellar.”

She has repeatedly spoken about the trust she places in the director, while Robert Pattinson returned following his acclaimed performance in “Tenet.”

That growing list of returning stars suggests Nolan’s strict rules are rarely viewed as obstacles by the people working alongside him.

Instead, many of Hollywood’s biggest names continue to embrace the immersive environment he creates, even if it means leaving modern comforts and UGG boots behind while the cameras are rolling.

Godzilla vs. Kong star Rebecca Hall shared an emotional tribute to her onscreen adopted daughter, Kaylee Hottle, following the teenager’s death at age 18.

“Devastated to hear this news. My heart goes out to your family. You will be missed, Kaylee,” Hall, 44, captioned a series of photos of herself and Hottle on the set of 2021’s Godzilla vs. Kong and its 2024 sequel, Godzilla x Kong: The New Empire, posted to her Instagram account on Tuesday, July 21.

Hottle played Jia, a deaf youngster who is adopted by Hall’s Dr. Ilene Andrews, in the fantasy films. Her character communicated with King Kong via sign language.

Hottle’s father, Joshua Hottle, told TMZ that the actress died following a car accident in Maryland in the early hours of Tuesday. He also confirmed the news to his followers on Facebook in a livestream, stating that he was flying from Texas to claim her body.

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The Frederick County Sheriff’s Office confirmed that authorities responded to a fatal single-vehicle collision in Ijamsville, Maryland, at 2:52 a.m. on Tuesday.

“The preliminary investigation revealed that a 1995 Honda Accord, operated by a 19-year-old Frederick man, traveled off the right side of the two-lane roadway and struck a culvert,” a press release said. “Excessive speed is believed to be a contributing factor in the collision.”

The police department said that two passengers were in the car as well as the driver. The driver was taken to a local hospital with what are believed to be non-life-threatening injuries, while the other passenger declined medical assistance at the scene.

“The second passenger was identified as Kaylee Hottle, 18, of Kyle, TX,” the release said. “Hottle was transported from the scene to an area trauma center, where she was later pronounced deceased.”

Hottle was born in Atlanta and comes from a multi-generational deaf family. She was raised in Austin, Texas, and attended the Texas School for the Deaf.

As well as the Godzilla vs. Kong films, she appeared in a 2021 episode of CBS’ Magnum P.I. playing a character called Joon.

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In 2021, Hottle’s Godzilla vs. Kong costar Alexander Skarsgård revealed that he learned American Sign Language (ASL) in order to communicate with the young actress on set.

“It’s her first movie. It’s fascinating how comfortable she is in front of the camera and how quickly she takes notes from the director Adam [Wingard],” he told Junkee. “He’ll explain something and she’ll be like, ‘Got it, got it.’ Then she’ll just do it and everyone’s like, ‘The f*** … how did she?’”

“She’s so professional,” the actor added. “There’s so much going on on her face, her expression, and the subtleties of that is fascinating to watch.”

While all eyes are on Spider-Man: Brand New Day and Avengers: Doomsday coming later this year, it will be hard to top Simon Williams as the biggest breakout star of the MCU in 2026. Marvel stunned everyone with the release of the show-stopping Wonder Man on Disney+ back in January, not only reintroducing a character who has been a part of the company’s comic history since the 1960s, but also using him for a satirical exploration of Hollywood and the process behind superhero movie-making. The meta-comedy series was an instant hit with both critics and audiences, earning a Season 2 renewal and the first acting Emmy nomination in five years for the MCU for Yahya Abdul-Mateen II as the lead. It’ll be a while before Destin Daniel Cretton and Andrew Guest get Simon’s next chapter to the screen, but fortunately, there’s another story featuring the character that’s just wrapping up.

Marvel Comics has released the fifth and final issue of Wonder Man Vol. 4 onto store shelves, concluding prolific Deadpool writer Gerry Duggan‘s run with the character, which began earlier this year. Like the new show, it’s been one big love letter to the history of Simon Williams on the page and to Hollywood itself, as the hero picks himself from the lowest of lows to return to super-heroic stardom. That is until his old cellmate comes around, kicking off a series of events that see Simon framed for murder, starting a whirlwind romance with Hellcat, and facing down The Spot as he threatens L.A. In Issue #5, everything finally comes together for the hero, but not before Simon finally drops his terrible representation.

Accompanying the release, a new preview was shared that combines both the thrill and comedy of Wonder Man into one sequence. The pages catch up with Simon after he learns from the Avengers where Matthew Walters’ plane is heading and decides to pay an in-flight visit to the Hollywood weasel. Walters certainly isn’t expecting to see his client casually fly up beside him and ask where his old pal, Rudolph Chancellor, is. When the agent can’t give him an answer, he stops asking nicely, getting a panicked story about how Chancellor leaped out of the Cessna to his death out of sheer guilt. Unfortunately for Walters, Simon is familiar with his slimy tricks and decides on a different approach, ripping the door off and dangling Walters until he reveals the very stupid truth. Walters was a terrible investor, buying into the future of NFTs and specifically, a certain line of JPG monkeys, leading him down a path of embezzlement and murder. It’s so dumb and evil that Simon simply drops his former agent over the water, but surely he wouldn’t just let a man die without facing justice, right?

Will ‘Wonder Man’ Issue #5 Give Simon Williams His Hollywood Ending?

Much of Wonder Man #5 revolves around finally piecing together the answers to all the chaos that has taken over Simon’s life. His confrontation with Walters shows the who and the very idiotic why behind the deaths close to him, but there are still questions left to untangle about how this all happened. Among the most burning, unrelated to the series’ central mystery, is whether the will-they-won’t-they between Simon and Patsy is built to last after a run full of romantic tension. All signs are pointing to a climactic and comedic finale for Hollywood’s greatest hero. Joining Duggan for the issue is artist Phil Noto, with Marco Checchetto and Frank Martin handling the cover.

Wonder Man #5 is now out on store shelves. Check out a sneak preview of the issue in the gallery above.

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Release Date

2026 – 2026-00-00

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Network

Disney+

Writers

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Andrew Guest, Madeline Walter, Paul Welsh, Zeke Nicholson, Roja Gashtili, Julia Lerman

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