This week on the Major Spoilers Podcast – Brian Clevinger stops by to talk Atomic Robo’s new distribution method, Superman gets a new power, Hellcat lands on her feet on Netflix, Conan/Red Sonja #2, Hollywood Zombie Apocalypse #2, and Sex Criminals #10.


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Superman debuts new powers

Hellcat added to Jessica Jones

Hollywood Zombie Apocalypse #2 (of 2)
Written by Ralph Tedesco & Joe Brusha
Art by David Lorenzo Riveiro
Colors by Jorge Alberto Cortes
Letters by Jim Campbell
Edited by Nicole Glade
Price: $5.99
Release Date: 2/4/15
Hollywood and Zombies collide in this hilarious parody comic from Zenescope Entertainment!
After a zombie outbreak hits Hollywood, a group of star actors finds itself trapped in the Roosevelt Hotel. With few options left, the A-List celebrities try to put their differences (and EGOS!) aside while chaos surrounds them. Can the eclectic group work together as a team or are they destined to fall victim to the zombie horde?

Rating: ★★★½☆

Conan and Red Sonja unite to stop a sorcerer-priest from creating a new age in Hyborian warfare! Exposed to a deadly toxin, barbarian and she-devil race against time to save themselves!

Rating: ★★★★☆

Sex Criminals #10
Story By: Matt Fraction
Art By: Chip Zdarsky
Cover By: Chip Zdarsky
Cover Price: $3.50
Digital Price: $2.99
Diamond ID: SEP140750
Published: January 28, 2015
In which Jon and Suzie learn just how alone together we all are, and the stakes get raised crazy-high in this, the second arc finale. By MATT FRACTION (CASANOVA, ODYC, SATELLITE SAM) and just a great big bunch of C.H.U.D.s with photoshop or something.

Rating: ★★★★☆

Major Spoilers Poll of the Week
This week JR wrote to us asking about the price of digital codes and ponders the idea of marketing digital comic redemption codes on a much wider scale.
Should Disney and Warner Bros. put digital comic codes on movie tickets?

Will you attend any comic book conventions this spring? (Comment)

View Results

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Brian Clevinger, writer of the Atomic Robo series, sits down with Stephen to discuss the new distribution and funding model for the series going forward.

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About Author

Stephen Schleicher began his career writing for the Digital Media Online community of sites, including Digital Producer and Creative Mac covering all aspects of the digital content creation industry. He then moved on to consumer technology, and began the Coolness Roundup podcast. A writing fool, Stephen has freelanced for Sci-Fi Channel's Technology Blog, and Gizmodo. Still longing for the good ol' days, Stephen launched Major Spoilers in July 2006, because he is a glutton for punishment. You can follow him on Twitter @MajorSpoilers and tell him your darkest secrets...


  1. O-my-god-omy-go-o-my-god! Brian Clevinger – everybody!
    Why o why am I at work and have to wait 6 hours before I get to hear this episode.
    Its great when you score interviews with interesting people, thank you.

  2. Making a distinction between ‘movies’ and ‘films’ is as senseless as the distinction between ‘comics’ and ‘graphic novel’ it is largely a pretension, a moving target that is basically meaningless, designed to elevate one favored piece over another piece viewed as ‘less than’. One man’s ‘movie’ is another man’s ‘film’. Acquisition is pretty much meaningless as well. 99.99% of the audience doesn’t know or care whether their moving picture was acquired on celluloid or silicon.

    As for music if it is recorded and compiled I consider it a record or an album, and use the terms interchangeably, regardless of format. TV is TV whether broadcast, cable, Netflix or other distribution. If it’s told in installments (serialized or not), or is released in ‘series’ or ‘seasons’ and doesn’t have a theatrical release it’s TV.

  3. Really good episode, but can I actually champion the 13 episodes a season? With a more limited number of episodes, it should force writers to cut out the filler, and have every episode be important. True Detective & Fargo both proved this can work. While shows that have 20+ episodes a season can be bogged down and paced very poorly causing viewers to lose interest. I enjoy a great experience, where I’m in and done. Comedies that have worked well with this Fawlty Towers, Spaced, Mission Hill, etc. For a network like FX, by having 13 episodes a season, they can keep interest up (assuming the writing is good) throughout the year, and not have dead space in the summer like most networks do.

  4. My train ride ended just before the Clevinger interview. That gets to be my go-to-work listening for tomorrow here in Tokyo. Which leads me to my real comment. The comic system in Japan keeps getting mentioned and it sounds like y’all are saying that collected editions are put out instead of single issues like in the States. Which is true and I think I remember hearing Stephen say he would prefer to see more US comics makers move to mainly putting out trades as well.

    But I was wondering if y’all would like to see the the other side of Japanese comics done: the thick, cheap anthologies that puts out the newer material before it is collected into trades for a particular title. Which I guess would be that week’s comics on newsprint before titlth everything in the DC/Marvel universes before title trades come out. Or perhaps a monthly Avengers anthology, for example, featuring all the Avengers titles before the trade of All New Avengers Underwater comes out.

  5. I fall into the ‘netflix is a network’ camp because they have branched into original series that are exclusive to their brand. I have both the streaming and DVD plans because some things I can only get via streaming and others I can only get by DVD. Cleverly, they figured out a way to compel you to get both. Can’t wait for Daredevil.

    Lovin’ it guys! I started listening to Critical Hit but have since started listening to most of your podcasts. Keep up the good work!

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