I'm the featured guest this week on HOMICIDE: LIFE ON REPEAT with Reed Diamond and Kyle Secor!

HOMICIDE: LIFE ON THE STREET wasn't quite my first taste of what we later came to call "Prestige TV" but it might have been the first show I loved that passionately. I wasn't there from the start - though the show debuted in January 1993, it wasn't until almost exactly three years later that I became a serious viewer of the series. By that point, I was already a regular viewer of ER and THE X-FILES, both of which were redefining how network TV looked and felt. I also was an occasional, if not regular viewer, of LAW & ORDER.

Nothing makes me feel older than having to explain that this was a time when network TV drama felt truly groundbreaking and cinematic to a degree that it hadn't before. This was pre-SOPRANOS, before HBO launched what generally gets credited as the start of Prestige TV. It's not hard to see why that's where most tellings of TV history start there. HBO's pedigree for writer-driven, cinematic, elevated television is probably unmatched. There's also a certain romance to framing the most remarkable TV as being the product of premium cable - as opposed to broadcast television, where the major networks were free to all the unwashed masses.

You're paying a premium for cable TV, so you need to believe that HBO is giving you a superior kind of product, right? As much truth as there is to that, at least two of those HBO shows - THE WIRE and OZ -  have a direct lineage to HOMICIDE.

The things that made HOMICIDE so innovated on network TV in the 90s have all long since been absorbed by premium cable series, prestige streaming series and even current network television. Handheld camerawork, morally ambiguous heroes, downer endings, and controversial storytelling now practically form the Peak TV Starter Pack. Maybe the only technique that still feels truly unique to HOMICIDE is the editing - specifically the jump cuts and the triple takes. In just about every other way, HOMICIDE feels like a show that could have premiered today.

And to the younger generation, HOMICIDE might as well have just debuted. Though the series got a DVD release, it's barely been syndicated in the last 20 years and it had long been absent from streaming. This year, that was finally redressed, as an HD remastered release came to Peacock. Converted to widescreen and HD, the show doesn't look EXACTLY how it appeared in the 90s, but it holds up well, even though a concession to get the show out there resulted in almost all of the iconic music cues being replaced by material cheaper to license.

As a concession to get the show to a new audience, I'll accept it. This was one of the shows that made me want to be a TV writer. It's the show I found myself emulating often in my early writing. Though it often gets lumped in with other cop procedurals, it's much more character-driven than any other procedural. The emphasis is on the characters more than the cases they work. A case is frequently merely a catalyst to force a character to deal with a personal challenge or to provoke a different side of their personality.

A hallmark of the show was the intense interrogation scenes, with the most powerful of those going to Andre Braugher as Frank Pembleton. He'd get inside a suspect's head, break them down psychologically and more often than not, get a confession out of them. It was riveting character drama that just as often would be balanced by quirky humor and idiosyncratic characters like Richard Belzer's Detective Munch. It did things I didn't know could happen on TV - the heroes didn't get their man everytime. Some cases never got closed, the dead going unavenged.

One hour kicks off with the discovery of Detective Crosetti's body, forcing the unit to confront the likelihood he killed himself. Everyone deals with it differently - his partner Lewis insists it couldn't have been suicide and goes as far as trying to interfere in Detective Bolander's investigation into Crosetti's death. Frank and Tim are sent to plan the memorial service, allowing for some dark humor about the cost of cookies. Lt. Giardello is stuck with department politics over how bad it looks to have another suicide. 

All of this leads to a moment I've discussed before - Lewis and Bolander coming to a head over their conflict, only to have the moment interrupted by the autopsy report. The official finding: suicide. Watching Lewis spiral as his denial finally runs out and then fully break down as Bolander pulls him into a bear hug is one of those TV moments that has stayed with me ever since.

Years later I was running a TV drama series for my college campus TV network and I attempted to do a storyline with similar emotional impact. This being 2001, when I shared the script with everyone, they all assumed I was inspired by the equally gut-punching BUFFY episode "The Body." The truth was I'd had the intent for this episode before "The Body" even aired and my direct inspiration was "Crosetti."

Another trope that turned up in a lot of my early work were interrogation scenes. At least three times while in college, I found an excuse to work an interrogation into something I filmed, and it came up in more than one script. The perfect culmination to all of this nearly happened when one of my SUPERMAN & LOIS episodes would have called for what was essentially an interrogation between Lois Lane and an antagonist. Alas, a rebreak of the story ended up denying me the moment that seemingly my entire career was building towards.

As is evident, HOMICIDE made a meaningful impact on me as a creator and an audience member. Over the years, I've paid tribute to it before, broken down the pilot, and reexamined one of the show's most controversial moments - the Luther Mahoney shooting. Thanks to a Twitter conversation, I even connected with and later went out to drinks with Reed Diamond, who played Detective Kellerman. We sorta became whatever you call an internet friendship these days. (Pen-pals? Digital friends?) Which brings me to the real point of this post...

At almost the same time HOMICIDE launched on Peacock, Reed and one of his surviving co-stars, Kyle Secor (Detective Tim Bayliss), launched their rewatch podcast HOMICIDE: LIFE ON REPEAT. Every week, Reed and Kyle recap another HOMICIDE episode, delving into their recollections of making it and sharing their perspectives on the series with three decades of hindsight.

They also usually welcome a guest, typically a writer, director or fellow cast member, but on occasion the guest is someone with no professional connection to the series. If you somehow missed the post title, by now you've probably intuited the reason for this long preamble is because *I* am this week's guest.

I can't tell you what a thrill it was to be "in the Box" with "Kellerman & Bayliss" for a little over an hour. The topic of the show was Season 1, episode 8, "And The Rocket's Dead Glare," but we veer into other topics. I haven't heard the edited episode yet, but I talk about what scenes in David Simon's HOMICIDE: A YEAR ON THE KILLING STREETS directly inspired a subplot in this episode, and we even got into a brief discussion of copaganda.

I've done more than a few podcasts and this was easily the most fun I've ever had on a show. Reed and Kyle were great and I just loved the energy I was feeling while we recorded it. Hopefully some of that joy comes across in this week's installment.

The direct YouTube link to this week's episode is here.

You can find it on Apple Podcasts here.

You can find the main site for the podcast here.

All episodes are uploaded - with video - to YouTube here.

And if you're interested in the New York Magazine that discusses the misconduct that many of the Baltimore cops who inspired the show are accused of, you can find it here: David Simon Made Baltimore Detectives Famous. Now Their Cases Are Falling Apart.

SUPER/MAN is a tribute to not just Christopher Reeve, but his entire family

Early on in the Christopher Reeve documentary SUPER/MAN, we hear Reeve's own voice in an archival interview, discussing how he took extra care during "the Superman years." He dreaded doing something that would lead to a New York Post headline like "Superman hit by bus." The observation reinforces how aware he was that his image and his on-screen alter ego would always be entwined.

And that certainly was prescient. For nearly a decade after the riding accident that left him a quadriplegic, it seemed no reporter could cover Chistopher Reeve without using some version of "He played Superman and now he IS a super-man." (Heck, I even noted that in my own tribute to Reeve in a piece I wrote commemorating the fifth anniversary of his death. Reading it now, it's exactly the kind of tribute this documentary avoids being, to its benefit) 

Certainly even in death, the advocacy he strove for in life has cast a long shadow. Reeve says himself in an archival interview that "People want to believe in a hero." And so, through a combination of his iconic role, some truly bad luck, and his bravery in putting his recovery process on the public stage, Reeve morphed from being the custodian of an inspirational figure, to a source of inspiration himself.

Hope can be a powerful thing. At one point in the documentary, we're told that when faced with a critic who accused Reeve of peddling "false hope," Christopher shot back, "There is no false hope. There is only hope."

No one can decide to be an inspirational figure, as inspiration is ultimately about what people take from you. It's a power that resides with the audience, though it's also dependent on what that figure is willing to give of themselves. For me, that's what a great deal of this documentary is about, how Christopher put aside his ego and allowed the world to see him as disabled during a time when people like him were treated as invisible. A lesser film would have succumbed to a trite and obvious way of telling this story, giving only empty "inspiration porn" to assure us that heroes of untold virtue are among us. 

But what I saw in this film is that the hope that Christopher Reeve represented could not have existed without his family around him. And so this loss of privacy and inviting the public into a private tragedy is not just Christopher's, but a toll paid by everyone in his circle. While the movie never gets as far as explicitly stating that, that feeling runs through much of the narrative.

As obvious as it is that the Christopher Reeve documentary is called SUPER/MAN, by the time it was done, I felt like it could have just as accurately been called SUPER/MAN & SUPER/WOMAN, in tribute to Dana Reeve. Dana's presence permeates this entire story, even though she tragically is no longer with us to tell her part of it. She is a constant presence in all the post-accident footage, including many private home movies shared by the Reeve family.

In archival recordings, Christopher credits Dana with saving his life twice, the second being in the immediate aftermath of the accident that left him paralyzed. He was facing the reality of never moving his arms and legs for the rest of his life, pondering that it might be best for everyone if he just died. Dana looked at him and said with conviction, "You're still you, and I love you." 

That completely changed how he looked at the new life that lay ahead of him. The movie doesn't sugarcoat what she lost alongside Christopher that tragic day, and throughout the narrative we understand the emotional toll she felt mostly in private. That she died less than two years after Christopher is an incredibly unfair loss. Were this a fictional narrative, it would have felt like screenwriter hackery, designed to manipulate more tears out of an already exhausted audience. Here, it's just a reminder that life is under no obligation to give happy endings to those who would have seemed to earn them many times over.

This film also easily could have justified the title SUPER/FAMILY, for while Christopher Reeve's story is the spine of the movie, the picture of Chris that emerges would not be complete without the voices of his children and many family friends. This especially is where the more complete picture of Chris emerges, thanks to their willingness to be frank and open about some of their most private moments. It's easy to take that for granted as an audience member, but throughout my viewing it became the lens through which I took in everything. Unpacking this will require you to indulge me for a brief tangent.

I think you understand grief in a different way after you've lost a parent. There's a different burden that comes with losing someone that close to you as opposed to an uncle, a friend, a grandparent. In those cases, you generally get to deal with that loss on your own terms. But when it's a parent, a spouse, a child... that relationship means that you become everyone else's vessel for closure with the departed.

And - whether or not this is the intention of the other mourners - the effect is such that you end up taking on their grief. Though they come to console you, the strange nature of this interaction means that you find yourself consoling them, that in this exchange they get closure. Sometimes it means that they feel useful in passing on, "your father was so proud of you. He talked about you all the time." In other instances it's simply a matter of them intending to help with your grief but well before they have managed their own. 

You end up hearing a lot of people talk about how much your father meant to them. Which is nice, until you find yourself enduring it ten times in a row - while you're getting a handle on your own feelings. While realizing the obligation of this encounter means the other party must walk away assured they have done A Good Thing. I mean no disrespect to any close family and friends when I say that some of the best conversations I had about losing my father were with people who never knew him and were able to be there just for me.

For most of us dealing with loss, this is something that persists across weeks, perhaps months. When your father was someone like Christopher Reeve, I don't know if that ever ends.

I thought of that often as the film frequently returned to Reeve's children as its narrators. Matthew and Alexandra are from Christopher's relationship with British model Gae Exton, while the younger Will (now a correspondent with ABC News) is Christopher and Dana's child. Among the many voices that contribute to the documentary, their perspective is the most potent.

It was impossible not to think about how over the last nearly 30 years since Chris's accident, these three have had to play the role of giving closure to those who admired and were inspired by their parents. Matthew Reeve and I are less than a month apart in age, a connection that makes it impossible for me not to think about what it would have been like for me to deal with this burden at the age I was at the time of Chris's accident and later his death. 

I vividly remember reading the news of Chris's accident the same weekend that I was at a cousin's wedding. It was just before of the end of my 9th grade year, during a summer where I was working as a swim lesson aide and spending many, many days at the local pool. The contrast between my summer and what that summer must have looked like for the Reeve family is rather stark. I can't imagine dealing with a tragedy that enormous, let alone doing it so publicly.

We eventually learn that following Chris and Dana's deaths, Matthew stepped up at the age of 26 to fill in as a surrogate parent to his younger brother Will. Matthew was dealing with that obligation thrust upon him when I was somewhere between writing coverage for agents and sharing an apartment with two roommates.

You don't always get to chose the moments and experiences that define your life for you. Sometimes those come from moments that belong to other people. From what we see here, the Reeve siblings have an incredible amount of grace in accepting what their lives became and how they chose to share some of that with us.

I lost my own father four years ago, an experience I commemorated in this post that I've never quite been able to revisit in full. In that case, the public display of mourning helped, though I'm still not sure I fully grasp that other people have actually read it. Not long after that, I paid him tribute in a story I wrote for the SUPERMAN & LOIS comic. It was another public display, but one where I felt in control of how I presented my feelings, and thus, and experience I was comfortable with. 

But not every instance in which I've been asked to tap into those feelings of loss has been cathartic. I've not always had the opportunity to revisit those feelings on my own terms, and sometimes that's resulted in less pleasant experiences. Throughout Matthew, Alexandra and Will's interviews, I couldn't help but think about how much this documentary appeared on their terms, and if the necessity of promoting it via weeks of media interviews was at all more of a burden to endure.

I wondered if this documentary in some ways was how their whole family reclaims the narrative of Christopher Reeve from the "he played Superman, then he became a super-man" distillation. The movie doesn't hold back from pointing out less admirable moments in Reeve's life. It also takes time to explain how he clashed with some in the disabled community. It rarely dwells long on these particulars (we're kept at a respectful distance from some of the inner-family conflicts while still told enough to infer what need not be made explicit), but they're given enough spotlight to keep the film clear of any charges of hagiography

It's to the film's credit that it's able to tell Christopher Reeve's story in ways that feel fresh even to the Superman fan who's seen every special feature pertaining to the movies. His work as Superman gets about as much focus as necessary, but through perspectives not usually employed. The story of how he was cast usually falls to director Richard Donner or casting director Lynn Stalmaster. Both men passed in 2021, before this project was shot (though a few archival interviews with Donner are briefly integrated.) Instead, it's Jeff Daniels, who was in a play with Chris when he went to screen-test for the part, who tells us about those days in Reeve's life. 

Some interviews with Reeve also augment that portion. There were moments where I found myself mentally adding what would have been Margot Kidder's stories about working with Reeve, but in general, it's wise that the voice of the film comes from people who knew Reeve as a person before they ever knew him as Superman.

In showing us Reeve's faults and lesser moments alongside his successes, the film somehow becomes more inspirational than it might have otherwise been. A person doesn't have to be defined by their relationship with their distant domineering father, any more than not having a great example of a marriage precludes them from eventually discovering the kind of love that changes your perspective on romance.

We think we need Christopher Reeve to be Superman, but in exposing his human frailties, it highlights that any one of us has the power to be an inspiration to someone. Without Dana Reeve, Christopher might not have seen the final nine years of his life. Certainly it's hard to imagine Christopher being a public face for paralysis without the love and support of his wife. Could he have had so many positive days without his children rallying around him? You need people there to give you the kind of life you want to live for.

This is as much the story of what Christopher Reeve achieved as it is the story about the love around him that made that possible. In opening themselves up to tell that story, I hope the Reeve family has found peace. May they receive at least as much grace and love that they have put out into the world.

Why all three seasons of PICARD were necessary to Jean-Luc Picard's journey after the end of TNG

I did another rewatch of the two-part finale of STAR TREK: PICARD and between that and some things from Patrick Stewart's memoir swimming in my head, I'm left with some thoughts about Picard, both the man and the series.

When PS was approached for the new series, he was the one who set down the mandates that distanced it from TNG. He didn't want any of the original cast. He didn't want to be in Starfleet or wear a uniform. If they were bringing back Picard, it had to say something new about him rather than re-explore old ground. I actually think there was a lot of merit to these stances, even if all we really wanted was a TNG reunion, which we eventually got. But I don't think S3's reunion undermines the rest of the show, nor do I see it as a retreat. It's a necessary conclusion for Picard.

Think about where Picard was at the end of TNG. He just had his Christmas Carol-like jaunt through time and came out realizing he needed to change the nature of his relationship with his crew. He joins the poker game. He's on his way to becoming less distant. He's opening up... And then what happens six months later in GENERATIONS? His brother and nephew are killed. He's the LAST Picard. There IS no biological family left for him.

And then what else happens? He meets Starfleet's greatest, James T. Kirk. And what's the retired Kirk's firm advice?

"Don't let them promote you. Don't let them transfer you. Don't let them do ANYTHING.... that takes you off the bridge of that ship because while you're THERE.... you can make a difference."

Taken together, we see how this pretty much cements the crew of the D as his family.

And over the course of the movies, that changes. It can't last forever. Worf leaves the nest and moves on for a time. Will and Deanna get married and go off on their own. Data DIES. Beverly leaves.

Then comes the whole Romulan crisis and then the android revolt. Picard's at the center of that crisis and Starfleet fails him. After an android sabotage of the shipyards built to evacuate the Romulans, Starfleet scraps the whole project and makes artificial life illegal in the Federation. It goes against everything Picard has fought for. By then, most of his "kids" have moved on. He took Kirk's advice. He stayed devoted to Starfleet and it fucked him in the end. So he quits in protest.

He doesn't recognize Starfleet. Problem is, without Picard - who had no bones about standing up to them in cases like INSURRECTION - Starfleet loses its moral way too. And that's where PICARD the series picks up. Picard's lost his family and the thing that was supposed to matter.

When he has to go on a new adventure, he's determined to do it without getting in the way of the old crew's new lives. This is JLP in his "Wings" phase. (The Enterprise D/E era being his "Beatles".) And look, Wings was a fine band. But they weren't the Beatles.

But step by step, PICARD shows us its title character putting things right. The android ban is lifted. He goes back to Starfleet, beginning to restore its moral center. S2 at first glance, can be mistaken as a bit of a sidequest. Q messes with history to create a timeline where Starfleet is a totalitarian conqueror, which forces Picard to go back in time and try to put things right.

Eventually it's revealed that history hinges on one of Picard's ancestors going on a crucial space mission. The ripple effect of her not going is what would result in the imperialistic Starfleet. What this means is that the moral fibre of Starfleet is inextricably linked with the Picard bloodline. Starfleet and Picard inform each other.

Just as The Sisko is of Bajor, Picard is of Starfleet.  Starfleet is what it is because of the Picard family. In Starfleet, Picard found his family - both in spiritual and literally biological terms by the end of the third season. That is the lesson that Q is trying to teach in season 2. Why else show him that?  

Picard needed to rediscover Starfleet as being core to his destiny so that on the final adventure, it plays out the only way it can for Picard to truly come full circle. The lesson he's been learning for 30 years finally is achieved.

His old crew IS his family. Of course they are the ones he ultimately has to take this last ride with. And for his full restoration, is there ANY other ending that could be more perfect than him leading the charge to save all of Starfleet with those people by his side?

And if you're putting all The Beatles on stage together, what madman would do that and NOT having them perform?

Kirk insisted that on "the bridge of that ship.... you can make a difference." It HAD to be the Enterprise-D. These seven people had to be by each other's sides one last time, willing to die for each other because if not, what were the last 35 years even for?

For Picard's arc since the series - the man who lost his blood family, lost his ship, lost his friend Data, lost his faith in the institution that was supposed to be his life - he gets a new family. He gets back the ship and the friend that he lost and he restores it all. Yes, I know.... every brick on that road was laid individually, with no real plan of it leading all the way to this path for much of it. But when you look back with hindsight, it all makes so much sense. PICARD S1 and 2 had to happen to make 3 the earned ending to EVERYTHING.

And that's why STAR TREK: PICARD was my favorite show this year. It wasn't a mere farewell tour that played the easy crowd pleasing hits.... it was an ending, one where each of those gracenotes had a purpose in the narrative and MATTERED.

Podcast appearances on The Writers Panel and Children of Tendu

In a complete coincidence I had two podcast appearances drop on the same day this week.

First, my friend Ben Blacker had me on The Writers' Panel to discuss my thoughts on networking on the picket line. We're in the nineth week of picketing and I've met something like fifty writers while picketing. And as I mention in this podcast, I also met Brandon Routh (SUPERMAN RETURNS) and his wife Courtney Ford (LEGENDS OF TOMORROW.)

Listen to The Writers' Panel here.

And then I got to fulfill a nearly decade-long dream by appearing on a podcast hosted by another two of my friends and former co-workers, Javier Grillo-Marxauch and Jose Molina. Their show Children of Tendu is one of the greatest resources for an up-and-coming TV writer and it was an honor to speak with them about my path from internet guy to assistant to staff writer.

The episode I'm on is called "Live from the Strike Line."

Listen to Children of Tendu on Stitcher here.

Listen to Children of Tendu on Apple Podcasts here. 

Listen to Children of Tendu and download the ep as an MP3 here.

A SUPERMAN & LOIS comic I co-wrote is out today and it has a very personal meaning for me

Today's the day! The SUPERMAN & LOIS comic book I wrote with fellow S&L writers Jai Jamison and Andrew N. Wong is on sale.

As a lifelong Superman fan, it is absolutely surreal to see my name on a Superman comic, let alone one with pencils by Tom Grummett - one of my favorite Superman artists. Tom was one of the artists on the book during the 90s, particularly during the period that covered the Death and Return of Superman. Tom's art is what a Superman comic should look like to me.

The writing was a very collaborative process, but I wrote the actual script for the second and third stories in the issue. The second one was very personal for me. It's a story about Clark thinking about some of those small moments in his childhood where his father's influence put him on the path to be the man he'd become. 

I lost my father to COVID in November 2020, after I'd been working on SUPERMAN & LOIS for about 8 months and only a couple months after I'd gotten a script assignment. My dad never got to see the show I'd waited my whole life to work on. He never got to see my first episode of TV, and as I started this, I was aware he'd never see my first comic book. That one especially stung because when I was younger, he bought me many of my first comics.

As the three of us writing the issue generated ideas for our stories, I landed on the second story that eventually saw print. I pitched it to Jai and Andrew as a story about the father/son relationship. Though I didn't specifically underline it was inspired by my feelings about my dad, they certainly knew what I was drawing on. Between the three of us we had several ideas and we had to whittle them down. They absolutely could have vetoed this early on... but they didn't.

Then we had to pitch our stories to our showrunner Todd Helbing. There were a couple that Todd passed on for one reason or another, but he gave the thumbs-up to "Father's Day" along with four other premises. We had to pitch three stories to our editor at DC, Andrew Marino. Andrew and Jai were supportive of "Father's Day" and it survived the culling.

After Andrew Marino approved the story, I told him about how it was a tribute to my dad and asked if there was any way it would be possible to dedicate it to him. He was immediately supportive of it, much to my gratitude.

To Todd, Jai, Andrew and Andrew... I lack the words to tell you what this means to me. I sent my mother and my brother advance copies of the issue and I'm at a similar loss of vocabulary when it comes to expressing how meaningful it was to all of us to pay tribute to my father, to make him a part of this experience even though he's no longer with us.

To Tom Grummett and Norm Rapmund, you rendered this story exactly as I saw it in my mind's eye. Thank you for the gift of your beautiful art.

Eventually I'm going to feel like I've said "thank you" enough times. So far I haven't reached that benchmark. The entire experience of working on SUPERMAN & LOIS has been one that I'm full of gratitude for. Losing my dad is always going to be tied to my history with this show... but thanks to this issue, so is celebrating him.

You can buy the issue digitally at Comixology and Amazon by going here.

For a peak behind the curtain, check out this interview that Jai and I did with ScreenRant.

We also did a very in-depth interview with Craig Byrne over at KryptonSite.

Michael Bailey of the Superman Homepage (which might be the first Superman site I read on the internet EVER) gave our issue 5/5 in Art and Story for all three of our tales. He writes: "Reading a story where you get to have all of the action of a standard Superman tale and see Lois going all out to get the story and on top of that throw in some amazing Easter eggs and on top of that give them a special way to celebrate their anniversary… I really can’t ask for anything more than that. It’s Superman and Lois as a show in a microcosm."

We also got the most generous review from Cori McCreery, whom I know to be a massive fan of the Pre-Crisis Era of Superman. In a tweet, she said, "This was one of the best Superman comics I've read in a long time, and really captured both the feeling of my favorite era and of the show it was spun out of. Great job guys." The review made me unexpectedly emotional and I'm grateful to Cori for what she said.

I hope you all enjoy the issue. And if you don't, as Ed Wood says, "My next one will be better!"

Here are the preview pages, which are basically just an excuse for me to show off Tom and Norm's lovely work.

Sometimes you get to work with your heroes while you write for your heroes

Anyone who told you "don't meet your heroes" never got to write an episode of TV with Rina Mimoun.

I'll back up a little bit. Longtime readers of this blog - assuming any of you are still out there - are probably well aware of my affection for the WB TV series EVERWOOD. I not only once wrote a breakdown of the pilot, I also wrote a fun script called CRISIS ON INFINITE TEEN DRAMAS that incorporated the characters of Ephram Brown and Amy Abbot in a multiversal teen drama crossover.

And then amazingly, got to see Gregory Smith and Emily VanCamp perform the script for a live read a little over a year ago. My point is, there's little point in pretending I'm not an EVERWOOD superfan, or that the show hasn't been a major touchstone for me in my own writing.

So with that, imagine my delight when EVERWOOD writer and showrunner for seasons 3 and 4 Rina Mimoun joined the writers room of SUPERMAN & LOIS this year. I wasted no time in trying to get EVERWOOD stories out of her. And by no time I mean that I'm pretty sure the first thing I said to her was "Hi, I'm Adam and I'm a huge fan of EVERWOOD."

Flash-forward a couple months. The first four episodes are broken and episode five had yet to be assigned. Our writers were doubling up, so that meant that Rina and I were the only two left without an episode. That didn't necessarily mean we were going to be teamed and at one point it looked like each of us might fly solo on different eps.

As an aside, most of the time episodes are assigned based on seniority and availability. Indeed, you'll see that the writer breakdown this season mostly starts with the highest ranking writers on staff and works its way down. In rare cases, there might be an effort at matching a writer to their particular strength, but usually I'd caution against making assumptions about an episode that are based on what the writer has been credited on before.

For example, my name is on two of the biggest Lana episodes, but I actually didn't write any of her scenes in this week's episode at all.

To make a long story less long, I was thrilled when the assignment came down that I'd be working with Rina AND that we indeed were going to be getting "the quinceañera episode." Also, by that point, our EVERWOOD shorthand was well established so we were saying thing back and forth like, "It's like the Amy Abbott thing."

Our story break went pretty well. Most of the other writers were off on their own episodes for large parts of the break so much of it was just me, Rina and our excellent support staff. Showrunner Todd Helbing kept approving our beats along the way and eventually we were sent off to Story Area.

In the middle of this, Rina and I also reached out to Inde Navarrette, who plays Sarah. We wanted to get her perspective on what was absolutely essential to get right about our quinceañera and what elements of the celebration were likely to vary in real life. One of the notes became something we hammered again and again in our production meetings - "Make sure the tamales are authentic."

The way our show works is that we do a pretty detailed story break, send a 5-6 page Story Area (basically a synopsis of each storyline, broken into A, B, C stories) to the Studio and Network and then are sent off to script. Rina and I divided responsibilities on Story Area, which sailed through with mostly no notes and then had to decide how to divide the script.

The storyline of Sarah's quinceañera is filled with the kind of family drama that Rina is known for, BUT I also was prepared for the possibility that she might feel like she's written all that before and was more eager to dive into the superhero stuff. It turned out she was hungry for the Cushing family storyline, which was a relief to me because I did NOT want to be the guy trying to play "Piano Man" while Billy Joel was in the room.

I took the Jon and Jordan storyline and we divided the Clark/Lois A-story up by act. This worked pretty well, but while I was writing Act Two, I arrived at a concern that hadn't been evident in the story break. When Rina and I compared pages, we discovered we both had the exact same note. Still, we did the job we were sent off to do, completing the first draft according to the story break. Neither of us were shocked when Todd's assessment of that story element was the same as ours.

We rebroke the offending scenes and the second draft played much smoother. At that point, my job was done as the script rewrites become the purview of the showrunner and the upper-level writers. By the time we got to the Production Draft, it was in really good shape.

At the start of November I went to Vancouver for the shooting of my episode. After I arrived, I was told that usually they have separate cars to take the episode's director and writer from hotel to set, but for the first couple days, they needed me to double up with the director because we were tandem shooting with the previous episode. I had no problem with that.

My director was a wonderful woman named Diana Valentine. She's directed about 40 episodes of television and had worked her way up through the ranks to get there. The ice was broken immediately on our 30-minute drive to set. I mentioned she'd directed an episode of TV a friend of mine wrote and that just started a run of stories where we discovered all our various industry contacts in common.

I took my lead from Diana on set and very quickly picked up where I should be standing to be out of the way while still being available and engaged. While we waited in Video Village before our first shot, she said, "You know, I used to be Lynda Carter's photo double on WONDER WOMAN." What can you really say to that but, "Tell me more!" This was how I learned she got her start as a stuntwoman in the 70s and 80s and let me tell you, someone ABSOLUTELY needs to make a movie centered on the stuntwomen of that era because it's an underexplored topic rife with entertainment.

Also, I very much feel like we had extra superhero karma, making a Superman episode with a Wonder Woman calling the shots.

Suffice to say, by the next morning I went to our PA and told them they could just send one car to pick me and Diana up together for the rest of the shoot because we were getting on like a house on fire. It was great to start the day riding with her, and always fun doing a post-mortem on the way back.

On top of that, Diana was just a fantastic director, period. I learned quickly that she could anticipate almost any note I had and was thinking two steps ahead, always with an eye to the edit. She came prepared, knew what she wanted and - most importantly - knew how to communicate that to everyone. This was her first time on our show, but if you wandered onto our set at any point, you'd have assumed she'd worked with everyone there for years. That's a testament to her and to our crew.

I don't want to get into too many set-stories here, but I will say that the very first scene we shot for my episode had Tyler Hoechlin in full Superman regalia. That was a pretty cool moment. The day I traveled to Vancouver happened to be the anniversary of the day my dad died. I was already thinking about him, but as I was standing there, two feet from Superman, I felt very sad I wasn't able to tell him about this moment, and that he missed it by such little time.

I also resolved not to immediately turn into a fanboy and ask for a picture with Superman. After all, I was a professional there with a job to do. Also, due to COVID protocols, I had to be masked on set, so what good would ANY picture be?

All of our cast are fantastic people, by the way. I had only met Bitsie Tulloch and Erik Valdez prior to this, as they both briefly visited the writers' office at the start of the season. Both of them were friendly, personable people. I knew Erik slightly better, with our first interaction coming via Twitter. In the early weeks of shooting season 1, he saw a tweet I posted about my dad's death and that led him to realize I worked on the same show as him. He reached out over DMs and was very kind to me during a tough time. The day after that, I got flowers and a lovely note from "The S&L Cast." I'm sure that was Erik's doing, and it shows you the kind of guy he is. By the time I saw him on set, Erik felt like an old friend.

Erik's friendliness is not an anomaly among our performers. All of them proved to be very kind people. Though I didn't get to work with Wolé Parks, I did run into him at base camp and got to tell him, "I'm the reason you're Steel!" He immediately hugged me. I probably ended up spending the most time chatting up "the boys," Alex Garfin and Jordan Elsass. Because L.A. is like Neverland, I foolishly still think I'm the 22 year-old who moved out here and not someone much older. Inevitably, hanging out with the boys would disabuse me of that delusion, such as when I referenced at teen drama character of my youth and one of them responded, "Who?"

But all of our actors were wonderful professionals who came to set prepared and often brought their own suggestions and nuances to the scene. We had a ball spending two days filming the quinceañera scenes because most of the cast was there, but there was a lot of down time between shots when they were needed. They all hung out in the green room area together and I gather that for some of them, they don't often get to work with certain other cast members. Any time I happened back there, it seemed like they just delighted in each other's company and really enjoyed having that time together.

I also have nothing but raves about the crew as well. In the writers' room, we're all very passionate about our show and our characters, but we're very much isolated from the other production workers and the actors. It was very exciting to meet everyone and see they're just as jazzed about the show as we are. It was a very enjoyable two-plus weeks on set.

Our penultimate day was spent shooting a massive fight scene involving Superman. Our stunt coordinator Rob Hayter did an amazing job with this fight. I got to speak to Rob on set during a different action scene for the episode and it was great hearing him talk about how they go about making sure every fight tells a story, and how everyone knows exactly what they should be doing. For this fight, we were in a very large space and so Rob was on the "God Mike" talking our performers through the beats and moves of the fight. It was a little like hearing a boxing commentator call a match.

And I'm talking around spoilers here, but at one point we had one actor on a throwback rig and I got to watch - LIVE - Superman punch a dude and send him flying thirty feet backwards in the air! That was a helluva thing to see, and a great thing to come near the end of the experience.

Oh yeah, and in the middle of all that... I couldn't resist any longer.

I had come over to Tyler during a long downtime between set-ups and said, "So... I can't come all this way and NOT get a picture with Superman." He was happy to oblige. After someone from our crew took the picture, I said, "I just realized, you can't tell I'm smiling with the mask on." They said, "Oh, you can tell!"

You might also be able to tell by the four layers I had on that it was FREEZING there.

I hope you tune in tonight and see the results of all our hard work. The entire experience of making this episode was a delight, and a collaboration with so many awesome people I'm looking forward to working with again.

I'm writing a SUPERMAN & LOIS comic and want your help to make it a best-seller!

It was announced today on the official DC blog that I wrote a SUPERMAN & LOIS comic book with my fellow writers Jai Jamison & Andrew Wong.  Even more awesome for me personally is that DC got iconic Superman artist and co-creator of the Kon-El Superboy to draw it - Tom Grummett!

I've been a fan of Tom's work for literally 30 years and he was always one of my favorite Superman artists. Nothing I say here can adequately convey the thrill that my first comic book will be drawn by him.

It's coming out in April and I hope it sells well enough that DC will ask us to do more. Also, just from a purely ego standpoint, I'd love if we could make this the best-selling Superman book that comes out that month. To that end, I have a plan...

Pre-orders are incredibly important because they help determine the print run and how many copies a particular shop has in stock. If you know you want to buy the comic, it would really help out if you went to your local shop and preordered it. Most stores offer a discount if you do because you're helping them out too. At my store, you get 25% off if you pre-order.

Step 1 - Go to www.comicshoplocator.com/ and find your nearest shop.

Step 2 - Go to the store before 2/19/22 and ask them to put aside a copy of EARTH PRIME #2: SUPERMAN & LOIS for you.

That's it!

On Sale: April 19th.

Spread the word and thanks! The full press release is below.

EARTH-PRIME #2, Featuring The CW’s Superman & Lois, in Comic Book Shops and Digital Platforms April 19

The creative minds behind The CW’s hottest DC super hero shows are bringing their talents and the characters they’ve made so popular to comic books in a can’t-miss comic book event!

EARTH-PRIME is a three-month, six-issue event set entirely in the universe of DC’s popular super hero TV shows. All issues are part of the Warner Bros. Television show canon, approved by CW television show producers. Each of the first five issues spotlights a different CW/DC super hero show, with the sixth issue serving as a cross-over finale.

EARTH-PRIME #1 (The CW’s Batwoman)

Ryan Wilder, aka Batwoman, makes her costumed comic book debut in a story co-written by series writers Natalie Abrams and Kelley Larson, plus series cast member Camrus Johnson (Luke Fox/Batwing), with art by Clayton Henry.

Ever since the tech that created many of Batman’s rogues hit the streets, Ryan Wilder has been running herself ragged trying to contain the new villains popping up around Gotham City. But when Clayface’s (making his CW debut) mud binds itself to a local high schooler, Batwoman will need help from an unexpected source to contain this muddy foe! Also, follow how Luke Fox balances his life as a super hero and a boyfriend!

EARTH-PRIME #2 (The CW’s Superman & Lois)

Superman & Lois series writers Adam Mallinger, Jai Jamison and Andrew Wong join DC fan-favorite artists Tom Grummett and Norm Rapmund in a story spotlighting Clark Kent and Lois Lane’s first anniversary. Trying to celebrate their marital bliss is never easy when you’re a super hero husband and news reporter wife; especially when world-saving and creating hard-hitting stories continue to spoil your plans! Plus, the true origins of the evil Superman from John Henry Irons’ world are finally revealed!

Both issues feature cover art by Kim Jacinto and will feature photo variant covers based on each individual show. Subsequent issues will spotlight The CW television shows DC’s Legends of Tomorrow, DC’s Stargirl and The Flash, all written or co-written by creative talent from the shows. Each issue will also include bonus material created by cast members of The CW shows, as well as “teasers” that will provide clues to the nature of the final crossover in issue #6