Hubbry Logo
Rodney BarnesRodney BarnesMain
Open search
Rodney Barnes
Community hub
Rodney Barnes
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Rodney Barnes
Rodney Barnes
Rodney Barnes
View on Wikipedia
from Wikipedia

Barnes at the 2023 San Diego Comic-Con

Rodney Barnes is an American screenwriter and producer. He has written and produced The Boondocks, My Wife and Kids, Everybody Hates Chris, Those Who Can't, Marvel's Runaways, American Gods, Wu-Tang: An American Saga, and was an executive producer/writer/actor on HBO's Winning Time: The Rise of the Lakers Dynasty.[1]

Barnes has also earned top honors for his work from the Peabody Awards, American Film Institute, Writers Guild of America, BET Comedy Awards, and NAACP Image Awards.

Early life

[edit]

Rodney Barnes[2] was born September 19 in Annapolis, Maryland. During his childhood he quickly gravitated to comic books, primarily superhero style, horror and science fiction. He attended Howard University in Washington, DC. In 1995, Barnes decided to move to Los Angeles to pursue his dream of screenwriting.[3]

Career

[edit]

Barnes was a producer and writer for the Damon Wayans show My Wife and Kids, from 2001 to 2005. He was then a co-executive producer and writer of Chris Rock's TV series Everybody Hates Chris, from 2005 to 2009. He was also the co-executive producer of 'Til Death in 2010, and a consulting producer of Brothers in 2009.

After completing 4 seasons of the critically acclaimed animated comedy The Boondocks,[4] where he served as executive producer and head writer from 2005 to 2014,[5] he was a consulting producer on the TruTV sitcom Those Who Can't, co-executive producer for the second season of the Comedy Central animated sitcom Legends of Chamberlain Heights and co-executive producer for the unproduced second season of Vinyl for HBO. He then served as Co-Executive producer/Writer on Hulu's upcoming adaptation of Marvel's Runaways. In between he was nominated for writing special material by the Writers Guild of America for his work on the 88th Academy Awards, hosted by comedian Chris Rock.

Barnes then served as executive producer for the unproduced Starz drama Heels. He has also been developing the animated series Vandaveon and Mike, based on characters created by and starring Keegan-Michael Key and Jordan Peele for Comedy Central, and "Killogy", a graphic novel series from creator Alan Robert.

In 2017, Barnes ventured into writing for his first love, comic books. He authored "Birth of a Patriot," a short story in Marvel Comics' Secret Empire spin-off "Brave New World" #2. He then penned the Falcon (comics) series for the Marvel Legacy Imprint, the mini-series "Lando: Double or Nothing" for Marvel/Lucasfilm based on the character Lando Calrissian from the Star Wars franchise, and is currently writing "Quincredible" for the Lion Forge imprint and "Killadelphia" for Image Comics.

As well, Barnes co-wrote the adaption of Arc of Justice, which is set to be produced/financed by the Mark Gordon Company, directed by José Padilha and starring Russell Crowe and David Oyelowo. It is the story of the landmark civil rights case of Ossian Sweet. The screenplay was honored by the Blacklist as one of the year's best-unproduced screenplays.

Barnes is also developing Atlanta's Most Wanted, a one-hour crime drama starring T.I., for the Fox Broadcasting Company and producer Jerry Bruckheimer and is attached to write and showrun Things That Make White People Uncomfortable, an anthology series based on the book of the same name, written by former NFL defensive lineman Michael Bennett.[6] He is also writing an untitled creature feature film to be directed by Jordan Roberts for New Regency.[7]

Barnes is writing the novel "Crownsville." A tale of gothic horror to be published in the spring of 2019.

He is also the co-founder of Dark Apocrypha Productions,[8] a production company based in Los Angeles, that creates both traditional and branded content projects. Formerly, he was a columnist for the Huffington Post.[9] More recently, he signed a deal with HBO.[10]

In 2022, Barnes founded publishing company Zombie Love Studios (ZLOS) and published Eisner nominated graphic novel "Blacula: Return of the King" with artist Jason Shawn Alexander.[11] Additionally, his graphic novel "Florence and Normandie", a project collaboration with entertainer Xzibit and artist Jonathan Wayshack, are both published under the ZLOS imprint. Also in 2022, Barnes wrote The Mandalorian: Season One for Marvel Comics, illustrated by Georges Jeanty and adapting the first season of the Disney+ series The Mandalorian.[12]

Barnes was also host for the Winning Time Podcast, which won a Signal Award[13] and is host and co-creator of the podcast Run, Fool!, a project in conjunction with MrBallen, At Will Media, and Campside Media that currently has 800K downloads a month and is 38th in the world of true crime fiction podcasts.

Awards

[edit]

Barnes has received a Peabody Award for "The Return of the King" episode of The Boondocks,[14] and the American Film Institute Award in 2007 for Everybody Hates Chris.

He has also been nominated for a BET Comedy Award for My Wife and Kids, the NAACP Image Award[15] for The Boondocks, and the Writers Guild of America Award for Everybody Hates Chris and the 88th Academy Awards.

In honor of his accomplishments, Barnes was presented with a key to the City of Annapolis in June of 2022.[16]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Rodney Barnes

View on Grokipedia
from Grokipedia
Rodney Barnes is an American , , and comic book writer born in , who has built a career spanning comedy, drama, horror, and fantasy genres in Hollywood. After attending and starting as a on films like and Blade, he transitioned into writing and producing, initially mentored by on (2001–2005). His early television credits established him as a versatile creator capable of blending sharp with entertainment. Barnes gained prominence as an and on the The , for which he earned a for the episode "The Return of the King." He continued with co-executive producing and writing roles on Everybody Hates Chris (2005–2009), receiving an , as well as American Gods and Hulu's Wu-Tang: An American Saga. Additional honors include an for The and nominations from the and BET Comedy Awards. Beyond television, Barnes co-created the horror comic series Killadelphia with Jason Shawn Alexander for Image Comics and founded Zombie Love Studios to produce projects like the film Crownsville. His work often explores cultural and historical themes through speculative lenses, contributing to adaptations such as the HBO miniseries Tiger and ongoing developments like a Killadelphia pilot. Residing in Los Angeles, Barnes remains active in expanding his portfolio across media, emphasizing storytelling that resonates with diverse audiences.

Early Life and Education

Childhood and Upbringing

Rodney Barnes was born on September 19 in Annapolis, Maryland, and raised primarily by his grandparents in the Eastport neighborhood during the 1960s and 1970s. His mother's career as a third-grade teacher for over four decades exposed him to educational environments from a young age, as he occasionally accompanied her to the Annapolis Public Library for lesson planning. As a child, Barnes developed an early fascination with comic books, particularly in , horror, and genres, which he collected alongside friends in the neighborhood. This interest was nurtured in the quiet, working-class setting of Eastport, where limited entertainment options encouraged imaginative pursuits through reading and shared storytelling. In high school at Annapolis High School, Barnes exhibited tendencies, often diverting attention with humor, until a teacher challenged him to redirect that energy into by channeling it into stories. English teacher Jay Silverberg specifically praised his written papers, providing affirmation that helped solidify his inclination toward narrative expression.

Higher Education and Early Influences

Barnes attended in , where he studied in the School of Communications, gaining foundational skills in media and storytelling that informed his later creative pursuits. Following his time at Howard, Barnes aspired to a career in and relocated to in 1995 to chase those ambitions, a decision shaped by early professional encounters. He had met comedian and actor while working as a on the film , forging a relationship that provided crucial guidance; Wayans encouraged Barnes to move west and mentored him through initial industry navigation. This mentorship bridged Barnes' academic background to practical opportunities, emphasizing persistence and networking in Hollywood's competitive landscape.

Professional Career

Breakthrough in Sitcom Writing

Rodney Barnes entered the television industry through a mentorship under comedian , whom he first met in 1992 while working as a on the set of the film , where the two bonded over daily games. This relationship paved the way for Barnes' initial foray into writing, as Wayans hired him as a consultant on the ABC family comedy , which premiered in 2001 and ran through 2005. Barnes' role quickly evolved from consultant to and , contributing to episodes that emphasized relatable family dynamics and humorous domestic scenarios centered on Wayans' character, Michael Kyle. By 2003–2004, he served as executive story editor, a position that involved shaping narrative structures and dialogue to maintain the show's blend of and situational comedy. These responsibilities allowed Barnes to refine his approach to comedic timing, relying on observational humor drawn from everyday African American family life, distinct from the edgier he would later pursue. The progression from entry-level support to credited creative positions on marked Barnes' establishment as a viable talent in the early , demonstrating his ability to collaborate within a high-profile ensemble while delivering scripts that sustained the series' five-season run and strong Nielsen ratings. This foundational experience underscored his versatility in balancing character-driven conflict with broad appeal, setting a precedent for his subsequent production credits without venturing into non-comedic genres.

Contributions to Animated Satire

Barnes served as co-executive producer and writer on the animated series The Boondocks, which aired on from November 6, 2005, to June 23, 2014, contributing to 17 episodes across its run. Adapted from Aaron McGruder's , the series employed animation to deliver incisive targeting racial dynamics, political hypocrisy, hip-hop industry excesses, and internal contradictions within black American communities, often adopting a contrarian stance that provoked mainstream sensitivities. Barnes' writing emphasized unfiltered comedic exploration of race as a core theme, enabling critiques of figures and institutions like and celebrity scandals that mainstream outlets avoided. His involvement extended to the Peabody Award-winning episode "The Return of the King" (aired November 13, 2006), which satirized post-9/11 patriotism and media portrayals of black activism through the character Stinkmeaner, earning recognition for its unflinching social commentary. As co-executive producer alongside McGruder and , Barnes helped shape the series' structure for bold, episode-specific takedowns of cultural pieties, such as hypocrisies in community responses to crime and fame. This approach prioritized causal realism in depicting how ideological conformity stifles honest discourse on race and politics, distinguishing The Boondocks from less confrontational animated fare. Barnes later co-executive produced the animated comedy on from August 7, 2016, to November 20, 2017, overseeing 11 episodes that parodied urban youth culture, high school sports rivalries, and celebrity worship through exaggerated, satirical narratives. The series lampooned stereotypes and media-driven myths around black adolescence and success, using animation's flexibility for absurd scenarios that highlighted real-world absurdities in aspiration and identity. While less critically acclaimed than The Boondocks, Barnes' contributions maintained a thread of irreverent humor challenging normative expectations in animated storytelling.

Expansion into Prestige Drama and Horror Television

Following his work in sitcoms and animation, Barnes transitioned to executive producing and writing for prestige television series that blended historical realism, mythology, and cultural iconography. In 2019, he served as co-creator, writer, and executive producer on Hulu's Wu-Tang: An American Saga, a of the Wu-Tang Clan's rise from 1990s , drawing from RZA's books and to depict the group's formation amid urban poverty and hip-hop's emergence. The series earned an Emmy nomination for Outstanding Series in , with Barnes contributing scripts that emphasized authentic interpersonal conflicts and the causal links between socioeconomic conditions and artistic innovation. Barnes extended his scope into mythological fantasy with horror undertones as co-executive producer on Starz's American Gods during its second season in 2019, where he oversaw eight episodes adapting Neil Gaiman's novel to explore clashing old and new deities in contemporary America. His involvement highlighted tensions between immigrant and modern , incorporating violence and existential dread as narrative drivers, reflecting his affinity for genre elements rooted in cultural displacement rather than abstract symbolism. In 2022, Barnes wrote and executive produced HBO's Winning Time: The Rise of the Lakers Dynasty, a 10-episode of Jeff Pearlman's 2014 book Showtime: Magic, Kareem, Riley, and the Dynasty of the 1980s, chronicling the team's dominance from onward through ownership upheavals, player rivalries, and league transformations. Scripts under his purview grounded dramatic arcs in verifiable events, such as Jerry Buss's purchase of the franchise for $67.5 million and the integration of Johnson's rookie impact, prioritizing empirical team dynamics over embellished heroism. This phase culminated in Barnes signing a multi-year overall deal with in September 2020, which provided resources for developing original content across drama formats, including music origins, mythic confrontations, and sports legacies, while granting him elevated creative autonomy post-Wu-Tang. The agreement, renewed in July 2022 for three additional years, facilitated projects like an untitled Jack Johnson limited series, underscoring HBO's investment in Barnes's capacity to infuse urban historical narratives with unvarnished causal realism.

Comic Book Creations and Genre Innovation

Barnes ventured into comic books with Killadelphia, an ongoing horror series launched by Image Comics in October 2019, co-created with artist Jason Shawn Alexander. The narrative centers on a Philadelphia police officer who, upon returning to bury his father—a veteran detective—uncovers a vampire syndicate that has exploited the city's entrenched corruption, racial tensions, and institutional decay for over two centuries, using the undead as a metaphor for predatory power structures sustained by historical neglect and failed governance. This fusion of vampire lore with Philadelphia's documented socioeconomic challenges, including poverty rates exceeding 20% in certain districts and persistent police-community frictions, marked Barnes' innovation in embedding empirical social causality into supernatural genre conventions. The series garnered an Eisner Award nomination in 2023 for Best Ongoing Series, recognizing its narrative depth and artistic execution amid competition from titles like The Nice House on the Lake. Expanding his scope, Barnes scripted Marvel's Star Wars: Ahsoka miniseries in 2024, a direct adaptation of the Disney+ live-action series that chronicles former Ahsoka Tano's galaxy-spanning hunt for following the Empire's collapse, incorporating eight issues with artwork by Steven Cummings and Georges Jeanty. While diverging from pure horror, the work demonstrates Barnes' versatility in licensed properties, maintaining tight fidelity to source events like the New Republic's fragile postwar order and character arcs driven by strategic agency rather than deterministic fate. Barnes' forthcoming Crownsville, debuting November 5, 2025, from with illustrations by Elia Bonetti, delves into psychological horror at Maryland's defunct Crownsville State Hospital, a facility operational from 1911 to 2004 notorious for overcrowding, forced sterilizations, and experimental treatments disproportionately inflicted on African American patients amid segregation-era abuses. The story unearths hauntings tied to these institutional failures—documented in state records showing over 1,800 patient deaths and ethical violations akin to mid-20th-century medical overreach—prioritizing causal chains of bureaucratic and over passive victimhood in its framework. This approach extends Barnes' pattern of innovation, leveraging horror to dissect verifiable historical mechanisms of harm while eschewing unsubstantiated blame diffusion.

Awards and Recognition

Prestigious Television Honors

Barnes contributed as and to the The episode "," which received the Peabody Award in 2006 for its incisive satire on media portrayal of victims and civil rights iconography. His and writing on Everybody Hates Chris earned the Award in 2007, acknowledging the series' effective blend of humor and autobiographical insight into urban family dynamics. For the same series, Barnes shared in a 2006 Writers Guild of America nomination for New Series, highlighting the writing team's innovation in adapting Chris Rock's stand-up narrative into episodic television structure. Barnes received a 2005 BET Comedy Award nomination for Outstanding Writing for a Comedy Series for his work on My Wife and Kids, recognizing his early contributions to family-oriented sitcom dialogue.

Comic and Industry Accolades

Killadelphia, the horror comic series created by Barnes with artist Shawn Alexander and published by , earned a nomination for the 2023 Will Eisner Comic Industry Award in the Best Continuing Series category. This accolade highlighted the work's innovative fusion of lore, American , and social critique centered on Philadelphia's racial and class dynamics. The nomination positioned Killadelphia alongside prominent ongoing titles, affirming Barnes' impact on contemporary through its narrative depth and genre subversion. Barnes' contributions to comics have also garnered recognition via prominent appearances at industry conventions, where his genre-blending storytelling—merging pop culture references with incisive —is frequently spotlighted. He has served as a featured guest at events such as in 2025 and Baltimore Comic-Con, platforms that celebrate creators advancing comic book narratives beyond traditional tropes. These invitations reflect peer and fan acknowledgment of his role in elevating horror and urban fiction within the medium.

Reception and Impact

Critical Praise and Achievements

Critics have lauded Rodney Barnes' writing on The Boondocks for delivering unfiltered that incisively critiques racial politics, celebrity culture, and media hypocrisy, often through provocative episodes that eschew sanitized narratives. The , where Barnes served as co-executive producer and frequent writer, earned recognition for advancing satirical boundaries in , tackling subjects with a boldness uncommon in contemporary programming. Barnes' scripts for Wu-Tang: An American Saga drew praise for their grounded portrayal of the Wu-Tang Clan's origins amid Staten Island's socioeconomic hardships, emphasizing authentic interpersonal conflicts and cultural pressures over mythologized triumphs. The series aggregated a 75% critics' approval on , with reviewers noting its effective dramatization of real hip-hop history as a "slow burn " that humanizes the group's rise. In Winning Time: The Rise of the Lakers Dynasty, Barnes' contributions as writer and were commended for vividly reconstructing the NBA era through meticulous sourcing of events, player dynamics, and institutional shifts, as evidenced by endorsements from participants like who affirmed the depictions' fidelity to lived experiences. Critics highlighted the series' energetic authenticity in blending on-court action with off-court machinations, crediting its research-driven approach for elevating sports drama. Killadelphia, co-created by Barnes, garnered acclaim for causally intertwining vampiric horror with Philadelphia's entrenched , , and institutional failures, positing supernatural predation as a metaphor for—and amplifier of—systemic societal breakdowns. Reviewers praised its "gritty, grounded, realistic" fusion of horror and noir, calling it "the best vampire comic in years" for innovating on tropes while rooting them in verifiable city pathologies like political graft and neighborhood blight. The debut issue's bold scripting and atmospheric art were specifically noted for pushing urban vampire narratives deeper into , earning a 4.0 reader rating on across collected editions.

Criticisms and Debates

The fourth season of The Boondocks, produced without the full involvement of creator and with Rodney Barnes as a key writer and supervising producer, drew substantial criticism from fans for diluting the series' signature sharp, unfiltered on race and . Viewers frequently pointed to episodes feeling forced in their humor, with storylines lacking the original's provocative edge and cultural bite, attributing this to the absence of McGruder's direct oversight. Barnes' satirical work has sparked debates over its alignment with contemporary political sensitivities, particularly from left-leaning perspectives wary of equal-opportunity offense. In discussions of potential revivals, Barnes himself highlighted how modern hypersensitivity and amplification hinder such content, noting that "as soon as you offend someone, it’s all over X" and corporations avoid the risk, contrasting with the show's earlier era of freer expression. This reflects broader contention that balanced , which critiqued figures across the spectrum without deference to progressive orthodoxies, risks being deemed insufficiently partisan in today's polarized media landscape, though Barnes maintains its value in revealing deeper truths beyond literal offense. In his horror comics like Killadelphia, which weave racial themes into narratives emphasizing personal choices amid supernatural horror, some discourse has questioned the work's generic boundaries rather than its politics, with readers arguing it prioritizes dramatic character arcs over conventional scares or systemic indictments. This approach, focusing on individual agency in confronting historical and social ills, has been positioned in genre debates as a counter to tropes of inevitable victimhood, though explicit backlash remains limited compared to the animated satire's reception.

Broader Cultural Influence

Barnes' contributions to satirical discourse in Black media, particularly through his writing on The Boondocks, have encouraged empirical examination of cultural and political hypocrisies within African American communities, challenging assumptions often shielded by social consensus. The series, which aired from 2005 to 2014, deployed humor to dissect issues like intra-community and external stereotypes, fostering a legacy of unfiltered critique that prioritizes observable realities over ideological comfort. This approach influenced subsequent animated works by modeling that holds all parties accountable, regardless of prevailing narratives in entertainment. In , Barnes pioneered racial horror subgenres with titles like Killadelphia (launched 2019), integrating elements with historical and socioeconomic causation to underscore individual and systemic consequences in urban experiences. The series examines uprisings tied to real political failures and neighborhood decay, promoting narratives where agency and historical precedents drive outcomes rather than abstract victimhood. This framework has expanded horror's utility for , inspiring genre creators to blend empirical urban history with speculative accountability. Barnes' 2020 overall deal with , extended through 2025, has amplified platforms for contrarian storytelling by funding developments that prioritize substantive over sanitized content. Through production roles, he has facilitated emerging writers in challenging dominant cultural pieties, evidenced by projects adapting raw historical events without deference to institutional orthodoxies. This influence extends to mentorship-like guidance in Hollywood, where his emphasis on verifiable narratives counters bias-prone industry norms.

References

  1. https://www.imdb.com/name/nm0055756/
  2. https://peabodyawards.com/award-profile/the-boondocks-the-return-of-the-king/
  3. https://rodneybarnes.com/
  4. https://www.baltimoresun.com/2022/06/29/quiet-eastport-upbringing-inspired-annapolis-natives-television-career-writing-for-the-boondocks-hbos-winning-time/
  5. https://www.capitalgazette.com/2022/06/29/quiet-eastport-upbringing-inspired-annapolis-natives-television-career-writing-for-the-boondocks-hbos-winning-time/
  6. https://rodneybarnes.com/cine-holding-the-key/
  7. https://rodneybarnes.com/about/
  8. https://bayweekly.com/from-eastport-a-superhero-is-born/
  9. http://www.athleisuremag.com/the-latest/2022/5/21/its-all-just-story-rodney-barnes
  10. https://rodneybarnes.com/portfolio/my-wife-kids/
  11. https://www.annapolis.gov/CivicAlerts.aspx?AID=1466
  12. https://voyagetampa.com/interview/life-work-with-rodney-barnes-of-tarzana/
  13. https://rodneybarnes.com/portfolio/the-boondocks/
  14. https://www.imdb.com/title/tt5126414/fullcredits/
  15. https://rodneybarnes.com/portfolio/wu-tang-an-american-saga/
  16. https://rodneybarnes.com/portfolio/american-gods/
  17. https://rodneybarnes.com/winning-time-writer-and-ep-rodney-barnes-on-chronicling-the-rise-of-the-lakers-for-hbo/
  18. https://deadline.com/2022/07/rodney-barnes-extends-overall-deal-hbo-winning-time-the-rise-of-the-lakers-dynasty-1235076836/
  19. https://rodneybarnes.com/rodney-barnes-joins-hbos-jack-johnson-limited-series-starring-mahershala-ali-as-writer-executive-producer/
  20. https://imagecomics.com/comics/series/killadelphia
  21. https://rodneybarnes.com/portfolio/killadelphia/
  22. https://imagecomics.com/press-releases/eisner-award-nominated-killadelphia-gets-deluxe-hardcover-edition-this-november
  23. https://starwars.fandom.com/wiki/Star_Wars:_Ahsoka_%28comic_series%29
  24. https://www.onipress.com/news/jo52rldeg1u59ucvg198kd1w7j3688
  25. https://bloody-disgusting.com/exclusives/3902657/supernatural-horror-meets-true-crime-in-rodney-barnes-crownsville-comic-exclusive/
  26. https://www.onipress.com/news/l0t7q4xzen62vob7v3w400wlxuim43
  27. https://deadline.com/2020/09/rodney-barnes-overall-deal-hbo-1203025786/
  28. https://www.imdb.com/name/nm0055756/awards/
  29. https://rodneybarnes.com/nominees-announced-for-2023-will-eisner-comic-industry-awards/
  30. https://rodneybarnes.substack.com/p/killadelphia-is-nominated-for-a-will
  31. https://fancons.com/guests/bio/8472/rodney-barnes
  32. https://baltimorecomiccon.com/guest/rodney-barnes/
  33. https://www.comic-con.org/toucan/announcing-the-first-group-of-guests-for-comic-con-2024/
  34. https://www.latimes.com/archives/la-xpm-2010-jun-22-la-et-boondocks-20100622-story.html
  35. https://www.lemon8-app.com/%40iamtressa0603/7460997561382404654?region=us
  36. https://www.rottentomatoes.com/tv/wu_tang_an_american_saga/s01
  37. https://www.indiewire.com/criticism/shows/wu-tang-an-american-saga-review-1202170761/
  38. https://www.aol.com/winning-time-ends-defeat-awkward-020000265.html
  39. https://movieweb.com/winning-time-the-rise-of-the-lakers-dynasty-review/
  40. https://www.syfy.com/syfy-wire/indie-comics-spotlight-killadelphia-is-rodney-barnes-ode-to-dracula-and-the-wire
  41. https://thoroughlymodernreviewer.com/2020/06/30/killadelphia-vol-1-review/
  42. https://www.comicsbeat.com/review-killadelphia-1-best-vampire-comic-in-years/
  43. https://www.youdontreadcomics.com/comics/2019/12/29/killadelphia-1-review
  44. https://www.goodreads.com/book/show/60728913-killadelphia-deluxe-edition-book-one
  45. https://www.reddit.com/r/theboondocks/comments/u34nfa/why_is_the_fourth_season_so_hated/
  46. https://allhiphop.com/news/the-boondocks-could-return-but-rodney-barnes-says-classic-faces-serious-challenges/
  47. https://www.reddit.com/r/graphicnovels/comments/10w3q88/killadelphia_yay_or_nay/
  48. https://interminablerambling.com/2022/09/01/conversation-with-rodney-barnes-about-killadelphia/
  49. https://www.lemon8-app.com/%40atl106.5theshiznit/7462551842116190766?region=us
  50. https://www.youtube.com/watch?v=xsyxTiItVAw
  51. https://www.bartleby.com/essay/Bondocks-And-Black-Dynamite-Analysis-FCY7JFSLXV
  52. https://zombielovestudios.com/phillys-horror-comic-killadelphia-is-about-a-lot-more-than-john-adams-vampire-revolution/
  53. https://www.ign.com/articles/butcher-of-black-bottom-horror-comic-rodney-barnes
  54. https://blacknerdproblems.com/the-city-of-black-horror-is-killadelphia-1-review/
  55. https://interminablerambling.medium.com/the-narratives-of-history-in-killadelphia-58c394b60779
  56. https://variety.com/2022/tv/news/winning-time-executive-producer-rodney-barnes-overall-deal-hbo-1235324912/
Add your contribution
Related Hubs
User Avatar
No comments yet.