Best known as the executive producer of the hit Netflix series Lucifer, Mike Costa has exciting news for fans in Hyderabad, he’s all set to appear at Maruti Suzuki Arena presents Hyderabad Comic Con powered by Crunchyroll this weekend. Visiting India for the first time, Mike shares his excitement about the event, insights into his creative journey, and what keeps him inspired.
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How does it feel to be part of Hyderabad Comic Con this year?
It’s an incredible honour to be invited! I’ve never been to India before, and I couldn’t be more excited. The team from the convention has been so gracious and accommodating — this is already the best, most organised convention experience I’ve had, and I haven’t even arrived yet.
Would you like to collaborate with Indian filmmakers?
I don’t have any concrete plans yet, but I’m a huge admirer of Indian cinema. RRR was a huge success in the US, and SS Rajamouli is incredible — though I’m an even bigger fan of Eega, which I think is genius. I also loved Jallikattu — Lijo Jose Pellissery’s filmmaking blew me away. If I ever got the chance to work with talents like them, I’d say yes instantly.
Could you tell us about your work on Lucifer?
I joined Lucifer (2016), as one of the writers in its first season. Like most American television shows, we had a team of writers who worked together in what’s called ‘The Writer’s Room’. Every day, we’d discuss the season’s storyline, one episode at a time. Once we had the structure ready, one writer would go off to write the script, and then we’d regroup to plan the next one. I did this throughout all six seasons, it was an amazing experience.
How do you think the television industry has evolved over the years?
Television in the US has changed dramatically since Lucifer began. Streaming has completely transformed how we make and watch shows. Seasons used to air every year with 13–22 episodes; now, we might get only eight episodes every two years. Budgets have become massive — often like blockbuster films — which allows for incredible visuals, but it also means fewer episodes and longer waits between seasons.
What was the production process like behind the scenes on Lucifer?
Lucifer was one of the last shows to be produced while writers were still scripting later episodes, so we were always nearby — sometimes just a building away — working closely with the cast and directors. That kind of collaboration is rare now, and I think it’s the best way to make TV shows. Behind the scenes, Lucifer was truly special. Everyone — the writers, actors, directors, and crew — got along wonderfully. We became real friends, which isn’t always the case on TV sets. We even had a reunion last week, and several people flew in for it. I doubt I’ll ever work on a show as harmonious again.
You’ve also written for Marvel and DC. What were those experiences like?
Working with Marvel and DC was fantastic. I worked mainly in the publishing divisions, not directly with the larger studios. Despite how huge these franchises are now, the comic book industry in America is still quite small and personal. You usually deal with just a few editors, and there’s a lot of creative freedom. It’s very different from filmmaking, which involves dozens of layers of oversight.
What inspires your comic writing, and what challenges do you face in storytelling?
I take inspiration from almost everything in my life. Big ideas can come from anywhere, but the real work lies in turning them into a story with believable characters and moments. For instance, once I was struggling with a dull dialogue scene — until I thought of a sandwich I’d just made for lunch. I rewrote the scene with one character making a sandwich while the other talks, and suddenly the moment came alive. It’s small details like that, drawn from everyday life, that make stories feel real.
What’s next for you?
I’m working on a few projects I can’t reveal just yet, but I can say I’m continuing my work on Godzilla comics for IDW and I couldn’t be happier about that!
