When death is expected, life is the best plot twist. Why I hope Bruce Wayne survives The Dark Knight Rises.

With two months to go before Chris Nolan's The Dark Knight Rises, much of the summer will focus on rampant speculation.  This speculation will mostly focus on two would-be plot turns.  A) Is Miranda Tate (Marion Cottilard) Talia Al Ghul in disguise? and B) Does Bruce Wayne die at the end of the picture?  I don't pretend to know the answer to either of these questions, although Cottilard recently gave an interview swearing that her character was not Ra's Al Ghul's daughter in disguise.  Personally, I hope neither of those things are true.  First of all, there has been so much assured presumption among fans and pundits over the last two years concerning these matters that it would be lovely for all of the guessers to be wrong.  At this point, it is almost taken for granted that Bruce Wayne (Christian Bale) will perish by the end credits.  Thus at this point, it would actually be more daring, 'ballsier' if you will, for Nolan to leave Bruce Wayne alive at the end of his three-part Batman saga.  Second of all, the 'shocking death' has slowly morphed over the decade from an unlikely plot twist into a writer's crutch.  Does anyone here remember the last time they were truly surprised by a last-minute fatality on their favorite television show or a major new movie?  What was once rare became occasional in the era of The X-Files, inevitable in the era of The Sopranos, and absolutely expected as the likes of Lost and 24 wrapped up their series runs.  What was shocking is now painfully predictable.  And the 'shocking fatality' is now seemingly the primary mode of surprise and plot-twisting in contemporary pop entertainment.

Watch/Discuss: J.J. Abrams's new series, Revolution, gets a trailer. Or the inherent peril of close-ended television.

The premise is genuinely chilling, and the opening moments have a real kick to them.  But once the show starts up its real storyline, we quickly see the problem with this kind of seemingly short-term narrative storytelling.  By the end of this four-minute clip, we already know that there is some amulet that apparently makes electricity work again.  So it appears that the core arc of the show will be a journey to find this amulet and theoretically use it to restore power to a world that currently has none.  Fine, but does that not presume that the show will in-effect be a long waiting game as we (im)patiently wait for the core problem to be solved.  Yes we can hopefully become invested in certain characters and enjoy the two decent actors on display (Gincarlo Esposito and Billy Burke), but won't every would-be goal post be a false alarm, every climactic reveal be the equivalent of 'Your princess is in another castle'?  

Beware the Batman, the eighth Batman cartoon since 1992, gets a teaser.

I'm not a huge fan of the CGI Green Lantern animated series, but I must confess that the writing is pretty sharp and the show plays for keeps.  So it is with cautious optimism that we glance at this 23-second teaser for Beware the Batman, a CGI Batman toon that will debut on Cartoon Network sometime in 2013.  Ironically, that means that there will be no Batman cartoon of any kind on the air throughout 2012, meaning that the 20th-anniversary of Batman: The Animated Series will be celebrated by having a year without Batman on our televisions for the first time since 1996. Batman: The Animated Series ran from 1992-1995, The New Batman Adventures (which was Batman: The Animated Series with streamlined artwork) ran from 1997-1999, Batman Beyond (basically the future-world of the Batman: TAS continuity) ran from 1999-2002. Justice League ran from 2001 until 2004 and Justice League Unlimited (same show, new format and title) ran from 2004 to 2006.  Its conclusion brought a close to the 14-year unofficial DC Animated Universe continuity (a world which also included the superb Superman: The Animated Series, the mediocre The Zeta Project and the often terrific Static Shock).  The Batman (which was mediocre for 60% of its run and rather good for 40%) aired from 2004 until 2008, while Batman: The Brave and the Bold (which began as a lighter, brighter Batman show but evolved into an occasionally hyper-violent examination of the entire Batman mythos from 1939 to 2011) aired from 2008 until 2011.

Community, TV's best show, returns next week. If you trust me, you'll watch it...

If you don't watch this show, you're an idiot.  Really, there is no excuse not to check this out... It's as laugh-out-loud funny as The Simpsons in its prime (seasons 5-9, although the last two seasons have been pretty terrific too), and often almost as moving as Scrubs in its prime (seasons 1-4, plus 8).  Yes geeks will obsess over the various pop-culture satire, but what makes the show work is how it works all of its genre deconstruction into real stories that constantly develop their core characters and always make sure every single moment has consequences for the long story.  Creator Dan Harmon has done something tricky here... he has taken the sitcom format and built a show that plays like an operatic drama, with season-long arcs, heroes and villains, and actors who play the serious moments every bit as raw and real as if they were on Mad Men (which of course, Alison Brie also co-stars in).  Community returns next Thursday.  If you value my opinion at all when it comes to art (and if you don't why the heck are you reading my site?), then you'll tune in on March 15th.

Scott Mendelson  

Not exactly what I meant... ABC to turn The Lincoln Lawyer into a TV series.

When I said that I wanted The Lincoln Lawyer (based on one of five Mickey Haller novels penned by Michael Connelly) to become the first in a series, I was referring to a big-screen franchise.  Still, the apparent choice of ABC and Lionsgate to turn the relatively successful Matthew McConaughey drama into a television series is a pretty smart one.  And frankly, as I find myself watching less and less network television, it is good to know that there will be at least one network drama I can attach myself to in the next couple years.  Still, this feels like a missed opportunity.  The film industry could use a franchise or two of this nature: R-rated, starring adults, intended for adults, etc.  While I have no love for the original films or the marketing campaign thus far, I am indeed rooting for David Fincher's The Girl With the Dragon Tattoo for just this reason.  Without going into spoilers, things are definitely left open for an ongoing franchise at the conclusion of The Lincoln Lawyer.  Most, if not all (that would be telling) of the major stars (which included McConaughey, William H. Macy, Bryan Cranston, Josh Lucas, and Marisa Tomei) are left in a position to return for a would-be sequel.

J.J. Abrams's Alcatraz TV pilot gets a trailer. Because when Sam Neill wants you to travel with him, JUST SAY NO!

Tip of the hat to Brandon Peters for pointing out a key detail I had missed in the whole network upfronts presentations last week.  Yes, JJ Abrams's Alcatraz has been picked up for midseason.  One bit I missed is that it will star none other than Hollywood's worst travel agent: Sam Neil.  In this preview, Sam Neill wants you to take a trip with him to Alcatraz, the infamous and long-closed San Francisco prison.  Nevermind that it's unwise to trust a man whose first major American starring role was playing the Anti Christ (The Omen III: The Final Conflict).  The fact stands that, to put it bluntly, when Sam Neill asks you go to somewhere with him, you just say "No".  Does Sam Neill want to take you on a pleasant boat trip?  "No, thank you."  Does Sam Neill want you to come with him to go to an island filled with dinosaurs?  Just say no!  Does Sam Neill want you to travel to a spaceship that vanished to places unknown seven years ago?  Just say no! Actually, "Hell, no!" would be appropriate in this case. Does Sam Neill want you to go BACK to that dinosaur island?  Just roll your eyes and say no!  Does Sam Neill want you to take a jolly trip into the Bermuda Triangle? "No, no, no!"  So ladies and gentlemen, when Sam Neill asks you if you'd like to come to Alcatraz, the only proper response is a polite, but firm, decline.  Practice with me.  no.  No.  No!  NO!  NO! NO, but thank you for the offer.    

Scott Mendelson  

Why Wonder Woman belongs on television, where female superheroes thrive.

I have written a couple times about the David E. Kelly Wonder Woman reboot that is apparently scheduled for this fall on NBC. The show will allegedly involve a somewhat 'realistic' take on the Amazon warrior, with Diana being a CEO by day and a vigilante at night. The pilot is allegedly going to be directed by McG, best known for the Charlie's Angels movies but also one of the creative forces behind the popular spy-comedy Chuck (he directed the pilot for that one too). Much of the discussion over the last few months has revolved around 'why television and not a movie?'. Warner Bros. has struggled to get a big screen Wonder Woman feature off the ground for nearly a decade or so, with Joss Whedon giving over three years of his life to make it a reality. But the cold hard truth is that a character like Wonder Woman is frankly a better fit for television. I say this not because the lower budgets for television action shows won't hurt (they will), or that superheroes in television have always been huge successes (catch The Cape before it's gone...), but because television has been a gold mine for three-dimensional female characters for the last twenty years.

Alana De Garza to join Law & Order: Los Angeles in part of casting overhaul. Other casting suggestions: ditch Molina, Howard, Stoll, and Coyote.

To the surprise of few who were paying attention, a regular of Law & Order has indeed been added to Law & Order: Los Angeles, in the form of Alana De Garza. She joined the original show as A.D.A. Connie Rubirosa in its sixteenth-year. She stuck around for four seasons, including the final three seasons that made up the creative comeback of what fans refer to as 'the mothership'. She felt completely out of place sparring with by-then grandfatherly Sam Watterson in her first season, but was a perfect fit with Linus Roache once Watterston's Jack McCoy got promoted to DA during season 17.

NBC picks up David E. Kelly's Wonder Woman pilot.

According to Nellie Andreeva over at Deadline Hollywood, NBC has indeed picked up David E. Kelly's Wonder Woman reboot for next season. The project was announced late last year, and then was initially passed on by the major networks for reasons ranging from cost to brand loyalty (IE - ABC is owned by Disney who now owns Marvel Comics). NBC was apparently interested from the beginning (what else do they have going for them?), but was reluctant to commit due to the regime transition. New NBC entertainment president Bob Greenblatt decided to make the pick up after officially taking over his new position. This is good news for fans of David E. Kelly, fans of Wonder Woman, and parents of Allison Mendelson, who now stand a much better chance of finding Wonder Woman-related party favors for said child's fourth birthday at summer's end. Alison Elizabeth Mendelson's parents are still less-than-optimistic about procuring the oft-requested 'magic lasso' and/or 'invisible jet'. For my personal thoughts on the project, read my initial reactions from last October. And once again I ask you loyal readers, who do you think should play Wonder Woman this time around?

Scott Mendelson

24 movie nixed? The final season and series finale of 24 was sabotaged for nothing...

Entertainment Weekly broke the news yesterday that 20th Century Fox has rejected the screenplay for the 24 movie that had been on top for the last year or so. Written by Billy Ray (who also wrote the terrific adaptation of State of Play from 2009), the script would have apparently continued the storyline from last season's quite unsatisfying series ender. So basically, the series shot itself in the narrative foot last year so as to properly set up a bigscreen version that could continue from the series. And now there is a good chance that said big-screen movie might not even happen in the first place. Thanks... really.

Wonder Woman returns to TV, courtesy of David E. Kelly.

Well, I did not see this one coming at all. The Hollywood Reporter is, um, reporting that David E. Kelly has inked a deal with Warner Bros. Television to create a new Wonder Woman television show. No word on where the show will air or when it might premiere, but this is what happens when you spend ten years not making a movie. First Superman, which spent a decade in development hell only to have its thunder stolen by Smallville, and now Wonder Woman. Well, if the Warner Bros. feature division couldn't get off their asses and put together a big budget Wonder Woman movie (which Warner Bros. would love to have in theaters for July 19th, 2013), then we'd might as well let one of television's quirkier talents take a shot at the pioneering feminist superhero.

Equal rights means equal responsibility. Why Glee's 'breakthrough gay scene' succeeds as drama but fails as a teachable moment.

It may be a doozy of a stand-alone dramatic scene, but last week's verbal tongue-lashing on Glee from Kurt's father to Finn was not the proud moment in gay/straight relations that it has been sold as. The scene in question has been heralded elsewhere as some kind of wonderful teaching moment about the hidden prejudice in all of us. Frankly, the scene is more about how a relatively reasonable person lashes out at the stunning manipulations of a sexually-aggressive asshole. Yes Finn (Cory Monteith) lost his temper and lashed out (he uses the term 'faggy' to describe the decorations purchased by Kurt for their new living quarters), but Kurt (Chris Colfer) bears responsibility as well. The clip below (after the jump... blame formatting issues) ironically removes much of the context that explains the outbursts in question.

A few minor loose ends left over from the Lost finale...

See more funny videos and funny pictures at CollegeHumor.

The Looney Tunes return!

Well, it's about time! The New York Times reports that Warner Bros. is launching a serious effort to reintroduce the classic Looney Tunes characters to a generation of kids raised on Dora the Explorer and Yo Gabba Gabba. Not that there is anything wrong with the educational merits of Wonder Pets (What's gonna work? Procrastination! Diego could have saved an entire rain forest in the time it takes the Wonder Pets to save one upside-down turtle). And there is much to enjoy in the epic lust-hate relationship between Dora and Swiper the Fox (my wife is definitively a 'shipper'). But when it comes to animated anarchy, nothing beats the Tunes.

NBC's The Cape = CBS's Now and Again?

Fair enough. The cheese is laid on pretty thick, and one wonders if NBC will actually spend the money to actually pay for big-budget super-heroics promised in later episodes. And the show seems to quickly settle into a Mantis pattern, with Summer Glau filling in for Roger Rees as the faithful sidekick sitting at a computer screen. But if Keith David sticks around longer than the pilot, I might casually check it out on that basis alone. I first started watching Chuck because I spotted Tony Todd in the commercials and hoped he would have a decent supporting part. Still, I wish the writing were sharper and the melodrama less mawkish. Besides, if the trailer above looks a little familiar, that's because you were among the few to remember the unfortunately short-lived classic, Now and Again.

Running only a single season on CBS in 1999/2000, this wonderfully-written adventure story was about... well... same thing really. Just trade David Lyons for Eric Close and swap out Keith David for a creepy/funny Dennis Haysbert (two years prior to 24). Alas, despite decent ratings for a Friday night at 9pm show, CBS pulled the plug after a single season. It was so unexpected that the would-be season finale ended on a major cliffhanger, one that has yet to be resolved ten years later (almost to the day... the finale aired May 5th, 2000). Tragic as it may be (it was a rare showcase for Heather Matarazzo), you can't really fault the thinking at CBS, since the show that replaced it next season was some fictionalized Forensic Files knock-off called CSI: Crime Scene Investigation. I wish I could tell you to buy the DVD set, or let you know when the show is currently airing in syndication. But there is no DVD set and the show ran only briefly on the Sci-Fi Channel several years ago. Oh well...

Scott Mendelson

NBC cancels Law & Order just shy of record-breaking 21st season.

It would appear that Law & Order will not be getting that record breaking 21st season after all. The legendary crime drama will end at the end of this season, its twentieth, with 456 episodes in the can. It will end its run tied with Gunsmoke as the longest-running prime-time drama in network television history. After assurances from NBC brass that they would not want to deny Dick Wolf his shot at the record books, a strong pilot slate and middling ratings for the warhorse has singled the end for television's best network drama. Yes, you heard that right. Following a creative resurgence three seasons ago, the show had been in rare form not seen since the Steven Hill left the show in 2000.

Lost finale as a sitcom, plus quick thoughts on "Across the Sea".

This is slightly amusing, and arguably more entertaining than Tuesday night's episode. The kicker is the very end, which basically plays off an idea that I've had for years regarding potential Lost spin-offs (it would be the best sitcom ever). Speaking of the most recent episode ("Across the Sea"), I have no problem with various elements of the mythology being left unexplained. I've always watched the show for the character interaction, not the clues and mysteries and what-have you. But if you're going to devote one of your very last episodes to full-on back-story, it helps if you actually explain how your science fiction works rather than have characters make cryptic pronouncements of things we already knew or presumed that are supposed to serve as 'answers'. For example, if the writers want to explain why the Man in Black can never leave the island, having Allison Janney simply intone that 'you can't leave the island' doesn't count as an explanation. Tuesday's dreadfully boring outing was the equivalent of watching three characters defining various words but using the given word in the definition each time. And let's not get started on the climax, which had to be the lamest super villain origin ever ('tossed into a magical glowing river of piss, only to have his soul sucked out and turn into smoke'). On a lighter note, god help any poor soul in the future who stumbles upon "Across the Sea" while randomly channel surfing to the SyFy Channel or what have you to catch a random episode of that "Lost" show that his parents used to blab about.

Scott Mendelson

As Betty White leads classic Saturday Night Live episode, the absence of female-driven funny is all the more apparent.

There has already been much talk about whether Betty White's kick-ass performance on an instant-classic edition of Saturday Night Live might boost opportunities for older women in the entertainment industry. But what crossed my mind as I watched the show last night is how absolutely invisible the current female cast is. Seeing past leading ladies such as Tina Fey, Molly Shannon, Rachel Dratch, and Maya Rudolph return and dominate the Mother's Day edition was just a cold reminder of how underutilized the current female cast really is. Sure Kristen Wiig still does her goofy characters and if anything she occasionally hogs the sketches she appears in (as did Will Ferrell back in the day). But the other three females currently on the show (Nasim Pedrad, Abby Elliott, and Jenny Slate) are generally relegated to appearing as window dressing, whether figuratively (appearing as the token female half of a couple in a male-dominated sketch), or literally (as glammed-up singers in the background of a Kenan Thompson game-show parody). Considering the events of last year, when Michaela Watkins was fired from the show for apparently being too gorgeous to be considered funny, while Casey Wilson was allegedly canned for apparently being too 'overweight' to be a female comedy performer, it's an ominous thing that the show currently seems to all-but hide its female talent. It would seem that the female-dominated mid-2000s, when Fey, Poehler, Rudolph, and Dratch were on equal playing field with the male cast members, was not a step in the right direction but a random fluke.

Scott Mendelson

Déjà vu on Saturday Night Live...

Why I stopped watching Heroes...

Some choice blurbs from a Boston Herald review of tonight's season finale of Heroes...

"In the third-season finale of the NBC sci-fi drama, the good guys band together to take down villainous Sylar (Zachary Quinto). That was the premise of the first season finale. There are differences, of course. In the first season, the heroes united to stop Sylar from destroying the world. Now they want to prevent him from meeting the president."

And my favorite tidbit...

"When two of our power players finally catch up to Sylar, there’s an epic battle. Viewers won’t see a second of it. It takes place behind closed doors."

Ah yes, sounds like the show hasn't changed a bit. I'm sure 24 will be great tonight, with its consistent character development, vaguely differing story lines, and its, I dunno, onscreen action.

Scott Mendelson