Convergence is upon us. However, beyond a brief appearance by Futures End Wonder Woman in issue #2…
…that’s pretty much been her only appearance so far, as far as I can tell.
That means this week I’ll only be looking over issues #5-6 of Wonder Woman ’77. If you remember, when last we left her, Lynda Carter Wonder Woman was having a fight with Cathy Lee Crosby Wonder Woman and wondering if she was the real thing or not. Now, in the conclusion of the story, we discover who’s the true Wonder Woman as a plethora of villains turn up for a fight that only the real thing can finish.
In the US: Thursday, 9/8c, Fox. Starts 14th May In the UK: Thursdays, 9pm, Fox. Starts 14th May
M Night Shyamalan is a director who first came to fame with The Sixth Sense, an audience-wowwing supernatural thriller about a child who can see dead people and his psychiatrist, Bruce Willis. The principal reason for its success was the twist in its tail.
Shyamalan repeated his success with Unbreakable, which also featured a twist, and as a result, his fate was sealed. As long as name was on the credits, whatever he worked on needed a twist. Or something weird, be it mermaids or Joaquim Phoenix. He tried to fit in twist-free movies such as The Last Airbender, but that’s not what the public wanted and they failed.
So now we have Wayward Pines, a twisty thing exec produced and directed by Shyamalan. It stars Matt Dillon as a Secret Service agent investigating the disappearance of two federal agents, including former lover Carla Gugino, in the eponymous Twin Peaks-like Idaho town of Wayward Pines.
Except his car gets hit on the way and he wakes up in the town hospital without his partner, his wallet or his phone, but with a very sadistic nurse (Melissa Leo). He meets barmaid Juliette Lewis who thinks it’s the year 2000 but that she’s only been in the town a year; he meets Gugino, except she thinks she’s been in the town for years; and sheriff Terrence Howard isn’t too helpful, but really doesn’t want Dillon to leave, even if there’s a risk that Dillon will snuffle up his ice creams. Not that Dillon finds leaving that easy at all, given the town’s Pleasantville-like geography. And death fence.
All weirdy and Shyamalany, hey?
Trouble is that Shyamalan is only directing and fellow exec Chad Hodge (The Playboy Club) is the writer. I say ‘trouble’, but that might be one of the show’s assets, as the script itself isn’t that bad – it’s everything else about it that’s the problem.
