Feels like it is hard to believe that when you say a name like Green Hornet, the first actor to come to mind is Seth Rogen, but it looks as if that may just become a reality now. Rogen and writing partner Evan Goldberg have finally serenaded Hong Kong legend Stephen Chow enough in wanting him to don the eye-mask as Kato, Hornet’s driver and not-so-side-kick, that it looks like Chow will also be taking the helm as director.

Stephen Chow is well known globally for his slapstick comedy style in such films like Shaolin Soccer, and Kung Fu Hustle (both also directed by Chow). Those who are familiar with his work know that Chow is a big fan of zany slapstick a-la classic Merry Melodies, and well as being a student of serious Kung Fu. When approached about the new role, Chow had this to say:

I’m excited to be taking on ‘The Green Hornet’ — obviously, I’ve been a huge fan of the show since I was a kid. The idea of stepping into Bruce Lee’s shoes as Kato is both humbling and thrilling, and to get the chance to direct the project as my American movie debut is simply a dream come true. I’m grateful to my friends at Sony, who have shown so much faith in me for so many years. I’m looking forward to working with Seth, Evan, Neal, and the team at Sony, and I’m eager to get started.

You can see the comedy stylings of the next Brett Reid in this year’s Zach and Miri Make a Porno, wirtten and directed by Kevin Smith, who was at one time rumored to pen a Hornet script.

Get ready, Superman fans: this first episode back for Smallville certainly made a believer out of anybody who was sick of the constant relationship melodrama and relentless barn-scenes-with-a-bad-soft-contemporary-soundtrack of the past seven seasons, but before we get too far ahead of ourselves, let’s take a step back.

You can get an in-depth look at what exactly went down over the past seven years here, but for our purposes, all we need to know is this: Lex found out Clark is an alien, went to the Fortress of Solitude to control him, ended up destroying the place with both of them in it. Jimmy Olsen, originally agreeing to be Lex’s spy, betrayed him, which then forced Luthor to call the Department of Domestic Security (dumb name) and have Chloe hauled away, who now has the ability to heal and the brain smarter than a super computer. Lois Lane is currently on the hunt for her cousin, Chloe, and the Justice League (consisting of Green Arrow, Black Canary, and Aquaman) is on the quest for Clark. All caught up? Good.

This season kicks off with LuthorCorp’s newest CEO, Tress Mercer (possibly a hybrid of Lex’s comic bodyguard Mercy and movie girlfriend Ms. Tessmacher) stepping in as the new (evil) face of the company, now that Luthor is missing, and Michael Rosenbaum is only slated for a few guest appearances this season. The Justice League, along with their poor costume choices, are closing in on finding Clark in the Antarctic, who is actually in a prison camp in the heart of Russia (Red Son reference?), both human, and unshaven!! Chloe is under guard at the supposed D.D.S. (dumb initials) base, where scientists are running tests on her to find out the extent of her “super computer brain”.

The episode marks the feel of this season, which is finally branching outside the walls of Smallville, and going global. Lana’s dead (to us), so we don’t have anymore agonizing drama on that front. There is a moment of dread about 45 minutes into the episode where Clark goes back to his bedroom in the barn, but thankfully its only for him to “finally say goodbye to Smallville”. We get a great cameo from Martain Manhunter and even a nice little nod to former cast members John Schneider and Anette O’Toole. No sign of the “daddy issues with Jor-El” storyline either, which was a big letdown in the past.

This season is said to be more of a throwback to Lois & Clark: The New Adventures of Superman, having the duo work together at the Daily Planet, with Clark finding out that he needs to keep his identity secret from those around him, all the while falling slowly for Ms. Lane. This will hopefully end with him donning some sort of costume, instead of the blue shirt/red jacket that has unfortunately become his trademark (when I can buy the same thing at Old Navy, it shouldn’t be considered a superhero costume). We’re also expected to get a Doomsday storyline this season, which could prove promising, given the new writing direction.

This brings us to the biggest improvement by far from the past, which is the writing. Both in dialogue and storylines, there seems to be a newfound enthusiasm from the writer’s room, and it most definitely translates onto the screen. They also seem to have the chemistry between Clark and Lois down to a tee. The nods to comics are still there, including a possible Red Son reference, and even a throw to fans of Green Arrow (I won’t ruin that). They may fall back into their “freak of the week” slump again, but this episode has made the show as a whole worth getting back into, and I recommend it to any true Superman fan. RATING: 9/10

Looks like the fans of Six Feet Under have more power than they even thought. After several stunning reviews (though this contributor felt differently) HBO explains it all in a press release:

    For Immediate Release

    HBO RENEWS TRUE BLOOD, NEW SERIES FROM "SIX FEET UNDER"
    CREATOR ALAN BALL, FOR SECOND SEASON,
    WITH PRODUCTION TO BEGIN EARLY NEXT YEAR

    LOS ANGELES, Sept. 17, 2008 – HBO has renewed the new drama series TRUE BLOOD for a second season, it was announced today by Michael Lombardo, president, Programming Group and West Coast Operations. Created by Alan Ball, the series will begin production of new episodes early next year in Los Angeles, with debut set for summer 2009.

    "We are absolutely thrilled that the critics and our viewers have embraced TRUE BLOOD," noted Lombardo. "Alan Ball has done it again – made an addictive series that is unlike any other."

    "I am thrilled to be able to continue to work with such a talented group of writers, cast and crew to explore the characters and world created by Charlaine Harris in her novels," Ball said. "It really is a joy to go to work every day and I couldn’t be happier to be back home at HBO."

    The Sept. 7 debut episode is proving to be a hit with HBO audiences, attracting more than four million viewers to date, while the debut of the second episode on Sept. 14 posted an unprecedented 24% gain in viewers over the first week’s debut.

    Critics across the country in Detroit, Baltimore, Denver and Orlando have proclaimed TRUE BLOOD one of the best new shows on TV. USA Today called it "wildly imaginative," with "one of the best ensembles of the new series," while the Washington Post found it "audacious, outrageous and playfully grisly." TV Guide hailed the show as "graphically sexy and scary, and often wildly funny," and "a broadly entertaining, deliciously twisted slice of modern Southern Gothic."

    Mixing romance, suspense, mystery and humor, TRUE BLOOD takes place in the not-too-distant future, when vampires have come out of the coffin, thanks to the invention of mass-produced synthetic blood that means they no longer need humans for their fix. Set in a backwoods Louisiana town, the show follows the romance between waitress Sookie Stackhouse (played by Anna Paquin), who can read minds, and 173-year-old vampire Bill Compton (played by Stephen Moyer). Alan Ball (creator of the Emmy(r)-winning HBO series "Six Feet Under") created and executive produced the show, as well as wrote and directed episodes of the series, which is based on the popular Sookie Stackhouse novels by Charlaine Harris.

    The cast also includes Ryan Kwanten as Sookie’s brother Jason, Rutina Wesley as her best friend Tara Thornton, Sam Trammell as Sookie’s good-hearted boss Sam Merlotte and Nelsan Ellis as Lafayette Reynolds, a cook at Merlotte’s

    Season one credits: TRUE BLOOD is created by and executive produced by Alan Ball; based on the Sookie Stackhouse novels by Charlaine Harris; co-executive producer, Brian Buckner; supervising producer, Nancy Oliver; produced by Carol Dunn Trussell; producer, Alexander Woo; co-producer, Raelle Tucker.

    Season one directors: Alan Ball, John Dahl, Nick Gomez, Anthony M. Hemingway, Michael Lehmann, Daniel Minahan, Nancy Oliver, Marcos Siego, Scott Winant. Season one writers: Alan Ball, Brian Buckner, Chris Offutt, Nancy Oliver, Raelle Tucker, Alexander Woo.