Is there anything left to say about Christopher Nolan’s The Dark Knight? Dru and Dave think so. And with The Dark Knight Rises on the immediate horizon, 24 Panels Per Second is definitely the podcast you deserve, and the one you need right now. (Does that line make any more sense here than it does in the movie? I doubt it.) Andrew Kannegiesser is truly a “white knight” for sitting in with us once again.

Episode breakdown:

0:00 – 6:16: Intro banter (Facebook problems)
6:16 – 6:49: The Dark Knight trailer
6:49 – 1:44:07: Main discussion
1:44:07 – 1:47:34: Closing remarks

Download the episode now, or…


Next time on 24 Panels, Men in Black I and II


Dru Jeffries is the co-host of 24 Panels Per Second. Follow him on Twitter @violetbooth.

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2 Responses

  1. James says:

    I think people misinterpret what “realism” Christopher Nolan’s Batman films are aiming for. Clearly, based on what the three of you discuss throughout this episode, these films are about as realistic as a James Bond film, in terms of set pieces, plot, gadgets, et cetera. What Nolan is going for, I think, is a psychological realism. Particularly with Begins, Nolan’s interest was the reasoning behind what it would take for someone to actually become Batman, complete with realistic motivations for the characters. However ridiculous it is for someone to become a masked vigilante that looks like a bat, those reasons are sufficiently satisfying. As well, it rings true when Batman goes to rescue Rachel and not Harvey. Yet, these films don’t necessarily adhere to this edict. I mean, it certainly becomes a selective psychological realism when it comes to some characters’ motivations and decisions (see: faking Gordon’s death).

    And Dru, I think you’re completely right: Nolan’s dialogue is perfect for comics, but doesn’t translate very well to the screen.

  2. Dave says:

    James, I think you have hit the nail on the head with this post in a way none of the rest of us were able to. You are right, Nolan’s interest is in the psychological rather than in the realism of the world itself.

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