You stole my heart, but I love you anyway.

Oh, yeah. It’s on.

Latino Review, the first website to scoop Brandon Routh as Superman and Heath Ledger as the Joker, is reporting that Maggie Gyllenhaal is now a lock to replace Katie Holmes as Rachel Dawes in the Batman Begins sequel, The Dark Knight. Batman on Film, the first and best Batman-movie-fan site operated by a really superb dude named Bill “Jett” Ramey, is also running the Latino Review story. Keep in mind that this isn’t official until the good folks at Warner Bros. say so, but I trust the guys at Latino Review and I check Jett’s site about 11 times a day, and when these guys say something with confidence, you can pretty well take it to the bank.

Anyone who knows me knows that my whole life has been a string of celebrity crushes, and I can’t imagine having a hotter case of the hots than the hots I’ve got for Maggie Gyllenhaal. (What was it that Anna Waronker once sang? “By definition, a crush must hurt. And they do. And they do. Just like the one I have on you.” Come to think of it, I’ve got a crush on her, too.)

This announcement is actually quite bittersweet for me. Before I even saw Batman Begins, I’d already cast Maggie in my mind as the Selina Kyle to Christian Bale’s Bruce Wayne, the Catwoman to his Batman. She’s got such a unique and timeless brand of beauty, and she’s as fearless an actress as you could ask for. So yes, I’m thrilled that one of my favorite actresses is going to be in the one movie I’m waiting for more than any other. I just wish she was playing someone other than a character originated by someone else (who was perfect for it, I might add) just one movie ago.

However. It’s not like Christopher Nolan to recast a character whose story had a nice, satisfying conclusion at the end of Batman Begins. This is the guy who made Memento and The Prestige. The guy who made it sound like they’d cast Liam Neeson in a minor mentor role in Batman Begins, when in fact he turned out to be Ra’s Al Ghul.

So I’m going to go out in a limb and say that while I do believe we’ll be seeing Maggie Gyllenhaal in The Dark Knight, I’m not so sure she’ll be playing Rachel. In fact, I’m going to go on record right now and declare that I firmly believe that Maggie Gyllenhaal has been cast as Selina “Catwoman” Kyle, and that all the recent Rachel Dawes recasting stuff is a big red herring.

Either way, Maggie, I can’t wait to see you in the movie.

True Story

Matt Miller and I went to Chicago for a David Duchovny Q&A a couple of years ago, and on our way into the theater we passed Maggie Gyllenhaal on the street. Totally, utterly luminous.

Gilmore Sounding Board no. 145

The Gilmore Sounding Board returns.

Episode no. 145: “Farewell My Pet”

The last several episodes have slowly and surely seen a return to form for Luke Danes, who’s finally recovering (and dare I say it, recovered) from the character assassination perpetrated on him last season for the sake of a poorly conceived and weakly executed story. Incoming writer David S. Rosenthal is finally making gourmet omelettes out of the broken eggs he was handed last year by the departing Team Palladino.

Tonight it was Lorelai’s turn to burn. Deservedly furious with Christopher’s childish moping at a time when she needed him most, Lorelai stood up for herself and stood up against Christopher and man, did it feel good. (Thankfully Rory was there to keep her in line when she started making excuses for Christopher. Rory loves her dad, but she also knows the score. Way to go, Rory Gilmore.)

The writing in this episode was killer. I loved it when Christopher told Lorelai that he’d been asking her to marry him forever, and now that they’re married he feels like he’s still asking. I have felt that way before; there’s no worse feeling than having somebody but knowing that you don’t really have them. Christopher really does love Lorelai, but he never had to grow up and it’s obvious that he still hasn’t. Lorelai’s declaration that he’s the man she wants to want was also well stated, and Christopher’s sincere reaction — that he knows she’s sincere about it — also rang true. What a beautifully written and acted scene. I knew this marriage wouldn’t last, and I was afraid they’d go overboard with its dissolution. Instead, we got a quiet scene that forces Lorelai and Christopher to look at each other and themselves and face some things they’ve been dancing around for far too long. The handling of that storyline tonight is just one more reason why I love this show so much.

The subplot of Michel’s dog funeral fell mostly flat, though it was fun to see Zack squirm at having to learn “My Heart Will Go On” for the ceremony. I also thought they went a little too far in making Rory giddy over the grad student, but for what it’s worth Alexis Bledel played it in the adorable, sweetly silly way that only she can.

It’s taken a while (and probably longer than it should have), but I’m glad there’s been some long-awaited character development the last few weeks. I’m curious to see what’s next.

(It’s also nice to see Lauren Graham getting a “Producer” credit. Then again, when you’re me, it’s really just nice to see Lauren Graham.)

Okay. It’s your turn.

The Grammys if I picked them

The Grammys happened last night, and my favorite moment was seeing Dan Wilson on stage co-accepting Song of the Year for “Not Ready to Make Nice,” which he wrote with the Dixie Chicks. I got to interview Dan on the deck at Jillian’s a few years ago when Semisonic played Louisville; he could not possibly have been nicer to me, and he gave me one hell of an interview. He’s also co-written some of my favorite songs of the last few years with folks like Glen Phillips and Rachael Yamagata. Dan’s solo album, Free Life, is coming out later this year. It’s definitely going to be a keeper.

Here’s a partial list of Grammy categories along with who the winners would be if I were in charge of picking them:

Song of the Year: “Beautiful in Los Angeles,” by Garrison Starr. According to my iPod, no other song was played more by me in 2006. It’s no wonder, with a scorching lead vocal by Garrison, atmospheric production and rocking backing vocals on the chorus by my main man Glen Phillips of Toad the Wet Sprocket fame.

Best Female Pop Vocal Performance: “Bones and a Name,” by Nina Gordon. Or maybe “Christmas Lights,” by Nina Gordon. Regardless, it’s Nina Gordon all the way — she’s the sweet that made Veruca less Salty, and her Bleeding Heart Graffiti album is a big, sweeping slice of tasty pop pie.

Best Male Pop Vocal Performance: “Everything But You,” by Glen Phillips. “Take me dancing, pale and knock-kneed, spin me through the crowd and drop me, dizzy in the middle of the floor. Oh my God, you terrify me, oblivious, you blow right by me; spinning wine and melted ice cream, random, warm and mesmerizing, you terrify me, you are everything.” It’s a sweet, bouncy, folky pop masterpiece from an album (Mr. Lemons) that could have used a few more of them.

Best Pop Collaboration with Vocals: “Fireflies,” by Rhett Miller and Rachael Yamagata. Sweaty Rhetty and The Stud put the fire in “Fireflies” in this sad, sweet, sexy sequel to “Nineteen” by Rhett’s band, the Old 97’s. If my iPod was a woman, it would be pregnant from having this song in it. No joke.

Best Pop Vocal Album: Comfort of Strangers, by Beth Orton. This is easily my favorite Beth Orton album, with a wonderful variety of vocal arrangements on a fine variety of songs. “Shopping Trolley” is the best.

Best Pop Performance by a Duo or Group with Vocal: “Live Alone,” by Some Girls. Lead vocal by Heidi Gluck, chorus by Juliana Hatfield with backup by fellow Blake Baby Freda Love. It sounds like a sweet ’60s love song and I can’t get enough of it.

Best Traditional Pop Vocal Album: Under the Covers, Vol. 1, by Matthew Sweet and Susanna Hoffs. Two of pop’s best voices tag-team their favorite songs, both known and not, from the ’60s. The highlight? Love’s “Along Again Or.” Say goodbye to your breath.

Best Rock Performance by a Duo or Group with Vocal: “Come on Hard,” by the Gin Blossoms. When they hit the bridge with a gorgeously harmonized “I promise I won’t hurt you anymore,” well, that’s about as good as it gets.

Best Country Performance by a Duo or Group with Vocal: “Lullabye,” by the Dixie Chicks. The harmonies are way intoxicating. Whew.

Album of the Year: Major Lodge Victory, by the Gin Blossoms. Cool, confident and solid as a rock. They could easily have just cranked out something half-assed for their first album in 10 years; instead, they delivered something that’s stronger than anything they’ve done. This is a massively awesome effort, and I hope we don’t have to wait so long for the next one.

And this is my own category:

Best Side Project: “Making a Baby with Nina Gordon,” by Jeff Russo of Tonic. That’s not a song. He really made a baby with Nina Gordon. Good job.

How about you? What are some of your fantasy Grammy picks?