Remember when Wonder Woman threw a pipe into a security guard's neck and killed him? If not, then you clearly haven't seen the failed 2011 pilot for a new Wonder Woman series written by famed producer David E. Kelley (Ally McBeal, The Practice). NBC rejected the pilot, but it eventually ended up online. (Since the pilot never made it to broadcast, you'll notice unfinished special effects such as clearly visible wires pulling the actors during fight scenes.)
As you might expect given Kelley's track record, the pilot is like someone injected Ally McBeal into The Dark Knight. The public knows Wonder Woman/Diana Themyscira (Adrianne Palicki) is a crimefighter and the head of a corporation. Her company, appropriately called Themyscira Industries, exists to finance her crimefighting ventures through action figure sales. In the meantime, she has a secret identity, Diana Prince, which she presumably takes on so she can live a quasi-normal life: hanging around her Los Angeles apartment, watching The Notebook with her cat, and creating a Facebook profile (yes, all of that happens). Are you confused yet? Then just wait for the plot, in which Wonder Woman investigates an evil pharmaceutical tycoon, Veronica Cale (Elizabeth Hurley), who's using underprivileged youths as test subjects for her company's new performance-enhancing drugs.
Palicki certainly looks the part of an Amazonian warrior, but the final product fails on almost every other level. The story doesn't make sense, and Kelly wrote Wonder Woman to be so impulsive and ruthless that she's unlikable. She tackles a man in the streets of Hollywood, jabs a needle into his neck, and complains to the cops that if she releases the suspect into their custody he'll "lawyer up." Thanks for violating my civil rights, Wonder Woman! Later, she tortures the same man in a hospital to find the location of Cale's secret facility—and kills several guards once she gets there. The pilot spends an inordinate amount of time on scenes in which characters debate Wonder Woman's vigilante, "the ends justify the means" style. When it's not pondering law enforcement ethics, the pilot focuses on Wonder Woman's loneliness and her rejection of sex object status. It's enough to make you miss the quaint days of Lynda Carter blocking bullets with her bracelets. Superhero shows are supposed to be fun, right?