Category: Supergirl
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With the Crisis on Infinite Earths crossover, the CW Arrowverse achieves one of those DC Comics’s successes—they promise they understand, they promise they get it, they promise they’ll do it right, then it’s terrible. Not just regular terrible but also profoundly inept in some manner. See, you know, DC Comics’s comics for the last… twenty…
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The episode opens with Supergirl flying to Lena’s secret base to try to reason with her but Lena ignores her because Lena’s already got the bestest friend she could ever have in Andrea Brooks, who used to be Ms. Teschmacher but is now the AI Lena created to keep her company when she planned on…
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In an incredible turn of events Mitch Pileggi as the big bad—Leviathan—is actually kind of fun. Pileggi’s a millions of years old alien (he was around to see the dinosaurs get it) who for some reason has hung out on Earth and run a secret society. It’s not clear why. It’s also not clear why…
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Okay, so Steven Bauer is Julie Gonzalo’s dad, who’s been mentioned since the first episode of the season but never seen. It doesn’t appear to be a great part for Bauer but whatever, he’s fine. Though he does act to launder a bit of Gonzalo’s performance. He’s able to make it at least seem legit…
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This episode could be a lot worse. It does have some significant lows—like when Azie Tesfai has to pretend to cry, which she’s absurdly bad at doing. Like, it’s uncomfortable. Especially when you realize they went with the best take. Got to be able to cry on “Supergirl,” it’s one of the show’s many go…
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It took me a while to like Mehcad Brooks’s “Don’t Call Me Jimmy” Olsen. The character’s fairly flat, the show never really let Brooks do much either. He’d always get in the orbit of a controversial topic and then rush through a couple episodes and move on. Let’s not forget the show didn’t let he…
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Carl Lumbly shows up in this episode and you almost remember when you liked the stuff with J’onn (David Harewood). Barely. Lumbly’s voice brings back that warm feeling, so long missing on the show. And he’s got to be there because this episode’s all about Harewood finding out why he doesn’t remember his brother (Phil…
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This episode ought to be called “The One With All the Whining.” First, there’s still Lena (Katie McGrath) whining—entirely to her super-Echo—about how Kara never told her the Supergirl thing. McGrath’s new plan is to pretend everything’s cool and exploit Supergirl’s friendship. Of course the scenes with Melissa Benoist being earnest and caring about Lena…
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Not much has happened since we last saw our heroes; Kara (Melissa Benoist) still hasn’t told Lena (Katie McGrath) about being Supergirl, even though she really, really wants to tell her, she really does… meanwhile Lena has created a talking AI to bitch at about how much she hates Kara for never sharing the secret.…
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Tamaki brings Being Super to its finish with a packed final issue. Even with some actual dramatic action moments, she still isn’t able to recover the series–and the epilogues seem like there’s a dictated roadmap for any Super origin story, even if it’s Elseworlds-y like this one. Kara’s got a lot of first person narration,…
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Being Super recovers with this issue. Not extraordinarily, but more than enough. Tamaki doesn’t go the obvious route–every time there’s a chance in the issue for something to go the obvious route, Tamaki takes a different turn. It works out pretty well, even if Kara’s a little longwinded in her observations of her life and…
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There’s something a little off about this issue. Tamaki does “teenage Kryptonian on Earth in hiding” action tragedy and kind of runs away from Kara. She’s in every scene–save the ominous teaser cliffhanger–but she’s not present. Tamaki is more comfortable writing her thinking about other people than herself. There’s still a lot of good stuff–and…
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Being Super gets off to an excellent start. Mariko Tamaki’s script is slow to reveal the particulars of this version, instead focusing on the character experiencing high school and her sixteenth birthday. There’s also the great Joëlle Jones art and creates this wonderfully detailed Midvale high school world. It’s an awesome comic. CREDITS Where Do…
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Supergirl never really had a chance. The Superman-inspired opening credits lack any grandeur, ditto with Jerry Goldsmith’s lame music. Goldsmith improves somewhat throughout, but the lack of a catchy theme song hurts the film. The film has a few things going for it, however, including Helen Slater in the lead and Szwarc’s direction. A handful…
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Green and Johnson give Supergirl a Lex Luthor knock-off this issue–he lures her in, runs tests on her… Seems very familiar. Oh, like Action Comics last month. It’s unclear why they need a Lex Luthor stand-in, except to make a dig at the U.S. over the lack of a space program. The issue’s sadly stupid.…
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Oh, I’m going to regret saying it… but this issue of Supergirl isn’t bad. If it weren’t for some of the art issues, it might even be good. It’s an all-action issue (again), with Kara and Clark fighting it out over Russia and China. The location makes it a novel idea, but there’s also all…
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Relaunching Supergirl when Superman’s not even established seems thoughtless. Thank goodness writers Michael Green and Mike Johnson are so dull they don’t even engage that question. Their take on Supergirl is she’s a dumb teenage girl. If they made her like Paris Hilton–someone who turned herself into a brand–it might be interesting. Instead, she’s just…
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All writers have limits… and it’s too bad Gates’s limit is writing Cat Grant as a likable human being. He just can’t do it. He tries and tries here, but he ends up making Superwoman more likable than Cat. It’s a strange disconnect. There’s just something so hateful about her, he’s gone beyond a point…
The Stop Button 