Supergirl brings joy back to the Superman family

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CBS’s new Supergirl series comes from writer-producer Greg Berlanti, who also developed Arrow and The Flash for the CW. Some of you may recall I previously wrote about this pilot when it first leaked back in May. Since my plan is to recap this show every week going forward, I figured it was a good time to return to my original recap and update it based on what changed between the leaked pilot and what actually aired (though I must admit, unlike the vast differences between Fox’s leaked Minority Report pilot and the final aired version, the changes here are slight, lending more credence to the rumor that it was a fully completed episode leaked for the sole purpose of drumming up interest in the show).

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This episode aired on Monday night, and it’s… well, it’s fine. As I said back in May, it’s about as good as can be expected, given the target audience and the network it’s airing on. But I’m still rooting for Supergirl to succeed. A female-led superhero series would of course be a welcome change of pace, and it’d be nice to finally see the character redeemed after that 1984 atrocity of a feature film starring Helen Slater and Faye Dunaway. I’m sure Smallville did a respectable enough job with Laura Vandervoot as Supergirl (full disclosure: I’ve never seen Smallville, or even Arrow or The Flash, for that matter; I don’t think I could tell you which channel airs the CW in my market if my life depended on it), but having Kara Zor-El as the central character in a successful series on America’s most watched network would be a whole different ballgame.

Most of all, though, it’d be great to see at least some aspects of the Superman mythos onscreen not weighted down by angst or failed attempts at achieving Christopher Nolan and/or Frank Miller levels of grimness. Because that approach simply doesn’t fit the character.

In the comics, Supergirl has never quite had the same baggage as Superman. Unlike Kal-El, who’s often tortured over the fact that his home planet was destroyed when he was a baby, his cousin Kara mostly takes it all in stride, generally displaying a bubbly, infectious personality. It seems counterintuitive that a character who actually grew up surrounded by Kryptonian culture would be much less traumatized over seeing it all wiped out, but that’s how Supergirl was generally written, and for the most part, it worked. (I’m talking of course about pre-Crisis Supergirl. Post-Crisis, the character of Supergirl has been a constantly revised and retconned mess.)

Thankfully, a more Silver Age-inspired Supergirl seems to be what we’re getting in this CBS show. The pilot is a light, upbeat tale about a young woman who, shock of shocks, actually wants to be a superhero. No, it’s not earth-shattering entertainment, but again, it’s not airing on a network known for its edgy, groundbreaking dramas. Supergirl is obviously a show aimed at those who may be only vaguely familiar with the concept of Supergirl, with plenty of exposition and well-worn clichés on display in its pilot episode. But not every show on TV can be True Detective, and I’m fine with that.

Supergirl brings joy back to the Superman family

We kick things off with a flashback set on Krypton, narrated by Supergirl herself, as she describes her origins. Krypton is about to explode, and Kal-El’s “pod” is launched, and in this version, Kara Zor-El is to be launched just a few minutes behind him. We see baby Kal-El (played by a toddler with a spitcurl to make it clear he’s Superbaby) in his pod, and as he rockets down a long tunnel, Kara’s voice explains that she’s also being sent to Earth to “protect him”. Which is already all kinds of confusing.

Supergirl brings joy back to the Superman family

On Krypton, baby hairstylist is a legit profession.

In the Superman origin story most of us are familiar with, Kal-El wasn’t actually sent to Earth to be a superhero; he was sent there because Krypton was doomed and he was the only one with any chance of survival. Yes, Jor-El knew he would likely become a hero and made plans for that eventuality (apparently by sitting around for years on end making holographic recordings), but that was never the endgame.

But now we’re being told that Kara is going along with Kal-El to “protect” him, suggesting Kal-El is being sent to Earth for the express purpose of becoming a hero, and somehow the fact that Kara could just as easily become a hero on Earth is completely overlooked. It’s all very perplexing. I can understand this show not wanting to get into the whole convoluted thing about Argo City surviving the destruction of Krypton in an air bubble and floating in space until it was doomed by a meteor shower, but this rushed interpretation just raises more questions than it answers.

Tweener Kara says a tender farewell to her mother Alura (Laura Bernanti, seen mostly recently on Nashville), with both of them wearing clothes that bear a subtle version of the familiar S-logo. Oddly, Kara’s father Zor-El is mostly relegated to the background here (probably because, unlike Alura, we never see him after this), but you’d think he’d at least like to say goodbye to his daughter before getting blown up, too.

Supergirl brings joy back to the Superman family

After Alura gives Kara a necklace that never becomes important, Kara’s pod is launched. As she rockets away, Krypton almost immediately goes boom. Kara VOs that the explosion caused a “shockwave” which knocked her pod off course and “into the Phantom Zone”, which in this version seems to be a wormhole that you can accidentally drift into. She says, “I slept there for 24 years, until somehow, I got here!”

Supergirl brings joy back to the Superman family

“Gamma Quadrant, here I come!”

“Here” apparently means Earth, and by the time she “somehow” arrived, she was still a 13-year-old girl, but her cousin Kal-El was now a grown man and already operating as… “Superman! The most powerful man in the universe!” As you’d expect, we don’t see Superman’s face in these flashbacks, instead only getting shots of him in silhouette or from far away (I assume we won’t be seeing his face on this show at all, ever).

Supergirl brings joy back to the Superman family

I see no religious symbolism in this shot.

Unlike in the comics, where Superman immediately dumped Kara off at an orphanage, here he personally entrusts her to a couple named the Danvers, who are “scientists who once helped him understand his own super-abilities!” And then the show pulls a total Smallville stunt cameo move here, because the Danvers are played by former Supergirl Helen Slater, and former Superman Dean Cain. Mrs. Danvers says a few lines as she welcomes Kara to the family, but alas, Mr. Danvers remains silent.

Supergirl brings joy back to the Superman family

I passed on a Lifetime Original Movie to be here, and I don’t get one line?”

Mrs. Danvers promises to take good care of Kara, and then we learn they already have a daughter named Alex. Kara VOs that since Superman was already an established hero, she “didn’t have a mission anymore”. And so, she decided to just “fit in”, because “Earth didn’t need another hero!” Yeah, I mean, really, what use would humanity have for another being with godlike powers? She’d only get in the way.

Cut to present day, as adult Kara (Melissa Benoist, a regular on the later seasons of Glee) walks the busy city streets while carrying a latte and talking on her cell phone and scheduling appointments for her boss. And she’s obviously aping Christopher Reeve’s take on the Clark Kent/Superman dichotomy with glasses and a nerdy demeanor.

Supergirl brings joy back to the Superman family

Her VO explains that she now works for “CatCo World Media”, which is owned by Cat Grant, who in this telling is not a gossip columnist for the Daily Planet/WGBS, but rather “the most powerful woman in National City!” And National City is a new locale for the DC Universe, though I’m not sure why they didn’t just say Los Angeles, since that’s obviously where most of this is filmed.

Kara gets to the office, where she’s greeted by her coworker who works in IT, who’s named “Winn Schott”. In the comics, Winslow Schott is the secret identity of Superman villain Toyman, and there’s word that (spoilers!) we’ll eventually find out Toyman is this guy’s dad. Winn invites her to dinner, but she already has plans, because she’s trying out online dating. She goes into a dorky spiel about how it can improve a person’s chances of finding love, but Winn tells her that you can’t find love, it just has to hit you, like “puh-pow!”

Supergirl brings joy back to the Superman family

“Kind of like the way my dad’s evil toys are gonna hit you, am I right?”

Kara’s super-hearing then detects Cat Grant coming up in the elevator, and she’s played by Calista Flockhart. After expressing horror that someone else used her “private elevator”, Cat takes a sip of the latte Kara brought her and immediately tosses it in the trash.

So clearly, she and Kara have a Devil Wears Prada-type relationship where Cat makes Kara’s life a living hell. And you do have to wonder why “assistant to bitchy exec” is always the go-to occupation for young women in movies and TV. Why couldn’t Kara be a reporter, or a photographer? Why couldn’t she work in IT alongside Winn?

Supergirl brings joy back to the Superman family

Also in this scene, we learn Kara is going by the name “Kara Danvers”. Not Linda Lee, or Linda Danvers like in the comics. Did they think viewers would be confused by a character with more than two names?

Cat wants Kara to send out termination letters to a list of employees at the National City Tribune. Kara protests this, noting that the Daily Planet doesn’t need to “downsize”. An irritated Cat points out that the Daily Planet is successful because they have a “superlative man” they can put on the front page every day. She foreshadowingly says, “Go find me a hero, Kara!”

But first, Kara has to pick up the “layouts” from the art director, and Kara gets all weak in the knees when she sees the new tall, handsome art director. Among his belongings, she spots a framed photo of Superman that she recognizes as having won the Pulitzer Prize. Eventually, it comes out that he’s the photographer who took the photo, and Kara figures out he’s Jimmy Olsen.

Supergirl brings joy back to the Superman family

Can’t you tell he’s a ginger?

“James, actually,” he replies, telling her “Jimmy” is now reserved for Superman and his mom. So I guess that much like the ’84 movie, they’ve tossed in Jimmy Olsen to provide a tenuous link back to Superman. And yes, they cast a black actor, but I’m more impressed that they’re giving us grownup, mature James Olsen instead of making him the usual overeager, awkward oaf. And it may seem like an unlikely coincidence that Olsen just happens to have ended up working for the same company as Kara, but that’s explained later.

James gets Kara all flustered and nervous, and as she’s leaving, she whispers to herself, “Puh-pow!” Hinting at a potential future romance between the two, it would seem. Let me guess: this show will eventually throw in Lucy Lane to set up the obligatory love triangle? I suppose they could give Kara a horse named Comet to set up a real love triangle, but I don’t think primetime TV is ready for that kind of love yet.

At home, Kara is trying to pick out a dress for her online date when she gets a visit from her older adoptive sister Alex (Chyler Leigh, from Grey’s Anatomy), who’s about to catch a flight to Geneva. Kara complains about her menial job, and thinks she should be doing more, since she has all the same powers as Superman. Alex tells her that her life isn’t so bad, and leaves after helping her pick out a dress: “When in doubt, go with blue, it is your color!” Thud.

Supergirl brings joy back to the Superman family

Next, we see Kara out on her online date, where the guy asks her exactly one question about where she’s from, then bails on the date and hits on the hostess on his way out. So, a lot of men are jerks, you say? This show has really opened my eyes.

Supergirl brings joy back to the Superman family

“I mean, she has glasses! How am I supposed to get a boner for that?”

Just then, Kara sees a news report about a flight to Geneva that’s currently circling the city due to “engine failure”. And yes, it’s Alex’s flight, because of course it is. Kara runs out into the street, where everyone is staring up at the flaming jet in the sky, and Kara uses her telescopic vision to confirm that this is indeed Alex’s flight.

She whips off her glasses and runs down an alley attempting to fly. It takes her a moment to get the hang of it, but before you know it, the CGI version of her is chasing down the plane. Another one of its engines explodes, and I like how the people on the sidewalk continue to nonchalantly stand around while flames and debris are surely raining down upon them.

Eventually, Kara grabs a wing, and she’s immediately spotted by Alex from her seat. With some effort, Kara stabilizes the plane, only to realize they’re heading directly for a suspension bridge. She has to tilt the entire plane sideways to fit it through a couple of support towers, and she’s screaming the whole way, and sparks fly as the tip of the wing scrapes the road.

Supergirl brings joy back to the Superman family

She gets the plane through the bridge and then just… dumps it in the water? Isn’t that where it would have ended up anyway?

Everyone on the plane cheers and claps instead of immediately getting out of their sinking metal coffin. Kara then decides to come up and stand on the wing for a while, just to make sure a whole bunch of people get pictures. Alex looks worried and finally Kara flies away, but again, I’d say all of these passengers are still in serious danger. Shouldn’t she be pulling them off the plane and flying them to safety?

Regardless, the allusions here to Superman’s superheroing debuts in various incarnations should be obvious. If not, see: Superman: The Movie, Superman Returns, the pilot of Superman: The Animated Series, the series finale of Smallville, and so on, and so on.

Head over to Happy Nice Time People to read the rest of this recap!

…And then come back to the Agony Booth next week for my recap of episode two. And it’s worth noting that the pilot of Supergirl was the most-watched premiere of any new series this fall, so I feel pretty confident in saying that unlike my aborted look at Minority Report, I’ll actually be able to stick with this show for a full season.

TV Show: Supergirl
Tag: Supergirl (2015) Episodes

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  • People get mad about changing Jimmy Olsen to black cause “he should be white” but I’m mad about it for a different reason. There was already an established black character named Ron Troupe. He came in around 1992. This was a perfect opportunity to bring that original character into the mainstream. What a waste. It’s almost insulting to black characters. They can’t hold their own, we need to put a black actor in the white character role. Total missed opportunity to expand the Superman universe’s known quantities a bit more.

  • Moppet

    Jimmy being recast as another race is bad, it’s not going to make or break the show, but it’s bad. They haven’t just changed the race, they’ve changed who the character is at a base. It’s not even the character anymore, it’s someone entirely different, but with the same name.

    Bottom line, if you wanted to write an entirely new character, almost a mentor, for super girl, and you wanted that person to be black – FANTASTIC, but why is that person Jimmy?

    Why did you not bring in a pre-Steel John Henry Irons? Why not any number of existing black characters in the DC universe with a connection to Superman and fully capable of being mentor/encouragement material? Why not set up the steel character and get him his own damn series at some point which would be amazing?

    Why do people talk about slapping some black paint on superman, and calling him black? The issue with Jimmy is no different. I’d rather see Icon, Rocket and Static, all wonderful characters that were wholly worthwhile and (in my opinion) just plain more interesting than Superman, any day of the week.

    Laziness.

    Gender flipping and race flipping are lazy.

    Yes, you can get a great performance out of a black actor as Nick Fury, as an example. I’ll never complain that SLJ did a bad job, he didn’t. He did a fantastic job. I love that version of Nick Fury, I even prefer it, but the base decision was still lazy when there are countless black comic book characters they could have put to use instead. Guardians of the Galaxy put to bed the idea that lesser known heroes couldn’t work, so they don’t even have that excuse anymore.

    People think when I go off on this issue that I’m some sort of racist, and maybe it’s true, but I’ll be honest – I don’t care anymore. I know me. I’m the person that wanted Idris Elba to play the John Steward Green Lantern, something that wouldn’t involve any race or gender flipping. I’m the person that wanted them to do multiple generations of Green Lantern, starting with Hal in a Captain America style period piece, and eventually working up to Vietnam Vet Green Lantern John in another movie, and then a new Green Lantern, entirely new character in the modern day – and hoped for a female casting. With the Green Lanterns it works because there is no THE Green Lantern, just A Green Lantern. Countless possibilities to explore. There are existing non-white characters and female characters, Super Girl herself is an example fo this. Using them or making up original ones is always, always preferable to slapping a new color on an existing character or replacing their genitals.

    I’d always prefer to see an Icon movie than see another version of Superman painted black.

    Because original characters and existing characters deserve to be used. They’re worthwhile. A lot of them are just plain better in my opinion. Most importantly, using existing characters and coming up with new ones, it’s not lazy, unlike randomly flipping race and gender to whatever happens to be the current flavor of the month. Token. Nonsense.

    • Muthsarah

      Re-casting Jimmy Olsen to be a studly black guy isn’t necessarily bad, though it does wreck the character and reek of pandering to the audience’s supposedly shallower tastes. Why not make him a black geek? A cute, arguably handsome black geek? It felt like they were thinking the audience wouldn’t accept a black re-invention of a traditionally-white character unless they went “all the way” and made him into an Adonis.

      Jimmy’s defined by his earnestness, naivitee and good-guy…fulness. Which is entirely race-neutral. You want him black, make him black, and you can keep everything else the same – everything about how he acts, and everything about how he relates to the other major characters. But turning him from an awkward young pup into a male-model, Studly McMuffin like that guy up there, you’re clearly changing A) his personality and B) how everyone else sees him.

      Jimmy Olsen went from a “boy reporter” to a stud. THAT is a fundamental re-writing of the character. And I don’t see why such a thing had to be done. Geeks have more pop culture and fashion cache now than ever. Make him a hipster. Black or white or anything else. It would fit him far, far better. I don’t doubt this show will lack for shallow eye-candy. Keep Jimmy as the nice-guy hipster friend-sort. The shipping community won’t overlook him.

      “Why do people talk about slapping some black paint on superman, and calling him black?”

      Ummm…who talks about that? Who thinks white Superman + “black paint” = black Superman? The biggest issue isn’t how Superman would look or to what demographic he would most appeal to, race is (most) fundamentally about how you are made to fit into the world around you and how you are perceived by others, as a part of group (or a “type”), and not just as an individual. Making Superman black would be a huge re-invention of the character. Even today, you create a demi-god who looks black, lotsa people are gonna react to him veeeeeeeerrrrrrry differently than those same people would react to a white-looking demigod, flying around, being all invincible and stuff. And it would go beyond Trump demanding to see his birth certificate.

      • Moppet

        I actually fully agree on the points about Jimmy there, I doubt I’d mind half as much if his personality didn’t seem tossed out the window. As I mentioned, I find race and gender flipping lazy, but it can be done well with the right actor and good writing. You could, as you say, make him black and at least keep what matters. I won’t ever argue that.

        Which does say that my bigger issues with what’s been done with Jimmy have nothing to do with race flipping, the reality is, like SLJ as Nick Fury, if this had been done well, I’d never have even bothered caring.

        “Who talks about that”

        Probably the same people that, lately, have decided the only way we can possibly represent Women and non-white people in various media is by flipping gender and race on existing characters, rather than creating new ones. It’s been a fad lately (I won’t count Thor, given, you know… they actually did use an existing character to do it, and I don’t count things like Falcon taking up Captain’s mantle either, that’s not race changing an existing character, that’s a story about another character trying to fill Cap’s shoes), I find sadly, but maybe I wouldn’t have half as much of an issue with it if the changes didn’t seem lazy, and much of the writing questionable.

        “The biggest issue isn’t how Superman would look”

        True, but….

        Everything you just said about what Superman would face if he was Black, how people would react to him because he was black in universe or in the fandom? Icon. ICON. Why do you want to explore that by race flipping a character when there is Icon and other characters like him. When the DC Universei was smashed together (for consolidation purposes) and most characters didn’t remember it save for mostly non-physical entities, two characters of the very physical nature were there, together, and remembered all of it when most mere mortals did not. Superman and……

        Icon.

        This is what I mean. Laziness. Why bother exploring such subjects, issues a black character might face, especially one of that power, how they’d fit in, how people would react, who they might team up with (Hi Rocket! Hi Static! Hi every under used character in existence that gets thrown to the side) and every other possibility in the world when we can do yet another rendition of superman!

        It’s not just an Icon thing, there are other characters of other races and genders that deserve to be used. Bring me Equinox whose creator took trips to a Cree community (where he taught art classes) and would ask his students what they’d like a Cree superhero to be like, to look like. Equinox is another under used character with fascinating possibilities, a hero whose powers change according to the seasons. It’s a really neat idea that’s too often wasted, and wholly sidelined in favor of the same old heroes or ‘re-imagining’ the same old heroes in different ways, including with a new race or gender or sexuality. I’ve always been sad characters like Spectral who were written gay from the very base more than a decade ago (and I know it would be next to impossible to bring spectral himself in, I’m just using him as an example) are lost in the mix in favor of discussions about making an existing Hero have a new sexuality, so it’s not even just a race/gender flipping issue I find lazy.

        I realize this is the kid that waited for their parents at the back of a Mall bookstore reading comics about Icon, Rocket and Static talking, and I realize that makes me highly biased, but any day of the week I’d rather see existing characters like Icon show up than have an existing character’s race, gender or sexuality changed to pander in the laziest possible way. It’s not even the pandering though, I guess, it’s how lazy the particular manner seems.

        I know, I have an Icon obsession, and I want to see an Icon movie more than anything. Like I said. Biased.

        • CaptainCalvinCat

          I’d call myself a “very simple plant”, if I might borrow that statement from
          German cabaret artist Jochen Malmsheimer – coincidentally, if some of the fine
          folks who read this speak German or understand that language: check this guys
          work out, he’s awesome. Same as Volker Pispers, Urban Priol or Georg Schramm.
          Okay, I digress, sorry, mea culpa.

          or to paraphrase Jack O’Neill in the Stargate-episode “Politics”: I’m not a
          reviewer, or someone who is really all about the iconicity of those characters
          – I’m a simple human.

          And if I’m honest: I think the idea, that James Olsen is now this bbg – this buff black guy – isn’t that bad.

          I mean: When I got the summary right, this show is taking place years and years after Clark Kent got to earth and became Superman, right?

          And it’s clear, that Jimmy Olsen is friends with the big guy from Krypton – right?

          So, wouldn’t you think, that BBG is the end of a development that started, once Clark got to Metropolis?

          I can see that – when Clark got to Metropolis and became Superman and he became affiliated to the Daily Planet,
          More explicitly to Lois Lane and Jimmy Olsen…. well, we know, what those two characters are prone for. Being kidnapped and used as leverage against Supes, right?

          So in order to deal with it, Lois and Jimmy went training. they went to the nearest
          “Muckibude” (muscle-factory), they went to karate-, judo-, you name
          it classes and that showed.

          basically: Don’t condemn Jimmy Olsen in its BBG form yet. Wait, what they’re doing with it.

          @Muthsarah
          I don’t think, that it changes his personality that fundamentally. It changes
          the personal perception of him, i.e. yours, Moppets, everyone else, who took
          issue with that, but as long, as they don’t turn him now into a self-absorbed
          prick, I think, it could work.

          Furthermore:
          Yes: Superman, plus black paint equals black Superman.

          I mean – you could scientifically explain, why this guy is black. I mean: Yes, Supes is based on the Ubermensch-Bullshit (did I mention, that this is a point, where I
          could get all hulk-smash-y about it?), but: come on, no one said, that the
          black guy couldn’t be an ubermensch. What has the skin-colour to do with his
          abilities to do great?

          Right – nothing.

          I mean, he’s an alien – and not as I’d be an alien, if I’d be in america – he’s
          an actual alien from another planet. He’s a frakking extraterrestrial – he can
          look ALL the way he wants or the comics NEED him to look. His skin can be
          red-blue-dotted for all its worth.

          Make his skin more sensible to sunlight, that all those pigment-cells in his body are activated and that is turning him black.

          Storywise:
          it could work.

          It’s the negative reviews, negative perceptions, negative prejudices against those persons, that would make it impossible to pull something like that of.

          Don’t believe me? Hey, we’re debating if changing a persons skin colour and making him more buff is a radical rewrite.

          Imagine how people would react, if DC actually had the balls to give us a black Superman.

          The nicest comment would be: “That’s unnecessary, if you want to tell a story about a superhero of colour, take John Henry Irons. A black superman – that’s just
          lazy”.

          But this is the internet – and with that a barrel of idiocy, xenophobia and bad behaviour, so I can predict some of the worst comments: “What? A black Superman? Is Krypton now the planet of the superbrothers?”

          “Why not call him SuperBOYYYYYYYYYYE?”

          And, my personal favourite: “Sorry, I can’t take a supernigger serious.”

          Hey, don’t look at me – I’m 100 percent positive certain, that that is how the internet would react.

          Like I said: I have nothing against BBG Jimmy or would have something against BBG Superman.

          Why?
          Because it COULD work.

          And maybe that’s what we should take from my little written work: Bitch and moan, when the stories are awful, when the script is dumb and when there really is stuff
          to complain about.

          BBG Jimmy?
          BBG Superman?

          Not so much.

          • Moppet

            The years and years after approach (explaining why Jimmy is physically and mentally where he is now), I see where you’re coming from, but for me that’s serious show and tell stuff, not just plop us in after the fact without explanation. That’s me though, let me be clear, if people like the approach, more power to them. Not everything is meant to be enjoyed by everyone, if it speaks to an audience, go them.

            I’d still rather Icon over a Black Superman every and any day.

            Give me characters meant to be what they are over an arbitrary race or gender flip any day. This goes in all directions, the last airbender movie where they cast a couple white kids as Water Benders didn’t sit any better with me, indeed it sat worse because their acting was atrocious. Going back to the Nick Fury example, I might not be on board with randomly race flipping characters, but I can quickly look past it if the performance is good and enjoyable. The their renditions of white Soka and Katara were terrible. A lot about that movie was terrible, mind you, but the acting quality from the leads did not help on top of the characters being racially miscast.

            People do raise a fuss over race, I won’t deny that, but, for example, the new Star Wars film where some people complain one of the new leads is Black. Outside of a terrible performance, I’ll never say anything about that because Finn is an original character. There’s no race or gender flipping involved. He is what he is. There’s nothing to nit pick there unless the actor turns in a bad performance (given what I’ve seen of his work, unlikely).

            So while the flipping of race, gender, sexuality and whatever bugs me, it’s not about the race or gender or sexuality, it’s about the laziness and the refusal to use existing or new characters of the races, genders and sexuality they want to make use of. I don’t know if the new Star Wars will be good or not, but at least they didn’t go the lazy route and rewrite Leia as a black woman and Solo as a gay man to pander as if that was preferable to an original character like Finn.

    • RockyDmoney

      Who cares about Jimmy Olsen

      • Wizkamridr

        Superman. But you wouldn’t know. You don’t get superman. Superman wouldn’t be calling people fucktards on the Internet.

        • RockyDmoney

          Pssst….Superman’s not real…sorry to break it to you

        • RockyDmoney

          I call fucktards fucktards. Example someone who suddenly finds it offensive that a secondary relatively unimportant character like Jimmy Olsen is now black is a fucktard. They completely changed his character anyway but if he were still white I’m sure these fucktards wouldnt have a problem

  • Low Mileage Pit Woofie

    It might have been a more convincing explanation for calling her Supergirl if they said they did it so they could use a bigger font for the headline.
    Just saying.

  • The_Stig

    I dig it, but the show’s not going to make it. Not because of anything having to do with the show itself but because of the network. Ratings are going to start dropping off a cliff once the CBS audience realizes this isn’t a procedural cop show.

  • Gallen_Dugall

    Not bad for a pilot and unlike Arrow and Flash it’s not 90% of that Calculon-esque “OH the terrible BURDEN of POOOWWWER!” nonsense that makes those shows unbearable.

    • CaptainCalvinCat

      Neither of those shows had this “Oh the terrible burden of power”-feeling to it. Flash was relatively good natured, Arrow was a bit dark, yes – but never in the “oh, I’m a MONSTER” kind of way.

      • Jonathan Campbell

        Given that Oliver was at first depicted as a Vigilante serial killer, maybe it SHOULD have been though.

      • Gallen_Dugall

        I’ve had this discussion with people and even gave both shows a second look. 60% of Flash is OTTBOP – I timed the season openers a few weeks ago and every time someone starts talking or brooding about how horrible it must be to be The Flash and how hard things are for Barry I hit my stop watch and it turned out to be the vast majority of the show. Literally OTTBOP is the main plot with the remaining 20% being relationships 10% being season plot arc and 10% being villain of the week. Barry Allen is so perpetually anguished that even when he smiles it looks like he is about to start weeping uncontrollably, and he barely manages to smile ever. The insanely darker in name only Arrow skews 40% OTTBOP and 40% relationships with that same 20% split of actual show.
        Dumb as the show is at least Supergirl looks like she’s having fun being a superhero.

        • CaptainCalvinCat

          Are we talking about the same show?

          Flash? The one with Grant whatshisname? The one, in which they are having fun with the concept and going nuts with it?

          Sorry, I think you might want to give that show a third look, because it’s not that much of bitching how awful his life is as the Flash.

          Sure, it has its moments – when he’s lamenting, that he couldn’t save his mother and that his dad is behind bars and that he couldn’t be honest to Iris… but that’s not “It’s so terrible being the Flash”… That guy cracks smiles, that guy is a wisecracker, he, Cisco and Caitlin are having a ball.

          Most of the time they’re working out how to stop the bad-guy of the episode.

          • Gallen_Dugall

            Yes. I’ve had this discussion which is why I returned to give the show another look. Nothing of what you people speak of in favor for this show appeared in any episode I’ve ever seen. Perhaps you can give me an episode name for one that isn’t unrelentingly bleak?
            I’m fully prepared, eager even, to accept that the problem is with me; I’m old and used to it by now. The other explanation for people thinking this show is fun is that they have been so traumatized by DC and it’s current “everyone is Batman” policy that you’ve all begun hallucinating.
            I find your assertion that Barry cracks wise to be particularly baseless. In the episodes I’ve watched never has a single utterance of cracking wise come out of the protagonist’s mouth. In fact he almost only ever speaks to deliver exposition or complain. I’ve checked online and there are no “best lines” associated with Barry Allen; only the supporting characters. I did find a complaint by the actor cited on IMDB that he doesn’t have any good witty superhero lines. That’s it.

          • CaptainCalvinCat

            I can name you an entire season that’s not bleak. Season one – not bleak at all. It has some… say dark elements, but I wouldn’t call it “unrelentingly bleak”. Might be that I’m – as I said – am simple plant, but:

            Barry Allen: What is happening? What is going on?
            Cisco Ramon: You were struck by lightning, dude.
            Barry Allen: What? Lightning gave me abs?

            Felicity Smoak: Fine. I’ll go. They already know who I am. You can drop me off, and I will meet up with you later.
            Barry Allen: How ’bout I give you a lift.

            Oliver Queen: Last month you took on a man named Leonard Snart.
            Barry Allen: We call him Captain Cold.
            Oliver Queen: We can talk about you giving your enemies silly code names later.
            Barry Allen: You mean like over coffee with Deathstroke and the Huntress?

            Barry Allen: [voice over]
            Every kid dreams about being a superhero. Having powers, saving people.
            But no kid thinks about what it’s like to be a hero and not saving
            people. Truth is, not much else changes. You still hurt, you still love,
            you still wish and hope and fear things, and you still need people to
            help you with all of it. In some ways, that’s the best part.
            Caitlin Snow: Barry, an armored car was just hijacked on Griffin Avenue. Get your ass over there.
            [smiles gleefully]
            Barry Allen: [over the intercom] I got it.
            Barry Allen: [voice over] Actually, the best part… is this.
            [superspeeds away in the middle of the road]

            [Barry uses Detective Chyre’s pen to pick up fecal matter]
            Detective Fred Chyre: My Dad gave me that pen before he died.
            Barry Allen: Sorry.

            You checked and didn’t find anything ? I found them pretty easily and funny. http://www.imdb.com/character/ch0028488/quotes And note, that behind the episodes, where I got the quotes from, we have the date of 2014 – so it’s NOT from the show from the 90s. Now, could you give me the link to the complaint of Grant Gustin, in which he is complaining? thak you. ^^

            And maybe the problem lies with both of us – you’re old and grumpy and I’m glad that this show isn’t dreary, grim, gritty Batman-Like.

          • Gallen_Dugall

            Ah, well I watched most of the first season and didn’t get it so it’s not that it got better which Arrow did briefly – I really enjoyed the Clock King episode which was something they never did again. I think we can say that it’s just something that I don’t get. Odd that I was able to enjoy Supergirl which is not a good sign for that show’s longevity.
            Took a bit to find the line again and apparently it was not from the actor but from a script writer “about” the Barry Allen character and the rejection of early scripts over dialog problems. Apologies for my honest failure to grasp that important context on my initial skim.

          • Wizkamridr

            Except for all the times he broods over his stepsister. And then she turns into a bitch like Lana in Smallville.

          • CaptainCalvinCat

            Well, maybe that’s still to come, I’m still watching the end of season 1, so… when she’s turning into a bitch, it might have something to do with the fact, that her fiancé got killed.

  • Chris Palmer

    “She gets the plane through the bridge and then just… dumps it in the water? Isn’t that where it would have ended up anyway?”

    Yeah, but if she hadn’t interfered, it would have likely damaged more bridge and caused more death. Also, no matter how strong you are, planes are hard things to carry. She would have had to worry about a LOT more than if she just let it finish its journey.