“Exodus.” Supergirl, Season 2, Episode 15. Directed by Michael A. Allowitz. Written by Paula Yoo and Eric Carrasco.
“The Wrath of Savitar.” The Flash, Season 3, Episode 15. Directed by Alexandra La Roche. Written by Written by Andrew Kreisberg and Andrew Wilder.
“Land of the Lost.” Legends of Tomorrow, Season 2, Episode 13. Directed by Ralph Hemecker. Written by Keto Shimizu and Ray Utarnachitt.
Supergirl leaves everyone feeling betrayed, Barry and Wally are the Elric brothers, and I accept Rip back to Legends.
Oh, and here’s HR being giddy.
“Homecoming.” Supergirl, Season 2, Episode 14. Directed by Larry Teng. Written by Caitlin Parrish and Derek Simon.
“Attack on Central City.” The Flash, Season 3, Episode 14. Directed by Dermott Daniel Downs. Teleplay by Benjamin Raab and Deric A. Hughes. Story by Todd Helbing.
What the heck was this crap? More gorillas, less Mon-El (Chris Wood), please.
Mxy, Grodd, Camelot: It’s fanservice week, and with almost no annoying objectification problems. Thank goodness!
“Mr. & Mrs. Mxyzptlk.” Supergirl, Season 2, Episode 13. Directed by Stefan Pleszczynski. Written by Jessica Queller and Sterling Gates.
“Attack on Gorilla City.” The Flash, Season 3, Episode 13. Directed by Dermott Daniel Downs. Teleplay by Aaron Helbing and David Kob. Story by Andrew Kreisberg..
“Camelot/3000.” Legends of Tomorrow, Season 2, Episode 12. Directed by Antonio Negret. Written by Anderson Mackenzie.
“Luthors.” Supergirl, Season 2, Episode 12. Directed by Tawnia McKiernan. Written by Robert Rovner and Cindy Lichtman.
No Lucifer, no Flash, no Legends, no Gotham, no Preacher–and I don’t care about Powerless or Arrow.
So time to talk Supergirl. And the word for this episode is “Reruns.”
In Peanuts, Charles Shultz introduced a new sibling for Lucy: a younger brother who looks like a miniature version of her brother Linus. So, she called the boy Rerun.
Rerun was on my mind when comparing this episode’s ending, because we’ve been here before: having spent a season debating whether she wants a relationship with a man whom she thinks is already involved with another woman, Kara (Melissa Benoist) confesses her love to him, only to be interrupted by someone at the very end of the episode.
The difference is which man is picked. It’s repetitive–like how Lena Luthor’s (Katie McGrath) potential fall into the dark side was already done before.
Villains get along better than heroes, Lucifer makes sacrifices (not to any deity, granted), and Cisco wants to get laid
“We Can Be Heroes,” Supergirl, Season 2, Episode 10. Directed by Rebecca Johnson. Written by Caitlin Parrish and Katie Rose Rogers.
“A Good Day to Die,” Lucifer, Season 2, Episode 13. Directed by Alrick Riley. Written by Joe Henderson and Chris Rafferty.
“Dead or Alive,” The Flash, Season 3, Episode 11. Directed by Harry Jierjian. Teleplay by Zack Stentz. Story by Benjamin Raab and Deric A. Hughes.
“The Legion of Doom,” Legends of Tomorrow, Season 2, Episode 10. Directed by Eric Laneuville. Written by Phil Klemmer and Marc Guggenheim.
“Supergirl Lives.” Supergirl Season 2, Episode 9. Directed by Kevin Smith. Story by Andrew Kreisberg. Teleplay by Eric Carrasco and Jess Jardos.
We have needed the return of Supergirl.
While some reviews may overstate it as the most progressive series on television right now (Steven Universe says hi), even as heavy-handed as it could be the last year and a half, its messages have been spot-on.
The show follows a bit from what Buffy the Vampire Slayer did: turn real-life issues into allegories. Some work better than others, yet the discussion they can motivate is vital when it comes to xenophobia, refugee relief, racism, sexism, homophobia, schools of feminism, toxic masculinity, being the change you want in the world, and forming a coherent society.
And as the United States allows a fascist and a bigot to walk into the White House, those messages are more important.
(And yes, I will get to reviewing the episode in a moment.)
With early voting started, let’s have an episode that has a political message that then goes sideways.
And let’s expand the world of Supergirl to show an extraterrestrial bar that is less bouncy and more grungy than the Star Wars cantina.
Oh, and let’s start shipping Alex with Maggie Sawyer. We just need a name for it. “MagLex”? Would that work?
“Welcome to Earth.” Supergirl Season 2 episode 3. Directed by Rachel Talalay. Written by Jessica Queller and Derek Simon.
Supergirl has not been subtle in its political allegory. Last season, a senator wanted to build a wall around the Earth to keep out extraterrestrials–and it made about as much sense as the fool running for office right now. (Vote early against Trump: vote Clinton.) “Welcome to Earth” seems to persist with that same storyline, as President Olivia Marsdin (Wonder Woman herself, Lynda Carter), is about to sign an extraterrestrial amnesty bill that leads to United States citizenship.
Ignore, for a moment, the fiction of all of this: that a President could get that done, when our real-life Congress couldn’t fund Zika treatment quickly, let alone immigration reform for humans.
And ignore, for a moment, the weirdness that it is the United States making itself an asylum for extraterrestrials: I would think the United Nations would be more involved, a la the Superhero Registration Act in Captain America: Civil War–but, then again, Agents of SHIELD had nations lining up to be asylums for Inhumans, so that detail is not that weird.
The surprise to this episode for me is how it is so obvious that Marsdin is a stand-in for Hillary Clinton–and then how this episode undermines that expectation. Or, if you think Clinton is two-faced, reaffirms your views about her.
“The Last Children of Krypton.” Supergirl Season 2 Episode 2. Directed by Glen Winter. Written by Robert L. Rovner and Caitlin Parrish
This review contains spoilers for Supergirl, as well as Netflix’s Luke Cage.
“The Last Children of Krypton” is a Supergirl episode that requires substantial suspension of disbelief. This is not “you will believe a man can fly” disbelief, especially when this episode has impressive fight sequences (using a lot of shadows to obscure stunt doubles) and CGI animation (for not only Kara [Melissa Benoist] and Clark [Tyler Hoechlin] but also a good dose of J’onn [David Harewood] in Martian form).
Rather, it is suspension of disbelief over minute details that gets in the way of what is a decent story. This episode continues the marketing event of having Superman visiting National City (why didn’t this air as a two-hour special last week?) while also re-introducing more Season 1 details with a good dose of action.
After an excellent season, the finale for Supergirl is underwhelming.
“Better Angels” is much more subdued compared to last week’s episode, “Myriad.” Last week was more focused on action and suspense: all of National City, including Superman, is controlled by Non (Chris Vance) and the Brainiac unit Indigo (Laura Vandervoort), who have deployed the mind-controlling device Myriad, which can also be used to overwhelm human brains until they explode. Yet in this week’s episode, even before the show’s title card, Supergirl already frees all of National City with a message of hope. There seems not to be even a bit of gentle self-awareness that this is too clean a resolution: Kara (Melissa Benoist) overcomes the mind-control with a message of hope, and Non does not bother to try mind control again, whether on National City or another location.
The benefit to this lighter touch is that it becomes an episode that, in many ways, suits all of Season 1: it allows the characters to decompress from mind control and the ramifications of not just this episode but the entire season, whether that includes Kara and James’s (Mehcad Brooks) feelings for each other, Maxwell Lord’s (Peter Facinelli) currently tense temporary alliance with the Department of Extra-Normal Operations (DEO), or Kara’s own conflicted emotions around the traumatic experiences, including the destruction of Krypton and the potential need that she sacrifice her life right now. Yet all of this can be underwhelming for a superhero show: at a certain point, I want superpowered people in capes performing feats no mere human can accomplish.