Oscar woke me up at 4:50 am to tell me he was hungry but he seems content now
leo has two distinct personalities
Let him practice. His recital is soon
supergirl season 2: a summary
This is it. This is Kara’s absolute worst nightmare coming true. This is Kara Danvers and Supergirl—the mild mannered reporter and the last true Daughter of Krypton—stripped down to their barest selves, leaving in their stead Kara Zor-El: an orphan, a refugee, a scared child far from home. Staring at that tank for two seconds, seeing Alex’s body floating listlessly—lifelessly—is that little girl coming face-to-face with her greatest fear.
Alex, who Kara loves more than anyone in the universe—more than her last living blood relation in the galaxy, more than her boyfriend, more than anyone—has given up so much for Kara. Alex sacrificed everything, has gone above and beyond what should have been asked of a child when an alien invaded her home and was forced to call her “sister”. There is only one last thing that Alex could give to Kara and that is her life and in this moment, Kara sees that become a reality.
I can only imagine, as a being that has fire in her eyes and ice in her lungs, that she had never felt more powerless than she did in those two seconds.
Because Kara doesn’t just see Alex dying; she sees Krypton exploding all over again. She’s trying to remember the last time that she hugged Alex, just like when she is alone and staring at stars that are not her own, Kara tries to remember the last time she hugged her mother before the universe stole her away from her. Kara stares at Alex and all she sees is her world ending. All. Over. Again.
Those two seconds probably felt like a lifetime to Kara—like lying in the abyss of the Phantom Zone, the dark and cold of space pressing in on her, threatening to consume her.
I love and respect that this was an important Sanvers episode and of Kara and Maggie coming together in their love for Alex, but let’s not downplay the significance of this moment for Kara.
It’d be nice if the show didn’t downplay it either and gave Kara and Alex a second to themselves to just hug the shit out of each other.
Because Alex is “the only reason I’ve ever felt at home on this planet.”
Not the first. The ONLY.
And to make matters worse, instead of expanding Kara’s family and her sense of home, instead of deepening her connection to Earth, instead of doubling down on her created family of J’onn and Winn and James, instead of developing her love and sense of duty to protect her city through print
properly (not half-assing it), instead of playing with that notion of home and focusing on the integration of her alien and human sides mirrored in the way National City’s human and alien communities need to find a way to coexist?
Instead the writers have gone out of their way to isolate Kara from her friends and family, take Cat’s mentoring away from her and reduce Alex and J’onn’s mentoring in her every day life to the point that they rarely share one-on-one or Space Fam scenes. Let’s take reporting away from her, threaten her only new friend, Lena, and put her at odds with her friends as she tries to be inclusive to these new parts of her life, put her at odds with Maggie for reasons that make no sense the way the characters have been developed and behaved in past eps, and waste so much time saddling her with the world’s Worst Boyfriend, whose great idea when faced with his parents is to run away with Kara and take her away from the family and friends she loves and whom I still don’t understand why she actually likes him romantically.
This season should have been the DEO and Kara and the Superfriends trying to hold the city together and make their home safe for everyone, in spite of extremists like Cadmus and alien colonists. Kara should have had a settled sense of home by now, especially because metaphorically and literally it is under attack. We should have gotten a season of them fighting for inclusion in a world that wants to tear shit apart.
Instead, Alex still remains the only reason why she feels at home, because they haven’t developed ANY of that. Which is why Kara’s fear of her slipping away, why this moment right here is more heartbreaking than it should be.
Alex should be the most important because she was the FIRST, not the ONLY. It should be a different kind of pain we’re seeing- heartbreaking and terrible for sure, but not devastating the point that Kara would be completely broken by it, beyond repair.
But, you know, let’s just develop the romantic arcs only and use the new love interests to cause shit between them and never focus of addressing the huge rifts and legitimate fears of abandonment rooted in the loss of both their childhoods, oh okay then.
I will give the finale this as a credit. Cat Grant explicitly telling Kara SHE is the one on the hero’s journey.
Considering the big PR push earlier this season was the executives talking about Mon-el’s “hero journey” I can’t help but wonder who, if anyone, on the writing staff slipped that in as a nice reminder to the Suits who is the main character.
I’m the only one who found the whole concept of the Evil Pod of Evil pretty ridiculous? I mean, I think the scene is pretty clear enough to convey that this pod will bring bad news (probably not as bad as the previous one anyway). Unless on that pod they put Ebony Dark’ness Dementia Raven Way herself, you had no obligation to modify it that way.
My word for word reactions upon witnessing this scene.
“It’s red because it’s evil”
Camera pans across the wall of Krypton’s Fortress of Nefarious Intent. *Pauses streaming*
“Is-is the house crest an actual fucking skull?” *Laughs for a solid minute over the sheer Extraness of next season’s villain.
I just have to say that The CW could not have behaved more like a politician in the way they got rid of Mon-el. I didn’t expect anything less but I’m still pissed they chose to end it this way.
They refused to address the very real and legitimate assertions the fan base, as well as multiple entertainment commentary websites, made of him being a classic emotional balckmailer and psychological abuser. They refused to address the consequences that such character’s in reality and fiction present and instead chose to carry out the romanticizing and “redeeming” of such people. And worst of all they refused to acknowledge how wrong they were to have done this in the first place.
By ending Mon-el’s story as a redemption and heroic arc you further the trend of romanticizing abuse and normalizing this behavior in reality. I can tell you as someone who has multiple family members with similar personalities as Mon-el’s they do not change. They either escalate to much more aggressive forms of psychological harm or transition to physical attacks when the mental games stop working. They rarely deescalate or redeem of their own volition as presented in stories like Mon-el’s. This is well documented and any psychologist or social worker that has interacted with domestic violence and truly dysfunctional toxic families will tell you that. (For further reading see Emotional Blackmail by Susan Forward or Stop Signs by Lynn Fairweather).
Furthermore TV being a cultural medium means that it is a cultural custodian. One of the best illustrations of this is depicted in Toni Morrison’s The Bluest Eye. Morrison’s fictional book illustrates just how the entertainment and advertising industry shapes perceptions, regardless of the viewer’s age, when consumed repeatedly and unquestionably. In the case of The Bluest Eye it is done from a perspective of how especially people of color are victimized by Eurocentric dominated culture. And this is why I love and cherish good storytelling so much.
It can effectively tackle a complex subject like media’s impact on personal perceptions about ourselves, our relationships, and our world just by focusing in on the story of one character’s interaction with this world. The Bluest Eye does that wonderfully, but it’s a hard and potentially triggering read given some of the subject matter. There have been several literary readings and psychological readings of the book showing just how Morrison manages to accurately convey the impact media has on our minds when we passively, repeatedly, consume it. Hell, take a minute perusing some of the studies that come out of marketing psychology and you’ll see how it is even intentionally weaponized against consumers with no regard to the psychological harm. That’ll scare you into throwing out the TV.
My point is ending Mon-el’s arc the way CW chose to do so is not just unrealistic for people with even a casual knowledge in the difference between healthy and toxic relationships. It’s not just unrealistic for people like myself with very deep personal experiences and/or some academic study into the subject of toxic people. It’s not just bad storytelling, trite tropey storytelling, or even lazy story telling that offends the potential there is for art in the medium. And it’s not just a lack of responsibility to how the medium shapes the culture and by extension shapes the behaviors and actions of the vast majority of people within said culture.
It’s dangerous and insulting storytelling.
And it’s a blatant refusal on CW’s part to own the mistakes they have made with Mon-el. It’s the CW’s refusal to apologize for Mon-el and attempt to insist they were right while still bending to audience pressure to get rid of such an obviously awful character.
And I say that because it would have been simple enough to turn a thoughtless bad idea romance into a positive morality tale once the audience makes you aware of your ignorance. It would have been easy to draw an allegory from Kara and Mon-el’s relationship and end it in a similar but different way. It would have been easy for CW to get rid of Mon-el and reflect the reality of how these relationship’s turn out. All they would have had to do is allow the relationship to escalate in toxicity and abuse, have Kara actually break up with Mon-el. Have the Danvers sister have one of their actual heart to hearts over an episode or two where Kara realizes where never genuinely cared for Mon-el but a fear of loneliness and his insistence for returned affection drove her into his arms. Alex acknowledges she hasn’t been the most involved big sister lately and she’s sorry and they hug it out. Cut to Mon-el not Rhea flying into a violent murderous world conquering rage. Only to be permanently banished from earth by the atmosphere lead contamination device. Because that would have reflected what you have to do when confronted with abusive people like Mon-el to keep your world safe.
But that would be daring to defy the conventions of romanticizing abuse and normalizing toxic people as nothing more than “quirky.” And that would have been tantamount to an apology on CW’s part. And I shouldn’t expect a studio that thinks Mon-el is a good idea to be down with subverting such bullshit tropes or humbling themselves to a sincere apology.