We know you've been staring at that "Welcome Back, Kara!" article for a while. Ever since the hiatus began, Supergirl news was sparse or frankly, way too spoilery for us to really dig into. But now that we are getting closer to the return of The Girl of Steel, we are starting to get back into the groove of the news cycle! That, of course, means we are now getting a look into future episodes via the weekly synopses that come out. Episode nine of the final season is titled, "Dream Weaver" and pairs Kara with Kelly on an important project while Dreamer becomes the newest target of Nyxly! Read the full synopsis below:
SUPERGIRL AND KELLY TEAM UP – Kelly (Azie Tesfai) meets Joey (guest star Aiden Stoxx), a young orphaned alien boy, who is acting out in foster care because he fears there is something wrong with his brother Orlando (guest star Jhaleil Swaby), who is incarcerated. Kelly asks Kara (Melissa Benoist) to help her investigate and they stumble upon abuse at the prison. Meanwhile, Nyxly (Peta Sergeant) crashes one of Nia’s (Nicole Maines) dreams and asks her for help. The episode was directed by Shannon Kohli and written by Karen E. Maser & Emilio Ortega Aldrich (#609). Original airdate 8/31/2021.
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Comments
but it is still boring, and they could have found a better work around for the star's reduced schedule and so on that was more interesting. I don't buy Nxyl as the Big Bad no matter how they try and dress it up, and side plots are side plots.
As for the variables...there were many aside from the wonky writing which you described in your post. If you ask me this was done all in the name of "Orange Man Bad." I would go further, but I will hold off until the final episode.
Well, I've never heard that failing to understand a tv show is the fans fault and not the writers. It seems that I don't understand why I don't understand. No disrespect but I haven't seen this much BS since the rodeo in New Mexico last week.
And the head writer for supergirl should be in front of a firing squad with no chance of a governor's pardon.
"The basic fallacy of fans blaming writers for their own failings to comprehend is pretty common. Head writer for Supergirl is presently developing his own show with the same production company, so their professional and creative relationship still continues."
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The fallacy is not with the fans failing to comprehend, it is the PTB (the executives, the writing staff and the overall decision-making process) creatively fell down a rabbit hole after the last of the original creators of the show (Kresisberg) was dismissed (albeit, rightfully so) midway through Season 3.
The core fans are the reason the show has lasted as long as it has. Otherwise, irrespective of how the CW measures success, the ratings and quality drop between Seasons 1 (while on CBS), 2 through 3 - 6 (on the CW) is achingly apparent. The end product didn't deliver / hasn't delivered as required, and the casual viewers the show needed to sustain it have long since moved on.
The show's writers get flak because they are tasked with writing stories that are supposed to be concise, having an orderly flow, be cohesive, and strive to engage the audience and entice new viewers to watch the show. This has not happened. In fact, the exact opposite has occurred. What has kept the show going is / was the skill and flair of the cast and crews.
True, the Head Writer may have landed another gig with the network / production company, but that is not necessarily an accurate barometer of achieving outright success. This could easily be a result of business connections and other factors that are not known to the general public. The Head Writer getting another gig is simply saying that they've been extended a lifeline and given a second chance to advance their career.
No, that's merely YOU trying to rewrite the show. That's not how it works. Season 4 was written just fine, and was tightly plotted with those surprising, unexpected plot twists. You just want to find blame for not comprehending it fully along the way, and being able to predict where it would go. BTW, if one could predict the outcome, then the show would have been found to have been pandering all along. It didn't.
The basic fallacy of fans blaming writers for their own failings to comprehend is pretty common. Head writer for Supergirl is presently developing his own show with the same production company, so their professional and creative relationship still continues.
KET
Season 4 had a lot of potential, and probably won it's awards for it's tackling of LGBTQ+ stories, as well as it's attempts at political allegory. But, IMO, season 4 is where the inconsistency in writing really hit a wall. We were pretty solid until they turned Manchester into J'onn's enemy instead of Supergirl's, and purposely sidelined her in the confrontations with him, culminating with J'onn killing him before Manchester ever got his trademark powers. The transition to Lex as the big bad, as wonderful as he was, was also really abrupt. Balancing the three "big bads" of Agent Liberty, Manchester, and Lex resulted in the promised Red Daughter storyline being stunted, IMO, never paying off some of the seeds that were planted earlier on. Furthermore, the fight with Red Daughter was supposedly brutal enough to "kill" Supergirl, but was shot so in-the-dark and from so far away that it was thoroughly dissatisfying, especially when compared to the Reign fight, the only other fight to leave Supergirl so physically devastated. And I have no problem with the show broaching social issues, but some aspects of season 4 were certainly very ham-fisted with their approach.
And then there is my big concern. What was Kara's storyline in season 4? How did she grow as a character, emotionally? From what I can see, she didn't. She's the same in the beginning of the season as she was at the end. I wont blame season 4 for the show ending. That was a combination of many variables. But I wont sugarcoat that season.
Actually, internet shippers quickly took over that aspect, and it hasn't been pretty. :)
It's hardly a "mistake", because that's just female objectification instead of actual heroism, and that has never been a central hallmark of what being Supergirl is about. In fact, the character's first solo comics run in the early 70s turned out to be an unmitigated disaster, because it initially put a romance editor on the book (who promptly bailed on the series before the 1st issue had hit newsstands). It lasted a measly 10 issues, with the publisher dragging out the last issue almost a year too late.
I'm also seeing some finger-pointing at Seasons 3 & 4 of the TV show, but 4 turned out to be an exceptionally award-winning year. Still mindlessly looking for scapegoats as to why the series is ending probably overlooks 'the elephant in the room': episode production always seemed to fall behind schedule, which now appears to be the future purview of Superman And Lois. The network simply doesn't need two of 'em going late all the time.
KET
Because Kara had relationship stories in all those seasons. Romantic relationship stories are a cheap way to get your main character screentime that doesn't require expensive special effects (in the end they just don't have the money for the show to be just action scene after action scene). Even if those romance stories suck, they still ensure that the character is present and it makes those stories that aren't about romance better in comparison.
Removing romance from Kara's stories just meant they picked up additional characters to fill that airtime and provide the romance quota. The same thing happened on the Flash when the main couple didn't have a romantic conflict. They introduce new characters to pick up the slack.
IMO amputating that aspect from Kara's life and making her essentially sexless was one of the biggest misunderstandings of feminism I have ever seen. Being hostile to women expressing romantic desire and trying to oppress women from having a romantic life, that is the job of misogynists and supposed feminists shouldn't be doing their work for them.
Quote:This I have to disagree with. Nia and Brainy are in their third year of the show. It's not like they sent Andrea and William, two characters I feel like we still barely know even though they are in their second year. Nia and Brainy made sense to me because they are closer in age to young Kara and Alex and considering they actually have a romantic relationship they were a good fit for the mood of a prom episode. I never had an issue with the young Danvers episodes. They are still about Kara even if Melissa isn't playing Kara.
Yes - every season has been compared to season 1 - it was & always will be the best season (IMHO) - to not compare other seasons to it, is like saying that everything that is considered a "gold standard" should not be used in comparison data - that would really lead to some disastrous results. Everyone knows that Melissa as well as the other actors are not robots (I guessed that fact when I noticed that you never hear them asking for an oil can). Also, we are all aware she had a baby and that there is a Covid situation.
I am sure that Melissa was informed when she took the part of SuperGirl what it would entail. Anyone who is the lead in a show knows that they are the ones which the most will be expected from. I feel Melissa has been shown more freedom than many lead actors are given who are the leads in shows (including her Broadway debut in "Beautiful - the Carole King Musical.").
I can only speak for myself when I say I tune in to see Melissa Benoist as SuperGirl.
If the show was meant to focus on SuperGirl's team more than SuperGirl, then the show from day one should have been called "SuperGirl and her Superhero friends." However, this season so far we have had 2 episodes that did not contain Melissa at all and concentrated on two relatively new characters - who didn't even treat their story objective that seriously (as if obtaining Kara's DNA was a "nice to have" if possible). Truly, instead, I would have enjoyed seeing Chyler and David in those 2 episodes with the 2 young women who played the younger Danvers.
Even in Xena Warrior Princess when Lucy Lawless fell off the horse & broke her hip - they still made it so that she was in the episodes (she sat alot but she was in the show - you always knew she was the lead).
I have to agree, on the point of romanticizing season 1. It had the best ensemble writing and had more fight scenes for Supergirl, but the flight CGI and wire work were quite a bit worse. Every time Kara was knocked back through glass or a window, she swung upward on her wire instead of looking like she was falling out of the window. That issue changed after the move. And Kreisberg straight up admitted that they ran out of budget, shooting in LA. That's why season 1 saw so many villains make their way into Kara's loft, in the 2nd half of the season. Location shooting in LA is no laughing matter, in terms of budget.
People crap on the move to CW. But in reality, due to those budgetary issues, I doubt the show would have gone on for another season on CBS. As for the change in writing style, I'm sure it was to give Melissa a break after her being overworked in season 1. I don't like the way they tackled the ensemble writing in season 2, but I understand why they did it.
My main issues started in the back half of season 3, when Kreisberg was fired, and REALLY kicked into overdrive in season 4 forward. Yes, he likely deserved to be let go. But based on the dip in writing quality and consistency in both Supergirl and The Flash after his departure, he was one of the big anchors in maintaining the quality on both shows.