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svperbats · 4 years ago

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What about Kate and Andrea not specially liking each other BUT teaming up to protect Kara? (Love your fics)

A Bat, a Super and Andrea Rojas

A/N: took me forever but it was worth it

Prompt: Kate and Andrea not specially liking each other BUT teaming up to protect Kara?

Summary: Kate was never fond of Andrea, mostly because of how she treated Kara like she wasn’t a good enough writer, acting like William Dey was the better writer because he was from England. Sure she never liked her, but she liked Lena Luthor less because the woman was always throwing looks her way and she was sure she was so in love with Kara, she’d do anything to have her. This story isn’t about that, it’s about Kate needing Andrea’s help because Kara - her girlfriend - gets herself into some trouble and she knows who Andrea is, who she became. And it is up to them to team up in order to.. Protect her ray of sunshine girlfriend from doing something stupid and possibly getting herself killed.

Kate didn’t like Andrea, she had barely met the woman but she just knew she didn’t like her, maybe it was because she had connections with the Luthor, maybe it was because she acted like Kara wasn’t a brilliant reporter (which she was and still is) or maybe it was because Kate got jealous easily. And despite that Kara saw her, only her, she loved her, sometimes she didn’t understand it, but for the first time since Sophie, someone saw her, really saw her for who she was, a hero.

She woke up like she did every morning, beside the blonde who was curled up next to her, a smile on her face, Kate figured she was just dreaming about something happy until she heard a noise escape her lips, no, not a noise, a whine and then a sigh and… oh shit, Kate thought, making her smirk. She knew exactly what Kara was dreaming or rather who she was dreaming about, usually she’d never expect it, but as she had learned from their blossoming new relationship, Kara was not as innocent as she seemed. So she left her for a few minutes, left her to dream whatever she was dreaming until she figured she’d help make the dream become some kind of reality, which if she was honest, was part of their routine.

She left soft, peppered kisses on her neck, making Kara giggled and whine a little louder and Kate knew, she knew she was awake and well she may have used that to her advantage a little. She kissed her and Kara immediately kissed her back, pulling her closer, so much so that Kate was moving over her, now on top of her. She smirked softly and pulled away from the blonde,

“Well, that’s one way to wake you up, but I have a better way,” she grinned at her, and it only made Kara chew her lip, like she knew what she was thinking because she did because she was dreaming about it. “Now tell me what you want baby and I’ll give it to you… tell me everything that happened in that dirty little dream of yours,” she whispered her mouth going back to her neck, making Kara gasp slightly as she nipped her neck, even if she knew Kate couldn’t make a mark, not unless she got the red sun lamps that made her essentially human.

Kara hummed slightly, “mm, I don’t know Katie, some of the things I was dreaming about I don’t wanna say out loud,” she admitted. That comment, it only made Kate laugh,

“K, nothing you say surprises me anymore, especially not dirty-minded things,” she raised an eyebrow, before she wiggled them, making Kara and groan, give in and tell her everything. Kate wasn’t shocked, not really, she had learned to expect the unexpected with Kara at this point, but she was certainly not going to deny her. She grinned and leaned down, kissing her one last time, before she made her way beneath the sheets and Kara? Well, let’s just say Kate managed to make her dream come true and it was safe to say she was in heaven on earth when it came to Katherine Kane.

After their escapades, Kara explained she had work, kissing her one last time before she got dressed and took off into the sky. Was Kate Kane in love? Maybe a little, but she wouldn’t admit it, at least not yet.

She was enjoying her morning, she had gotten into Wayne Enterprises, Luke telling her how everything was going until she got a phone call, a phone call from… Alex of all people, this couldn’t be good, Kate loved Alex but she barely called her unless something was wrong, and something about this, was telling her something was wrong.

“So what you’re saying is there are some these Gods wanting to kill and take Kara?” Kate asked, “and you want me to team up with Rojas to protect her?” Kate asked Alex over the phone, it wasn’t the first time she asked and at this point Alex was just rolling her eyes a little, sighing softly.

“For the last time, Kate, yes, she’s your only hope in getting Kara back safely, she has these shadow powers and well you may not have powers but you can definitely kick ass and you were military trained so I thought–” she started and was cut off by Kate saying,

“I have military training but I was kicked out–”

“For being gay I know, but Kara told me you were the top of your class, besides you’re batwoman, you can do this,” Alex explained simply.

“Alex I’ve never fought Gods before the closest I’ve come to it is defeating that alien guy who wanted to destroy all the earths, but a God? If Kara can’t do it, how do I stand a chance?” She asked, there was panic in her voice, as Alex sighed.

“Kate, Kara believes in you, if you work with Andrea, you have more of a chance to help protect her, besides it’s Kara, I know you’d do anything to protect my sister.”

Kate sighed in defeat, despite everything Alex knew her well, too well, it was frustrating really, she knew her that well because in the end, if it meant saving Kara, Kate would die protecting her, though she knew Kara would hate her for it deep down.

“Fine, I’ll do it, I’ll team up with Rojas for Kara and only Kara, alright? I’ll see you in a bit,” she mumbled, hating that Alex Danvers was right. She was lucky they lived on the same earth now because it would be strange if they didn’t, it felt normal, she stayed with Kara almost all of the time because despite being Batwoman in Gotham, Kara was home to her. Once upon a time, Gotham felt the same way, not anymore.

When Kate finally met up with Andrea and met her for the second time, she was unpleasant as she had expected her to be. She raised her eyebrows at the woman who was both the head of CatCo and Arcata, someone who lived in the shadows. Someone who originally was given these powers because of Leviathan, in exchange for saving her father, but soon it backfired and now she was Arcata and what she wanted more than anything was revenge. She didn’t trust Leviathan, not many people did, which was why Kara went after them, it was why she and Katherine Kane had to team up. Andrea didn’t know much about the woman, only that she was Kara Danver’s girlfriend, but she wondered why Kate Kane wanted to have anything to do with Supergirl. It wasn’t until they met up in the DEO and one minute she was seeing a billionaire real estate developer and the next she was seeing Batwoman. Andrea wasn’t surprised, more confused than anything, as to how she came to be. Now she understood why Kate Kane was so interested in supergirl, but who then was Supergirl if Kate Kane was batwoman.

“Let’s just go in there, get K-Supergirl and leave, alright? I don’t want to spend more time not getting her and making sure she’s okay than I need to, I want to get her home safe and sound,” Kate muttered, sighing softly. Andrea nodded,

“You know where their base is? I’ll meet you there in five and don’t worry, Kate, we’ll get Kara back,” she explained. Kate looked at her, blinking a couple of times, which only made Andrea laugh, “please it wasn’t hard to figure out, you’re damn well in love with the girl, plus you almost said her name, why else would batwoman want to save supergirl?” She asked, raising an eyebrow.

“Because unlike you and Luthor, Rojas, I actually care about her, whether she was my girlfriend or she wasn’t, you don’t know but we actually spent a lot of time together when the earths died, you know,” she explained, “she was there for me when I had no one,” she said before she cleared her throat, “let’s go,” she nodded.

Andrea sighed, “she wasn’t the only who was screwed over by Lena Luthor, you know, while I did lie to her, she was my friend and when she announced our… friendship was over, that she didn’t trust me, it hurt more than you know,” she explained, which made Kate look at her, quite taken aback at her comment. She sucked in a breath and sighed,

“Just don’t treat Kara like she’s the worst writer in the world, when you know she’s better than the British guy,” she muttered, “do that and you might just have a friend in me Ms Rojas,” she said simply, before she put her grappling hook in the air at the entrance to the DEO and pressed it so it flew and grabbed onto the next building before it took Batwoman with her, her red wig flowing in the wind. Andrea nodded and soon had disappeared in the shadows, arriving at Levithan’s base only minutes before Batwoman arrived next to her, landing in a crouch beside her.

And with that they walked into Levithan’s based, Andrea, sneaking past those guarding the doors and Kate? Well, she was the one knocking them out and telling them, “that’s for kidnapping my girlfriend you asshat,” because no one would want to deal with an angry Kate Kane when the love of her life has been taken away from her. When they found Kara, she was beaten and bruised and somehow there were red sun lamps surrounding this room, but even without those lamps, Kate figured they’d be strong enough to hurt her.

Kate ran over to the girl of steel, lifting her chin up, it wasn’t obvious because of her cowl, but the woman was on the brink of breaking down, they hurt Supergirl. They hurt her and she knew, she knew there was no way they were going to get away with this. She was going to make sure they paid for what they did, hurting Kara like it was no big deal. Kate was angry and scared and she was ready to kill someone, anyone that would get in her way.

Andrea looked at Kate motioning her to help move Kara from the chair when one of the so-called Gods came into the room and Kate went from helping lift Kara - who was almost unconscious and unable to even recognise what was happening - to launching towards them and tackling them to the ground. Alex had given her something, something that could kill a member of Leviathan without really realising that they were able to be stopped. Andrea looked at her and was practically screaming at her to stop, but Kate wasn’t listening, she was too focused on killing one of the members of this damn cult to even worry about Andrea. She was too focused on them, to focus on anything else, until she heard a faint voice, telling her to stop, one that was hoarse and was coming back from almost unconsciousness, Kara.

“Kate, don’t, please?” the voice begged, “you can’t do this you’re better than this, Katie, please?” she could hear the begging in her girlfriend's voice, the pleading, hell she could practically hear the tears, “you’re not a killer, you’re not,” she whispered.

“But I am K, don’t you get it? I’ve killed before, what’s so different now?” she asked, her eyes focused on the man she was defeating somehow so easily.

“You have me, Katie, I love you please?” she asked softly. And something about those words, saying those 3 words, those 8 letters, Kate stopped, jumped back and stumbled back to Kara. She cupped her cheeks and checked her over almost immediately, “Are you okay? Oh my god, oh my god, Kara what did I do?” she asked as she moved to hold onto her, while Kara wrapped herself around her the best she could.

“It’s okay, Katie,” she whispered making Kate look at her, “I could never hate you even if you killed them,” she promised, pressing her forehead to Kate’s and Kate immediately closed her eyes, sniffling.

“I love you too for the record, space puppy,” Kate replied, making Kara giggle,

“Mm, good,” she said before she glanced over at Andrea who had her arms crossed over her chest, shaking her head at them.

“Get Supergirl out of her, I’ll deal with them,” she said, suddenly disappearing into the shadows and within minutes, Kate was out of there, Kara scooped up in her arms, letting her heal as much as she could.

It wasn’t long until Andrea was back, out of breath and looking at the two of them, explaining that they got away, that she couldn’t stop them even if she wanted to, but, somehow Kate made the one she almost killed, weaker somehow, it was only a matter of time before they came after them again.

Later on, after they had brought Kara to the DEO, Alex had checked on her to make sure she was okay and once she had made sure Kate was going to not let her out her sight, she let them go home and the first thing Kate did was tuck Kara into bed, so much so, you could say the girl of steel looked like a baby burrito, and Kate loved that. She made her a soup her mother always used to make when she was ill, she knew Kara would love it, because when it came to them and cooking, Kate was better at it. Kara could cook certain things, but when it came down to it, Kate was the one that usually cooked for the two of them while Kara was the one who’d fly all the way to Belgium just to give Kate the waffles that she used to eat at a certain waffle shop back when she lived there.

“Here, it’s my mom’s special recipe,” she said softly sitting down next to her and handing her the bowl of soup before kissing her forehead, “how are you feeling?’ she asked softly, combing her fingers through the blonde’s hair gently. She almost lost both Kara and herself that day, she was genuinely terrified and yet, Kate being Kate was too worried and wrapped up in how Kara was feeling to worry about herself. Kara smiled softly and moved to kiss her softly before she replied,

“Just a little sore, I’m more worried about you,” she said softly, moving to squeeze her hand, “Kate I know why you did it, hell if it was you in that position I would’ve done the same thing,” she whispered, looking down, “I know what it’s like to have killed someone, to have that darkness overwhelm you and for you to lose control, I couldn’t let that happen to you. You told me about what happened to Beth’s abuser and what you did and while it may be Batman’s rule to not kill anyone, you are not your cousin, but killing a man who hurt your sister and then almost killing someone who hurt me, it doesn’t make you bad, while it is definitely not the right option, not one I’d ever choose and no one would in a normal situation, all that hurt and anger builds up and one day you just snap, it doesn’t mean you would kill for no reason, you are not Alice, you are not the joker, you are not a villain,” she explained, “you Kate Kane are my hero and I love you,” she whispered pressing her forehead’s to Kate, “now come snuggle with me and let’s watch a movie, it’ll make me feel much better,” she said.

Kate only winked and gave a little salute, “yes ma’am,” she replied before jumping into bed next to her, grabbing the laptop and turning on Netflix while her arm curled around Kara’s shoulder and Kara snuggled up to her, resting her head on her shoulder.

A/N: this was requested by @light-miracles agessss ago and after weeks and weeks it is finally done and I have to say, I am proud of how it turned out.

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performativezippers · 7 years ago

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PREEEEEEEEEACH

Supergirl, the Bechdel Test, and Critiques of Critiques

Because asks–ranging from fans who have been made to feel guilty for not liking the current season of Supergirl, though many are still watching and hoping, to angry anons who cannot believe I would dare criticize any aspect of a show–keep popping up in my inbox, I’m addressing the issue once here and deleting all those asks clogging up my inbox (because dammit I like order, and my inbox no longer has it). So hold on tight (and ignore/don’t read if you don’t care…really fucking simple rule) while we hit a few of the points I see appearing over and over again on my dash and in my inbox.

First of all, regarding the post about the Bechdel Test (that I’m going to assume was written by someone with the best of intentions and has been misappropriated to yell at other fans and tell them they’re wrong–blanket statement, no wiggle room). Yes, the scene did end up passing the Bechdel test, but that original post to which you refer was written and reblogged by most folks before the episode ever aired, making it an accurate enough assessment with the limited knowledge we had. The fact remains that the way the episode/that scene was marketed and promoted did not pass the test, and that says a lot about the kind of audience they’re hoping to attract (if you don’t believe me, feel free to go read the research about marketing).

Furthermore, please dear god stop talking about how you know the rules better than anyone else because once upon a time your Intro to Women and Gender Studies professor gave them to you or mentioned them in passing. Bechdel herself has written about sometimes wishing she wasn’t associated with that test (not that she often is these days, just her last name…) because it sets such a fucking low bar, gets plucked out of context, and held up as some gold standard for representation without any thought about the woman who created it, the context of its creation, and the motivation behind it. (Also, if you’re not going to read the blog post by Bechdel that I linked to, just know that the test is inspired, in many ways, by Chapter 5 of Virginia Woolf’s A Room of One’s Own on a chapter that talks about the invisibility of lesbian representation, and Woolf’s work as a whole is all about criticizing the “Angel in the House” and men’s writing for reducing women’s lives to their attachments to men, children, and families, which is literally what that scene is Supergirl does.) And I’m so tired of seeing straight feminists reblogging these posts calling LGBTQ fans of the show anti-feminist for daring to complain about it because this test does not belong only to you, and it is the brainchild of an early-twentieth-century bisexual and a group of self-identified “dykes” from the 1970s and 1980s who wanted to talk about why the state of current media (both the novels of Woolf’s time and the movies of Bechdel and co’s time) failed them as women whose concerns weren’t tied to traditional narratives of what a woman’s life looked like (marriage to a man, followed by children).

The Bechdel test as we know it today comes from a niche comic strip, Dykes to Watch Out For, which documented the lives of queer women (primarily) from the 1980s through the Bush era and the struggles day-to-day life during that time period entailed, and that context gets ignored far more than your precious rules. And yes, the test (though god that word is infuriating because it implies the same sort of inflexibility that is already rampant in fandom and internet culture) is about movies as a whole (so by your own logic, we shouldn’t even go near a TV show with it), but it’s not incorrect to talk about a scene passing or not passing it, nor is it wrong to use the test as a kind of signpost or easily recognizable language with which to discuss the shortcomings of a given scene (if you want to know more, and I mean this quite earnestly, not to be a jackass, go read linguistic, structuralist, and poststructuralist theorists and find out all about signifiers, then come back when you realize that the meaning of words and phrases isn’t confined to the letters on the page, but encompasses all of the cultural signifiers to which they are tied, which is actually what makes so much of communication as we know it possible).

To insist that fans cannot be upset because a scene featured 5 whole women together and that’s “unheard of” in television forces us to settle, forces us to praise a scene that’s setting up the poorly written demise of a couple that many of us showed up for, upped Supergirl’s ratings and viewing numbers for, because we saw a woman whose journey toward self-realization, acceptance, and actualization looked like ours, found in Sanvers a couple whose story wasn’t perfect but felt realistic in a way many same-sex relationships on television still don’t. And yes, I’m calling this breakup poorly written. As I’ve written before, yes, not having the same idea about what your family should look like is a good reason to end a relationship. Not having had that conversation months into a fucking engagement when both participants in the relationship are adults who have been shown learning about how important communication is and recognizing why it’s a bad idea to make assumptions about what partners want and who apparently have incredibly strong opinions on the matter is beyond unrealistic. And for a show to know that they’re going to break up a couple after just a few episodes makes featuring the proposal and demanding praise for “groundbreaking” television irresponsible marketing–it sets fans up to be disappointed and disillusioned. (And now, because they’ve written Maggie’s absence as this kind of a breakup, rather than the myriad other ways they could have done it, if they do want to bring Maggie back, it’ll be far more difficult and will entail a fundamental reevaluation of what either Alex or Maggie wants in life, which we likely wouldn’t get to see depicted at length or in any kind of realistic way.)

I’ve seen so many posts criticizing those who have critiqued the show and insisting that they clearly haven’t watched the show or that they ignore all the good it has done. Does that kind of post exist? Yeah, of course it does. It’s the Internet/fandom/Tumblr; there’s anything you can think of here. But these posts demanding appreciation for the show reek of the attitude that has, for decades, told LGBTQ people to sit down, shut up, and be grateful for what we’re given. Shows don’t have to listen to our critiques (and I’m not here defending folks who get violent or spout vitriol directly to the actors who cannot control their storylines, though let’s remember those folks exist on both sides of the issue), but to try to tamp down the rights of fans to be upset and express that frustration is, to be quite frank, embarrassing to see in 2017 from self-ordained progressives.

I’m still here and watching and producing content that I like to think does right by the show Supergirl could have been (and may well become again), to the kind of nuanced, complex characters and storylines the first season and writers like Ali Adler gave us. But don’t tell me I have to like every second of it. Don’t tell me that I’m not allowed to feel misled by a show that created an endgame narrative for a couple only to break them up in such a way that the reconciliation they continue to lure in front of us as a possibility is nearly impossible (or, at the best, decidedly unrealistic). Don’t tell me that I should accept the flirty subtext between Kara and Lena or a one-off hook up between Alex and Sara that will never hold the same potential for representation as a multi-season lesbian relationship as “equal to” or possible of making up for the loss of Sanvers. And most importantly, don’t ever tell me to shut up when your username includes the words “white” and “conservative” because, oh, honey, nothing gets a liberal academic going quite like the possibility of showing you just how little power you truly have.

#supergirl writers get paid for this shit

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iminyourhandskara · 4 years ago

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Chris Wood on FatMan Beyond with Kevin Smith and Marc Bernardin. (Full interview transcript)

A MASSIVE, MASSIVE THANK YOU TO @bwaybenoist WHO HELPED ME A LOT WITH THIS. ❤❤❤❤

to the anon who requested this, and for whoever wants to read this, enjoy!

__________________

Kevin: One of my favorite people in the world, man. If you're lucky enough, you get to work with people you like, and I met this kid on a set and most people on sets, you know, 'not necessarily all likable and stuff like that.

Marc: Careful.

Kevin: Yeah. (indistinct) This kid ain't just likable, he's fucking lovable, man. I was like, goddamn it, I fell in love with him the way I fell in love with Ben Affleck, where I'm like "You should be in everything! Fuckin, you should play Fletch." I still to this day think he'd be the perfect Fletch based on the Gregory McDonald books. When we got lucky enough to work on Masters of the Universe from Mattel on Netflix, I, you know, there was always a like "We could probably get a big cast for this" and stuff, so I played very few cards in terms of like "Well, here's who I think you could get and stuff like that" because Netflix, Mattel, these cats putting up the money, they should tell us who they want and stuff and Teddy who's our Netflix exec, he loves MOTU, so like casting of course with Netflix, the ability to draw talent is gonna be right up his alley. But one of the only names I put forward in the process..I was like “I worked with Chris Wood, and he is SO good, like he would be an excellent Prince Adam and He-Man as well of course, but like, can I put him on the list?” and they put him on the list, and you know, I thought that was gonna be it, “Kevin made a suggestion and we’ll put him in there and then it will never happen.” And he got the job, legit got the job. Mattel loved him, Netflix loved him, boom, he’s our prince Adam! So, here tonight, you got him? Here tonight, man..*Skype sound* Making a little chit-chat, that’s the sound of joy. That means we’re gonna talk to a guest, we get to open the door and welcome to Fatman Beyond, uh, He-Man himself, ladies and gentleman, Prince Adam, I give you..Chris Wood.

Chris: Oh my goodness.

Marc: Look at that intro.

Kevin: And look at that pretty ass man, look at how pretty he is.

Chris: *Plays Jellicle Cats from CATS*

Kevin: Somebody’s been listening to the show!

Chris: Reminiscing about..the Winter Garden Theater.

Kevin: This is actually..I was gonna say..

Chris: My first Broadway show I ever saw, Kevin!

K: Was CATS?

C: Was CATS!

K: I totally forgot as we were sitting here, going “Nobody’s gonna care about us talking about Broadway.” There’s one guy waiting to be on the show who was like “I’d love it if it was all--”

C: I was having the time of my life! This was like Batman, Broadway edition, I loved it.

K: Give us the full rundown of every Broadway show that you’ve ever seen, and when you say Broadway, do you mean--

C: I mean, I mean Broadway.

K: You mean like seeing it on Broadway, not just live theater.

C: No man, that’s where I got my start, that was my whole...the stage was my whole thing. You’d have to sit here for like three hours to hear all of the shows I ever saw..

K: Are you serious? So wait you-

C: It’s got a soft place in my heart still.

K: You uhm, I remember when I was working on Supergirl, at one point Melissa was just like: “He was in Sweeney Todd!” and I was like “What?” Were you in Sweeney Todd?

C: It’s true, yeah.

M: With Victor Garber?

C: Yeah.

K: Yeah, it’s surprising, he was in Sweeney Todd and has worked on a Victor Garber adjacent show.

C: Yeah.

K: I (was) saying before Ben Affleck’s my last card, I’m turning to Chris Wood to make that Victor Garber connection.

C: Yeeees! Hey guys!

M: Hey man!

K: How are you sir?

C: What’s going on?

K: So wait, what- you were a musical theater guy.Correct?

C: That (was) my thing, man. All through college and high school and growing up, that was like-- aside from making movies on my Super8-- that was my, that was my other hobby.

K: What is uh- look, for those who don’t follow very closely: Chris has acted for a long time, I met him playing Mon-El when I was directing Supergirl episodes. Of course as I said, he’s playing our He-Man. What was the vampire show that Mewes loves that you were on?

C: The Vampire Diaries, yeah, yeah.

K: The Vampire Diaries as well and stuff, uhm, and he’s a wonderful actor and gorgeous human being but-

C: You’re always- you have the kindest intros in the world, Kevin. You’re- I come on just blushing every time I talk to you.

K: He’s wonderful (but) this is wanna lay out there: he is a fucking hell of a writer.

M: Outstanding.

C: Oh wow! It’s still going!

K: And you know that like I’m not just saying it’s a butter him up because we could totally just talk about He-Man and that’s it but like-- I’ve read a script that he wrote that took me back to 1994, where I was like-- This is what I felt like when I saw Indie Film. It reignited a love for indie film because the film was impressionistic and wonderful and original and singular in vision and stuff..

C: And nobody will ever make it..*Laughs* All of the qualities of a terrific independent film.

K: You got- you got some pushback on the movie. “Some people like this? What?” but he wrote- didn’t you write a script that went someplace legit or whatnot? Are you allowed to talk about it?

C: I did, yeah. It’s not public yet, but we’re--

K: That’s not public? That wasn’t in the trades or anything like that?

C: Not yet, man. It’s still like..under the table wheeling and dealing.

K: Alright, we can’t say what it is, but I can tell you right now, it’s like- it’s something that you and I (Marc) would work our Whole lives to achieve and we’ve been doing- all we have is writing. And this motherfucker has everything in life and he’s about to have that as well. But well worth it, because he’s wonderful at the written word. What do you attribute that to?

C: The written word?

K: Yeah. Where’d you- How come you’re such a good writer?

C: Well, that’s very- Thank you first of all. Uhm, writing, I always kinda did it. I think I was like you, Kev, when I was a kid I just- no one was giving me pages to shoot or to have my friends put on plays in the garage, so I had to write my own words. So, I kind of always done it. I remember writing plays and I’d write up thirty pages of a script when I was 13 years old and I’d hand it out to my cousins and we’d perform it for all of our aunts and uncles and grandparents. I kind of always done it, just never been paid for it.

K: Yeah, that’s the dream, to get paid for it at the same time. I saw when my man got married, he whipped out beautiful words as well. Like you know, where you get to like say something to your-

M: Your vows.

K: There you go. That’s that word, “vows”

C: “What do we call those *snaps fingers* those promises we make.

K: I smoked those away. *Laughs* Even his vows, were like beautiful, like incredibly well fuckin written, beautiful choice of words, look-

C: My missus..

K: I mean, yes.

C: (Blew me out) the water.

K: Who went first, was it you or her who went first?

C: She went first, that’s why I couldn’ t-- I couldn’t speak through mine.

K: Yeah, both of them got real beautiful.

C: Oh man..

K: The thing is, I knew Woody was a writer because I read his script and what not. Didn’t homegirl open with “I’m not a writer” and then dropped one of the most beautiful fucking speeches that you’ve ever heard in your life? It was really great, really special for me to be there for, man. The point is this kid here writes well, the point is one day he’s gonna take my advice and write himself his own fucking lead in the movie that he should make, particularly that one that I love and make a movie, ‘cause he’s got all the ingredients. Like you know, like me I was like “I wanna make a movie” but like I had to hire actors and shit like that. Well, not hire but beg them to be in it. Thank God they were. But like he could write himself a part and be that fucking part and direct himself in the part, because he’s been on enough sets so knows how the process works.

M: So what you’re saying is he’s unfair.

K: Yes, I don’t want to say it in front of him and embarrass the man but yeah.

C: I’m so sorry.

K: Um, take us into, for those watching at home uh, talk a little bit about Vampire Diaries. When did that, was that the first thing you did?

C: That was one of my early kind of like public roles, um, I had done some stuff before that, nothing really that caught on with a fan base. That was sort of the first thing I did where people got excited about a character I was doing, um and wanted more of them, so they wrote me more stuff, um, yeah that was, I guess, I started on that seven years ago? Eight years ago?

K: And what was the, did you leave? Did they kill you off gracefully? Did you leave because you were like “I don’t want to do this”.

C: Yeah, I was a bad guy, so with like all good villains in our favourite shows, they have to meet some sort of demise or just, you know go into a spin-off *Laughs*. It’s kind of either-or. Or they’re Skeletor and then they just exist forever as an equal force.

K: So after, how long were you done with that show before you went and did Supergirl?

C: So I did a couple of things after that, um, I did a mini-series and I was on a limited series called ‘Containment’ about a pandemic, much like what we’re living in now. A little too timely, I kind of don’t recommend it at the moment, but yeah I did that and then right after that ended, that’s when I went up to Vancouver.

K; So wait, and if I remember correctly, Containment, did Julie Plec do that? Didn’t she also…

C: Yeah, yeah, that was Julie Plec, who did Vampire Diaries. She kind of pulled me across, from that experience.

K: When you’re making it, are you like “silly fictional world this will never happen.”.

M: “I’ll never need to remember any of this.”.

C: You know what, I feel like in a way the show kind of prepared me for the quarantine because I read so much about the Spanish Flu and about outbreaks and what actually happened, so when this all started happening, I was like “guys no no no, this is real” you know like, when people who play lawyers think they’re lawyers? It was kind of one of those things, suddenly I thought I knew, I was like “send me in I’m ready guys”.

M: Was there any Containment swag that you got to keep like “oh they sent me all these masks, I got all of these masks!”

C: I wish! I think I have some uh, dog tags and that’s about it..

K: Alright so wait, did they come after you to come audition for Supergirl? How does that happen?

C: That was the first time in my career where I got offered something without reading for it. Which was kind of amazing. And I played hard to get for a second because I wasn’t sure if it was the right coloured spandex. I was always more of a Batman guy than a Superman and then eventually it clicked and apparently, there was some part of me that knew I was going to meet my future wife and the mother of my children. *laughs* So I guess it all worked out.

K: I mean, yeah, and aside from just getting to play a hero and stuff, it gave you the rest of your life.

C: The rest of my life, which is a pretty lucky thing to get from a job, usually the job doesn’t serve you that. So that was pretty fantastic.

K: And there are very few people who can walk away from the CW going “and that built the rest of my life”, you know what I’m saying?

C: *laughs* Well it does match, the network that matches my initials should promise me something like that. I think it’s somewhere in the rulebook, I don’t know where.

K: I just put that together.

M: Like the Wendy's girl walks into Wendy's and is like “I will take all of your hamburgers, I’m Wendy."

(all laugh)

K: When you, when they gave you the suit finally, which is something you know, for the run of the show was something you would look forward to and then finally they do give you the suit, looked tight. Was it as uncomfortable as it looked?

C: Oh yeah, they’re terrible. It’s the worst thing you’ll ever wear in your life. You know, it’s like a giant onesie. A onesie is known for comfort and relaxation and too many zippers. This is as few of zippers and you can have including no accessibility to use the restroom, and you really can’t move in them, it kind of squeezes your everything, if there’s a thing that can be squeezed by the spandex. So things are going like, your elbow is going up to your shoulder and you’re not really sure why. You know that you’re not controlling it. Uh, it’s an odd experience, but um, I’ll tell you what, those lunch breaks were always very, it was like a great release to unzip the spandex and just lay on the couch.*laughs*

K: Tell them what it’s like to be up on the harness thing man, when you have to do flying and shit, on the green screens.

C: The flying is fun, that’s one of the really, that’s when you feel like you’re on the trampoline in your backyard as a kid fighting the invisible villains. It’s literally the same thing, except someone is doing the jumping for you with a rope. But that’s when you get to play and feel like a kid. Those are my favourite, the big action sequences. They’re a bear to shoot because they take days to shoot two minutes, as you know. But when you’re actually doing the thing, it’s a great time.

K: How long before you think, because I know it ain’t happening now, how many years from now do you think it’ll be before you and Melissa are like “let’s watch the episodes and see if we can spot the chemistry, and see if I can see myself falling in love and blah blah blah.” Do you think you’ll ever get there?

C: You know, I think it’s probably all over every second of every frame *laughs*. You could probably just uh, start at the beginning and then the first second on-screen probably in some way, shape or form go “oh there it is, there’s the first bits of it”.

K: I believe that, Mr. Broadway.

C: Mr Broadway!!

K: Can I tell him [Marc] a quick Broadway story? I actually went to a Broadway show, where I got to sit next to Mr Chris Wood.

M: Did you now?

C: Oh man, yeah you did.

K: It’s beautiful. So we go see Beautiful, is the show, the Carole King musical.

C: It was also beautiful.

K: It was beautiful, branded and in my heart. The lead of the show that night is of particular interest to both me and Mr Wood, him a lot more. Melissa Benoist, "rhymes with moist", I learned that from Chris Wood.

M: That sounds awfully romantic.

C: He texts me late one evening..

K I used to say Ben-o-ist all the time, I don’t know why.

C: And then I shot you a text I was like “You know it’s Benoist like moist, like a chocolate, decadent chocolate cake”.

M: That was the most Christopher Walken thing I’ve ever heard: “It’s Benoist like moist”.

K: “And delicious like a chocolate cake”. We’re watching Beautiful and we’re watching Melissa open, this is the debut, the first opening night of the show, and Chris is there um, a bunch of people that love Melissa were there. Fucking Lynda Carter was there, Wonder Woman was there to watch Supergirl, how awesome is that? The curtain opens and it opens with Melissa, she’s up top like bang, singing, right at the top of the show and I’m sitting right next to Chris Wood who is crying. Crying those joyful tears of seeing his lady love’s dream come true. She always wanted, is that her first Broadway performance?

C: It was, first and last. *laughs*

K: *jokingly* She’s not going to do it again?

C: No, no, no, no, no I’m just kidding, no it was her first. Life long dream.

K: She was like, she’s like Chris, she’s a theatre kid. A couple of musical kids and stuff, drama kids.

C: You can say nerds, it’s okay.

K: Drama nerds, the idea of Broadway, that was the goal, it wasn’t like “one day I’m gonna be Supergirl”, that was the surprise and the delight where she met the love of her life and stuff, but the dream was Broadway and her dream came true and as you know, if the curtains open and Melissa was crying, of course, people forgive it because they’re like “Oh look at her dreams coming true” the fact he was bawling, I was like "oh my God, she’s got the right guy." All of the joy he felt for her joy, as she was concentrating on doing the very thing that she dreamed about doing, performing, so she can’t just stop the show and be like “can you fucking believe this?” which is how she feels inside, he’s expressing for her just by emotional, he was crying, it was one of the most beautiful things in the world.

C: I’m not ashamed of it.

K: No!

M: Nor should you be.

K: It was so fucking wonderful so supportive but he is a- point of the story, he is such a Broadway kid.

C: You could say I’m a Jellicle kid.

K: Somebody could explain that.

M: I too was sitting next to Chris Wood when he was crying, but it was in New Orleans, in a waiting room to shoot a scene for Reebot, and he's like "Listen, I gotta fly back to Vancouver and my flight is like twenty minutes from now and we haven't shot yet, and it's 4 AM and I'm a little bit daffy in the brain.

K: *Laughs* It's true.

C: Yeah, we were drinking- we were on coffee number four, at like 5 AM, and I looked at my watch and I went "Oh!! My flight's at 6:30." *Laughs*

M: "Anytime you're ready, Kev!"

C: But we got it done.

K: The boys were so sweet, they came out uhm- Chris and Jesse Rath came out and they're in Jay and Silent Bob Reboot during Chronicon, if you haven't seen it on Amazon Prime.

C: With the most extensive and detailed backstory that any limited amount of screentime has ever had in the history of film. There's a story in those eyes, if you look closely.

K: Oh my God, he's working. But he's sitting next to Mr. Marc Bernardin.

M: Yes.

K: Throughout the night, and it was- we ran up against- what time do we finally shoot you guys?

C: I don't even remember.

M: It must've been like 5:15 or something like that.

K: And then rush them to the airport so they could get on (a) plane and get back to Vancouver, correct?

C: That's right, I had to get back to work.

K: Such a special-

C: But it was such a blast, though. And thank you again for letting us come out and play. That was such a trip.

K: It just means that uh, one day your kids are gonna watch that movie and be like "They're both in this terrible movie? Who are Jay and Silent Bob? Was this before you guys met on Supergirl? Why would you be in a movie like this?"

C: *Laughs*

K: Let's talk He-Man. What-- Had you done voice work prior to He-Man?

C: So, when I was broke, living in New York, in between babysitting for three boys on the Upper West Side to make cash so I could support my acting aspirations, I bought a little USB microphone and I joined this- I can't even remember the name of the site. It was some like, some freelance voiceover site, where you join and you can record audio samples and submit auditions and that was the only voice work I had done. I would- I was making like 100 bucks here and there, doing a voiceover for a animated-- "Hey kids, don't run in the cafeteria!" Like a school PSA, or I did some military PSA teaching soldiers etiquette in the barracks and-- so strange. But that was all I had done.

K: Tell'em about how- what acting in front of a microphone is like, 'cause it is acting-

C: Oh yeah.

K: -And in some ways, it's way more acting than one can do on a camera, on a camera one can be subtle, you can't be subtle behind a microphone. You gotta communicate emotion just with the voice, tell 'em about it.

C: You know it's so funny, I actually would describe voice acting as incredibly physical work, whereas camera acting it's all- you know, it's what you're feeling, it's..they say it's through your eyes, which actually means they're seeing through your eyes, through your soul, right? If you're feeling something you'll see it. But for voice acting, we don't see anything, it's all voice, so you really have to take the feeling and elevate it, and sometimes it helps to physically express it, so people sweat in the booth and they, you know, they grit their teeth and they stomp into the ground, and really, you have to really dig in, to grab the emotion and kinda amplify it, otherwise *monotone voice* you're just kinda talking like you do on film and nothing's really happening, and no one cares. Which is sort of what American acting is a lot of the time, we kinda just try not to seem like we're interesting and care about anything. *Laughs*

K: Is that the secret to acting? Did you just let it-- Is that all acting or just CW acting? What kinda acting are we talking about?

C: I'm actually doing a master class series on early '20s acting and basically, the first lesson is to speak as monotone and enunciate as little as possible.

K: Fucking worked out, you married Supergirl for heaven's sakes.

C: Listen-

K: Mumble away, kids! That's what your future looks like if you can mumble your way through a performance.

C: Mumble core.

M: So what you're saying is, voice acting then is very much like theater acting? Where like you've gotta play to the back row, right? Like you can't see that person's eye from a hundred feet away.

C: This guy!

K: Right? This fucking guy, he made-

C: You've found a way to bring it back to CATS! Wow!

K: Thank you, fucking excellent job, now there's a writer. Marc Bernardin is a writer.

M: *singing* Midnight and the kitties are sleeping..

K: Yes, your theater training really comes in handy in that shit, I never fucking put that together!

C: Yeah! Because you learn how to take a truthful feeling and amplify it, that's what the best stage acting is, right? An emotion that an actor is feeling that can reach the back of the house and, with voice acting is that same sort of thing, but your relationship is with the microphone uhm, and it needs to go through the microphone and then into the character and then the audience gets to it. So it's a whole-- There's a learning curve, I feel like it takes a second. Hopefully we got it right.

K: Now you're way younger than us, so I don't know if like- was He-Man in your wheelhouse growing up? Or that was before you?

C: He-Man, yeah, He-Man was on uh-- we didn't have cable when I was a kid, 'cause we didn't have the money for it. So I was watching, they were rerunning it on-- I'm trying to think what network it would've been. I can't even think of the names of what they were back then, but they were running- it was the rerun after the original series had aired. 'Cause I would watch that and I would watch X-Men, those are my cartoons.

M: Where'd you grew up, in New York?

C: In Ohio. Yeah, Dublin, Ohio, home of Wendy's, yeah.

K: That's true, that's where Wendy's begins, is in Ohio!

C: Yeah and there's a callback to Wendy! So..

M: This guy!

K: There's a writer, there's a writer! *points at both Marc and Chris*

M: High five!

K: What uh-- you know, we gotta be very careful of course, when we talk about MOTU, all of us are NDA'd up the A-H. You gotta play two different characters, what was that like?

C: That was one of the fun aspects of Prince Adam slash He-Man. It's finding these very different placements for the same person, right? So it has to feel like the same character but that, their emotional states are- Prince Adam is sort of in a different place: he's covering, he's deflecting, he's more fun and goofy..And then He-Man we have to drop the truth of his core mission, you know, to save the world, so..I mean, it starts with registers, right? That was the easy part. Prince Adam is supposed to be full of youth so he's a little higher and a little more excited, and then He-Man, *lower voice* go down and be more heroic, down in the basement and use his big fighty-fight voice.

K: It's pretty awesome, like you join a tradition of storytelling in which performers get to be two people, like you know, whoever plays Batman gets to do Bruce Wayne, and then they get to do the Dark Knight, whoever plays Superman gets to do Clark Kent and then they get to do the Man of Steel, so you get to do Prince Adam and then you also get to be his heroic alter ego, man.

C: Right.

K: It's a wonderful fraternity that you join.

C: Although I hear I'm in deep trouble, because the internet has found out that I'm not bulking up--

M: You're not doing the work?

C: --for my performance.

K: Somebody on Twitter was just like "Chris Wood, he's not big enough to play He-Man!" and they meant in size!

M: "Have you seen his thighs? His thighs are not nearly there!"

K: "He skips leg day all the time" but oh my God--

C: You're right! "He can't possibly play the character!"

K: Yeah I had to point out, I was like "I better get in touch with Netflix and see if they'll send Chris some steroids and a fucking peloton so he could do the the voice in an animated series."

M: Also, Chris is not from another planet. That's also an issue. Could you not have cast an indigenous actor to play somebody from Eternia?

K: Who was it tweeted, somebody tweeted something about Griffin Newman, they were like "Oh, tell Griffin we gotta cut his fucking legs off". Maybe it was there, texted that, tweeted that. What uh, now that you've voice acted and led an animated series: is it something that you see yourself doing again? I mean, of course, hopefully we all get to do this one again, but other stuff. You got like one of them Disney voices and you can sing like a motherfucker, man.

C: Oh man, I would love to do Disney too. Let's uh, put that in the bucket list. I honestly, I get a real kick out of it, it's..like you said you can really go to a larger-than-life place, and it all, it always has to come from, you know, something sincere, that sense of play has to be grounded in something. You just kind of yell and scream, I think people can hear that..so there's a challenge to it, but it's also super rewarding because you get to, you know, play characters that fly on cats that are oversized and wear armor and..

M: Jellicle cats?

K: None of that Jellicle shit in our show, Marc! Battle cats!

M: What kind of Jellicle are you? I'm a cringer cat!

K:*jokingly* Somebody point a sword at me, quick. Yeah man, it's a..

C: It's a long life with He-Man too, 'cause this, I mean the character is so fun and obviously..I had the action figures when I was a kid and those toys..I hope to introduce my son to Masters of the Universe via the action figures, 'cause I mean they're so weird! They really went there-- have you seen that special that they do on the toys on the Netflix show?

K: Oh yeah, the toy, the wonderful-

M: The Toys That Made Us.

K: -The Toys That Made Us.

C: Yeah, yeah The Toys That Made Us.

K: Their He-Man episode is unbelievably wonderful.

C: Oh, it's great! And it just shows you- you know they were thinking "what weird crap would a little boy like, put together on a toy?" And then they end up with these wild names, and these characters who do insane things and it's part of why it's so fun. And the fact that they found a way to build a story around those bizarre toys, that was also compelling.

K: Thank God they did--

C: 30 years later, it's amazing.

K: Thank God they did, we all have fuckin jobs, all three of us.

C: *laughs* You're right.

K: Wait so before we let you go, it occurs to me that Melissa just had her episode air of Supergirl, that she directed.

C: Directorial debut!

K: That's right! Did you- Did the Wood-Benoists or Benoist-Woods- did you guys like kick back and watch it together?

C: You know, we didn't because *laughs* we don't have cable. So, no!

K: Don't let CW hear that, or perhaps do and they'll pay for cable! Why don't you have cable? Where are you quarantining?

C: We're in California, so we're home, but we're usually not home.

K: Right! Oh my gosh, that's right!

C: As a fortunate actor you move to California to never be there. I was shooting in New York and she was shooting in Vancouver when this all started and we were lucky to get home quickly but uh, but yeah I mean, we don't spend that much time in our house, so we don't have cable!

K: Tell 'em why you were in New York. Was it the- that's been announced, right?

C: Yeah, yeah for Thirtysomething, Thirtysomethingelse which is an ABC show that hopefully, knock on me, hopefully ends up going when we get out of this situation with Covid. Yeah, it's a reboot of Thirtysomething, another 80s classic.

K: Oh my God, that's-- you'll have two, you'll have fuckin MOTU and Thirtysomething. I watched Thirtysomething in real time when I was a kid, I loved that show, my mom watched it so I watched it with her and stuff, so I know all about Hope and Michael. I saw that they were redoing the show and I saw that fucking Chris was involved and I was like "What?!", and I texted him "Are you fucking for real?" and shit, and you're playing Hope and Michael's- did they announce that? I don't know

C: Yeah, yeah, I'm their son, yeah.

K: So he's tied in-

M: He's a legacy character!

K: Legacy character and like-

C: Legacy! This is what's all about.

K: That's fucking dope, man. So I mean, look I can't wait to watch that, but I have seen and heard four animatics so far of MOTU and-

C: Oh man.

K:- your performance..

C: I cannot wait.

K: It's wonderful, you did a great, great job and made me proud as the guy who was like "You know who'd be good? This guy." Put you forward--

C: This guy and they're like "who's that?" and you're like "hang on, let me tell ya!"

K: Yes, "Here let me pull up IMDb". They knew who he was, they know you, man.

M: If you did like The Music Man it wouldn't have been an issue: “You know who’d be good? Wood would be good, if he could do that, I bet you Wood could.”

C: *Laughs* Well, you got He-Man, my friends. (inaudible) city.That was a, that was a deep cut.

M: Hell yes.

K:Look at you, look at how you came to life with a little theater ref, man. Jazz hands all around.

C: Oh yeah, you can feel the jazz hands from there in the Cantina.

M: Touching us all over

K: Go back and enjoy the rest of your Thursday night, thanks for hanging out with us, say hello to the good lady Benoist and whatnot.

C: Thank you gentlemen. It was wonderful seeing you both.

M: Good to see you, sir. Be well.

C: Alright guys, be well.

K: Give it up for He-Man himself, Chris Wood, everybody.

M: *cheers*

K: Mon-El..flies away. He’s so good, such a good guy. I forgot he was such a fucking theater kid, that’s right, and we were like talking theater and shit. And I forgot his connection to Garber. One more we wrote in.

M: We have another point of entry.

K: That’s true, that’s good. Man, I’m telling you, I ain’t fucking around, his script was one of the most impressive thing I’ve ever read,

M: Yeah, that’s awesome.

K: It did make me feel jealous where I’m like “he’s that pretty and he can write like this? Like, all I had was writing, fuck!”

M: That’s a problem.

K: God, what a good guy.

#chris wood #kevin smith #marc bernardin #fatman beyond #melissa benoist #melwood #mon-el #masters of the universe #MOTU #he-man #prince adam #masters of the universe netflix

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whitmore · 4 years ago

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Ok hang on. Everyones going crazy with this move. Any changes will probs be negligible. CW doesnt have some team of writers with quotas to fulfill. Every show has their own production and team behind it. Obvi some exec crossover with the arrowverse, but point stands that each show has made their own choices/mistakes/whatever anyones opinion of them is. Unless GJ leaves I dont see any major story style changes (any changes to staff writers is normal, they can come and go between seasons). 1/5

As far as budget/aesthetic goes it’s not like stargirl (or any other show) uses cameras/lights that are any different or more $$$ than “CW shows”. Everyone rents the same type of expensive ass cameras (arri alexas, red 1s, etc etc). It’s how they’re used by the DOPs and directors—a specific “look” that’s designed and agreed upon—and then how they’re cut in post. Those ppl are not going anywhere (and tbh there are already some that have worked on stargirl that also worked on cw shows before). 2/5

Costumes! Are already made so there should be no worry about that (and imo there have been better “cw” costumes than wildcats cheekbone mask and beths potato sack for example—stargirl and hourmans are great tho). Location/sets is also a funny one bc first of all sg shoots in ATL. A very tax friendly place to film and where a few other cw shows already film as well. And I’m pretty sure stargirl has even reused some old sets from when vampire diaries filmed there (not 100% on that tidbit tho). 3/5

The only thing I see being affected are CGI and possibly cast. And cgi is more of a time issue than just budget. Other CW shows have had super tight shooting to air schedules which gives post less time to work. Plus if theres more episodes, also less time (but there are cw shows with ~15 eps so I don’t see that changing either!). Cast would be the two big names in Courts parents. But even then I think itll be ok. We arent privy to those negotiations but looking at supergirl for example. 4/5

it wasnt just money (tho im sure it was a contributing factor), but also location. LA to VAN is huge, pretty sure flockhart didnt wanna move her whole family. Anyways im so sorry for this rant but ive seen all this negativity and tons of misinformation floating around all over the internet and it just kills me. We all need to take a breath. s2 is great news! I get if ppl have concerns/reservations, or even if theyre done and wanna jump ship. But in all likelihood, everything will be fine. 5/5

if u wanted a place to talk abt this u probably shouldn’t have came to me, eleanor cosmicstaff, who LITERALLY has a tag for hating the cw but like. yeah maybe it will be but it probably won’t we LITERALLY don’t fucking know. “we all need to take a breath” bro i made an ENTIRE post about me being positive please don’t come here thinking i’m being entirely negative about this because i am very vocally NOT !!!! i know u need a place to vent anon and that’s fine but like. a lot of the changes u mention are NOT okay with me (changing luke & amy, the cgi (which isn’t a TIME ISSUE it’s literally budget bc the time accounts for the amount of hours people get PAID FOR), the costumes which i think are GREAT there was SO much effort put into them down to the STITCHING details joel has said they cost SO much money, also stargirl uses SO much more expensive lighting & cinematography than any cw show, idk where ur getting this information but johns has STATED they use expensive shit. it SHOWS u can see it in the quality of stargirl) like. man i have been really stuck responding to this because i want to remain positive i do but u can’t come in here and like spread YOUR misinformation and expect me to like,, post it and agree and let it slide??? idk anon. y’all have ur own blogs and i don’t want to be used a springboard for people to get their opinions out there u feel? and i respect ur opinion and all and if u think it’s all going to be fine then sure, think it, but critically evaluating the seasons past of shows on the cw or that have moved to the cw, this doesn’t bode well for stargirl at all?? i’m literally just looking at like the evidence and show quality decline,,, it’s facts

please please please look critically at cw works and how the cw mistreats source material and uses shows as cash grabs. stargirl was created for dcu exclusive, not for wider viewing, and it SHOWS. stargirl wasn’t meant to be tied to some wider cw diet coke dc universe. and the changes that will come WILL impact the show and i’m not expecting them to be good changes.

#asks #stargirl #i'm never like this on my blog but like #if i don't respond i feel awful #if i respond and agree i am lying #it's a rock & a hard place here

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tripsonflatground · 4 years ago

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Is it just me, or is it kinda capitalist that in order to get new superheroes, people kill off or age up the old ones and then put the new heroes in the same role/identity? Like, they killed Peter Parker to have Miles Morales. Bucky Barnes and Falcon/Sam Wilson both became Captain America after the death or age & retirement of Steve Rogers, depending on whether you’re looking at the comics or the MCU. Batman goes through Robins and Batgirls like it’s going out of style (and seriously, why does Dick Grayson let other people be Robin? That was a personal nickname from his birth family, right? Why would he give something so intimate away?). Replacing someone else and living up to their legacy rather than making your own path was a whole plot point/theme in Spider-man: Far From Home!

There are exceptions to this, like X-23 and Wolverine, who have managed to have some form of a father-daughter relationship in the comics (although, if memory serves, I believe he’s been killed in recent comics and she replaced him as Wolverine - though I haven’t read anything recent, so I might be wrong, and in the film Logan they killed him off). And things like Conner/Superboy from Young Justice being created with the idea to replace Superman doesn’t count in the same way because it was a villainous plot and Con didn’t end up following through. And there’s a new Ms. Marvel now that Carol Danvers is Captain Marvel, which is a much better alternative considering that Carol wasn’t using that identity anymore.

The idea I’m trying to get at, if it isn’t clear, is that the costume identity, AKA Spider-man, Superman, Batman, Wonder Woman, etc. seems to me the thing that’s given value while the person behind the mask is more recently being treated as expendable/dispensable. Which doesn’t make a ton of sense to me, because the person created the mask, and so much of themselves and who they are and what their goals are drove the reasons behind the creation of the identity and the way they behave in that identity. It’s like being a kid and trying on your parents’ clothes or getting hand-me-downs, even if it fits, you didn’t exactly choose it, and you look different wearing it. And I’m calling this capitalist because it feels like capitalism. If we equate being a superhero to a job, which in many ways it really is, especially if you are employed by an organization to do it like SHIELD, then the value is being placed on the role/job, and not with the labor. Capitalism doesn’t give a shit who’s doing the job and how they’re being treated as long as it’s getting done. Employees in the service/retail industry get treated like shit and don’t get paid enough but that will never change unless people have other options and aren’t desperate enough to accept those conditions and get something better. Recently, with the deaths and/or replacements of superheroes in order to have someone else fill the identity in comics and films, the individuals behind the mask, who are the real source of emotional connection and relatability, not the mask, seem to have become dispensable in the eyes of the creators.

And I do get that it’s a shortcut and an attempt to bring in new audiences by putting more modern characters into recognizable roles. But why does the original character have to *die*?

Yeah, superhero-ism is a dangerous occupation, sure, but doesn’t death seem like the most extreme option? It’s not as if there aren’t other possibilities:

1.Having characters be located somewhere else other than New York City or its fictional equivalent (Metropolis, Gotham, etc). There are other major cities in the US where crime happens, let alone other cities in the world. Los Angeles, Chicago, Minneapolis, Dallas, Detroit, Atlanta, Seattle, Philadelphia. Who doesn’t want to imagine a Spider-man or a Batman with a Boston accent? Wouldn’t it be a cool storyline if other Kryptonians not related to Superman escaped Krypton and eventually made it to Earth and moved to different cities and took up mantles and eventually the Kryptonian race could start rebuilding on Earth? Talk about a really interesting and positive way to show a diasporic community. And also, it doesn’t make any sense statistically that the majority of the world’s superheroes are in the US. Put some in Toronto, Paris, London, Cairo, Sydney, Tokyo, Beijing, Moscow, Rome, Athens, Rio, Copenhagen, Amsterdam, Seoul, Istanbul, etc. If the Olympics happen there, then there’s probably a lot of people that need saving and crime happening. It’s especially dumb with the alien invasion stories where they show the audience aliens popping up in places other than NYC and suddenly the heroes have to get other there, like unless you got super-speed or teleportation, it’s going to take a while, and how are you even going to communicate with the civilians if there’s a language barrier?

2.Having characters be from other dimensions. Marvel and DC have a history of playing with alternate timelines and multi-verse theory. Into The Spiderverse was a super-popular movie that inspired tons of people to make their own Spidersonas, and the lesson that can be taken from it is that you can take a character and make it still feel unique or individualistic even if you’re using similar themes. Maybe instead of the dimensions having evil versions they have to fight or being fucked up in some other way, make the new version of Wonder Woman or Iron Man or whatever be from an alternate dimension and end up in the main because of science/magic, or a dimension-hopping villain they’re fighting, or an accident, or to get help from other versions of themselves, or even escaping from an apocalypse/doomsday from their own universe. It’s so easy to either send them back to their own universe when you decide you’re done playing with them or keep them around if you want them permanently. Wouldn’t it be fascinating if the Captain America we’re familiar with met a Captain America from an alternate universe where he fought in the American Revolution or for the Union in the Civil War or even in WW1 or Vietnam?

3.Having female characters take on feminine versions of the identity, or vice versa, or non-binary characters find a way to have a gender-neutral version. This has been done with Hulk and She-Hulk, Superman and Supergirl, Captain Marvel and Ms. Marvel back when Captain Marvel was a dude, Spider-man’s daughter May was Spider-girl at one point, Batman’s cousin or something is Batwoman. There’s also been some adjacents, such as AntMan and Wasp or Wolverine and X-23. There are definitely ways that you can use a familiar identity to put more female and non-binary superheroes out there. I mean, military titles (the Captains) or even names like Black Panther, Green Lantern, and Flash aren’t even gendered. You can feminize names if you want to, but I’m pretty sure the female Hawkeye is just straight-up Hawkeye. People like Thor I feel differently about because Thor’s an actual mythological character, not something Marvel came up with, but you could just use a different Norse god/goddess? And yeah, Dr. Strange is the man’s actual name so that’s also a little different, but if he had a daughter or a non-binary child who also got their doctorate, they are in fact entitled to call themselves Dr. Strange rather than something lesser. Not to mention, that whole alternate universe versions point I just made? Yeah, these can be characters from gender-bent alternate universes or a universe where humans are androgynous or something.

4.Have multiple characters use the same secret identity. This would be the perfect concept for twins or friends with the same build. The bank’s been robbed but A is on a date? B can totally show up at the scene! B got really hurt in their last fight? A’s got them covered. There’s a bit of risk to it, like if people recognize they have different voices or someone notices them at two different crises happening at the same time, but that’s just what makes the challenge of pretending to be the same person interesting. And it could get even more complex if you had triplets doing it, or four college roommates, or whatever. It’s also a great excuse to be able to write deep interpersonal relationships and identity struggles. Hell, can you imagine how much scarier multiple Batmans would be? They could play even more on the “you never know where he’s going to be next or what shadow he could be hiding in” thing, like, just when the crook thinks he’s lost Batman, another comes out out of nowhere.

And if superhero writers don’t want to do any of this, there’s also the C-List and D-List heroes that maybe got introduced in like the 70′s or 80′s or whatever but didn’t take or ended up being a blip in another character’s backstory. If you want more modern superheros connected to the major ones so you can use them in the same stories, it is totally valid IMO to try revitalizing these obscure concepts. I have a vested interest in seeing if Monica Rambeau shows up as her hero identity Photon in the Captain Marvel sequel. This idea is still using what you have, but it doesn’t capitalize the lives of the characters you have or make them expendable in any way. In fact, it’s also kind of like recycling, or the opposite of capitalism, because you’re trying to use alternative resources or all of your resources instead of very specific ones to the point of over-saturation.

Look, I’m just very tired of superheroes getting killed off to be replaced by someone else using the same identity or because it’s edgy or dark or whatever. Even a debilitating injury that leaves them in a wheelchair or blind or deaf is a hell of a lot more interesting. Once a character’s dead, they’re dead, there’s nowhere else you can take them unless you bring them back to life (which admittedly happens a lot in superhero universe) or have them hang around as a ghost or something. It’s boring, it doesn’t give the audience any closure and just messes with their emotions for shock value, and it promotes toxic capitalism.

#superheroes #marvel #dc #capitalism #killing characters #alternatives to killing characters

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gillian-wildnightstudios-blog · 5 years ago

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Why TV Shows Make Decisions That Drive You Nuts

Hello all!

I’m Gillian, and I write alot. I storytell roleplaying games, both tabletop and LARP. I also write screenplays, do special effects, and work on film sets.

In this pseudo-rant, I’m going to try to explain why your favorite TV show’s writers do things that make you want to scream, tear out your hair, or rage-quit a series.

First, you need to understand a few things involved in writing screenplays, more specifically episodic television screenwriting.

It’s VERY different than writing a novel. A novel is under your COMPLETE control. You can write whatever you want that’s in your head. The characters will never do anything you don’t want them to do, they’re your little dancing puppets. You have however long you want to write, and you can have as many chapters as you want. You have no obligations, you’re not getting paid. Usually.

A TV script is a group effort. You are only partially in control, with a group of other writers, with input from the Producer, often the actors/actresses, network execs, and financial-dudes. You may not like the final decisions, but you grit your teeth and do your damned best because it’s your job and you want more work while simultaneously wanting to keep your work to a certain standard that you yourself can be proud of. A scene from your script will never be exactly what you pictured. This is because YOU are not the Director. They are the one in charge of bringing your vision to life in whatever way THEY choose. You have (in many networks) 23 episodes in which to tell 45-60 (roughly) page complete mini-stories, stringing together in a cohesive whole for a full story arc.

THIS IS FRIGGING DIFFICULT.

Books and fic can be for yourself as much as they can be for others.

TV episodes are for the audience. Execs want their shows to appeal to as many age and gender brackets as possible because then a show brings in more $$$$ through merchandising, licensing, commercial time, etc. This isn’t to say that Execs don’t love their shows, just that it’s as much a business as it is an art, and they frequently have to answer to shareholders, investors, etc (some of whom don’t have a creative bone in their body, some of whom are amazingly creative).

When writing an episodic series, you want the audience engaged, interested, invested in the characters, because then they’ll come back for more. Sometimes like masochists.

This is why they throw curve balls or do things to the characters that seems weird or enraging. Because we want a reaction. We want to kick you in the feels. We want you coming back to be angry at us. We want you coming back to love us. We want you coming back to wonder what the hell we were thinking.

But Gillian, you say, why would you want people to be pissed at you?

I could say it’s because haters make you famous, but the real answer is because it shows that you CARE about these characters, about that show. You don’t get pissed at something you don’t care about. The fact that a fandom can flip their crackers over something that happens on a TV show and spew millions of terabytes worth of internet rants about it means they are INVESTED in the show.

You still love the characters, you still love the show, though you may hate what they do, or you may hate the storylines. Some of you may hate it so much you rage-quit. That’s sad, but fine. Writers and showrunners have that delicate balance of keeping their base audience engaged (note- engaged doesn’t always mean happy), and try to attract new viewers.

It’s not easy. At all. I was once told the sign of a successful negotiation is that everyone leaves unhappy. I feel that applies to the balance of storytelling as well. You’re never going to please everyone. Ever.

AND THAT’S OKAY.

My tastes and yours are not the same. You hate Supergirl because it’s feminist overtones are too strong? That’s fine. I love it. I’ve dealt with that shit my whole life, as have many other women. It’s not like you’re obligated to watch it. You hate Olicity in Arrow? Well, I feel sorry for your terrible taste, but that’s okay, too.

As @stopandfangirl3 retweeted “"There’s a sense of: “I’m right, you’re wrong” rather than accepting the fact that people are coming from different places.“ @LynniePurcell”

Spew your hate, your adoration, your anger. Argue and rant and profess your love. A good writer will bathe in your rage and tears and giddy laughter and ask for more.

Why?

Because our goal is to entertain, to engage, to invoke emotion. Screenwriters livelihoods depend on it.

Now, keeping all that in mind, I still hate it at times. ;-)

However, my lessons from years as a tabletop and LARP game master/storyteller have made something VERY clear. The players do not see everything. They are not omniscient. They cannot predict what will happen, why it will happen, or when it will happen. And when they perceive something as being terrible, they will bitch a blue streak about how it’s unfair or bad without having any idea of what other plotlines are going on, the reasons behind the storyline, or even the fact that another player might be screwing them.

I feel the same is true for fandom audiences. We do not see everything. We do not know how these plotlines will end. We see something we don’t like and bitch til our lungs give out.

Specifically in regards to Arrow, I’m a diehard Olicity fan. Do I like what they’re doing here in the end of season 4 and beginning of season 5? Definitely not, but I haven’t seen the end of the line yet, so making a decision now seems premature. Gotta keep on my big girl pants and be patient.

Anyway, the real question is, do I think the runners and writers are stupid enough to ignore completely the fact that their show and ‘ship is SO LOVED that they won the MTV Ship of the Year award for two of the three years the awards been running?

Nope. I think they’re sadists, not stupid. Happy happy sadists.

:-D

EDIT: I realized the above post may not clearly say how excited I am about season 5 of Arrow. I am, I totally am, and will happily continue to watch it as it stabs me in my feels, no matter how soap opera it gets! ;-)

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performativezippers · 7 years ago

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Okay like I GET the urge to have kids, I really do.

But you’re honestly going to tell me it was watching that awkward-ass teenager she’s met once, in a childish dress singing the incredibly annoying song from fucking Willy Wonka, that did it for Alex? That led her to her (beautifully acted) breaking point??

And not the god damned adorable ten little bitty hoofers tap dancing their hearts out while dressed as her fucking baby sister who she raised and taught to read and showed the constellations to and taught to throw a punch and is constantly reminding that the world is better with her in it?

REALLY?

#UNREAL #UNBELIEVEABLE #tiny supergirls could explode her ovaries sure #but ruby?#excellent writing yet again supergirl staff #supergirl writers get paid for this shit #poor alex #alex danvers #kara danvers #sanvers #WOMEN MUST HAVE KIDZ OR THEY WILL DIEZ #supergirl 3x04 #supergirl

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canaryatlaw · 4 years ago

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okay, let's go. tonight was good but most of the day leading up to it was either blah or difficult, depending on the task at hand. I got up and had court, it was a super easy day where it was just me and we only needed a quick update, so they put me into the courtroom feed before the camera in the court had turned on, which I found pretty amusing. The judge showed a minute or so later, and then I was done with court at like, 9:10 am, so that was a nice change. I was otherwise supervising clinic, which was either moments of me having nothing to do at that moment or intense focus trying to figure something out, especially with one of the cases today which required some intense scrutiny from my whole work team. We didn't get anything filed, which was unfortunate, but I have two cases signed and ready to be submitted first thing tomorrow, and another one hopefully not far behind it. I also had a chat with my supervisor about this deposition we have to do tomorrow, which I'm super not looking forward to and feel very anxious about. I'm trying to remember not everyone knows legal terminology; a deposition is a pre-trial action where the lawyers from the other side get to ask the party questions, much like a cross-examination at trial. It can have several uses, one being to obtain information they don't have yet, or them trying to get a specific statement on the record that could be used as impeachment (basically the other side presenting evidence that you were not truthful about something in your testimony) evidence at trial. Honestly I'm not sure what they think they're going to get out of this, they already have an 8 page amended affidavit with all our claims, and I'm just concerned their motive here is try to make my client upset and do something wrong, whatever that could be. I can't go into the case, but there are a lot of cultural influences on the marriage, and it seems like the husband is very much relying on said influences and their treatment of married woman for the case, so that's kind of challenging because she's been abused for so long and is honestly pretty fragile, and I really just don't want to make it worse for her. The worst part is that almost all of it I just have to sit there and not be able to do anything (there are certain objections I can raise, but they're very limited, and most of the time it's just the objection being noted for the record and the client still has to answer the question, so not super helpful. This is also definitely not a normal thing for us to deal with in cases. generally happens when the abuser hires a lawyer that doesn't know what they're doing in an order of protection case and try to apply other legal procedures which are really just not applicable here, and like I said I don't know what they think they're going to find out, and I of course always google opposing counsel, and it was clear in this case that the lawyer chosen was picked for cultural reasons, not expertise in order of protection cases, so this will be interesting. I just feel very anxious about the whole thing, and my supervisor is going to be there with me (on Zoom) but she's mostly just for background support and potential discussions during any breaks taken, but it's going to be on my shoulders as to what to object to, and really I just don't want to look like an idiot. There's this terrible trend in our cases where abusive men with hire male lawyers who are just as full of shit as they are, and it makes it incredibly difficult to deal with them. I haven't seen much of opposing counsel actually in action here, but by the documents I received from them I wouldn't be surprised if that was the case. but now I'm ranting and totally off the topic of today, I just really needed to get that all out. anyway, today. so we got those cases set for the morning and I did our new timekeeping procedure which is a giant pain in the ass, so super happy about that being in place going forward. A bit after 5 I got a text from friend that they were leaving work and heading to my apartment for us to get taco bell and go to

target, so I got ready (I didn't actually change because the "pajamas" I was wearing were technically just clothes because I'm out of proper pajamas again, so I mostly just put my bra on and such, lol) and she arrived not long after that. so we did our regular trip to the taco bell, and then parking in the home depot parking lot next door to eat our food. They're a really cute like walk up window ice cream place across the street from the taco bell, and it somehow got up to 80 today which is wild, so it was swarmed with people, and now I really just want that in my life lol because I do love many different ice creams, but vanilla soft serve (with sprinkles or chocolate crunchies) has a special place in my heart, so I always like that. so I need to get some soon. After we were done eating we drove over to target and did our shopping, a few random food items and some pharmacy stuff, then paid and left, friend dropped me at home from there. I took a few minutes to situate everything, then realized The Flash was probably airing right then, so I turned the tv on and clicked to start the episode from the beginning and fast forward the commercial breaks in an attempt to make it to the live airing. I'm really not invested in the flash very much to begin with, but this episode was such a filler episode it was really losing it. part of it was about a time loop, and okay, when writers go with tropes like that it's because they're really running out of ideas (there is an exception for legends of tomorrow here because they're in a different category of shows entirely, and in one where a time loop makes complete sense to happen, not to mention their time loop episode is generally regarded as one of the best episodes of the series, because Tala Ashe is really fucking good and it was really fucking good). so that was my observations there. While I was still watching it, a friend tweeted asking about my opinion on the Supergirl courtroom scenes that was playing after the flash, so I went straight into watching that. As expected for the Arrowverse, the courtroom scenes were complete bullshit, and they even tried to get some legal jargon in there but use it in an entirely incorrect premise (you can't just yell 'fruit from the poisonous tree" whenever you feel like it, and yes that is actual legal jargon). so that was too be expected anyway. the rest of the episode was fine I guess, not super interested in their plots going on, I'm here for the Luthors lol. when that ended, I watched a few episodes of Freaks and Geeks, which was amusing, especially with baby James Franco, and the girl who goes on to play Velma in the live-action Scooby Doo movies as the main character, so knowing that context was funny. After a few episodes I started getting ready for bed and now I'm here and I REALLY did not want to make this as long as it ended up being, but sometimes you just gotta let it out I suppose. oh well, time to go to bed now for sure. Goodnight sweeties, enjoy your Wednesday.

#daily journal #April 2021

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thefirsthogokage · 4 years ago

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We were told this wasn't canon on SPN because if they confirmed it was canon, you can bet SPN would have been yeeted off the network at the end of the season because they would have hated a nuanced portrayal of a queer main character.

"But Legends! But Supergirl! But! But! But!"

None of those shows get exported to Russia, let alone for a crap ton more money that they make in the US.

Guess what Russia has?

Russia almost took SPN off the air when it was getting "too gay" in S8. The CW/WB went to the SPN creative team, told them to cut that shit out. Hence a lot of toning down the gay after that for a hell of a lot of time.

"But Charlie! But! But! But!"

Charlie? The Charlie who kept getting killed? The Charlie who was supposed to have had a thing with Rowena, - thus making Rowena queer, - which we find out in a deleted scene? The Charlie who had her new love ripped away from her? Charlie who wasn't a main character? That Charlie?

"But the writers cut that scene!"

So, the writers who were passionate enough about the scene to write it and get it filmed in the first place decided to dump their work? The network, who would have paid the actors and crew for that scene already just let them waste their money with that scene were totally cool with that happening? You really think that happened? Really? That's what your logic is telling you?

You guys, this isn't some conspiracy, this is how networks WORK. This has been pointed out by people with inside knowledge and by people in the industry. Start. Listening. Please.

Look, I watched SVU. I ship Elliot and Olivia. But this? All of this? It seems so damn familiar. I just can’t put my finger on it.

Oh wait. Yes I can.

But everyone’s all like… STABLER AND BENSON ARE CANON!

Bitch, Cas and Dean did this four (almost five) fucking years ago. But we were told this isn’t canon.

(╯°□°）╯︵ ┻━┻

#eo and destiel #law and order oc #spn destiel #spn wank #industry fuckery #fuck the cw #fuck the wb #destiel is canon

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itsmaddienotmaddy · 7 years ago

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Supergirl 3.07

Idk which person in the writer’s room was like, you know what would be FUN? Jamming too many storylines into episodes so that none of them are fully played out.

Seriously. We wasted an episode that could have been dedicated completely to Alex and Maggie on J’onn going to Mars with Kara to get his dad back. Then we just FORGOT about dude until this episode. For what? For a drawn-out scene where he (adorably I will admit) raved about and mispronounced ‘coffee’ and a scene with J’onn buying him an apartment.

Side note: WHY DO SAM, SAM’S ADOPTED MOM AND SPACE DAD AND SPACE GRANDPA GET PLACES TO LIVE BEFORE LENA? Or James? Or Winn?

Anyways.

Now we have Sam’s storyline. This was the only one remotely helpful to the season arch I am assuming that will happen. Sam is learning more about herself. The scenes with Ruby were sweet, and Odette Annable is an angel and makes me feel for her character. The fact that she is going to forget about Ruby makes my heart BREAK.

And then there’s the other part of the episode, Mon El’s return, (which truly did not even seem like the focus of the episode. This was truly Sam’s episode.)

Guess what? He still sucks, till lies, still withholds information from Kara and goes behind her back. Mon El has never heard of character development. Like, BITCH, you are married, you owe it to Kara to tell her everything immediately. She saved your fucking life. It’s gross. And he needs to give her her fucking necklace back.

And Kara. Melissa did an incredible job with Kara’s speech to him, every voice break and tremble, it was GOOD SHIT.

And that was it. Literally nothing else. And next week is the crossover so none of what went down will continue because the crossovers are always just random shit they drop in the middle of all the show’s seasons. They never fit in with all the shows, (I get it’s hard but it’s pretty lame.) And so nothing will be addressed until the Christmas episode.

Here’s hoping Alex is allowed to GRIEVE at least a little outside the minuscule amount in ‘Midvale’. And Lena. God, where we left her wasn’t a great place. She almost fucking died again. IS SHE OKAY? You’d think there would be follow up??? Here’s hoping we get blessed with some Supercorp scenes, Danvers sister scenes and maybe some more Kara/Lena/Sam friend scenes.

If fic writers can maintain consistency throughout their storytelling in the DCTV universe, then I would hope that people that are fucking paid to do it, would do it better.

I didn’t mean to rant this much but FUCK.

#supergirl #supergirl 3.07 #kara danvers #anti mon el #sam arias #reign #lena luthor #alex danvers #supercorp #someone help this show #help me katie mcgrath kenobi wherever the fuck you are #you are the shows only hope

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facepalming-since-chernobyl · 4 years ago

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My brain is rotting

Maybe isntead

All dumb shit - (x)

“ Whether or not you believe Lena Luthor was behaving out of character on Supergirl season 5 or not, there’s no denying that Lena has a lot to make up for and make right on Supergirl season 6. “

yeah, out of character. She was never manipulated by her brother, never killed people,never threw a tantrum, never did morally wrong experiments, never was sure she is right when she wasn’t, was never blinded by her emotions, blah blah blah

It’s clear that there is a lot to be done with Lena Luthor during Supergirl season 6 after a season of her siding with her brother and the writers consistently destroying the relationship between Lena and Kara over the big Kryptonian secret.

What a lot? All they need to do is put the bitch in jail. Tell me, why Lena won’t admit on public she was hapily helping Lex with lobotomizing whole fucking humanity? That she kidnapped and enslaved people? Why? Because she KNOWS she would end in a jail. What makes her a fucking coward. What makes her redemption a SHIT.

If there’s any way to make sure this is done (and done correctly), it’s to bring Lena into the fold and give her a pivotal role in these stories. Let’s start by making her a super friend.

Pivotal. LOL. She HAD pivotal role in season 5 and that’s why this season SUCKED BALLS. And she was a superfriend. And guess what? She used Kara and manipulated them all, put them in DANGER, because she was butthurt.

Making things right needs to be Lena Luthor’s top priority on Supergirl season 6. She really screwed up. (I personally don’t agree with the narrative that the show painted of Lena’s actions, as it was very clear that her past abuse and trauma was clouding her judgment and she was actively being manipulated by one of her abusers, but nonetheless…) Her relationships are in shambles, but for the first time in her life, she has the chance to put the pieces back together.

I’m dyiiiiiiiiiiiiiiiiiiiing. Her top priority should be going to police and confessing her crimes. But we all know she won’t, because she is a coward.

Sure, you don’t agree because Boo Hoo Hoo Luthor showed her true colors. Yeah, sure, she had traumatic past and Lex and Lilian abused her all the time, we just don’t know how exactly. Plus, sorry not sorry, your traumatic past don’t give you the rights to kidnap, enslave, manipulate, lie and torture people. And plan to lobotomize whole humanity because you are too poor to go to theraphy... WAIT.

STOP excusing abusers and toxic people’s behavior. It’s fucking disgusting. Especially when all what they have to do is cry (crocodile tears) and help to fix shit THEY CREATED. ONCE AGAIN.

The abuser she first SHOT IN COLD BLOOD and then happily work with, when he was magically brought to life, because oh yeah, he made Luthors look good. LOL

Her relationships are in shambles and it’s her fault. What first? She had that chances in s2.

Lena’s finally seen the light and the truth about who Lex and Lillian are, so it’s given her a new lease on life, one where she can begin to put her past behind her and move forward for the first time in her life. She can, hopefully, start to have a life that isn’t constantly dragged down by her family. And I think the best way to do this is to make her an official super friend.

I’m dyyyyyyyyyyyyyyyyyyyyyying. Lena shot Lex with cold blood because she knew who he was. And then she was still manipulated by him. For the THIRD TIME. And she had that life in STARCITY and she threw it away, because she wanted to be a LUTHOR. Once again, it’s on HER. She could walk away every fucking second. But she chose to stay. And do horrible

On this point I’m pretty sure she is a dumb bitch that can’t learn on her own experiences what makes me wonder about people calling her a genius.

Lena’s often kept out of the loop until the very end when she invents some life-saving device and stops the villain, which is tiresome and shows that the writers truly don’t understand the complexity of the character and how impactful her relationships with the other characters could be.

How many times the shit she “helped” to fix was HER fault? Because she knew better and didn’t listen to her friends? This is IN character and writers know exactly who she is. Sorry not sorry, canon.

I’m not saying that Kara and company are going to immediately trust Lena to be on their side and always do the right thing. That will be part of the tension of Lena joining the group at first, proving that she’s capable of helping them and being a positive addition to their group. With Lex on the loose (hopefully not for long), this provides the perfect opportunity to begin Supergirl season 6 with Lena in the fold, finding more reasons to keep her there along the way.

Sure, once again Superfriends need to offer their hand to their ABUSER and invate her to their circle. So she can fuck shit again. Positive addition, yeah - butthurt, complains, eternal bitching about how people call her Luthor, being always right, not listening to the others. But oh yeah, she can produce more kryptonite to torture Kara. Once again, why keep her? Put her in the jail, case close.

(...)now is the time that Supergirl seems to be relying heavily on the team element, and leaving Lena out would be disastrous. The entirety of the Lena vs. Kara story on season 5 could have been avoided if Lena was brought into the fold earlier (and seeing only a few alternate realities doesn’t convince me that there was no way Kara could have told Lena earlier… that’s a pathetically easy way out of the story and the writers surely know it).

Sure. Blame Kara once again for rightfully protecting herself. And sure, CANON can’t convince you that telling Lena earlier would have changed a shit. Some people can’t understand that Lena is the pathetic control freak and has to know everything, because if not boo hoo hoo, people call her a Luthor.

This is canon Lena Luthor. I’m sorry she doesn’t fit your headcanon.

And aside from Kara, Lena needs to work out her relationships with the others, too. She had minimal scenes with Alex — which is the second most important relationship to develop next to Kara and Lena’s on Supergirl season 6 — on season 5 and Brainy, too. But have Lena and Nia even been in a scene together? That’s a tragedy in and of itself. Plus, Kelly was the only one on good terms with Lena, and that could grow into a beautiful friendship, especially because of the relationship that Katie McGrath and Azie Tesfai share off-screen.

Her most important relationships are: her and her ego, her and her last name, her and her mommy issues, her and her brother. What she needs to develope is a fucking conscience.

And Jesus Christ, leave Nia out of her fucking clucthes, we don’t need her corrupting poor Dreamer (aside of the fact Dreamer is protective of Kara and is going to show Lena her middle finger in s6). Why we need being tortured but going through Lena making friends with everybody?

Lena’s been a series regular on the show for three seasons, yet she’s continuously the person left out. Nia’s a superhero and knew Kara’s identity before her, Kelly has close ties with Alex and Kara even if she’s not officially in on the secret yet, and Brainy instantaneously became part of the group when the Legion showed up during season 3. Because of the ridiculous good vs. evil story, Lena has not been allowed to grow and develop real relationships after three seasons. Supergirl season 6 must rectify that.

LOL, she was in the cricle. All the time. She just didn’t know Kara’s secret. But sure, it kept her form growing up *dyiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiing*. All of the characters that knew earlier were worthy Kara’s trust. Canon showed Lena was and is not. She is ruled by her BUTTHURT. That’s the problem with Princess Lena. She was blinded by her emotions by MONTHS. And for sure it will happen again, because Miss Luthorgirl is unable to understand her own fucking flaws and blames everyone but herself.

After painting Lena out to be a villain for the entirety of season 5, Supergirl season 6 absolutely cannot follow their history of major interpersonal developments occurring off-screen with Lena, especially when it comes to her relationship with Kara.

Not painiting. She was the villain. Yeah, all we need is focusing on Lena’s being sad and uspet and Kara trying to fix shit again. Because we don’t suffer from it since s2.

Maybe instead of wasting time on a white privileged white bitch, who makes the same msiakes all the time and never paid for it, who kidnapped, tortured. enslaved and lobotomize people and her friends, let’s focus on dansen, developing Kelly, focusing more on Alex and Alex and Kara, giving Nia more screen time. I wonder, why the author thinks Lena and her whiny ass should get anything more?

This goes for all relationships, honestly, not just those involving Lena. While I do think everyone should get these moments on-screen, it absolutely has to happen with Lena if we’re going to believe her journey going forward. Making all of these moments happen off-screen is quite a bad habit that has constantly dragged Supergirl down, but should we actually get to see the emotions and growth exploring during Supergirl season 6, there’s a lot of potential, particularly because of how talented this cast is.

Sure. But the others, REAL representation, are not that important as Lena and her privileged ass. Who needs her journey going forward? She had her chance. She fucked it more than once.

And now, amazing how this person totally IGNORED that Lena kidnapped, killed, lobotomized, enslaved, tortured Kara and hurt her physically and emotionally like NO ONE EVER HAD, that she supported and happily worked with a mass murderer and terrorist, that she planned to DESTROY Kara and her family. Like all she did was some bad things, but it was not her fault that much, because her family abused her and Kara lied to her, what a crime!, let’s not talk about what she really has done. The shit since s2. The list is LONG. Because, ha ha haaaaaa, Lena doing bad things, while being “blinded by her emotions” is NOT only s5.

Lena Luthor is not a poor victim of circumstances and her family. Her crying and helping people fixing HER shit is not a redemption. Her apologizing to Kara is not REDEMPTION. All of she has done is still THERE. If she wants redemption, she needs to PAY for her SHIT and earn it.

The problem is, I don’t give a flying fuck anymore. She can rot in jail. And tbh, this is what she deserves.

Kara deserves better. Superfriends deserve better.

#anti lena luthor #anti sc #my shit #gmo lena #antilena

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