Another entry in the sin bin of political lectures self-identifying as entertainment is SuperGirl. Once again an opportunity to create a real masterpiece has been passed up for the sake of deepthroating audiences with the Hollywood schlong of political correctness. There really is far too much politicking to get into the detail of each sin, but if I was to accept the attempt to reprogram my brain to their parameters it would look something like this:

• “Children of Liberty are the enemy, xenophobes persecuting the invaders refugees who came from the Middle East other planets, and are horrendously intolerant for refusing to overlook the violence of the invaders misunderstood refugees and feeling threatened by the dangers they bring with them. How dare they oppose citizenship for those who came to America Earth illegally and try to secure the Mexican border global perimeter to control who comes in?”

• “Priests and family members are monsters for convincing a young mother to raise her newborn instead of abandoning her to totally “normal” gay adoption.”

-As for the gay relationships of Alex, they had all the emotional intensity of a damp rag, thanks in no small part to those relationships being nothing more than an exercise in political box ticking, rather than a natural and meaningful eventuality of the narrative. Just in case the word “homophobe” enters your mind, I gotta tell you if they wanted a gay relationship one was ripe for the picking between Kara herself and Lena Luthor. There was real emotional intensity between them, so much so that Lena was ready to wipe out the world’s cherries with her scheme “No New Cherries” (the ‘s’ is silent) all because Kara hid her identity from her. Honestly this was of the few parts of this show that was really well written, and if they hadn’t already ticked the gay box with Alex, I would have suspected they might go in that direction with these two. But that box had already been ticked and that’s all that really matters, right?

• “America should revoke the second amendment.”

-An entirely predictable assault on lawful firearm possession from the usual suspects. It was about as subtle as having the camera zoom in on Guardian, completely coincidentally standing next to a poster saying “Repeal the 2nd Amendment”, turning to face the camera after someone who happens to be behind it tells him to “be careful”, gives a thumbs up to the person (so as not to completely violate the fourth wall, only gently caress it) and saying “Trust me”. Half of the shot is of Olsen, the other half is is the poster. The “Trust me” and perhaps a sparkle edited in for his perfectly white teeth would not go amiss with this kind of subliminal brainwashing.

• “The first Amendment is evil and we need ‘anti-trolling’ legislation”.

• “We shouldn’t try to harness to plastic waste for energy with incinerators because reasons and science says it will explode”

• “Meghan Markle should be Queen”

– that one aged well…

• “Mutilating your child because they are confused about their gender is the right thing to do, and it is OK to kill anyone who disagrees”

– The show literally wanted me to have sympathy for the intent to murder someone for a non lethal assault on the “trans community”.

• "It’s not racism to ascribe negative stereotypes onto an ethnic minority so long as the minority is white"

– A book belonging to one of the “heroes” was titled “White Fragility – why white people struggle to talk about racism”… which is just a straight up racist assumption. I don’t talk about racism much because I don’t see it entirely through the narrow lens of the Trans-Atlantic slave trade like the race baiting Hollywood writers of this show. I have the intelligence to see that all ethnicities can be both victims and perpetrators of racism. I don’t hold the racist viewpoint that white people are always the perpetrators and black people are always the victims. The fact that there is racism unrelated to the African slave trade seems to escape the minds of modern day race baiters in Hollywood, as does the fact that racism was not the cause of the slave trade itself, just a means to an end. When tyrants want slaves and Human Rights law interferes, dehumanizing their intended slaves is a way to prevent Human Rights from applying to potential victims. This dehumanization is a means to justify a tyrannous end we see repeated with the Holocaust, rape gangs and the mass infanticide known as abortion. It’s not really murder or rape when the victims aren’t really human, right? There you go, how’s my “White Fragility” looking, you racist pricks?

• “It’s OK to simultaneously lose the method to finding an arch villain, and lead them to their plot device because racial justice”

Politicking aside, there were also some serious creative issues here:

• Character Motivation: - A crucial element of any character is their motivation. What drives them and how they go about achieving their objectives reveals the content of their soul – the most important part of any show. The true essence of the Kryptonians Kara and Kal is that they see injustice on Earth, have the power and the courage to do what’s necessary and put things right, but struggle with the concept of drawing attention to themselves. That’s where their secret identities come in, a mechanism to facilitate action under one persona while still being able to live normally under another. They are supposed to care more about substance than appearance, but the show seems to flip this on its head. Kara and her arch villain Lex Luthor both seem more concerned about being seen as heroes, at times feeling like they are in competition for external validation rather than mortal enemies – a mutual obsession with appearance rather than substance. While this may follow a golden rule of “write what you know”, in this instance this trait poorly transposes onto the protagonist and antagonist leaving them feeling rather shallow.

• Stake Inflation:- I’m not talking about the process by which water is added to beef to make it weigh more and therefore increase its price, though the principle isn’t far off. I am talking about a crude attempt to increase dramatic tension after writers have failed to engage audiences with the story. When this show was at its best, Lena Luthor’s breakdown confronting Kara’s lying about her identity had huge impact. I could feel her devastation and how it triggered past emotional trauma, as though her abused inner child was crying out. When writers have made an engaging situation, even a disagreement between friends can have impact, but when they have failed to engage or connect with audiences, even big events can seem dull and boring, so writer’s employ 'stake inflation' - an attmpet try to endlessly raise the stakes to compensate for lack of impactful context, devaluing the stakes through inflation. If one character’s death doesn’t stir up enough emotion, kill 2! If that doesn’t work, kill 1000! Still not working? Kill a million, or a billion, or the whole Earth! Still not enough? WIPE OUT THE WHOLE UNIVERSE! STILL not enough? Let’s go full Dr. Evil with this one... ONE HUNDRED MILLION BAZILLION UNIVERSES!!! Well that’s basically what had happened before the first episode of Season 6. Basically all the universes got wiped out except one, where significant events had basically been retconned out of canon anyway, giving me all the emotional impact of “lol ok whatevs”, with the characters seeming to be equally unbothered. Like the Deutschmark of Weimar Germany, the emotional currency of people in this world had been devalued through irresponsible printing to the point where a billion printed deaths in a wheelbarrow doesn’t even buy a loaf of raised eyebrow bread anymore, but it will get you a nice eye roll…

Frankly it was laughable when they tried to use the gay adoption token to raise the stakes at the very end, with Alex pleading “She’s My Daughter!” to justify betraying the whole universe (again) – clearly an attempt to cause audiences to equate gay adoption legitimacy with natural born parenthood. But given that the child was nothing more than a political box ticking token she met 3 episodes ago I find myself not caring in the slightest.

• “Brainy” is another example of low IQ writers trying to create a character too intelligent for them to write for. Demonstrated by this “Level 12 Intellect” constantly miscalculating and screwing up, with the writers trying to patch this up with probabilistic calculations which seem more like presumptuous guesswork rather than the works of a superior mind. If you don’t have the intelligence to write for such a character, either consult with someone who is, or leave it out altogether.

Kara’s relationship with her father was as bad a joke as Lara Croft’s in the 2018 Tomb Raider. Both characters were developed in the context of being orphans, but had inherited great power from their parents, but both had this element effectively retconned with Kara finding her father in the Phantom Zone, and Lara finding hers in Yamatai. For both characters their bond to and loss of their fathers was an important part of their story, and there was always a mystery and questions asked, but in my view if you can’t answer questions well, a show shouldn’t answer them at all. Unfortunately both decided on the opposite. Not only retconning their deaths, but also their characters. In both instances, the daughter finds the father in dreadful circumstance and pledges to rescue them, but rather than be overcome with joy at seeing their child again, after a brief stint of thinking they were hallucinating, actually scold their daughter’s for trying to save them. Such a reaction is so unreal and a betrayal of how these characters should be. There is a serious argument to be made for just leaving them dead, but if you are going to retcon their deaths and the character’s orphanhood, either do it well or not at all, and in this case it was not done well.

It is also remarkable the parallel that can be drawn between the writers’ attitude to this show end the series finale. Near the end, facing a seemingly impossible foe, the superfriends reveal to Kara an option to focus the suns rays on her in a solar flare, drastically increasing her powers. Honestly I thought this was going to be a high point on which the show was to end. Genuine female empowerment, not through Mary Sue fallacy, but through teamwork and sacrifice, instead they decided empowering oneself “is something our enemies do” and instead the plan was abandoned so Kara could give a 50 millionth “inspirational speech”– just as the show itself threw away its own opportunities in favor of delivering a series of political lectures through the mouths of Benoist and liberal sock puppet Calista Flockhart. Given that a significant demographic for this show is younger girls looking for a role model, some of whom may face serious danger from predators, I’m not so sure discouraging them from acquiring the means to defend themselves is the best way to go, and frankly I think it is immoral.

At least they didn’t turn Kara into a full on Mary Sue, and critically the show maintained the Kryptonian optimism and hopefulness throughout her development. The show was well cast, had great sets and excellent backstories for some very interesting characters. Jean was a terrific, mature and controlled counterpoint to Supergirl’s plucky nature, and when the writers weren’t using him to try to make me apologize for being white he was genuinely likable. In fact, it is quite easy to skip over the many positives because they were so drowned out by the shameless politicking it became a challenge to continue watching until the end at times. Boldly I continued, my determination aided by the show’s more positive elements, including but not limited to Kara’s pantyhose, which naturally the writers saw fit to replace with pants because apparently feminism is about making women more masculine IDK… To keep me going after that I also needed a hefty dose of sunk cost fallacy, which increased as needed the closer I got to the end :/

With unrelenting brute force, this one got off to an explosive start. An underground adventure with disadvantaged misfits taking on an overpowered foe. Each character had clearly defined, logical motivations which developed over time. For once it seemed Hollywood was going back to basics but...just when I thought they might be taking a break from political lecturing long enough to do its job of entertaining us, the latter seasons saw them falling back into old habits. Abandoning storytelling and what could have been an absolutely epic finale, in favour of telling us who to vote for instead, framing the villains as conservatives and therefore wrong, and the heroes – if you can even call them that – as liberals and therefore right. Essentially they have taken the virtues of good people in the real world, and turned them into attributes of the villains, observe…

According to this show - “bad guys” are people who

• Criticize the mutilation of boys into girls, campaign to remove propaganda promoting trans ideology and Jihad from public schools, while also trying to assist kids into demonstrably better private schools
• Want to ban abortion, end “sanctuary cites” and birthright citizenship which serves only to enable the scam of “anchor babies”
• Are concerned about vaccine safety, secular forces corrupting America and the push for men to access women’s private spaces
• Question the integrity of “charities” who might be embezzling their donations
• Preachers whose magical power is their big fat gob (literally)
• Want to build efficient oil pipelines from national sources to secure supply and reduce dependency on Russia and other geo-politically volatile regions, removing OPEC’s stranglehold over Allied oil supply
• Say things like “we don’t want money we wanna be free and send illegal rapists back where they came from”
• Maintain faith in God during hard times, rather than take the hard times as “proof” He doesn’t exist
• Say things like “All Lives Matter” instead of just “Black Lives Matter”
• Call out socialists, indoctrinating teachers, “scientists” who make vaccines, and welfare scammers etc


It’s like Kripke and the rest of Hollywood think our brains are malleable toys they can program into following whatever race baiting agenda they want to inject into us with their honorary degrees in Halo Effect brainwashing. For example, one scene where an evil guy was being interrogated, the “good” guys were unable to torture the truth out of him, no matter how vile the treatment. Until... they started donating his money to causes he hates, Elizabeth Warren, and BLM - proclaimed by infanticide poster-girl Starlight with devastating determination. Honestly, had they then cut to an official “Elizabeth Warren for President” board with her voiceover “I am Elizabeth Warren and I approve this message” it wouldn’t have been any more obvious or out of place. They think they’re convincing us to vote liberal, well I don’t know about you, but all I see is the writers on screen, grabbing Starlight’s mouth, and lip syncing her with the message “The bad guys hate Elizabeth Warren and BLM and antifa therefore those things are good".

On and on it went, with some frankly narcissistic projection from Kripke revealed in a scene where a Vought actor was expressing his discontent with the idea of ending a popular show with a bunch of “red state bumper stickers” – am I the only one who almost choked with laughter at the irony of criticizing the politicization of a popular show, while they end this popular show like a Democrat Super PAC? In terms of politicizing TV shows, be honest, what proportion have Liberal leanings, and how many – if any – are Conservative?

On the subject of proportionality, as usual, Gay relationships are once again over-represented in terms of real world statistics, with Queen Maeve, Frenchie, Tek Knight, Splinter - some of the gay characters off the top of my head. Overall, I think this show placed more relevance on gay couples than they did on straight ones, despite gays being about 3% of the population. It was also unnecessarily explicit to the extent that it seemed at times Kripke actually wanted to make hardcore gay porn with Satanic undertones, but was frequently reminded that he was supposed to be adapting a comic book series.

Some of this show's pitfalls bore similarities to those of SuperGirl, where the “Children of Liberty” were framed as xenophobic racists, The Boys frames “liberty” as a white supremacist Nazi. That’s right, “Liberty” is our enemy according to Hollywood. Let’s not also forget the debacle of the “Level 12 Intellect” SuperGirl writer’s weren’t smart enough to write for, paralleled in this show with the character “Sage” – A woman whose superpower is her intelligence, yet somehow facilitates Homelander acquiring the V1 from Soldier Boy, not understanding how it was possible after claiming people are easy to read. If you’re going to write an exceptionally intelligent character, they need to make exceptionally intelligent decisions, if you’re not even smart enough to conceive of a way intelligence could be demonstrated, then perhaps you are not intelligent enough to write for such a character and you should either leave them out, or consult with someone who is smart enough. The Critical Drinker said something similar to my view on this matter – that writers are only capable of writing for characters as smart as them, but I’d like to refine this. You can write for a character smarter than you by hypothesizing ideal circumstances where intelligence greater than your own can be expressed, but in this instance, they are not capable of even hypothesizing someone this intelligent, and their attempt to do so reveals their own intellectual deficiency and laziness in failing to consult with someone more intelligent than them.

Then there is a parallel to SuperGirl's desire for external validation, where Starlight sees how much hate she gets so doesn’t feel like there is any point in continuing her efforts to bring Homelander down. The hate wouldn’t matter to someone whose motivation is outside of external validation – my website is a testament to this fact. Initially Starlight had stronger motivations, but I guess Kripke was transposing his own troubles onto the character, perhaps after getting well deserved negative reviews.

According to Kripke, speaking through the mouth of Stan Edgar, the ultimate and most powerful enemy is “supply and demand, the elegant flow of currency” – Wow dude, tell me you're a communist without telling me you're a communist... No wonder this show went to hell at the end.