#supergirl

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Starring Katie McGrath in Everything Part 9: Supergirl Edition Katie as Kara Danvers from Supergirl 

Starring Katie McGrath in Everything Part 9: Supergirl Edition 

Katie as Kara Danvers from Supergirl 


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lierdumoa:

 Supergirl is a new superhero show with a female lead. Many people want to believe that this, in and of itself, makes the show feminist. People are even arguing that it’s a good “starter kit” for people who are on the fence about feminism.

I might have agreed with these people before I actually watched the show.

But after watching, I’ve come to the rather unfortunate conclusion that Supergirl is not, in fact, a good starter kit for people who are on the fence about feminism.

If anything, it’s the opposite. In the same way that Raven Symone is using her brown skin to legitimize anti-black racist propaganda, Supergirl is using female characters as tools to legitimize sexist norms.

I’ll start with Cat Grant’s “girls are great” speech:

  • “What do you think is so bad about ‘girl’? I’m a girl. And your boss, and powerful, and rich, and hot, and smart. So if you perceive ‘Supergirl’ as anything less than excellent, isn’t the real problem you?”

Now even if we ignore the fact that the speech is coming from a white corporate mogul and look solely at the content, the speech is still essentially arguing that equating a woman with a girl is empowering.

But it is not empowering. Equating women with girls normalizes two major social problems:

1) the sexualization of young girls

2) the infantilization of grown women

Consequently, Supergirl is both sexually objectified and infantilized throughout the pilot episode.

.

Let’s start with the infantilization.

Infantilization can happen in real life or within the context of a fictional narrative. Infantilization means exactly what it sounds like it means – treating an adult like a helpless infant. 

The paternalistic figure – a romantic partner, a parent, a boss, etc. – deprives the adult of agency, either by making decisions for the adult, or by deliberately depriving the adult of information necessary for the adult to make informed decisions for themself.

Infantilization in a superhero narrative tends to look something like this: 

  • Male superhero conceals his secret life of masked vigilantism from his female significant other. He claims the secrecy is for her protection. Of course, she cannot protect herself from a situation she doesn’t know she’s in, and even superheroes cannot be two places at the same time, so the female significant other generally ends up dead.

Now you’d think, since Supergirl is about a female superhero in possession of godlike powers, and not about a male superhero’s girlfriend, that this brand of infantilization would be avoided.

You’dthink.

James Olson starts working at Supergirl’s place of business at the beginning of the pilot episode. He is established as a potential love interest the moment he appears on screen.

We discover at the end of the pilot episode that not only does James Olson know Supergirl’s secret identity, but that Superman sent James to Supergirl’s place of business to “watch out for her” and that both James Olson and Superman kept this secret from Supergirl.

She manages to see through this paternalistic ruse a the end of the episode, thereby “proving” that she is a “mature enough” to “handle the truth.”

This sends two decidedly un-feminist messages.

  • First, it sends the message that it is okay to lie to adult women for their own protection.
  • Secondly, it sends the message that adult women must earn the right to be treated like adults  – a right that is simply granted to adult men without question.

James Olson and Superman are not the only people who infantilize Supergirl in the pilot episode. A secret government organization infantilizes her by secretly monitoring Supergirl’s behavior and by concealing knowledge from Supergirl regarding her family history and aliens that want to kill her.

Supergirl’s adoptive older sister infantilizes her by concealing the fact that she belongs to said secret government organization and participates in said monitoring.

Supergirl’s mother infantilizes her by concealing the fact that she also belongs to said secret government organization, as well as the fact that she is even alive at all.

All of this secrecy is supposedly for Supergirl’s protection.

.

Now, let’s talk about the sexualization and sexual objectification of Supergirl.

Her costume.

image

Supergirl later acquires sheer black tights to go under the costume. Zero explanation is given for the addition of sheer black tights to her costume.

Put plainly, this is the shortest skirt I’ve ever seen outside of an otaku fanservice boarding school hentai:

image

But that’s not even the shameful part.

Supergirl’s suit is designed by a male coworker/friend with a crush on her. He is the only friend she trusts with her secret identity. Supergirl has no female friends besides her sister.

She tells him her secret identity the day after she performs her first feat of heroism because she “just really wants someone to be excited for her.” When he receives this knowledge, he proves himself to be a total personification of the friend-zoned Nice Guy™ trope. 

Here’s a transcript of the exchange, copied verbatim from the closed captions:

Supergirl: Uh, there’s something about me that for most of my life, I’ve run from it. But last night I embraced who I am and I don’t want to stop.

Nice Guy™: Oh, my god, you’re a lesbian. Oh, Kara, that’s why you’re not into me. This is, this is great news!

Supergirl: No, I’m not gay!

Of course, he cannot wrap his head around Kara’s failure to reciprocate his interest unless he rationalizes it by assuming she is a lesbian. 

That’s not the shameful part either.

This is the shameful part:

image

This is the first costume design her coworker/friend comes up with.

He doesn’t even try to pretend he is designing her costume with functionality in mind. He dresses her up like his own personal sex doll. She goes along with it. The audience is expected to view this incredibly creepy and objectifying behavior as normal male/female friendship.

It takes him two more tries before he comes up with a costume that satisfies both Supergirl’s need for functionality and his selfish desire to sexually objectify his so called friend.

ETA: Just to clarify, I would be all for Supergirl expressing her sexuality if that were what was actually going on. But it’s not. She’s not expressing her sexuality. Some gross friendzoned loser is using her body to express his.

.

Let me just recap everything Supergirl’s done wrong thus far.

  • The most socially/politically/economically powerful woman in the series delivering a speech promoting a sexist ideology that simultaneously infantilizes adult women and sexualizes young girls.
  • Every single adult in Supergirl’s life infantilizing her, including her closest family member and one of her potential love interests.
  • The narrative confirming that Supergirl has no close female friends.
  • And immediately following up with an obligatory affirmation of Supergirl’s heterosexuality.
  • The show introducing Supergirl’s second potential love interest – a friendzoned Nice Guy™ who sexually objectifies her – thereby completing the show’s unnecessary love triangle.
  • The spandex teddy pretending to be a superhero uniform.
  • The sexy™ Halloween costume pretending to be a superhero uniform.
  • Everyone in the show pretending the superhero is wearing a uniform when in fact she’s running around in a sexy™ Halloween costume.
  • Everyone in the audience pretending that any of this bullshit can be considered feminist.

Now let’s step back and think about why so many things went wrong in the pilot.

The episode had 1 female writer, 4 male writers and a male director. Women are not in control of Supergirl’s narrative. Instead we have a bunch of men using “strong female characters” as mouthpieces to perpetuate sexist preconceptions.

This show is not a starter-kit for people on the fence about feminism. It is not teaching sexists to be less sexist. Rather, it’s teaching sexists that it’s perfectly okay to perpetuate sexist norms as long as you call yourself a feminist while you do it and you find a woman who agrees with you.

Hell, you don’t even need to find a real woman. Just find a fictional woman and dress her in a really short skirt.

Supergirl is not promoting feminism.

Supergirl is mansplainingfeminism. 

ropermike:Kirby Morrow in Supergirl - “Call to Action”. More pics here.Manchester Black captures an ropermike:Kirby Morrow in Supergirl - “Call to Action”. More pics here.Manchester Black captures an ropermike:Kirby Morrow in Supergirl - “Call to Action”. More pics here.Manchester Black captures an ropermike:Kirby Morrow in Supergirl - “Call to Action”. More pics here.Manchester Black captures an

ropermike:

Kirby Morrow in Supergirl - “Call to Action”. More pics here.

Manchester Black captures an officer and tortures him for information.


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Jenna Dewan - Women’s Health September 2018Jenna Dewan - Women’s Health September 2018Jenna Dewan - Women’s Health September 2018Jenna Dewan - Women’s Health September 2018Jenna Dewan - Women’s Health September 2018Jenna Dewan - Women’s Health September 2018Jenna Dewan - Women’s Health September 2018

Jenna Dewan - Women’s Health September 2018


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Originally published at: https://www.eschergirls.com/photo/2022/04/04/tfw-your-costume-shrunk-wash-y

Originally published at: https://www.eschergirls.com/photo/2022/04/04/tfw-your-costume-shrunk-wash-youve-run-out-underwear

maynperaltasubmitted:

I don’t even know where to begin with this one. I don’t think fabric works like that.

It’s funny because I was originally not gonna post this because I assumed that this pic had already been on Escher Girls before given how oftenthisSupergirlrun’sbeenfeatured, but somehow… this particular image wasn’t one of the ones featured.  Shocking.  Anyway, she’s at least not quite the pipecleaner action figure she is in other pictures from that run, but her top is just as vacuum sealed, and her skirt is still a frilly belt that’s always threatening to fall off her hips.  Also while Clark said in a previous issue that Lois bought her clothes, I guess Lois didn’t buy her enough changes of underwear so she ran out. :\

(Page from Supergirl vol. 5 #3, DC Comics)


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lena-luthor:lena-luthor:With Supergirl on hiatus for the foreseeable future, I thought I would uploa

lena-luthor:

lena-luthor:

With Supergirl on hiatus for the foreseeable future, I thought I would upload this video to spread the gospel of Supercorp Endgame. At the link below you’ll find a supercut of almost every scene Kara & Lena have shared, plus additional scenes of them talking about each other. I’ve most likely missed something, but I hope y’all enjoy the ~5 hours / 23gb of the best slowburn ship on the show. Cheers.

STREAM/DOWNLOAD

This was the first of the supercuts that I’ve made, and as I’ve made more, I’ve realized how unwieldy it is to have such a large and long file to download, especially with some of the limits of the website. So I’ve reuploaded the scenes into separate videos sorted by season. Hope they’re helpful for you all.

STREAM/DOWNLOAD


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femmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselvesfemmeluthor:supercorp + choosing to save each other over the world/themselves

femmeluthor:

supercorp + choosing to save each other over the world/themselves


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lena-luthor:Kara would always choose saving others. That’s just who she is. How do you think she woulena-luthor:Kara would always choose saving others. That’s just who she is. How do you think she woulena-luthor:Kara would always choose saving others. That’s just who she is. How do you think she woulena-luthor:Kara would always choose saving others. That’s just who she is. How do you think she wou

lena-luthor:

Kara would always choose saving others. That’s just who she is. How do you think she would feel if we rescued her, and she found out that we let thousands, maybe hundreds of thousands of people die, just so we could have her back?


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lena-luthor:I need to destroy him. And if I can’t do that, how do I make these feelings go away?lena-luthor:I need to destroy him. And if I can’t do that, how do I make these feelings go away?lena-luthor:I need to destroy him. And if I can’t do that, how do I make these feelings go away?lena-luthor:I need to destroy him. And if I can’t do that, how do I make these feelings go away?lena-luthor:I need to destroy him. And if I can’t do that, how do I make these feelings go away?lena-luthor:I need to destroy him. And if I can’t do that, how do I make these feelings go away?

lena-luthor:

I need to destroy him. And if I can’t do that, how do I make these feelings go away?


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lena-luthor:I’m done playing games. lena-luthor:I’m done playing games. lena-luthor:I’m done playing games. lena-luthor:I’m done playing games. 

lena-luthor:

I’m done playing games. 


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sango-blep:I KNOW WHAT’S IN YOUR HEART-BASS BOOSTED.JPGsango-blep:I KNOW WHAT’S IN YOUR HEART-BASS BOOSTED.JPG

sango-blep:

I KNOW WHAT’S IN YOUR HEART-BASS BOOSTED.JPG


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solaert:“what do you know about quantum entanglement?” i had the pleasure of working with @supercorpsolaert:“what do you know about quantum entanglement?” i had the pleasure of working with @supercorpsolaert:“what do you know about quantum entanglement?” i had the pleasure of working with @supercorpsolaert:“what do you know about quantum entanglement?” i had the pleasure of working with @supercorp

solaert:

“what do you know about quantum entanglement?”

i had the pleasure of working with @supercorpzine to raise money for the Trevor Project (more than $6000!) and i’m finally able to post the comic i contributed!


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ilovetragedies:

Lena is no stranger to loss, knows the crushing weight of it, drowned in it countless of times before.

This time around, she’ll fight the universe itself before it can take anything—anyone—she loves from her ever again.

Let them try, she dares, let them fail.

papurrcat:

Ugh… JUST KISS ALREADY!

mydemonsyourangels:

i don’t watch supergirl but i really hope morgana and the girl from glee end up together

Now, I know that I picked up this issue of ADVENTURE COMICS because of the appearance of the Flash’s

Now, I know that I picked up this issue of ADVENTURE COMICS because of the appearance of the Flash’s foe the Weather Wizard. Which is perhaps the only time in history that sentiment has ever been uttered. I was familiar with Aquaman, of course, from other comics I had read and from the SUPER-FRIENDS and 1966 cartoon series. But he never much appealed to me as a solo star, and while I had never studiously avoided his adventures, I never pursued them either. I was agnostic about Aquaman.

The one thing Aquaman undeniably had going for him at this stage was the excellent, crisp artwork of Jim Aparo. Aparo was a mainstay on BRAVE AND THE BOLD, a comic that I bought only when there were no other good options available to me, as I found its stories to be strange and oddly-constructed, not to my taste. But Aparo’s work was always appealing–I know that he got me to flip through some issues of PHANTOM STRANGE an almost-super hero comic (hey, he joined the Justice League of America!) despite my disinterest in supernatural shenanigans.He did some terrific work on Aquaman, an association that I was unaware extended back to the late 1960s. AQUAMAN had been one of Aparo’s first assignments when emigrating to DC from Charlton.

The issue opens by piggy-backing on the then-recent fascination with the Bermuda Triangle. Here, a plan mysteriously vanishes within that area while carrying an experimental vibrational device designed to regulate heartbeats. The authorities contact Aquaman to search for the missing plane and to recover the device. Entering the area, Aquaman and Mera come across a huge air pocket in the middle of the expanse, created by the Flash’s nemesis the Weather Wizard. He intends to use the device as a weapon against the Scarlet Speedster.

The Weather Wizard has no gripe with Aquaman, and asks him to move along, but the Sea King refuses. And so, the pair battles it out, with Aquaman’s finny friends providing him cover against the Wizard’s meteorological assaults. Finally, though, the Wizard clobbers both Aquaman and Mera and takes his leave. Meanwhile, in Atlantis, a subplot begins with Aqualad and Tula that I honestly couldn’t have cared any less about, something concerning them being believed to be changelings due to their purple eyes. Whatever.

Coming to, Aquaman swiftly catches up with the Weather Wizard as he prepares to depart for Central City, and they begin round two. It’s a very pretty action sequence as Aparo draws it, for all that it mostly amounts to the Weather Wizard throwing things at Aquaman and him dodging them. As the Weather Wizard ramps up his attack to lightning, a stray bolt fuses the sand of the ground into a crude mirror, giving Aquaman an idea of a plan.

You guessed it, Aquaman uses this makeshift mirror to deflect one of the other bolts of lightning away from himself and into the Weather Wizard, shocking him but good. He’s down, and the story ends pretty much there, abruptly. Oh, there’s a few panels more of Aqualad’s strange purple-eye quest in which he decides to team up with the guy who was just accusing him of being a dangerous outsider. But whatever.

This issue also included a full page ad for the debut of Black Lightning, which intrigued me. I wouldn’t get to read an issue of the book until its fourth issue, though–as with many new title launches, the first issues never reached my local 7-11 (though I did later find the first two with their covers stripped in packs of similar affidavit returns being sold through a chain drugstore. Either way, Black Lightning was a new hero and he looked cool and interesting to me–I wanted to know more.

The back-up story, drawn beautifully in a modern style by Mike Nasser, starred J’onn J’onzz, the Manhunter from Mars. It was the latest in a short-running serial featuring J’onn, and was more appealing to me than the Aquaman lead. The spine of the saga is that a martian friend of J’onn’s had ben killed, and his last word was Sol, the name of our sun. This leads J’onn to believe that an Earthman was responsible for the assassination, likely one of his JLA friends (as only they know of the whereabouts of Mars II) and so he goes renegade and flies back to Earth to hunt down the killer.

The deserting J’onn is pursued to Earth by N’or Cott, charged with arresting him or executing him, a task he attempts to carry out in the skies above Metropolis, thus attracting the attention of Supergirl. There’s a very quick version of the standard fight-then-team-up convention–this story is only 6 pages long, after all–and N’or Cott is driven off. The issue ends with J’onn swearing to scour the Earth for the killer of his old friend. Like the Marshall Rogers stories that had been showing up in the back of DETECTIVE COMICS, this series by Nasser felt far more contemporary in its approach to the artwork than much of the rest of teh DC super hero line. It was attractive stuff, for all that it still evidenced anatomical weaknesses from time to time.


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I bought this issue of SUPERMAN FAMILY at a supermarket of all places–a clear sign of the aggr

I bought this issue of SUPERMAN FAMILY at a supermarket of all places–a clear sign of the aggressiveness with which new DC publisher Jeanette Kahn was pushing her new initiative. Having come to the conclusion that one of the things that was causing the comic book business such ills was that the books weren’t as profitable for mainstream retailers as “real magazines”, Kahn initiated the Dollar Comics program: four titles would be converted into 80-page all-new releases priced at a dollar rather than thirty cents. This would generate better profit-per-unit for retailers and perhaps get the product into more outlets. 

SUPERMAN FAMILY was the first of these books that I encountered–the others to make the shift to the Dollar Comic format at this time were WORLD’S FINEST, G.I. COMBAT and HOUSE OF MYSTERY–so two super hero titles, a war book and a weird mystery title, covering multiple genres to see what stuck. All of the books were anthologies, which helped with generating this much material on a monthly basis but which also made them all, in essence, less-than-essential buys. You could read SUPERMAN or BATMAN just fine if you avoided the Dollar Comics, for instance. I’m sure some of the thinking going into these choices involved not wanting to monkey around with the company’s true money-makers by converting them to an unproven format.

The Dollar Comics initiative lasted for a little over five years, though in that time, as you’d expect, the size of the books dwindled a bit, and the initial ads-free approach was eventually dropped. I don’t know that it had much of an impact one way or the other–certainly, none of the initial Dollar Comics titles was cancelled, at least not for that reason. But once they stopped being new, I don’t know that they opened up as many doors as Kahn had been hoping. Still, it was a worthy experiment.

If I had to pick one word to describe this inaugural edition of the Dollar Comics SUPERMAN FAMILY, it would be “nice”. All of the stories in it are competently done by seasoned professionals, they’re all well-constructed yarns. But none of them are particularly exciting or engaging or memorable–and, in fact, I didn’t remember a one of them until I cracked this book open again to write up this piece. They all represented five minutes of disposable entertainment, to be read and discarded without another thought.

There were seven stories in total in this issue, covering the length and breadth of the Superman line of characters, but focusing on the three series–JIMMY OLSEN, LOIS LANE and SUPERGIRL–which had been the backbone of SUPERMAN FAMILY for it’s run up to this point. In the opening Jimmy Olsen tale, the red-headed “Mr. Action” investigates shady goings-on in the world of Ice Hockey, with some assistance from the Man of Steel. The Superbaby tale that follows it up is about the infant from Krypton adopting an alien pet, who turns out to be a stranded alien pilot. 

The third piece is a Lois Lane story that’s very similar to the Jimmy Olsen opener, except that Lois is investigating the world of professional wrestling. Superman is largely absent in this one, but he does appear for a panel or so at the end to wrap everything up. The next story is probably the one that took the greatest attempt to have substance, aided by the always-interesting artwork of a young Marshall Rogers. It’s a Fabulous World of Krypton outing that details that planet’s equivalent of the Christmas holiday, a celebration of the pacifist Jo-Mon whose death by violence brought about Krypton’s first lasting peace. It’s an obvious allegory, but it’s presented with sincerity and heart.

Next came a full-length Supergirl story nicely illustrated by Mike Vosburg, in which the Maid of Might engages in a rare battle with her cousin’s arch-enemy Lex Luthor. Luthor is after a sample of Kryptonite which rests on the surface of Mars–this was during that time period where all of the Kryptonite on Earth had been transmuted into lead, so the stuff was a bit more rare. And it’s a fake anyway, a ruse by Supergirl to draw out Luthor. That’s followed up with a light Krypto story in which the flying canine first emasculates and then restores the confidence of a protective junkyard hound. Truly these were life-and-death stakes.

The book closes on another Jimmy Olsen story, in which the reporter is gifted with telepathy by an imperiled mentalist and has to come to his aid. Once again, it’s Superman who does most of the heavy lifting here. So it was a nice, think package, of the sort that always appealed to me as a kid. And yet, I found it unfulfilling–there wasn’t anything in the issue that I found especially memorable, which was almost never the case in a comic book this large. So it would be a while before I sampled another issue of SUPERMAN FAMILY.


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