SUPERGIRL Takes Flight

Article first published as Blu-ray Review: 'Supergirl - The Complete First Season' on Blogcritics.

Disclaimer: Warner Bros. Home entertainment provided me with a free copy of the Blu-ray reviewed in this article. The opinions I share are my own.

The first season of CBS’s Supergirl arrives on Blu-ray, DVD, and digital download this week. The 20 episodes set up the titular character just as she becomes a superhero, introducing us to her life both with and without the cape. It’s a rollicking fun time, and while it doesn’t quite hit the quality of some of the other DC Comics shows on the air right now, it is far better than what the comic brand is churning out for the big screen.

Glee‘s Melissa Benoist stars as Kara Danvers, a.k.a. Kara Zor-El, a.k.a. Supergirl, a young woman who has been living on Earth for awhile after her home planet was destroyed. Having had plenty of time to adjust to her new home, Kara is an adult as the series begins, working as an assistant for media mogul Kat Grant (Calista Flockhart, Brothers & Sisters, Ally McBeal) and trying to start a career. This is somewhat derailed when Kara finds she can no longer sit still, creating a costume with the help of her best friend, Winn (Jeremy Jordan, Smash), and saving the day. These actions gets her noticed by the DEO, a military organization devoted to protecting the planet from aliens, and which secretly employs her sister, Alex (Chyler Leigh, Grey’s Anatomy). But even after joining up with DEO leader Hank Henshaw (David Harewood, Homeland) and his crew, Kara manages to balance both lives, a modern woman who can have it all.

The girl vs. woman issue is addressed head-on in episode one. Supergirl is a show to which no feminist should object. Kara is strong, independent, and fierce. She’s also brave and loyal and very capable. The only other character that even comes close to her level of accomplishment is Cat herself, so strong females are well represented on the series, lest anyone think the title is a step backwards for the fairer sex.

Sadly, since production is moving to Canada, Cat will be a less frequent presence in season two, which is a shame because Cat and Kara’s relationship is pretty much a linchpin of the show.

Unlike Superman, her already famous and successful cousin, Kara was old enough to remember their world of Krypton when it was destroyed, which influences the way she sees the world, as well as her hopes and dreams. Due to a flight into the Phantom Zone, Kara’s arrival on Earth (and waking up for her pod to begin aging again) was delayed awhile. Unfortunately, when she arrived, she brought the horrible prisoners of Fort Rozz with her, including her Aunt Astra (Laura Benanti, Go On) and Uncle Non (Chris Vance, Transporter: The Series). This sets the stage for the baddies Kara will face in her new crusade.

There are a lot of fun bits for those already familiar with the world of Superman. While the Man of Steel himself only makes fuzzy and at-a-distance appearances (though he has recently been cast for season two), we see the likes of The Martian Manhunter (no spoilers), Maxwell Lord (Peter Facinelli, Nurse Jackie, Twilight), Lucy Lane (Jenna Dewan Tatum, Witches of East End), and Sam Lane (Glenn Morshower, Bloodline) in this series. Not to mention, Jimmy, sorry, James Olsen (Mehcad Brooks,Necessary Roughness) is a main character and love interest. There are also tributes to previous Superman and Supergirl incarnations, such as casting former Clark Kent, Dean Cain, and former Kara Danvers, Helen Slater, as Kara’s parents. So I appreciate the tributes paid.

But Supergirl is also its own world. It’s very clearly not the same universe as the recent DC films are set in, nor is it on the same Earth as the CW shows take place on. Thanks to a multiple Earths theory, DC has the freedom to portray lots of different versions of the same characters and places at the same time. Which doesn’t prevent a guest appearance from The Flash‘s dimension-hopping Barry Allen (Grant Gustin), nor preclude more crossovers with its small screen peers after Supergirl moves to the CW this fall.

So, while the series starts out as too case-of-the-week, and while it ends with some exaggerated and easy outs, most of this run is pretty good. It’s easy to root for Kara and her friends, and I like the positive approach and outlook the series supports. I look forward to seeing where future seasons go, and can recommend this first season without hesitation.

On The Complete First Season, we get a fair amount of extras. A pair of ten-minute featurettes reveal how the show approached their version of Krypton and The Martian Manhunter, two wonderful elements in the story. We also get a too-short look at the cast attending Comic-Con, a gag reel, and deleted scenes for almost half of the episodes. My complaints are the very outdated menus and the extra padding at the start and end of every deleted scene. But other than that, it’s a decent batch of bonus material.

Supergirl – The Complete First Season is available now.

SUPERGIRL Takes Flight

Article originally published as SUPERGIRL Review on Seat42F.

Joining the already crowded superhero landscape is CBS’ SUPERGIRL, premiering this week. In it, Kara Danvers (Melissa Benoist, Glee), cousin of the more famous Kal-El, comes of age and is ready to take on the bad guys to save the city. To do so, she has a bit of a different approach than Superman (oops, didn’t mean to say the name), and a supportive group around her.

SUPERGIRL dances around the Superman lore, but not as much as past efforts like Smallville have. Viewers will get to see and hear plenty about him; the name just isn’t uttered much, usually spoken about as a mythical ‘him.’

Doing this sets Supergirl apart from Superman. Superman is an alien who is aloof, apart from the human race. Supergirl is someone who is in the fight alongside everyone else. While Superman cares inherently, Supergirl cares because of her adopted sister, Alex (Chyler Leigh, Grey’s Anatomy), and her friend, Winn (Jeremy Jordan, Smash), and others. She’s a part of the population of the Earth far more than he i, and takes what she does very personally.

Right off the bat, it’s clear Supergirl won’t be working alone like Superman does. No less than three people know her secret in the pilot, not including Hank Henshaw (David Harewood, Homeland) and his organization. She does have a secret identity; her boss, Cat Grant (Calista Flockhart, Brothers & Sisters) doesn’t know she has the caped crusader working for her. Yet, it’s not as closely guarded a secret, and it changes the tenure of SUPERGIRL from most Superman incarnations.

Also different, Kara gets in over her head early on. While Superman eases into fighting the baddies, Kara immediately has to fight prison escapees from the Phantom Zone. This isn’t the plot of a single episode, but rather a set up for the series. There are dozens of alien convicts on the Earth and they are focused on her, for good reason, as we’ll find out. So Kara needs these others to be around her.

For fans of Superman who never really got into Supergirl, this program provides plenty of connection to that more established world. As mentioned, Cat Grant, a figure in Clark Kent’s life, is present, as is James Olsen (Mehcad Brooks, Necessary Roughness), albeit a bit older than you might remember him. The production also pays homage to past actors of the franchise, much as The Flash does, by casting Dean Cain (Lois & Clark: The New Adventures of Superman) and Helen Slater (1984’s Supergirl) as Kara’s adoptive parents. Not to mention, the messages of Alura Zor-El (Laura Benanti, Go On) will bring to mind similar communications from Jor-El to Superman.

As society progresses, feminism has taken root. As such, some may argue it’s not right to call Kara Super’girl’ instead of Superwoman. The character of Supergirl has a long history, though, and it’s too late to change it now. Thankfully, SUPERGIRL addresses this disparity head-on in episode one, and I’m satisfied with the explanation. I think most viewers will be, too.

Because SUPERGIRL is on CBS, it’s likely to be largely a procedural. I assume most weeks will find her dealing with a single antagonist, whom she defeats by the ending credits. But there is a lot more personal drama going on than in most shows on the network, a la The Good Wife. Should SUPERGIRL follow The Good Wife’s pattern, concentrating more on the characters than the cases, it’ll do well.

SUPERGIRL is a solid entry on the television landscape. It is enjoyable, with a great cast and interesting premise. It will take more than one episode to see if it deserves to hang with its successful DC brethren, Gotham, Arrow, and The Flash, but I’d say it’s off to a pretty good start.

SUPERGIRL premieres Monday at 8:30 p.m. ET on CBS.

The Curtain Closes on SMASH

Article first published as The Curtain Closes on SMASH on TheTVKing.

NBC's Smash is canceled too early, after a mere pair of seasons, presenting the two hour series finale "The Nominations" and "The Tonys" this week. In these installments, the casts of Hit List and Bombshell find out what awards they are nominated for, and what they win. Relationships are repaired, and everyone finds their purpose. It's a neatly tied up ending, perhaps a little too neatly.

Conscious of their impending demise, Smash seeks to leave everyone in a good place. This begins with the Tony Awards themselves. The honors are split between the two Broadway shows at the center of this series, and practically every major player wins a trophy. Jimmy (Jeremy Jordan) accepts a posthumous one for Kyle (Andy Mientus), Julia (Debra Messing) and Tom (Christian Borle) are honored for their writing, Derek (Jack Davenport) picks up a statue for choreography, Ivy (Megan Hilty) takes Best Actress, and Eileen (Anjelica Huston) is triumphant when Bombshell scores the big one.

Now, this means Karen (Katharine McPhee) loses for Best Actress, but at this point, that seems fine. She gets to be credited for the success of Hit List, and she seems happy enough, celebrating with everyone else. Besides, she ends up with Jimmy, who may serve some jail time for his past crimes, but is committed to her and a clean act, so she's doing just fine.

In fact, Karen and Jimmy aren't the only couple that find themselves in a happy place as the series concludes. Eileen reunites with a recently released Nick (Thorsten Kaye). Julia admits her long-held feelings for Michael Swift (Will Chase), ending her marriage once and for all with Frank (Brian d'Arcy James), whom she apparently no longer wants back (though what about Michael's family?). Derek finds humility and a conscience, without spoiling his character, allowing Ivy to see the good in him so that she can tell him about her pregnancy and they can be together. Tom even finds a spark with "straight" actor Patrick Dillon (Luke MacFarlane, Brothers & Sisters).

If all this sounds too good to be true, it's because it is. For a show that has thrived on excessive drama and the ups and downs of its stars, this is their dreams all come true, wrapped up in a tidy bow. No one stops in a bad place, with Derek even somewhat making up firing Ana (Krysta Rodriguez) to her. This is the best possible outcome for everyone.

Which is why it rings a little hollow. Don't get me wrong, I see what's going on, and I appreciate it. Had Smash been renewed for season three, there would have been disappointments and cliffhangers. Knowing they would not be coming back, the show tries to give fans what they want. After six or seven years on the air, this sort of outcome would feel earned and natural. With only two seasons under their belt, and everything falling apart just a short hour or two ago, this type of finish rings false.

There is a lot to praise in this final two hours. I love the opening "Under Pressure," which incorporates all of the major players, even if some only sing a little bit in it. I laugh when Leigh (Bernadette Peters) loses her Tony, which kind of feels like a win for Ivy, though she doesn't take home the statue either. I love Tom and Julia missing that they have won. I really enjoy the late addition of Patrick, and the redemption of Jimmy, as quick as both of those seem. The final song with Ivy and Karen singing together is just what the viewers need.

It's just, when all is said and done, this ending is too perfect. Even if Smash wants its characters to ride off into the sunset satisfied, they didn't need to go quite so far to do so. A few losses could have been balanced with romantic reconnections. Not everything has to be a personal and professional victory. A little tone down would have made for a better ending.

That being said, I really enjoyed both seasons of Smash, and am going to deeply miss it. There is nothing else like it on television. It's so much more realistic than Glee, and the drama and setting feel fresh and different than the gluttony of cop, lawyer, and doctor series. It's a shame something like this can't succeed, but I thank NBC and all involved for two wonderful years that I will definitely re-watch again in the future.

Smash is finally "On Broadway"

Article first published as SMASH Season 2 Premiere Review at Seat42F

Grade: 91%

NBC’s SMASH returns tonight with two new hours. Having viewed the first half of the sophomore premiere, I can report that some positive changes have been made that should improve the series, but fans will be satisfied that it mostly remains the same show it was in the freshman run.

As “On Broadway” begins, the previews in Boston are over, and cast and crew return to New York City. The first task is for Eileen (Anjelica Huston) to book a theater, and she already has one in mind – the legendary St. James. However, just when things look to be a go, her financial actions come back to bite her in the butt.

It’s not surprising, really. After all, nothing can come easy in a television series like this for the show within a show. If it did, SMASH would lack drama and driving force. Our heroes have to overcome obstacles. That’s what shapes them into the strong, triumphant figures that we love to root for.

Eileen is taken to a bad place here. She basically crosses the line to save the show, and not just for herself. She believes in Bombshell, and doesn’t want to disappoint all the people who work so hard on it. But because it’s her fault that this happens, you have to feel bad for her, and realize how hard it must be for her to admit to everyone that she has let them down.

The most likely path for Eileen to turn down next is to go to her sleazy ex, Jerry (Michael Cristofer), for help. He still lurks on the fringes, and has probably exacerbated Eileen’s problems for his own benefit. But if he can save the show, I guess it will be good that Eileen might rely on him again, and it could even give her yet another challenge to overcome.

Of course, even once Eileen get the business end of things worked out, Bombshell won’t be out of the woods. As the reviews have revealed, the music is great, but the book sucks. This falls squarely on the shoulders of Julia (Debra Messing), who is distracted by personal worries, as well, especially after a development involving Frank (Brian d’Arcy James, now a recurring player) happens in “On Broadway.” She has her work cut out for her.

How much is Julia supposed to take? Yes, she screws up majorly, but her situation is even more dire than Eileen’s. Both of the are examples of strong, successful, driven women who are having trouble catching a break right now. I’m sure they’ll get through it, but it’s hard to watch them in pain.

Rounding out the trio of suffering females is Ivy (Megan Hilty). Now that Karen (Katharine McPhee) is firmly the star, and Ivy has not made up with her, it seems like Ivy will likely be out of Bombshell. Not permanently, I would imagine, given how much Hilty brings to the role, and how essential Ivy seems to the show. But for now, the odds are against her.

Why does SMASH choose to focus on these girls, and give them so much bad to deal with? It makes for good television, but it’s also depressing. Those writing SMASH off as a light, frothy musical are dead wrong.

Others in the cast don’t have it so bad. Tom (Christian Borle) is happy with Sam (Leslie Odom Jr.), and even though their relationship has a trial ahead, they seem to be in a good place, and so they can overcome. Karen is being hailed as a new star, and might even have a new love interest in her life in the form of wanna-be Broadway composer Jimmy (Jeremy Jordan). Derek (Jack Davenport) may be the captain of a floundering ship, but his reputation remains intact, and he’ll bounce back, just like Bombshell.

A new element SMASH introduces in “On Broadway” is Tony-award winning actress Veronica Moore (Jennifer Hudson, Dreamgirls). It’s not clear what part she might play in the larger story, and she isn’t brought in with any connection to Bombshell. But Veronica makes quite an impression in her first episode, and it sounds like the producers have plans for her, so it’ll be interesting to see how she is drawn into the inner circle.

If you watch SMASH mainly for the musical numbers, “On Broadway” has you covered. From Karen’s big opening, to Veronica’s introduction, to a duet between the two, an enticing solo by a new male cast member, and Ivy’s lament, there are plenty of tasty treats. The numbers themselves may not be super memorable, but they will wash over you in a very nice way while they are being performed.

I’m glad to see stick-in-the-muds like Julia’s family and Dev reduced or dropped from the cast, and even bitchy Elias is gone. The newbies, like Hudson’s character and Karen’s love interest, are very talented. The new direction for SMASH seems to be that conflict will come from within, rather than without, and there will be better showcases for the positives. I dig it, and while “On Broadway” stays true enough to the characters to feel like the SMASH I fell for last season, the tweaks they’ve made work, and I’m anxious to see more.

SMASH returns Tuesday, February 5th at 9 p.m. ET.

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