Martin Carr reviews the sixth episode of Supergirl season 4…
Once again the segregationist attitude which pervades Supergirl leads to conflicting tonally shifts which deviates away from important topics appeasing audience expectations. Underlying themes are becoming less and less subtle as these programme makers explore, examine and dissect native sentiment versus immigrant influence. Not so much an entertaining and non-biased discussion and more the manifesto of a disgruntled populous venting spleen, Supergirl continues getting political whilst struggling to remain neutral.
What is currently going on is both exciting but disappointing simultaneously. By incorporating extremist hate groups, vigilante countermeasures and non-violent confrontations Supergirl is trying to have her cake and eat it. By comparing the perceived high minded approach of Brainiac against Manchester Black who hangs human captives from his shower rail and uses pliers for interrogation purposes they are treading a thin line. Using gravity and going full Scarface before the watershed is both brave and foolhardy as there is no way this topic can sit alongside conventional content.
Relationship disintegration, cancer cures and Thanksgiving dinner are things for another episode as trying to celebrate diversity, acceptance and togetherness alongside potent social issues is awkward. Mixing comedy in amongst that only continues to muddy the waters further by injecting levity where it simply does not belong. Sam Witwer as lauded professor and cast iron clad leader of fringe group Children of Liberty has yet to fully stretch his legs character wise. As this season builds we are sure to witness the destruction of National City from within, as Lockwood uses rhetoric, engineered acts of alien terror and the mass media to dismantle the infrastructure. So that almost seven episodes in the real enemy is humanity rather than a tangible embodiment of evil to be taken down.
By planting military oversight within the DEO and making Kara’s power a weakness we have room for more drama, less closure and more debate which is good. Having others take matters into their own hands and explore the human aftermath also instils longevity. These are clever structural moves which are hamstrung by unnecessary sub-plots, needless comedy and inconsequential character development. Obviously there needs to be progression for these people but when that detracts from the central narrative thrust it can feels superfluous which only ultimately undermines all their good work.
Martin Carr
Originally published November 22, 2018. Updated January 8, 2019.
