Supergirl has been in the news a lot this past week. After months of speculation, CBS finally confirmed a multi-network crossover event for The Flash and their own Greg Berlanti-produced series in late March. Then they released promotional images of a young Kal-El (Daniel DiMaggio) from the latest episode, “For the Girl Who Has Everything,” which is partially based on a classic Alan Moore-penned Superman annual from 1984. Of course, instead of telling a Superman story, Berlanti and company adapted it into a narrative fit for the developing Supergirl mythos, a mythos that, 13 episodes in, has expanded into a much larger television world of spectacular and everyday heroes and villains in its own right.
Is Supergirl perfect? No. Does it suffer from the same problems Berlanti’s other DC Comics-inspired shows (Arrow, The Flash and Legends of Tomorrow) do? Absolutely. Depending on the episode, the adventures of CBS’s own Kryptonian too often try to stuff way to much into 45 minutes of programming. Everything from ample amounts of fan service to lackluster attempts to string it all together into a coherent narrative. Sure, it all mostly makes sense by the end, but viewers often find themselves suffering from sensory overload by the time the end credits begin to roll.
At the same time, much of said sensory overload is what fans and critics point to as being their favorite things about the show. (I’m guilty of the same, as the Uproxx Supergirl tag demonstrates.) All we seem to care about are all the crazy additions, connections and references to the comics Berlanti can manage to include. Hence why, when Hank Henshaw (David Harewood) was revealed to be J’onn J’onzz/Martian Manhunter, it was all we could talk about. When news of a young Kal-El’s appearance first broke, it made bigger waves than anything Supergirl herself had done on the show. As for The Flash crossover announcement… well, you already know.