#after the bs of the second to last ep showing them in bed together | Explore Tumblr Posts and Blogs

frostysfrenzy · 3 years

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As promised. Me and my bs are back, hello friends. Been a few days...

Clark: last night we kind of kissed. Me: *fails to contain my snickering* kind of Clark?

The fact that Lex is somehow involved in every episode even though he's not actually on the show anymore is slightly bothersome tbh

Yet another Smallville dramatic hair cutting scene

Is it bad that I live for Clark/Tess scenes? Like just give me more please

"You really think you can declare Lex dead and not end up dead yourself?" You know what pal I'm sure my girl Tess can

"Clark no more super scares please I'm this close to a cardiac arrest"

I expected to like Tess but not quite this much she's a damn queen

Ok Lana really going for it girl I commend you but also why?

I'm bummed we're not going to get a lot of Lana and Tess scenes

Lana: whispers to Clark from the roof

Lol Oliver and Tess joining forces this shall be fun

CLARK AND LANA BROKE THE BED 😂😂😂😂😂😂😂 AND CLARK WANTS TO SEE IF THEY CAN BREAK THE FLOOR I'll miss this energy

"Clark I love you being so romantic" honey he always has been you've just been blind to it

Oliver: well if it isn't metropolises newest power couple

"You're a clown aren't you a clown" Oliver Queen my beloved

My boy is still entertaining me from his hospital bed

Lana shoves doll head first into garbage: today's edition of things that were funny for no reason

I never thought that Lana's second departure could hurt as much as the first but damn ok watch me cry for eternity

*cries more*

*and more*

This damn show

PAIN

I feel genuinely sick this is making me so sad

Neat special effects on that kiss though, kudos

K I'm going to go cry for 10 minutes before I start the next ep

K it's been at least 15 and I still feel disgusting but I'm jumping back on the horse

They really had to bring this woman back. No offence but I hate you water lady

Wait she was 2 seasons ago?? I really have been flying through this show

What is with Smallville just having people incapacitated for months right before their departure from the show? Lana? And I ran into the Jimmy spoiler so I know that is coming

Ok things are moderately forgiven I'm laughing at Clois so it's getting ok again

Clark telling Lois he's the red blue blur I love them

"What'd you do, sneeze?" "Actually..." I'm not ok 😂😂

There's no way this is real

"Guess I should stop calling you Smallville"

I can't take this ep seriously 😂😂

"Have I been high this entire time?"

I really hate water lady. This bitch

More time travel oh boy that ended so well the last time

Yet again Clois breaking my heart when they're not even together

This ep better be the last time I see water lady

Ok this woman will be back and I'm going to scream ughhhh I hate her

Or maybe not thank you Davis

Damnit Clois stop this

I'm sorry father but you can't understand the level of inner demon that Davis has

Clark Kent, suit and tie, takes a backpack to work

My poor baby Jimmy please give this boy some joy before, well...

Davis is pretty clever in covering his ass I'll give him that

Poor Chloe joining the self blame parade

Jimmy and Davis are about to go to war I feel it

Jimmy love what the hell are you doing?

The thing I love about Davis is he genuinely tries to be good he just.... can't

Is it some sort of rite of passage in this show for characters to have a psychotic break?

Tess and her childhood tales this poor girl I could not love her more

"Skies are all clear" *turbulence seconds later*

Can't wait til Oliver finds out about his jet

"It's going to be one long happily ever after" *cries in knowledge of what's to come*

*CRIES MORE* JIMMY WHAT THE HELL

Davis drove the stake I told you

Wait Tess planned all that plane stuff? Huh. Clever

"One year closer to the sweet release of death" ok Lois

How is Oliver so cute?

Me when Ollie first came in: he is Oliver I will not call him Ollie. Me now: Ollie my baby!!!

"Oh my god I'm Lois"

"Isnt there a limit to how tight a shirt can be to meet dress code" I love Clark and his reaction

"Its ok I'm Chloe" says Lois... well... whatever... anyway...

Another rite of passage seems to be helping brainwashed Clark through learning his abilities. Although I guess it's technically the same person

"You're a superhuman being from another planet " "that's great just don't tell human resources alright"

I don't really know whether to refer to her as Lois or Chloe but hey. Also Clark wasn't the flower in the hair a dead giveaway it wasn't Lois?

"Look at the rust in here no wonder it just pulled off like that"

"That's amazing. The acoustics up here are incredible. It's like there's some perfect echo point right here"

I could really just copy this entire scene on here, its practicality what I'm doing anyway

Clark being concerned about his deadline. Can relate

"Sorry guys. I'll make sure you get a nice Christmas bonus" Oliver is just very funny sometimes

Wait how they'd get off the roof?

And howd Ollie get off the pole?

Oliver: What is this, you drop by to kick my ass again, it was so much fun for me the first time

"Here's a thought. Don't do it again" good advice Ollie

One of these eps, they'll get together obviously. One of these eps....

#smallville #my smallville bs #i really expected to fly through this season a bit more #but its my personal mission to finish it this weekend #im a bit busy but I've only got 5 left I got this #although I'll prob spend hours recovering but hey

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screamingforyears · 6 years

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BEST OF 2017: TOP TEN

The TOP TEN, a collection of my 10 favorite albums of the year. These were the albums that demanded the most of me and the ones I found myself repeatedly going back to again & again…

CIVIL LUST

‘CONSTITUTIONS’

SELF-RELEASED

CIVIL LUST combine, then blend, all the aesthetic pleasures that make a great Goth Pop record on their debut LP ‘CONSTITUTIONS.’

The Salt Lake City based duo (Christian Riley and Isaiah Michael) are masters of their craft, who nail the details to a tee. 'Constitutions’is an exercise in classic post-punk tropes, but ones that have been further refined by years of study and more than capable craftsmanship.

The Cure bass lines, the Ian Curtisian vocals, to the Tears for Fears exuberance, Civil Lust create art that is sinewy yet soft (take one listen to “Receive” and tell me I’m wrong).

“Even Further” literally pulls you further into Civil Lust’s majestic ways with an echoed drum machine beat, tingled guitar lines, and Riley’s longing while the slow groove of the sensual “A Man You Will” is the type of sound the group perfect. The devil’s in the detail.

‘Constitutions’ and its able bodied creators construct a seamless 7 track album and further enrich an already fertile modern goth landscape...

DEATH BELLS

‘STANDING AT THE EDGE OF THE WORLD’

BURNING ROSE / FUNERAL PARTY

DEATH BELLS, the Sydney based group of: Maurice Santiago (Bass), William Canning (Vocals), Aron Postolovic (Guitar), Rimas Veselis (Guitar), David Gauci (Synth), and Luca Watson (Percussion) seem to understand the power of gloomy guitar based indie, the kind that held court throughout the genre’s most influential decade and like many of the amazing groups mining these fields, they seem to understand the importance of detail and the need to move beyond mere homage.

DB’s beautifully bleached William Canning is a frontman to be reckoned with, as he parlays the looks, voice, words, and bravado into a force that demands attention, but not at the expense of working as an important cog to his band’s sturdy wheel. A singer is only as good as the foundation that surrounds him, so luckily for us the rest of the Bells are a top-notch unit.

‘STANDING AT THE EDGE OF THE WORLD’ is a pure guitar record through and through, one that borrows equally from paisley jangle, arena reaching grandness, and moody post-punk while being executed with aplomb by Veselis & Postolovic’s dual attack.

“Only You” finds guitars loudly pinging over a steady rhythm section, allowing the coldly effervescent vocals to take center stage. The group hold court and have once again presented a lively, yet somber piece of buttoned up pop with “Only You.”

Death Bells sound hopeful yet weary on their engaging debut album, coming together as a cohesive & bold unit unafraid to reach big while retaining all the detached cool of their forebears...

DRAB MAJESTY

‘THE DEMONSTRATION’

DAIS

DRAB MAJESTY, the project created and fronted by premiere goth alien Deb Demure, returned in 2017 with their second proper LP.

‘THE DEMONSTRATION’ sees Drab Majesty doubling down on what they do so well, finely tuned new wave goth, but better. Demure’s former LA based bedroom experiment (which has morphed into a two-man group with the addition of Mona D) has seen its profile & popularity rise, after successful tours supporting the likes of King Dude and Cold Cave.

Drab Majesty are the torchbearers for a certain strain of Goth, where the dark wave crashes full on into brooding Reagan era new wave pop. Demure captures a specific sound, whereas every production trick is precise and aesthetic rules the land. This attention to detail, along with Deb’s unique and heavily treated guitar style, is what sets Drab apart from the sea of Goth indebted groups.

The guitar tones captured throughout the album are phenomenal, as witnessed on the sci-fi waltz of “Not Just A Name.” Reminiscent of Duran Duran’s more subdued moments, only way fucking spacier.

Drab Majesty are masters of ethereal Goth, steeped in dated production tricks, while literally reaching towards the cold vastness of space. What was once a solo affair has morphed into a full fledged entity, and as the popularity grows, so to does the quality of the Drab output....

FEARING

‘A LIFE OF NONE / BLACK SAND’

FUNERAL PARTY

The kind of dark, brooding, and equally booming rock music that FEARING create on their EPs ‘A LIFE OF NONE’ & ‘BLACK SAND’ has been sorely missing in recent years.

Fearing are exactly what I look for in a great gothic rock band, they capture a mood & essence that rings true while blowing past any attempts at modesty. And while I enjoy when things are minimal & low-key, I can’t help but gush when a band, especially one steeped in gloom, comes along sounding all huge. Which is precisely how fearing Fearing operate, they create big sounding rock songs that take elements from post-punk, 90′s Alt-Rock, and deathrock and combine them into one brutalist take on Goth.

“Beyond Light” sticks to the aggressively dark template of chiming guitars, thick bass, and wallowed out vocals while “Other Life” opens up with big thunderous drums, rolling bass, and moody synths before linking with a pinging guitar and layered vocals. “Other Life” shows a growth in Fearing’s songwriting, with sprinkles of piano notes adding new depth and has easily become one of the finest entry’s in the group’s catalog.

The EP format is surely the way to go in our modern times and the Oaklanders have taken full advantage of our attention-deficits by breaking us off a nice four track stretch, as they satisfy our itch and keep us wanting more…..

GRIZZLY BEAR

‘PAINTED RUINS’

RCA

Grizzly Bear, survivors of: the Brooklyn Sonic Boom, side projects, Indie Rock’s halcyon days, expectations, New York Magazine spreads, NYC itself, personal turmoil, indie labels, adulting, Taylor Swift, and most improbably…..themselves, have triumphantly returned with their first album in 5 years titled ‘Painted Ruins.’

‘Painted Ruins’ shows the no-longer-in-one place based group of Ed Droste, Daniel Rossen, and the two Chris combo of Taylor & Bear expanding on their already impressive sonic palette, while turning the focus inward. Grizzly Bear is the perfect example of “The whole is greater than the sum of its parts,” and for a group consisting of 4 very distinct musicians/personalities it’s really saying something. As corny as it sounds, when these four get together in a room, something special happens.

Album standout “Mourning Sound” is the straight ahead rocker we’ve been waiting for, a no BS thumper filled with gorgeous guitar work per Rossen. Truly one of the best things the group has ever penned as it manages to combine wistful regret (”I made a mistake….”) with a thick groove while deploying a goosebump inducing twinkle of synth.

Like most great albums, ‘Painted Ruins’ is a grower, with each subsequent listen revealing a new hidden nugget. The foursome known as Grizzly Bear have ended their 5 year absence with something meaningful, powerful, and refreshing…

HUMAN LEATHER

‘LAZY KARAOKE’

CERCLE SOCIAL

HUMAN LEATHER, comprised of Adam Klopp (Choir Boy) & Chaz Costello (Sculpture Club), are a self described “shitty version of Tears for Fears mixed with Depeche Mode,” but don’t let the humble self-deprecation fool you, because the duo tap into something so pure and unfettered that you simply have no choice but to succumb.

And I hate to be the bearer of bad news to those who feel the need to cling onto originality, but everything’s been done already, so get the fuck over it and stop missing out on some truly great modern acts.

The Salt Lake City duo aim to break your fucking heart on their debut LP ‘LAZY KARAOKE’ which is chocked full of Reagan era bangers and aesthetically dripping odes that nail every aesthetic detail.

“Ugly Sister” is a pure synth-pop ditty cloaked in the aforementioned Tears for Fears (who at this point are impacting this generation on some Joy Division type levels) influence. The devil is in the detail, something Klopp & Costello clearly understand, as the intricate production alongside the airy & emotive vocal courtesy of Adum (who recalls Wild Beasts’ Hayden Thorpe) is something to behold.

‘Lazy Karaoke’ was easily the most talked about album within the goth/post-punk community and with good reason.

“Everything is fucking scary……”

JOHN MAUS

‘SCREEN MEMORIES’

RIBBON MUSIC

Well……..the wait is officially ended as JOHN fucking MAUS returned in 2017 with the long awaited album ‘SCREEN MEMORIES.’

The Minnesota (by way of the the World) based project never ceases to capture the imagination and does this by creating unfuckable with Goth Pop. Maus is the undisputed master of the deconstructed gem, and will remain so by adding the aesthetically pleasing extra mile in everything he touches.

‘Screen Memories’ is a fluid & fantastic listen proving that Maus hasn’t lost a single step since we last heard from him years ago. Maus, ever the pop-deconstructionist, is so well adept at creating nuanced pop songs, steeped in goth, that you almost take him for granted at this point.

While a melancholic crop of songs litter the album, the taut “Walls of Silence” allows Maus’ reverb drenched chant to roam free atop a bed of driving bass, eerie synths, and compressed snare snap. Limber, yet driving, this slice of gothic minimalism benefits from not only its creators expertise, but gains so much power from its brief 2 minute and 23 second run-time.

If you’ve been sleeping on Maus, well shame on you, it’s time for you to wake the fuck up, press play, and soak up his mile-a-minute brilliance…

NEW TODAY

‘BETTER THAN DEATH’

SELF-RELEASED

Goth comes in many shapes and sizes, from cold wave to guitar driven gloom rock and everything in between. NEW TODAY, the under the radar post-punk duo of Dante Palomba (Casuistry) & Daniel Srungaram (Two One Six), fall into the latter camp with their latest LP ‘BETTER THAN DEATH.’

The group bring the big 80’s post-punk ala the Sound, the Chameleons, and Love & Rockets, while pairing it with minimalist detail. Taking Interpol-like guitar work, which at its best has always been minimal yet evocative, while juxtaposing it with substantial movements and huge vocals that take their place in the front. Dante Palomba’s voice is a viable instrument and the group treat it as such, which is exactly why New Today fall into the Romance/Trad Goth grouping.

All the preceding beauty culminates on “The Years” in the form of an icy synth that reaches for the ether, while being reminiscent of Interpol’s slower moments (which is basically how the XX got paid) but with far greater feeling and veiled optimism. “The Years” is an emotionally moving piece, the kind that builds yet sustains, and revels in its stark beauty.

At an even 10 tracks, New Today seem to know that leaving us wanting more is the key and ‘Better Than Death’ is one of the most fully realized and expertly executed albums I’ve heard in quite awhile.

It’s good to be goth….

PROTOMARTYR

‘RELATIVES IN DESCENT’

DOMINO

PROTOMARTYR triumphantly returned in 2017 with a new Long Player titled ‘RELATIVES IN DESCENT.’

This is a guitar rock record, which I know sounds like an oxy moron, but holy fuck the standard 4-piece is done proud throughout‘Relatives in Descent.’ This is the sound of an already great band furthering their footing and flexing their well defined muscle. Each member is in supreme control of their respected instrument: from the sharp lyrical prowess and spot on vocal take of Joe Casey, to the skeletal guitar riffs that blot entire song stretches via Greg Ahee, down to the powerful rhythm section courtesy of Scott Davidson’s driving bass and the chaotic (beyond time keeping) pace of Alex Leonard’s thunderous drums.

The groggy “My Children” takes its time with a slow build of doomed kinetic energy, before opening up and falling into a rangy Proto groove of guitars, rhythm, and wordsmith diatribes. “My Children” builds and builds into a melee of guitars/drums/bass until the clouds part and the song opens up offering a chill inducing moment while Casey commands the room. The track’s guitar work in the final third is awe inspiring and note worthy.

By doubling down on what’s made them so great, while stepping out of their comfort zone, ‘Relatives In Descent’ finds Protomartyr at their finest, proving once again that the sons of Detroit are in it for the long haul....

SEXTILE

‘ALBEIT LIVING’

FELTE

The Los Angeles based death-squad known as SEXTILE have triumphantly returned with the pristinely raw ‘ALBEIT LIVING.’

Sextile are the teeth, the brute truth, the harsh reality, the gritty glitz, and the creators of the mad mad world party record we need. The harbingers of bleached catharsis, consisting of the ridiculously attractive & stylish group of: Brady Keehn (vox/guitar/synth) Melissa Scaduto (drums), LA Eddie Wuebben (synths), and the newest addition Cameron Michel (guitar/bass), are trending upwards and with great reason.

That primal drive comes from Melissa Scaduto, not only through the floor shaking beats, but through her guidance, visual appeal, and aesthetic vision. Simply put, she’s the beating heart of the group, one that’s rounded out by Brady Keehn’s Cobra Kai-like bad-boy charisma, and Eddie Wuebben’s art damaged cool.

“Sterilized” is sinisterly delightful. A manic & breathy beast, where deathrock and new wave meet late at night to perform unspeakable acts upon one another. I found myself demonstrably head bobbing upon every listen (“can’t shake it”) while looking for the nearest dance floor thanks to the boogie down bass & drums. “Sterilized”allows Keehn to do what he does so well, that uptick coda (think “Can’t Take It.”), the melody of which is so fucking strong that I find myself walking around panting “Come on and sterilize me.”

Sextile have raised the bar for everyone on ‘Albeit Living’ as they establish themselves as Felte’s flagship group through hometown-hero sincerity and a cohesive album that never overstays its welcome...

***BONUS***

DEATH OF LOVERS

‘THE ACROBAT’

DAIS

2017 closed out with a tender aesthetic bang thanks to DEATH OF LOVERS’ ‘THE ACROBAT.’

The New York based group, boasting no less than three members of the emotional-gaze band Nothing and keyboardist CC Loo, create timeless New Wave ran through a gothic dream-pop portal. It’s not a disservice or slight to say that Death of Lovers created the long lost John Hughes soundtrack that we’ve been waiting on, it’s simply that good, that infectious, and that sugary.

“The Absolute” exudes a feeling of warm nostalgia, yet teeters with an anxiety inducing nervousness that’s coyly deployed over an upbeat arrangement of giddiness. The compressed echo beat, airy synths, and razor sharp guitar lines create a solid foundation for Domenic Palermo’s up in the clouds vocal (with a harmonious assist from drummer Kyle Kimball).

Death of Lovers are keen architects of the smooth delight, as “The Absolute” is five minutes of pure stylized bliss and that’s long before the sound of an aesthetically pleasing saxophone buries it’s reedy goodness into your brain which slides in well next to yearning moody bummers like “The Lowly People” and “Divine Song.”

This is what it sounds like when Hardcore vets find their inner New Romantic (take notes Head Automatica).

Seriously, that sax tho….

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sueboohscorner · 7 years

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#Supergirl Ep. 221 Recap & Review "Resist"

Episode grade: 9

Lena Luthor awakens in a luxurious bed, totally gothed out. I realize fashion is pretty low on her list right now, but I still imagine she would rather not be seen like this in public. Rhea must have always wanted a daughter to dress up like a doll.

Lena's appropriately pissed at being abducted, and Rhea's reaction is that peculiar variety of sociopathic that can also be described as "mother knows best." Rhea's whole way of dealing with the world comes across as a weary frustration that people don't always immediately do what she says, that's she occasionally required to apply pressure to make them fall in line. (This parenting style is familiar to Lena, of course, because Lillian Luthor is a nightmare.)

Even Lillian, however, looks like a good mom now that you've got Rhea for comparison...Rhea plans to force Lena and Mon-El into a marriage that will symbolically unite Daxam and Earth. I bet Mon-El regrets being too heroic to shoot her last week!

Rhea's message of "Welcome to New Daxam; I will be your queen" is being projected all over National City, and her Daxamite army is raining down terror and destruction to bring the people to heel. Our heroes are mostly out there fighting back, except J'onn, who remains in a coma after last week's fight.

The DEO HQ has fallen to the Daxamite army, so our team has set up shop in the alien bar with whatever equipment they could get their hands on. They're all there trying to decide on a plan when Lillian waltzes in. She offers a limited alliance to fight their common enemy, but our friends aren't that desperate...yet.

Guardian and Maggie feel it's their duty to get back out on the street and protect people. For some reason, Supergirl doesn't leave the bar. That is one of the strange aspects of this episode. I get it, narratively, because she needs to be there for specific moments...but still, it's weird that the city is under siege, and its primary hero is hanging out in the bar, looking at computer monitors.

Winn picks up a signal being transmitted between the Daxamite mothership and...Air Force One, zooming right this way! He hacks into this communication (...but two weeks ago, he couldn't trace a signal relay set up by some guy Alex and Kara grew up with? Sorry, I'll try to never mention that crappy episode again), and our team gets to be a fly on the wall for the first contact between President Olivia Marsden, Queen Rhea, and Cat Grant!

Cat is her usual awesome self, trying to play the girl power aspect of this situation. Of course, she's a person with a soul, so she can't comprehend a sociopath like Rhea. There's no negotiating with this bitch. Rhea starts shooting down the presidential escort jets, then Air Force One.

Supergirl gets there just in time to catch Cat Grant, but the plane goes down. This isn't a fatal event for Madame President, though, because she's a Durlan! (We've known since her first appearance that she was an alien, but now we get a confirmation on her species; Durla is the homeworld of a race with shape-shifting abilities. Their most famous citizen is Chameleon, of the Legion of Super-Heroes.)

Back at the bar, the president instructs our team to retake the DEO facility and gain control of the positron cannon, then immediately use it to destroy the mothership. Supergirl and Alex beg her to reconsider, as Mon-El and Lena are hostages on that ship, but the president stands firm that defeating this invasion force is more important than saving any individual lives. (Fair point, and I can't help but note Supergirl's failure to shed tears for the pilot or crew of Air Force One. Not that I think she should beat herself up about their deaths, but she saved Cat and then expressed horror at the thought that she'd failed to save the president...no concern about the others?)

Supergirl's deeply conflicted about carrying out these orders, and Cat gives her the pep talk she needs to make a hard decision; she goes to find Lillian (and Hank Henshaw/Cyborg-Superman!) and agrees to their short-term alliance.

For their part in the adapted plan, Alex and Maggie are carrying out the president's orders (desperately hoping Supergirl's mission succeeds before theirs!), and Winn is helping Cat commandeer the airwaves to send a message of hope and rebellion to the citizens of National City. She gives a beautiful speech to inspire the city to resist Rhea, this thug "who claims she will make our world great again."

When Daxamite soldiers show up at Catco to stop Cat's transmission, Guardian saves the day! He uses lead dust to trigger the Daxamites' "space asthma," which is an awesome use of their one known weakness.

Cat looks right at Guardian and says, "Thanks, James." He and Winn stammer, but she just points out that his eyes are visible through the slit in his mask. (And unlike with Kara, no shape-shifter is on hand to prove her suspicion wrong!)

Lillian's plan involves the Phantom Zone projector in the Fortress of Solitude. They will hack its frequency to get it to beam them behind the shields around the mothership, so they can rescue Lena and Mon-El. Kara asks why Lillian hasn't outed her to Lena, since Lillian knows her secret identity. She sneers that she's waiting for Lena to figure it out, because then she'll see that Kara has been lying to her, proving that aliens can't be trusted, after which Lena will finally become a full Luthor.

Now, I just have to say one thing: I call BS on Lena still not figuring out Kara is Supergirl. I will accept that she can interact with Kara and Supergirl closely without knowing they're the same person, because I'm a comic book fan, and we accept that sort of thing as part of the deal. But now, Lena has met Mon-El both as Kara's boyfriend AND as the superhero who showed up with Supergirl to fight Lena's alien mentor, Rhea, who turned out to be Mon-El's mom, who talks a lot about her son dating the wrong girl and who has a beef with Supergirl...there is no excuse for her not putting two and two together at this point.

In fact, here's the rescue team: Supergirl barely restrains herself from kissing Mon-El, then says that Kara Danvers sent her. If Lena comes out of this without a full awareness of this secret identity, they better have a major explanation...or maybe they'll just have J'onn mindwipe her, so when she figures it all out the second time she can feel even more betrayed.

Lillian tries to screw Supergirl over, of course, leaving her and Mon-El behind on the ship. Winn had rigged a backup plan, because Lillian can't be trusted, but Kara sends Mon-El to safety alone! She says she wants to offer Rhea a peaceful surrender. I hate this. I get that it's meant to be the heroic choice, but it's so naive, and dude, you know that if you're not out of there soon, your sister will wind up shooting you out of the sky! Right now, I feel like Kara's greater allegiance should have been to Alex; she should have gotten off the ship to prevent her sister from having to make an awful decision that would haunt her for the rest of her life.

(If you read my recaps of The Originals, you know I'm always bitching about how dishonorable the Mikaelsons are, so believe me, I recognize there's irony in my bitching about how honorable Supergirl is being. I like a happy medium, I guess, where you stand by your word and respect your allies, but you accept that sometimes the bad guy has to die, and you don't risk your life to offer redemption to someone who has shown no interest in it.)

Down on the ground, Alex has her finger on the positron cannon trigger, and the president is ordering her to proceed, but she knows Kara is still on the ship. She hesitates just long enough that we should probably assume she's going to be fired, especially because her hesitation gives the Daxamites time to destroy the cannon. Oops.

Up on the ship, Rhea laughs at Kara's offer to surrender, then introduces another secret weapon...she's got Superman under her control!

This week had a couple of minor flaws, but the return of Cat Grant makes everything better. I love this character, and I could watch Calista Flockhart's gracefully formidable performance all day.

What was your favorite Cat moment?

Next week, Supergirl vs. Superman!

#supergirl #The CW #comic book shows #DC Comics #DC Universe #DC Entertainment #DCU #Calista Flockhart #Teri Hatcher #Chris Wood #Lynda Carter

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