Martin Carr reviews the thirteenth episode of Supergirl…
Feeling like a throwback to Alien and those programmes confident enough to put two people in a room for an hour with no action. Supergirl hit her stride yet again with pitched battles, comedic elements and alien parasites. Coupled with moments of pathos in an episode which represents a new high water mark for the series.
Such are the relationships and familiarity of these characters that anything is acceptable now. People waltz in and out of the DEO as if it were a drive through burger chain. Henshaw has become the curmudgeonly father figure who holds sway over errant daughters. Whilst Winn and Olsen are now a wholesome double act who bounce well off each other. Making more sense as allies than they ever did as rivals for Kara’s affection.
Benoist continues having fun and demonstrating her versatility as Henshaw takes on another persona. While Lord is funny. Incarcerated or otherwise this controlled threat represents comic relief if that can be believed. Beyond that Cat Grant continues to be her scenery chewing self and this week flies by all too quickly.
What the writers have tackled this week can be traced back to Steven Soderbergh film Solaris. Which remains one of my favourite Clooney collaborations, addressing questions of second chance scenarios in a world where none exist. As I said before Supergirl is much more than shapely spandex and a killer stylist. Beneath the global threats, solar storms and interpersonal relationships beats a questioning intellect.
The notion of family which dominates this series has never been given more prevalence than afforded it here. In this episode they challenge the reliability of memory and our rose-tinted interpretation of past events. How we grow as people, move on naturally but retain emotions only garnered from our formative years.
In part this is the making of Kara as a character. She has lived in a past only vaguely shaped through dim memories. Not of the people but a feeling they gave her. That sense of security which all families should share. Metaphorically though she was still a child. What episode fourteen explored beyond the whistles and bells, was exactly this idea. By deciding to live in the present with an all too real family, Kara finally made her choice. Taking side and acknowledging that past was behind her.
‘For The Girl Who Had Everything’ continued to expand, question and evolve the notion of what a network genre show was capable of doing. This may sound like high praise but there is an element of truth here. There continues to be important things being said beneath the surface, which are there if people are prepared to look.
Martin Carr – Follow me on Twitter
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