any links?
CBS - Supergirl Trailer
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wouldn't that kinda be appropriate tho?bro they really cranked up the gay agenda in that ep...
shit getting crazy ..
they even made the dam devil gay in Lucifer...
How the CW Mastered the Superhero Rom-Com
By Abraham RiesmanFollow @abrahamjosephShare1Tweet0Share0Email
At the tail end of Supergirl’s mid-season finale, the titular Kryptonian heroine has a moment alone with a fellow superpowered alien, the Daxamite Mon-El. They’ve just survived yet another titanic tussle with the forces of evil, and Mon-El is in a hospital room, recuperating from a near-death experience. “So, are we gonna talk about what happened?” Supergirl — known to her civilian comrades as Kara Danvers — asks. It’s the time in an installment of a superhero story when one typically expects an expository debrief on the big battle, and that’s certainly what Mon-El thinks is about to go down when he replies, “Yes, I wanna hear all about how you chased that missile down.” But Supergirl is not a traditional superhero story, and Kara has a more important matter on her mind: a kiss.
“No, I mean, are we gonna talk about what happened between us” — and here, she points back and forth at her own chest and his, swaying nervously — “while you were dying?” The pair had shared a lip-lock just before Mon-El was knocked out by poison gas, seemingly resolving many episodes’ worth of will-they-or-won’t-they tension. Alas, Mon-El seems to have no memory of the kiss and replies, “I … what? What happened?” Oh no! Kara squirms and, adorkable superhuman that she is, improvises a silly white lie: “You drooled!” They laugh, but our hearts break for poor Kara. When will she finally get the love she deserves?
The whole sequence is more Bridget Jones’s Diary than Batman v Superman, and that’s entirely by design. Indeed, the infusion of romantic comedy into the superhero genre is arguably what has made Supergirl and its fellow caped-crusader shows on the CW such hits. Arrow, The Flash, Supergirl, and DC’s Legends of Tomorrow comprise a quartet colloquially known as the Berlantiverse, named for their executive producer, Greg Berlanti. He was making rom-coms long before he was doing small-screen spandex, having directed 2000’s The Broken Hearts Club and 2010’s Life As We Know It, and acted as showrunner for the rom-com-influenced teen dramas Dawson’s Creek and Everwood. By carrying over the lessons he learned on those projects, Berlanti is significantly advancing the superhero genre and opening it up to audiences with lower tolerances for CGI beat-’em-ups.
Romance is, of course, not a new concept for superhero fiction. Ever since Clark Kent started pining for Lois Lane, only to see her prefer his tights-wearing alter ego, attraction and rejection have been ongoing motifs in the genre. It’s not even entirely new to televised adaptations of superhero comics — the 1990s ABC curio Lois & Clark: The New Adventures of Superman drew heavily on matters of the heart. But the Berlantiverse shows come at a special time in the eight-decade history of the superhero genre, when it finds itself in the global-entertainment spotlight as never before. As is true of any industry with an expanding supply of product, superhero filmmaking needs to find new audiences if it hopes to survive, and the Berlantiverse provides a useful and surprisingly successful model for attracting them with rom-com tropes. Think of it as a new kind of romantic comedy: a superhe-rom-com, if you will.
The foundations were laid out in the first Berlantiverse show, Arrow, with the introduction of geeky blonde tech expert Felicity Smoak. In season one, Smoak provided much-needed levity and romantic tension to protagonist Ollie’s sludge-dark trials and tribulations. The second show, The Flash, brought even more rom-com-y business by devoting just as much attention to the question of whether Barry Allen (the titular Flash) would hook up with longtime crush Iris West as it did to whether our hero could defeat baddies. The fourth, Legends, is fixated on simmering dalliances between quirky misfits like the Atom and Hawkgirl. Each plays around with different romantic-comedy tropes: Arrow shows us the struggle of an emotionally unavailable stoic attempting to be vulnerable, Flash shows a lead who can't quite find the balance between work and love lives, and Legends has the nervous "he likes me, but does he like-like me?" pining of a high-school love story.
But the third show, Supergirl, is where Berlanti and co-creators Allison Adler and Andrew Kreisberg made the heady brew most potent. Supergirl is so much like a romantic comedy that when its first promo debuted, months before the series premiere, geeks pounced on the fact that it seemed eerily close to an SNL parody of a Black Widow–starring Avengers rom-com. Leaving aside whether such comparisons are good or bad, they were quite accurate: The trailer follows a clumsy single gal in the big city, as she works for a domineering boss and can’t figure out how to tell her crush that she likes him. To the extent that the crime-fighting stuff appeared in the Supergirl trailer, it was primarily there to show us that we’d see a timid woman learn how to actualize herself.
We were not misled, as Supergirl has become astoundingly reliant on rom-com ideas ever since. It is, of course, impossible to ignore the fact that it's also the only woman-led member of the quartet. The show has rated better with female viewers than most superhero shows, and although we shouldn't generalize — plenty of men love rom-coms, plenty of women love superheroes, and a ton of people love both — it's not unreasonable to suspect the creators hoped to achieve a more balanced audience by pulling from the rom-com genre, which has often been targeted at women in a way that superhero fiction hasn't. Whatever the motivation, the tropes are right there on the surface. Kara is forever trapped between suitors, from maturely chill James Olsen to nerdily anxious Winn Schott and, of course, sweet-but-dumb hunk Mon-El. Romance, of course, does not a rom-com make — such love triangles (and quadrangles) could simply lead us to a prime-time soap territory. But Supergirl is relentlessly light and goofy, thank goodness.
Take, for example, a recent scene in which the core cast gathers at Kara’s apartment for a Thanksgiving dinner with her mom, Eliza, and her sister, Alex. While gently bouncy woodwinds croon, the room is abuzz with confusion and nerves over potential romantic disasters. James and Winn are bickering over which one of them will get to impress Kara by revealing that James is secretly moonlighting as a crime fighter known as the Guardian. Mon-El is flirting with Eliza, but Eliza tells Kara that’s just because he wants to impress his squeeze’s mother. Most important, Alex is working up the courage to tell Eliza that she’s gay and getting a little too tipsy in the process. Just when it looks like all those beans are about to spill, an interdimensional portal opens up over the dinner table, but that isn’t nearly as exciting as all the mix-ups and mishegoss that came just before.
You’d never find a scene like that in any superhero franchise outside the Berlantiverse. Sure, you might see Tony Stark kiss Pepper Potts or witness Batfleck waking up next to a nameless sexual conquest, but those bits are brief and usually played with a certain degree of weighty pathos. Marvel television has given us superhumans who bang, especially in Jessica Jones and Luke Cage, but their romance is rarely comedic. The only other place you'll find rom-comminess among superheroes is in the vibrant world of fanfic and other fan-created media, where shootouts regularly take a back seat to smooches. Just take a look at the Tumblr tag for “Stucky,” the fan term referring to the romantic pairing of Steve Rogers (a.k.a. Captain America) and Bucky Barnes (a.k.a. the Winter Soldier).
There’s a similar abundance on the tag for “WestAllen,” the term for The Flash’s Barry and Iris. The difference, of course, is that Stucky will never come to be, while WestAllen has been a reality for nearly a dozen episodes. Berlanti and his cohort are pioneers in appealing to a demand for copious love that was previously only satisfied by non-canonical work. Case in point: They’re already lapping their big-screen competitors by not only crafting rom-com pairings, but also expanding into the realm of queer attraction, most notably in the form of Supergirl’s Alex Danvers and her nascent love with erstwhile verbal sparring partner Detective Maggie Sawyer (their term is “Detective Danvers,” in case you were looking for some steamy fic).
One’s mileage may vary as to whether sensual silliness is worth your superheroic viewing time, of course. But if you’re not into it, you have plenty of options available elsewhere. Only the storytellers of the Berlantiverse have figured out how to make this dominant entertainment genre more palatable for people who like to engage with fiction through a lightly romantic lens, be they men or women, straight or queer.Despite a few notable exceptions like Patsy Walker, AKA Hellcat, even the comics that inspire these stories hardly bother with genuine romantic comedy.
That’s a damn shame, because any robust genre deserves creators who expand its boundaries. Superhero fiction has broadly appealing themes — ethical use of power, triumph over impossible odds, the possibility of real altruism — but if you just focus on brawling and brooding, you're telling audiences who cringe at machismo that the multi-billion-dollar superhero industry isn’t for them. Even if you’re just looking at the bottom line, you have to recognize that the success of the Berlantiverse, which keeps racking up ratings victories, suggests it would only be prudent to pay attention to their secret sauce. The stewards of the superhero tentpoles would do well to stir in a little less Frank Miller and a little more Nora Ephron.
By Abraham RiesmanFollow @abrahamjosephShare1Tweet0Share0Email
At the tail end of Supergirl’s mid-season finale, the titular Kryptonian heroine has a moment alone with a fellow superpowered alien, the Daxamite Mon-El. They’ve just survived yet another titanic tussle with the forces of evil, and Mon-El is in a hospital room, recuperating from a near-death experience. “So, are we gonna talk about what happened?” Supergirl — known to her civilian comrades as Kara Danvers — asks. It’s the time in an installment of a superhero story when one typically expects an expository debrief on the big battle, and that’s certainly what Mon-El thinks is about to go down when he replies, “Yes, I wanna hear all about how you chased that missile down.” But Supergirl is not a traditional superhero story, and Kara has a more important matter on her mind: a kiss.
“No, I mean, are we gonna talk about what happened between us” — and here, she points back and forth at her own chest and his, swaying nervously — “while you were dying?” The pair had shared a lip-lock just before Mon-El was knocked out by poison gas, seemingly resolving many episodes’ worth of will-they-or-won’t-they tension. Alas, Mon-El seems to have no memory of the kiss and replies, “I … what? What happened?” Oh no! Kara squirms and, adorkable superhuman that she is, improvises a silly white lie: “You drooled!” They laugh, but our hearts break for poor Kara. When will she finally get the love she deserves?
The whole sequence is more Bridget Jones’s Diary than Batman v Superman, and that’s entirely by design. Indeed, the infusion of romantic comedy into the superhero genre is arguably what has made Supergirl and its fellow caped-crusader shows on the CW such hits. Arrow, The Flash, Supergirl, and DC’s Legends of Tomorrow comprise a quartet colloquially known as the Berlantiverse, named for their executive producer, Greg Berlanti. He was making rom-coms long before he was doing small-screen spandex, having directed 2000’s The Broken Hearts Club and 2010’s Life As We Know It, and acted as showrunner for the rom-com-influenced teen dramas Dawson’s Creek and Everwood. By carrying over the lessons he learned on those projects, Berlanti is significantly advancing the superhero genre and opening it up to audiences with lower tolerances for CGI beat-’em-ups.
Romance is, of course, not a new concept for superhero fiction. Ever since Clark Kent started pining for Lois Lane, only to see her prefer his tights-wearing alter ego, attraction and rejection have been ongoing motifs in the genre. It’s not even entirely new to televised adaptations of superhero comics — the 1990s ABC curio Lois & Clark: The New Adventures of Superman drew heavily on matters of the heart. But the Berlantiverse shows come at a special time in the eight-decade history of the superhero genre, when it finds itself in the global-entertainment spotlight as never before. As is true of any industry with an expanding supply of product, superhero filmmaking needs to find new audiences if it hopes to survive, and the Berlantiverse provides a useful and surprisingly successful model for attracting them with rom-com tropes. Think of it as a new kind of romantic comedy: a superhe-rom-com, if you will.
The foundations were laid out in the first Berlantiverse show, Arrow, with the introduction of geeky blonde tech expert Felicity Smoak. In season one, Smoak provided much-needed levity and romantic tension to protagonist Ollie’s sludge-dark trials and tribulations. The second show, The Flash, brought even more rom-com-y business by devoting just as much attention to the question of whether Barry Allen (the titular Flash) would hook up with longtime crush Iris West as it did to whether our hero could defeat baddies. The fourth, Legends, is fixated on simmering dalliances between quirky misfits like the Atom and Hawkgirl. Each plays around with different romantic-comedy tropes: Arrow shows us the struggle of an emotionally unavailable stoic attempting to be vulnerable, Flash shows a lead who can't quite find the balance between work and love lives, and Legends has the nervous "he likes me, but does he like-like me?" pining of a high-school love story.
But the third show, Supergirl, is where Berlanti and co-creators Allison Adler and Andrew Kreisberg made the heady brew most potent. Supergirl is so much like a romantic comedy that when its first promo debuted, months before the series premiere, geeks pounced on the fact that it seemed eerily close to an SNL parody of a Black Widow–starring Avengers rom-com. Leaving aside whether such comparisons are good or bad, they were quite accurate: The trailer follows a clumsy single gal in the big city, as she works for a domineering boss and can’t figure out how to tell her crush that she likes him. To the extent that the crime-fighting stuff appeared in the Supergirl trailer, it was primarily there to show us that we’d see a timid woman learn how to actualize herself.
We were not misled, as Supergirl has become astoundingly reliant on rom-com ideas ever since. It is, of course, impossible to ignore the fact that it's also the only woman-led member of the quartet. The show has rated better with female viewers than most superhero shows, and although we shouldn't generalize — plenty of men love rom-coms, plenty of women love superheroes, and a ton of people love both — it's not unreasonable to suspect the creators hoped to achieve a more balanced audience by pulling from the rom-com genre, which has often been targeted at women in a way that superhero fiction hasn't. Whatever the motivation, the tropes are right there on the surface. Kara is forever trapped between suitors, from maturely chill James Olsen to nerdily anxious Winn Schott and, of course, sweet-but-dumb hunk Mon-El. Romance, of course, does not a rom-com make — such love triangles (and quadrangles) could simply lead us to a prime-time soap territory. But Supergirl is relentlessly light and goofy, thank goodness.
Take, for example, a recent scene in which the core cast gathers at Kara’s apartment for a Thanksgiving dinner with her mom, Eliza, and her sister, Alex. While gently bouncy woodwinds croon, the room is abuzz with confusion and nerves over potential romantic disasters. James and Winn are bickering over which one of them will get to impress Kara by revealing that James is secretly moonlighting as a crime fighter known as the Guardian. Mon-El is flirting with Eliza, but Eliza tells Kara that’s just because he wants to impress his squeeze’s mother. Most important, Alex is working up the courage to tell Eliza that she’s gay and getting a little too tipsy in the process. Just when it looks like all those beans are about to spill, an interdimensional portal opens up over the dinner table, but that isn’t nearly as exciting as all the mix-ups and mishegoss that came just before.
You’d never find a scene like that in any superhero franchise outside the Berlantiverse. Sure, you might see Tony Stark kiss Pepper Potts or witness Batfleck waking up next to a nameless sexual conquest, but those bits are brief and usually played with a certain degree of weighty pathos. Marvel television has given us superhumans who bang, especially in Jessica Jones and Luke Cage, but their romance is rarely comedic. The only other place you'll find rom-comminess among superheroes is in the vibrant world of fanfic and other fan-created media, where shootouts regularly take a back seat to smooches. Just take a look at the Tumblr tag for “Stucky,” the fan term referring to the romantic pairing of Steve Rogers (a.k.a. Captain America) and Bucky Barnes (a.k.a. the Winter Soldier).
There’s a similar abundance on the tag for “WestAllen,” the term for The Flash’s Barry and Iris. The difference, of course, is that Stucky will never come to be, while WestAllen has been a reality for nearly a dozen episodes. Berlanti and his cohort are pioneers in appealing to a demand for copious love that was previously only satisfied by non-canonical work. Case in point: They’re already lapping their big-screen competitors by not only crafting rom-com pairings, but also expanding into the realm of queer attraction, most notably in the form of Supergirl’s Alex Danvers and her nascent love with erstwhile verbal sparring partner Detective Maggie Sawyer (their term is “Detective Danvers,” in case you were looking for some steamy fic).
One’s mileage may vary as to whether sensual silliness is worth your superheroic viewing time, of course. But if you’re not into it, you have plenty of options available elsewhere. Only the storytellers of the Berlantiverse have figured out how to make this dominant entertainment genre more palatable for people who like to engage with fiction through a lightly romantic lens, be they men or women, straight or queer.Despite a few notable exceptions like Patsy Walker, AKA Hellcat, even the comics that inspire these stories hardly bother with genuine romantic comedy.
That’s a damn shame, because any robust genre deserves creators who expand its boundaries. Superhero fiction has broadly appealing themes — ethical use of power, triumph over impossible odds, the possibility of real altruism — but if you just focus on brawling and brooding, you're telling audiences who cringe at machismo that the multi-billion-dollar superhero industry isn’t for them. Even if you’re just looking at the bottom line, you have to recognize that the success of the Berlantiverse, which keeps racking up ratings victories, suggests it would only be prudent to pay attention to their secret sauce. The stewards of the superhero tentpoles would do well to stir in a little less Frank Miller and a little more Nora Ephron.
Man Jimmy Olsen is going to need to die. Everything else about the Show is tight. I love how it's full blown Sci-fi but damn... I hate to say it but Guardian is horrible and I use to love guardian.
Another good episode
So Supergirl was crunk and Lex's War suit made a fucking appearance on a TV show.
His fucking War Suit.. I never thought that I'd see the day.
His fucking War Suit.. I never thought that I'd see the day.
The dude playing Mon-el is way to big for this show.
It's the same way I felt about Jenson Ackeles when he was on Dark Angel.
It's the same way I felt about Jenson Ackeles when he was on Dark Angel.
So Supergirl was crunk and Lex's War suit made a fucking appearance on a TV show.
His fucking War Suit.. I never thought that I'd see the day.
going to hate when we eventually see Jesse Eisenberg wearing something like this in a future Superman film
Ok this episode was good....
The Flash-Supergirl musical crossover: Carlos Valdes on the non-Glee reunion of it all
NATALIE ABRAMS@NATALIEABRAMS
POSTED ON MARCH 19, 2017 AT 9:00AM EDT
JACK ROWAND/THE CW
While the upcoming Flash–Supergirl musical crossover features a big Glee reunion between Grant Gustin, Melissa Benoist, and Darren Criss, there are also other rich connections that run deep within this cast — and they oddly have to do with genitalia.
It turns out, Criss went to college with The Flash star Carlos Valdes, and even before this highly anticipated hour, the duo were already making music together, specifically for a show called Me and My Dick. The crossover, however, will be a little more PC as The Flash (Gustin) and Supergirl (Benoist) find themselves trapped in a movie musical by the Music Meister (Criss), and their only means of escape are to play through the script, complete with singing and dancing.
In a nod to Kara’s favorite film, The Wizard of Oz, everyone else in the vocally impressive cast is playing a character within this movie, thus Valdes doesn’t appear as Cisco, but as Pablo, a busboy at the nightclub owned by John Barrowman’s mobster who has aspirations of becoming a singer. EW sat down with Valdes to talk about the big reunion.
ENTERTAINMENT WEEKLY: How did you feel when you first learned you guys were doing a musical crossover?
CARLOS VALDES: You know, some things are just star-crossed. Some things are just destined and written in the stars. This felt like one of those instances where it was just something that was going to happen. I think the cast saw it coming, the bosses saw it coming, and to a certain degree it could be argued that the fans saw it happening. I think everybody was just really jazzed. You have to admit, it’s undeniably curious that so many people in our cast come from theater and have that skill set. So, I think it was just a no-brainer. Add to the mix that Greg Berlanti is a big fan of musicals, and presto — we’ve got a musical episode!
What has the prep been like for this episode between music and choreography?
I was expecting there to be a bit more of a learning curve than there actually was. I was expecting us to have to scramble at the last minute to figure out how to make this happen. But honestly, it’s been a lot more fluid than I expected and I attribute that, honestly, to a good team. I mean, we’ve got [choreographer] Zach Woodlee from Glee, so he’s such a pro at this. He’s already got it mapped out. He already knows how to set it on the actors and it looks beautiful. So, I’m excited to see how it looks in the end, but as far as the process is concerned, it’s super. [Laughs]
How nervous were you going into your first take?
Well, I’m about to do it right now. You know, I have to say, I’m not really that nervous. I mean, this is sort of my bread and butter. This is the world that I come from. I have a degree in musical theater, so this is my sh—. You know what I mean? So, being here and doing this, I actually feel more at ease than I think I would at any other regular day on set.
What’s been the hardest part about the musical so far?
The hardest part? The hardest part for me is reformatting my conception of the performance of the musical for the camera. Because I’m used to having the experience of being in theater where it’s ephemeral, and it’s live, it’s big and it’s committed in that way, but when you reformat it so that it can work on camera it has to be filtered through a different understanding. So, the recording process, like making sure that my performance in the recording booth is matched by my live performance, that’s been an interesting aspect to play around with. Doing dance rehearsals so that we can do the performance and it can be captured once instead of rehearsing a number so that I can do it eight times a week for ad infinitum. This is very different having to rehearse so that we can just get one product out there and ship it out, and mass-produce it. It’s very different for me in that sense.
You went to college with Darren. What was it like reuniting with him in this capacity?
Dude, it’s been such a hoot and it’s been such a blast. It’s like old times. It’s weird because I’m seeing worlds mesh before my eyes, like, worlds that are very separate. There’s my Flash life, these people that I’ve been working with for the last two to three years, and then there’s Darren, whom I used to goof off with in college and write musicals about genitalia. [Laughs] That’s what we used to do. So, it’s very weird to have to experience that through a work setting, but dude it’s so much fun. Honestly, he works so hard — it’s been a really enriching experience and I’m learning a lot from it.
How is the Music Meister different from some of the villains we’ve seen on the show before?
Given the tone of the broadly colored musical, I think fans can expect Music Meister to be someone colored along those lines, basically. Definitely very different. I mean, it’s Darren. He’s such a goof and so he brings that vivaciousness to this character that I think distinguishes him from the usually dour metahumans that we have to face. So, it’s been really entertaining watching him play this, like, semi-narcissistic sadistic Music Meister.
Do we finally get the long-awaited interaction between Cisco and Winn?
Well, actually Winn in this episode is only present in the musical dream and he and I actually play a lot in that dream world. But in the real world, it’s actually Mon-El and J’onn J’onzz who bring Kara to Earth-1, so no. But it’s been a blast working with all of them. I met Chris Wood back when he was doing Containment and we were doing upfronts, and he’s such a cool guy. And I’ve heard Grant talk so much about how surreal it is for him to not just work with Darren and Melissa, but also to work with Chris, whom he went to college with. You know what I mean? So, there’s a lot of weird alma mater connections there.
The musical crossover will kick off at the end of Supergirl’s March 20 hour, with the majority of the action taking place during The Flash‘s March 21 episode; Supergirl airs Mondays at 8 p.m., and The Flash airs Tuesdays at 8 p.m. on The CW. Check out our full gallery of The Flash–Supergirl musical crossover photos here, get the scoop on the crossover here, check out our interviews with Darren Criss here and Melissa Benoist here.
http://ew.com/tv/2017/03/19/flash-supergirl-musical-crossover-carlos-valdes/
http://ew.com/tv/first-look-photos-...pisode/the-flash-supergirl-musical-crossover/
NATALIE ABRAMS@NATALIEABRAMS
POSTED ON MARCH 19, 2017 AT 9:00AM EDT
JACK ROWAND/THE CW
While the upcoming Flash–Supergirl musical crossover features a big Glee reunion between Grant Gustin, Melissa Benoist, and Darren Criss, there are also other rich connections that run deep within this cast — and they oddly have to do with genitalia.
It turns out, Criss went to college with The Flash star Carlos Valdes, and even before this highly anticipated hour, the duo were already making music together, specifically for a show called Me and My Dick. The crossover, however, will be a little more PC as The Flash (Gustin) and Supergirl (Benoist) find themselves trapped in a movie musical by the Music Meister (Criss), and their only means of escape are to play through the script, complete with singing and dancing.
In a nod to Kara’s favorite film, The Wizard of Oz, everyone else in the vocally impressive cast is playing a character within this movie, thus Valdes doesn’t appear as Cisco, but as Pablo, a busboy at the nightclub owned by John Barrowman’s mobster who has aspirations of becoming a singer. EW sat down with Valdes to talk about the big reunion.
ENTERTAINMENT WEEKLY: How did you feel when you first learned you guys were doing a musical crossover?
CARLOS VALDES: You know, some things are just star-crossed. Some things are just destined and written in the stars. This felt like one of those instances where it was just something that was going to happen. I think the cast saw it coming, the bosses saw it coming, and to a certain degree it could be argued that the fans saw it happening. I think everybody was just really jazzed. You have to admit, it’s undeniably curious that so many people in our cast come from theater and have that skill set. So, I think it was just a no-brainer. Add to the mix that Greg Berlanti is a big fan of musicals, and presto — we’ve got a musical episode!
What has the prep been like for this episode between music and choreography?
I was expecting there to be a bit more of a learning curve than there actually was. I was expecting us to have to scramble at the last minute to figure out how to make this happen. But honestly, it’s been a lot more fluid than I expected and I attribute that, honestly, to a good team. I mean, we’ve got [choreographer] Zach Woodlee from Glee, so he’s such a pro at this. He’s already got it mapped out. He already knows how to set it on the actors and it looks beautiful. So, I’m excited to see how it looks in the end, but as far as the process is concerned, it’s super. [Laughs]
How nervous were you going into your first take?
Well, I’m about to do it right now. You know, I have to say, I’m not really that nervous. I mean, this is sort of my bread and butter. This is the world that I come from. I have a degree in musical theater, so this is my sh—. You know what I mean? So, being here and doing this, I actually feel more at ease than I think I would at any other regular day on set.
What’s been the hardest part about the musical so far?
The hardest part? The hardest part for me is reformatting my conception of the performance of the musical for the camera. Because I’m used to having the experience of being in theater where it’s ephemeral, and it’s live, it’s big and it’s committed in that way, but when you reformat it so that it can work on camera it has to be filtered through a different understanding. So, the recording process, like making sure that my performance in the recording booth is matched by my live performance, that’s been an interesting aspect to play around with. Doing dance rehearsals so that we can do the performance and it can be captured once instead of rehearsing a number so that I can do it eight times a week for ad infinitum. This is very different having to rehearse so that we can just get one product out there and ship it out, and mass-produce it. It’s very different for me in that sense.
You went to college with Darren. What was it like reuniting with him in this capacity?
Dude, it’s been such a hoot and it’s been such a blast. It’s like old times. It’s weird because I’m seeing worlds mesh before my eyes, like, worlds that are very separate. There’s my Flash life, these people that I’ve been working with for the last two to three years, and then there’s Darren, whom I used to goof off with in college and write musicals about genitalia. [Laughs] That’s what we used to do. So, it’s very weird to have to experience that through a work setting, but dude it’s so much fun. Honestly, he works so hard — it’s been a really enriching experience and I’m learning a lot from it.
How is the Music Meister different from some of the villains we’ve seen on the show before?
Given the tone of the broadly colored musical, I think fans can expect Music Meister to be someone colored along those lines, basically. Definitely very different. I mean, it’s Darren. He’s such a goof and so he brings that vivaciousness to this character that I think distinguishes him from the usually dour metahumans that we have to face. So, it’s been really entertaining watching him play this, like, semi-narcissistic sadistic Music Meister.
Do we finally get the long-awaited interaction between Cisco and Winn?
Well, actually Winn in this episode is only present in the musical dream and he and I actually play a lot in that dream world. But in the real world, it’s actually Mon-El and J’onn J’onzz who bring Kara to Earth-1, so no. But it’s been a blast working with all of them. I met Chris Wood back when he was doing Containment and we were doing upfronts, and he’s such a cool guy. And I’ve heard Grant talk so much about how surreal it is for him to not just work with Darren and Melissa, but also to work with Chris, whom he went to college with. You know what I mean? So, there’s a lot of weird alma mater connections there.
The musical crossover will kick off at the end of Supergirl’s March 20 hour, with the majority of the action taking place during The Flash‘s March 21 episode; Supergirl airs Mondays at 8 p.m., and The Flash airs Tuesdays at 8 p.m. on The CW. Check out our full gallery of The Flash–Supergirl musical crossover photos here, get the scoop on the crossover here, check out our interviews with Darren Criss here and Melissa Benoist here.
http://ew.com/tv/2017/03/19/flash-supergirl-musical-crossover-carlos-valdes/
http://ew.com/tv/first-look-photos-...pisode/the-flash-supergirl-musical-crossover/
Superheroes rule the world on the CW, and at the network’s Television Critics Association panel Thursday, executive producers and creators ofLegends of Tomorrow, The Flash, Arrow, and Supergirl — including Andrew Kreisberg, Ali Adler, Wendy Mericle, Phil Klemmer, Marc Guggenheim and, of course, Greg Berlanti — were on hand to share details about what’s in store for their caped wonders this season. From those Batman-Batgirl rumors to Calista Flockhart's absence, here’s everything we learned.
There will be a Flash-Supergirl musical crossover episode.
“There will be a musical crossover; there will be a paired episode between Supergirl and Flash during the back half of the year,” said Berlanti. “Some of you know my personal love of musicals and actors who have been in them. We have a number of actors who can sing across all the shows and they will be making very exciting appearances during the back half of the year.”
Berlanti said the musical episode will mostly feature non-original songs and he’s taking requests via his Twitter account. The Flash and Legends of Tomorrow’s Victor Garber has already started pitching. Berlanti said that of all the time-traveling shows on right now his is the only one where Garber “will be singing 'Edelweiss' to a bunch of Nazis.”
A character on one of the shows will come out.
“One of the characters on one of the shows will be exploring their sexuality,” said Berlanti. He later added that “it is a significant character. We’re not trying to be coy about it. The only reason is that we really want the audience to enjoy the character developments and of that story line.”
The villains often get the most attention in the writers rooms.
“We spend sometimes more time talking about the villains than we do some of the heroes,” said Berlanti. “Obviously, they’re driving the plot a lot and that’s setting the tone. It’s reflective of what the hero is going through.”
Those rumors that producers were attempting to have Batman and Batgirl on their shows were false.
“That would be a neat trick if somebody could pull it off but it’s not happening,” said Andrew Kreisberg.
This is the final year for those Arrow flashbacks.
“We always said that Oliver had a five-year journey when he was marooned,” said Marc Guggenheim. “This year, Oliver spends his time in flashbacks in Russia. We know from various seeds we planted in the pilot that he knows how to speak Russian and he became a Bratva (Russian mafia) captain. The flashback story in the first half of the year is going to involve Oliver’s introduction into the Bratva.”
Oliver will get political in the new season of Arrow.
“We do think of this season as going back to our roots,” said Wendy Mericle. “When you come into the season, Oliver will still be out there fighting crime on his own, and he has also taken up the mantel of the city’s mayor. We’re going to be exploring him as a hero, both in a very traditional sense, and also as Green Arrow. We’re going to see a whole bunch of new recruits. The city’s going to have a new criminal, as well as a new vigilante inspired by him.” This vigilante is based on the version created by Marv Wolfman and George Pérez for the comics and will appear in the seventh episode of the fifth season.
The Flash season three picks up with Barry stuck in Flashpoint.
“Last season, we saw Barry make the fateful decision to travel back in time and try to save his mother from the Reverse Flash,” said Kreisberg. “When he did so, he’s created an alternative timeline where his mother’s still alive that’s from a story from the comic books called Flashpoint. The Flash picks up with Barry living in this new version of events and having to deal with both the benefits that’s produced and also the costs.” Flashpoint will also affect the events in Arrow and, in some capacity, Legends of Tomorrow,said Kreisberg.
Calista Flockhart’s Cat is kind of gone from Supergirl. But she’s not forgotten.
“Part of what’s happening in the offices is addressing Cat’s absence and who is stepping up to the plate to take her place,” said Kreisberg. “Calista is such a large presence on the show and such an important one. Taking her out and watching people try to fill her role is definitely part of the story.”
Supergirl will become a family affair almost immediately in season two.
“In the premiere, a threat is going to arise that’s going to require Supergirl and Superman to team up,” said Kreisberg. Berlanti added that “we had always hoped to end last year with him. [But] we wanted to have enough of a year to establish Supergirl as her own character.”
The panelists confirmed that Chris Woods has joined the Supergirl cast as Monel, the mysterious figure in the pod that crashed into National City last season, and that Sharon Leal will be playing Miss Martian in the series.
Kevin Smith is coming back.
The superhero-obsessed director will direct episodes of Flash andSupergirl this season.
That Supergirl ice cream .gif was almost a lot hotter.
“That was actually supposed to be coffee,” said Kreisberg. “It was the director’s idea to make it ice cream and watching Melissa’s face … that was Melissa’s improv.”
did NOT realize Vigilante was on HERE first
Looks like Melissa may have to kneel..
Supergirl TV Series Casts General Zod
Superman and Supergirl will take on General Zod in the season finale!
NEWSMike Cecchini
Apr 21, 2017
General Zod is coming to Supergirl! Mark Gibbon has been cast as one of the most iconic Superman villains of them all. While I've confirmed Mr. Gibbon's casting with Warner Bros., they weren't able to offer any additional details at this time.
However, there are only a few episodes of Supergirl left this year, and production is about to begin on the season finale, which means that's likely where we're going to meet the DC TV version of General Zod. That season finale also features Superman. It will be interesting to see whether this is the TV Man of Steel's first encounter with General Zod or if the two have a history together.
What's interesting is that this isn't Mark Gibbon's first time interacting with the Superman mythos. Gibbon played one of the oil workers rescued by a pre-Superman Clark Kent in Man of Steel, and he appeared in several small roles on Smallville.
The commander of Krypton's military has long held a grudge against the House of El, since Superman's father (and Kara's uncle) banished him and his cronies to the Phantom Zone. Hopefully this means he's bringing some of his Phantom Zone buddies along for the ride, too. Considering how well Supergirl handles the broader Superman mythology, I'm really looking forward to seeing how they play one of the biggest rivalries in Kryptonian history on the small screen.
General Dru-Zod has been around since 1961, first appearing in Adventure Comics #283, where he was created by Robert Bernstein and George Papp. Zod has famously been brought to life on the big screen by Terrence Stamp (in 1980's Superman II) and Michael Shannon (in 2013's Man of Steel) and the small screen by Callum Blue on Smallville. Recent comic book interpretations of Zod have hewn a little closer to the movie versions, so there's a lot of room for Supergirl to get creative with the character.
This pleases me... He looks the part.
Supergirl TV Series Casts General Zod
Superman and Supergirl will take on General Zod in the season finale!
NEWSMike Cecchini
Apr 21, 2017
General Zod is coming to Supergirl! Mark Gibbon has been cast as one of the most iconic Superman villains of them all. While I've confirmed Mr. Gibbon's casting with Warner Bros., they weren't able to offer any additional details at this time.
However, there are only a few episodes of Supergirl left this year, and production is about to begin on the season finale, which means that's likely where we're going to meet the DC TV version of General Zod. That season finale also features Superman. It will be interesting to see whether this is the TV Man of Steel's first encounter with General Zod or if the two have a history together.
What's interesting is that this isn't Mark Gibbon's first time interacting with the Superman mythos. Gibbon played one of the oil workers rescued by a pre-Superman Clark Kent in Man of Steel, and he appeared in several small roles on Smallville.
The commander of Krypton's military has long held a grudge against the House of El, since Superman's father (and Kara's uncle) banished him and his cronies to the Phantom Zone. Hopefully this means he's bringing some of his Phantom Zone buddies along for the ride, too. Considering how well Supergirl handles the broader Superman mythology, I'm really looking forward to seeing how they play one of the biggest rivalries in Kryptonian history on the small screen.
General Dru-Zod has been around since 1961, first appearing in Adventure Comics #283, where he was created by Robert Bernstein and George Papp. Zod has famously been brought to life on the big screen by Terrence Stamp (in 1980's Superman II) and Michael Shannon (in 2013's Man of Steel) and the small screen by Callum Blue on Smallville. Recent comic book interpretations of Zod have hewn a little closer to the movie versions, so there's a lot of room for Supergirl to get creative with the character.
This pleases me... He looks the part.
salute to Ravi!!!!
I bet if this DC streaming service is a success theyll spin him off into his own show..probably make it one of the "flagship" shows for the channel
only if the movies fail
Batman and Superman licenses are for now -too expensive for TV / streaming
Ok Supergirl with a legit great episode with the type of Villian that should have been on Superman years ago....
A guy from her hometown that wasn't an idiot and realized who Supergirl was.
I mean this guy was a great Villian.
This show needs more of this.
A guy from her hometown that wasn't an idiot and realized who Supergirl was.
I mean this guy was a great Villian.
This show needs more of this.
Anybody else catch the shade they've been throwing at Trump? Lol
Supergirl boss reveals timely finale title
NATALIE ABRAMS@NATALIEABRAMS
POSTED ON MAY 1, 2017 AT 12:00PM EDT
DEAN BUSCHER/THE CW
Supergirl has found a fitting finale title after a season that has tackled themes of diversity, immigration, hatred, LGBTQ, and much more.
EW can exclusively reveal that the season finale will be titled “Nevertheless, She Persisted,” per executive producer Andrew Kreisberg.
The title is inspired by Senator Elizabeth Warren’s refusal to be silenced during the debate to confirm Senator Jeff Sessions as Attorney General. Warren spoke out against him, reading a letter by Coretta Scott King, during which she was interrupted several times before a vote was called to effectively silence her.
After the incident, Senator Mitch McConnell said, “Senator Warren was giving a lengthy speech. She had appeared to violate the rule. She was warned. She was given an explanation. Nevertheless, she persisted.”
Much more than just becoming a meme online, it became a rallying cry about women’s ability to break barriers if they persist, which seems apropos for what’s ahead for Supergirl (Melissa Benoist) in the finale.
Not only is Daxamite Queen Rhea (Teri Hatcher) planning something nefarious in retaliation for losing her son, Mon-El (Chris Wood), but anti-alien group Cadmus is still lurking in the shadows, while Kryptonian villain Zod (Mark Gibbon) is also expected to appear. Good thing Kara will have extra help on hand with the returns of Superman (Tyler Hoechlin) and Cat Grant (Calista Flockhart) in the season ender!
Supergirl airs Mondays at 8 p.m. ET on The CW. The finale will air May 22.
You've had silver kryptonite on you this entire time and you don't use it on Supergirl and then you have Superman get beat straight up by his youger/older cousin... horseshit I'm done. Fuck this show.
Ok what.... this bitch has green kryptonite in her Fucking blood and she never thought about using that before. Fuck this show
I'm 5 minutes into the show and I find it ridiculous she beats up someone that's been fighting longer than her.......
Dude wait until the end... It gets even worse....
But the Superman shit was unacceptable...
There are too many places to us "FUCK THIS SHOW"....I dont EVEN know where to begin
The Gold, Green, Silver Kryptonite bullshit....how the fuck do they even know what it does to Kryptonians when the Supes are the last of Kryptonians?
Kara is from Candor, a neighboring planet of Krypton and not Krypton proper and because of that her physiology is slightly different than Superman in that she is MORE receptive to sunlight and thus she has the POTENTIAL to be stronger than Superman...but NO way should she beat him in a fight and no way she being on earth for ~10years compared to Supes 35 years of sun radiation!!
Why the fuck is Martian Manhunter's default form the brother and not the Green alien he ACTUALLY is? I know it costs money to render him and they gotta manage budget, but DAMN!
Dont get me started on the BS Cyborg Superman....
This show uses the political agenda (womens empowerment, and LGBT acceptance) and budget to dictate EVERYTHING...and ultimately thats why the show suffers.
The Gold, Green, Silver Kryptonite bullshit....how the fuck do they even know what it does to Kryptonians when the Supes are the last of Kryptonians?
Kara is from Candor, a neighboring planet of Krypton and not Krypton proper and because of that her physiology is slightly different than Superman in that she is MORE receptive to sunlight and thus she has the POTENTIAL to be stronger than Superman...but NO way should she beat him in a fight and no way she being on earth for ~10years compared to Supes 35 years of sun radiation!!
Why the fuck is Martian Manhunter's default form the brother and not the Green alien he ACTUALLY is? I know it costs money to render him and they gotta manage budget, but DAMN!
Dont get me started on the BS Cyborg Superman....
This show uses the political agenda (womens empowerment, and LGBT acceptance) and budget to dictate EVERYTHING...and ultimately thats why the show suffers.
So,Dax gets sucked in a random wormhole for no reason 
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