It's a Bird! It's a Plane! It's… a Girl?!: Analyzing Representations of Femininity on the CW's Supergirl by Dylan Frei

Total Page:16

File Type:pdf, Size:1020Kb

It's a Bird! It's a Plane! It's… a Girl?!: Analyzing Representations of Femininity on the CW's Supergirl by Dylan Frei It’s a Bird! It’s a Plane! It’s… a Girl?!: Analyzing Representations of Femininity on The CW’s Supergirl by Dylan Freitag A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Communication Carleton University, Ottawa Ontario ©2020 Dylan Freitag Abstract Although it takes more than diverse media representation to create positive social change, representation is still an important part of normalizing identities and pushing discussions of social issues. However, representations of certain minority groups, whether on the basis of racial, ethnic, sexual, or gender identities, are often largely absent in media, and flawed when they do exist. This is true of comic books and the various forms of media that have adapted superhero stories. For instance, superhero tales have long been dominated by depictions of superheroes who are heterosexual cisgender men. Because of this trend spanning from the 1930s into the 21st century, superhero stories have developed a reputation of being a boy’s club rife with sexism. Certainly, this issue persists to this day, but this thesis provides a snapshot of how women are fairing in superhero media in the mid-to-late 2010s. By focusing specifically on the case study of the CW’s Supergirl, I discuss how representations of superwomen have improved greatly compared to popular expectations and no longer entirely reflect a singular and problematic ideal of what being a woman means. In particular, my examination is centered around three of Supergirl’s main women: protagonist Kara Danvers/Supergirl, Kara’s sister and super spy Alex Danvers, and the heroic Nia Nal/Dreamer. By doing an in-depth analysis of how femininity is represented through these three women, I argue that the show presents complex and nuanced depictions of femininity that are a strong step forward for the genre. i Acknowledgements Before getting to all of the people who have helped produce this thesis in different ways, I think it is pertinent to make an acknowledgment about myself as its author. This thesis is focused primarily on women and femininity, including a transgender woman, and my subject position is that of a cisgender man. This is something I have tried to be conscious of in every aspect of my work, but I feel it is still important to acknowledge up front that I do not have the same lived experiences as any woman, cis or trans, and hope for this work to open up further discussion of superheroes and gender, including work by more women as well as trans and non-binary folks. In terms of who I would like to thank, first and foremost, this thesis would not have been possible (or anywhere near the same level of quality) without the important guidance of my supervisor Rena Bivens. From day one Rena has been instrumental in helping me really find what I wanted to accomplish with a project of this size and where to look for a lot of the foundational work on gender that provided much of theoretical backbone of my analysis. Thanks to courteous, thoughtful, and timely feedback, Rena also pushed my work to be the best it could be. With our many discussions and her written feedback, this project went about as smooth as a master’s thesis could, and I cannot imagine having done it with another supervisor. I think it is fair to say that had I not taken classes with her during my fourth year of undergrad, my grad school career would not have played out the way it has. Likewise, the support of committee member and second reader Benjamin Woo was invaluable. Early on, Ben provided helpful insight in how I could narrow down the methodological approach I wanted to take with my work as well as well as scaling the project appropriately. Throughout the process, Ben was also suggested numerous pieces of valuable literature on comic books and superheroes, as well as providing pointed suggestions on revisions once I had a full draft for him to read through. I would also be remiss to not thank Laura Horak, ii who provided valuable input on final revisions related toh areas of her own research, such as the history of lesbian representation and transgender studies. A number of other people helped in different ways, whether by allowing me to bounce ideas around and think through the various stages of work, or by simply being there for comfort and support during the long months of developing my ideas, doing the research, and trying to create a cohesive statement out of it. I would be remiss not to include my cohort of master’s students in the Communication and Media Studies program at Carleton University (Class of 2020). For the sake of brevity, I will not spend time detailing all fourteen of them here, but I am thankful for all of them – as well as several of the people from master’s cohorts the years above and below me, and several PhD students. I am proud to call of you friends. Of those in the department, I do want to give special mention to Madeleine Le Jeune, Tommy Wall, Anna Hum, Erika Christiansen, and Khadija Malik, who, in various capacities, listened to me talk for hours about Supergirl, this project, and life generally. Outside of the department, my close friend and fellow Carleton Raven Yuri FitzPatrick also provided some important insight and commentary on my work at different points, helped me focus and articulate my thoughts, and even provided some feedback on written elements of this work. Moving on for the sake of brevity, I would like to specifically acknowledge specifically my sister, Gina, as well as she was instrumental in providing support and advice throughout my entire university career, including applying to this graduate program. In fact, given that I stayed at her apartment the weekend I met Supergirl cast member Nicole Maines (detailed briefly in my introduction), one might argue that this thesis direction may not have happened without her – thanks, Gina. And of course, Nicole Maines herself has been something of a personal hero for the last couple of years, and served as direct inspiration for this project, so in some ways, it is dedicated iii to her. With that, other than thanking my parents (as cliché as it is, but they literally provided me with a place to live and innumerable meals, as well as love and support) and all of the professors I have studied under and worked with, and the accommodating and friendly faces working in our department, I think that covers it. iv Table of Contents Abstract……………………………………………………………………………………………i Acknowledgements………………………………………………………………………………ii Table of Contents………………………………………………………………………………..iv Chapter One: Introduction……………………………………………………………………...1 1.1 Stories That Matter: Project Inspirations……………………………………………................................1 1.2 “Why? Because I’m a Girl?”: Supergirl and this Project………………………………………………...2 1.3 Why Study Superhero Media?....................................................................................................................3 1.4 Gender: Enforced Norms……………………………………………………………................................6 1.5 Representation: Important, to a Point…………………………………………………………………….9 1.6 Methodology…………………………………………………………………………………………….12 1.7 Road Map………………………………………………………………………………………………..17 Chapter Two: Kara Danvers…………………………………………………………………..18 2.1 Gender Framework……………………………………………………………………………………...18 2.2 Visual Representations: Cinematography and Kara’s Outfits…………………………………………..21 2.3 Romantic and Sexual Agency…………………………………………………………………………...32 2.4 Supergirl, Not Superwoman: Naming a Heroine………………………………………………………..42 2.5 Friends, Family, and Team-Ups: Kara’s Supporting Cast………………………………………………44 2.6 Conclusion: Kara as a Nuanced Hero…………………………………………………………………...53 Chapter Three: Alex Danvers………………………………………………………………….54 3.1 Visual Representations of Alex’s Femininity…………………………………………………………...54 3.2 Sexuality and Alex Danvers: Coming Out Later in Life………………………………………………..61 3.3 Protective Nurturer and Leader: Agent, Sister, and Hopeful Mother…………………………………...72 3.4 Conclusion: A Lesbian Superwoman…………………………………………………………………...80 Chapter Four: Nia Nal………………………………………………………………………….82 4.1 Visual Representations of Nia’s Femininity…………………………………………………………….82 4.2 Romance and Sexuality: Nia’s Relationship with Brainy………………………………………………84 4.3 Coming Out: Traversing Nia’s Gender Identity………………………………………………………...87 4.4 Dreamer, Not Dream Girl: Naming a Superwoman…………………………………………………….93 4.5 Sidekick and Cub Reporter: Nia’s Role as a Mentee…………………………………………………...96 4.6 Conclusion: Television’s First Transgender Superhero………………………………………………..105 Chapter Five: Conclusion……………………………………………………………………..107 v 5.1 Femininity and Superheroes: Limitations and Future Research……………………………………….108 5.2 A Snapshot of Superheroes and Gender: Answering My Research Questions………………………..109 5.3 What Supergirl Does with Representation…………………………………………………………….115 References……………………………………………………………………………………...118 Appendices……………………………………………………………………………………..127 Appendix 1: Sample Notetaking Table…………………………………………………………………….127 Appendix 2: Images………………………………………………………………………………………..128 Image 1: Supergirl’s “cheerleading” outfit………………………………………………………128 Image 2: Melissa Benoist in costume as Supergirl………………………………………………129 Image 3: Alex Danvers’ DEO Uniform………………………………………………………….130 Image 4: Nura Nal/Dream Girl’s costume……………………………………………………….131 Image 5: Nicole Maines in costume as Dreamer…………………………………………………132 vi Chapter 1: Introduction 1.1 Stories That Matter: Project Inspirations This thesis started with a very simple
Recommended publications
  • Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
    WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal.
    [Show full text]
  • Bianca Del Rio Floats Too, B*TCHES the ‘Clown in a Gown’ Talks Death-Drop Disdain and Why She’S Done with ‘Drag Race’
    Drag Syndrome Barred From Tanglefoot: Discrimination or Protection? A Guide to the Upcoming Democratic Presidential Kentucky Marriage Battle LGBTQ Debates Bianca Del Rio Floats Too, B*TCHES The ‘Clown in a Gown’ Talks Death-Drop Disdain and Why She’s Done with ‘Drag Race’ PRIDESOURCE.COM SEPT.SEPT. 12, 12, 2019 2019 | | VOL. VOL. 2737 2737 | FREE New Location The Henry • Dearborn 300 Town Center Drive FREE PARKING Great Prizes! Including 5 Weekend Join Us For An Afternoon Celebration with Getaways Equality-Minded Businesses and Services Free Brunch Sunday, Oct. 13 Over 90 Equality Vendors Complimentary Continental Brunch Begins 11 a.m. Expo Open Noon to 4 p.m. • Free Parking Fashion Show 1:30 p.m. 2019 Sponsors 300 Town Center Drive, Dearborn, Michigan Party Rentals B. Ella Bridal $5 Advance / $10 at door Family Group Rates Call 734-293-7200 x. 101 email: [email protected] Tickets Available at: MiLGBTWedding.com VOL. 2737 • SEPT. 12 2019 ISSUE 1123 PRIDE SOURCE MEDIA GROUP 20222 Farmington Rd., Livonia, Michigan 48152 Phone 734.293.7200 PUBLISHERS Susan Horowitz & Jan Stevenson EDITORIAL 22 Editor in Chief Susan Horowitz, 734.293.7200 x 102 [email protected] Entertainment Editor Chris Azzopardi, 734.293.7200 x 106 [email protected] News & Feature Editor Eve Kucharski, 734.293.7200 x 105 [email protected] 12 10 News & Feature Writers Michelle Brown, Ellen Knoppow, Jason A. Michael, Drew Howard, Jonathan Thurston CREATIVE Webmaster & MIS Director Kevin Bryant, [email protected] Columnists Charles Alexander,
    [Show full text]
  • TV Review: Supergirl – Series 1 | Nouse
    Nouse Web Archives TV Review: Supergirl – Series 1 Page 1 of 3 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Film & TV › Features Film Reviews TV Reviews Festivals TV Review: Supergirl – Series 1 Supergirl had a good first series, establishing solid foundations for the show whilst exhibiting only a few teething problems that could easily be remedied in the second series, says Liam Dooley Tuesday 10 May 2016 ★★★★☆ Image: CBS Supergirl is an upbeat, feel-good television series that follows the story of Kara Zor-El, cousin to the famous Superman, as she struggles to balance her newfound hero status with her life as Kara Danvers: sister to Alex Danvers, assistant to Cat Grant and love-interest to both James Olson and Winn Schott. Despite becoming Supergirl sometime after her cousin had already become the fully-fledged hero of Metropolis, Kara by no means lives in his shadow. The first series, as any opening gambit for a superhero programme does, finds Kara coming to terms with her powers, establishing herself as a hero and learning who she can and cannot trust. In this sense it might seem a little generic, but what makes Supergirl such an interesting show is precisely the traditional style of its protagonist’s story. Nowadays it would seem that everything needs to be ‘gritty’ and ‘dark’, especially in the world of DC adaptations, to be impactful. Supergirl, however, shines out of this as a bright beacon of hope. The Kyrptonian heroes have always been a little too perfect. With a whole array of supernatural powers and with the strength of Gods, there’s only really two ways that they can be dealt with on screen.
    [Show full text]
  • Icons of Survival: Metahumanism As Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture
    Lioi, Anthony. "Icons of Survival: Metahumanism as Planetary Defense." Nerd Ecology: Defending the Earth with Unpopular Culture. London: Bloomsbury Academic, 2016. 169–196. Environmental Cultures. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781474219730.ch-007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 20:32 UTC. Copyright © Anthony Lioi 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Icons of Survival: Metahumanism as Planetary Defense In which I argue that superhero comics, the most maligned of nerd genres, theorize the transformation of ethics and politics necessary to the project of planetary defense. The figure of the “metahuman,” the human with superpowers and purpose, embodies the transfigured nerd whose defects—intellect, swarm-behavior, abnormality, flux, and love of machines—become virtues of survival in the twenty-first century. The conflict among capitalism, fascism, and communism, which drove the Cold War and its immediate aftermath, also drove the Golden and Silver Ages of Comics. In the era of planetary emergency, these forces reconfigure themselves as different versions of world-destruction. The metahuman also signifies going “beyond” these economic and political systems into orders that preserve democracy without destroying the biosphere. Therefore, the styles of metahuman figuration represent an appeal to tradition and a technique of transformation. I call these strategies the iconic style and metamorphic style. The iconic style, more typical of DC Comics, makes the hero an icon of virtue, and metahuman powers manifest as visible signs: the “S” of Superman, the tiara and golden lasso of Wonder Woman.
    [Show full text]
  • COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II a Master's Thesis Presented to College of Arts & Sciences Departmen
    COMIC BOOKS AS AMERICAN PROPAGANDA DURING WORLD WAR II A Master’s Thesis Presented To College of Arts & Sciences Department of Communications and Humanities _______________________________ In Partial Fulfillment of the Requirements for the Master of Science Degree _______________________________ SUNY Polytechnic Institute By David Dellecese May 2018 © 2018 David Dellecese Approval Page SUNY Polytechnic Institute DEPARTMENT OF COMMUNICATIONS AND HUMANITIES INFORMATION DESIGN AND TECHNOLOGY MS PROGRAM Approved and recommended for acceptance as a thesis in partial fulfillment of the requirements for the degree of Master of Science in Information Design + Technology. _________________________ DATE ________________________________________ Kathryn Stam Thesis Advisor ________________________________________ Ryan Lizardi Second Reader ________________________________________ Russell Kahn Instructor 1 ABSTRACT American comic books were a relatively, but quite popular form of media during the years of World War II. Amid a limited media landscape that otherwise consisted of radio, film, newspaper, and magazines, comics served as a useful tool in engaging readers of all ages to get behind the war effort. The aims of this research was to examine a sampling of messages put forth by comic book publishers before and after American involvement in World War II in the form of fictional comic book stories. In this research, it is found that comic book storytelling/messaging reflected a theme of American isolation prior to U.S. involvement in the war, but changed its tone to become a strong proponent for American involvement post-the bombing of Pearl Harbor. This came in numerous forms, from vilification of America’s enemies in the stories of super heroics, the use of scrap, rubber, paper, or bond drives back on the homefront to provide resources on the frontlines, to a general sense of patriotism.
    [Show full text]
  • Superheroes Trivia Quiz Iv
    SUPERHEROES TRIVIA QUIZ IV ( www.TriviaChamp.com ) 1> Which superhero carries an indestructible shield? a. The Green Lantern b. Captain America c. Captain Flag d. The Red Tornado 2> Which character is often romantically paired with Batman? a. The Black Canary b. Miss America c. Catwoman d. Hawkgirl 3> Which superhero started out as a petty criminal? a. The Atom b. Spiderman c. The Blue Knight d. Plastic Man 4> Which superhero's alter ego is Raymond Palmer? a. The Atom b. Hawkman c. The Green Arrow d. The Tornado 5> Which superhero is associated with the phrase, "With great power there must also come great responsibility"? a. Spiderman b. Hell Boy c. Batman d. The Hulk 6> Which superhero is nicknamed the "Scarlett Speedster"? a. The Flash b. Speedball c. Stardust d. The Thing 7> Which superhero is dubbed the "Man without Fear"? a. Daredevil b. The Flash c. Wolverine d. Green Lantern 8> Which superhero is the medical doctor for the X-men? a. Storm b. Shadowcat c. Ice Man d. The Beast 9> Who is Batgirl's father (Barbara Gordon)? a. The Mayor b. The Governor c. Batman's Butler d. The Chief of Police 10> Which superhero gains his power from a ring? a. The Green Lantern b. Storm c. Dazzler d. The Hulk 11> Which superhero can manipulate the weather? a. The Tornado b. The Atom c. Strom d. The Thing 12> Which Island does Wonder Woman call home? a. Emerald Island b. Paradise Island c. Amazonia d. Eden Isle 13> Where does the Green Arrow operate? a.
    [Show full text]
  • Television Academy Awards
    2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D.
    [Show full text]
  • Batman Miniature Game Teams
    TEAMS IN Gotham MAY 2020 v1.2 Teams represent an exciting new addition to the Batman Miniature Game, and are a way of creating themed crews that represent the more famous (and infamous) groups of heroes and villains in the DC universe. Teams are custom crews that are created using their own rules instead of those found in the Configuring Your Crew section of the Batman Miniature Game rulebook. In addition, Teams have some unique special rules, like exclusive Strategies, Equipment or characters to hire. CONFIGURING A TEAM First, you must choose which team you wish to create. On the following pages, you will find rules for several new teams: the Suicide Squad, Bat-Family, The Society, and Team Arrow. Models from a team often don’t have a particular affiliation, or don’t seem to have affiliations that work with other members, but don’t worry! The following guidelines, combined with the list of playable characters in appropriate Recruitment Tables, will make it clear which models you may include in your custom crew. Once you have chosen your team, use the following rules to configure it: • You must select a model to be the Team’s Boss. This model doesn’t need to have the Leader or Sidekick Rank – s/he can also be a Free Agent. See your team’s Recruitment Table for the full list of characters who can be recruited as your team’s Boss. • Who is the Boss in a Team? 1. If there is a model with Boss? Always present, they MUST be the Boss, regardless of a rank.
    [Show full text]
  • Some Kids Love Superman Because He Can Fly… Many Kids Like Batman and the Tools of a Spy
    Some kids love Superman because he can fly… Many kids like batman and the tools of a spy. Hulk smashes through walls without even a try. But Jesus Christ is my favorite hero – I’ll tell you why, and how you too can become a superhero for the Kingdom of God. Jesus Christ The Real Superhero All your children shall be taught by the LORD, and great shall be the peace of your children. Isaiah 54:13 Do YOU like Superheroes? How many of you have seen a movie or a cartoon about a superhero? Who here likes Superman? Who likes Spiderman? Is there anyone here who likes Batman? Those are just a few of the most popular superheroes. But these super heroes are all just characters on TV and in books. There is one REAL Superhero who actually lived on Earth just like you and me, and His name is JESUS! TEACHERS: Remember to make it fun and interactive. Go as slow as you need to. The early objective is to distinguish between fictional superheroes (like Superman) and a real life superhero (Jesus Christ). Please feel free to refer to the scriptures (in the boxes at the bottom of each page) to add meaning and depth to your lessons, especially for the older children. THE JESUS SUPERHERO STORY You might know that God is the creator of all things -- the earth, the moon, the stars, the sun, the sky, the trees, the animals, and the entire universe… But did you know God has a son? Did you know that his son lived right here, on earth, as just a mortal man? That’s Jesus! And He is my favorite superhero of all-time.
    [Show full text]
  • Reminder List of Productions Eligible for the 86Th Academy Awards
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill.
    [Show full text]
  • 'Superman and Lois' Set to Soar High in 2020
    WHERE HEROES ARE BORN AND THE STORY CONTINUES What it’s like being forced 7 predictions home during for 100 COVID-19 season 7 ‘Superman The Planet and Lois’ set rotates for its to soar high 80th year in 2020 ISSUE 001 · SPRING 2020 Resources for COVID-19 There is no doubt that concerns over the novel coronavirus (COVID-19) have caused a major disruption to everyday life IN THIS ISSUE across the planet. Education centers, public venues and a variety of shopping centers have all shuttered in an effort to curb the spread of COVID-19. Entire countries have closed off their borders, preventing nonessential travel and closing SUPERMAN AND LOIS SET TO SOAR HOW GENE LUEN YANG HELPED ME entire continents off. HIGH IN 2020 SEE THE WORLD These are truly unprecedented and historic times where community means the most. To assist in curbing the spread of 16 08 the Coronavirus, health experts have advised that people remain home, participate in safe social distancing and practice appropriate hygiene for illness prevention. FROM INDEPENDENT COLLEGE STUDENT LOVE MOTIVATING EVERYTHING IS TO SOCIAL DISTANCING AT MY The Planet has compiled a list of resources for those in need and those who are looking to assist with recovery efforts. AN EXHAUSTED TROPE PARENTS HOUSE Stay safe and stay healthy, everyone. 05 14 The Center for Disease Control (CDC) says that if you have a fever or cough, you might have COVID-19. Most people experience mild forms of COVID-19 and are able to recover at home. Keep track of your symptoms.
    [Show full text]
  • Genre En Séries, 10 | 2019 Women at Refrigerators: the Gender Politics of Food and Eating in Supergirl 2
    Genre en séries Cinéma, télévision, médias 10 | 2019 Superhéroïnes : un genre à part ? Women at Refrigerators: The Gender Politics of Food and Eating in Supergirl Sara Kate Ellis Electronic version URL: http://journals.openedition.org/ges/686 DOI: 10.4000/ges.686 ISSN: 2431-6563 Publisher Presses universitaires de Bordeaux Electronic reference Sara Kate Ellis, “Women at Refrigerators: The Gender Politics of Food and Eating in Supergirl”, Genre en séries [Online], 10 | 2019, Online since 01 December 2019, connection on 18 February 2021. URL: http://journals.openedition.org/ges/686 ; DOI: https://doi.org/10.4000/ges.686 This text was automatically generated on 18 February 2021. La revue Genre en séries est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. provided by OpenEdition View metadata, citation and similar papers at core.ac.uk CORE brought to you by Women at Refrigerators: The Gender Politics of Food and Eating in Supergirl 1 Women at Refrigerators: The Gender Politics of Food and Eating in Supergirl Sara Kate Ellis 1 “I hope you get fat,” Alex Danvers says to her sister, Kara Zor-El on TV series, Supergirl (CBS, 2015-2016). “Not on this planet,” she retorts[S01xE03]. As a Kryptonian, Kara Danvers/Supergirl can eat whatever and however much she wants, her enhanced metabolism allowing her to consume endless calories minus the fear of weight gain and perceived impropriety. Such scenes in which the sisters talk and eat have been a long- running staple in the series, now entering its fifth season, and are often played for comedy while emphasizing the bond shared by human and nonhuman sister.
    [Show full text]