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I mean if you look at nyc, the mayor's BEEN a Democrat, but things haven't started to get done until mamdani started to actually do things. the critique is that establishment democrats prioritize corporate donors over the people they are meant to represent, and are failing to actually fight for those people. I mean the democratic establishments response to the rise of fascism has been pathetic
I find it fascinating how Tom King and Ana Nogeuira wrote the brigands so differently.
Supergirl (2026) spoilers under the cut.
Content Warning: Mentions of genocide, sex trafficking, and SA.
In the comics, the brigands exterminate societies. This is thematically strong turning Krem into a person who creates more Karas and Ruthyes in the world.
In the film, they are sex traffickers targeting young women and girls. This is prescient for the times. After MeToo. After the Epstein Files. As girls grow, they must face the truth that women are commodified and exploited.
In King's foreword of WoT's deluxe edition, he says the story was inspired by his daughter. He explains:
"As I wrote, I... tried to channel that emotion of raising a daughter in a hard time... all I wanted for her was a life free of hardship... all I could give her was a world full of strife."
Nogeuira said in a recent interview that she gave birth to a daughter while she wrote the script. She said:
"It's a movie about daughters... who are left on their own to navigate a vicious world without... their parents. I have a daughter. I don't know if I could have written this exact movie without having had her."
For both these creators, they wrote these stories with the love of their girls in mind. However, they also wrote with fear over what this world will do to them as it does to all of us.
With King's conception of the brigands as these genocidaires, Kara and Ruthye get to confront a sublimation of their grief. The girls whose worlds are taken from them get to take down the world stealers. King's literary sensibility is strong here and the story benefits from it.
His worry for his daughter is centered on moral corruption. He does not want her pain to become permission. And the world is full of excuses to become jaded and uncaring. Or worse.
With Nogeuira's adaptation, she turns holocaust into sexual slavery. Though it feels less thematically strong than the comics, I can't help but notice a simple truth:
Nogeuira's first name is Ana. King's first name is Tom.
Ana just had her baby girl. Tom has been a father for much longer.
Women and girls are taught about sexual assault in a gendered way. The numbers don't lie. The perpetrators are almost always male. For centuries, it has been used like a tool. Thus, fear of rape is passed down from women to girl until it becomes ingrained. Almost primal.
I wonder if Ana, who is at the beginning of motherhood, wrote from this fear. Think of the news of the day which is often perverted with exploitation of young girls and women. Especially now.
Perhaps, then, Ana decided to write a script that wasn't afraid to confront female exploitation. The constant danger of Ruthye falling victim to the brigands was an extremely uncomfortable subtext underlying the entire film. I found that quite sobering.
Yet, this is a common trope for women-led stories: to suffer and solve sexual violence at the hands of men. That is, of course, tiring to see over and over again.
Nevertheless, two versions of WoT exist now. At each helm, there is a parent talking to their child.
King tells his little girl: There is great cruelty. When I am no longer here to protect you from it, I hope you remember me and stay my good and hopeful daughter.
Nogeuira tells her little girl: There is great cruelty. When I am no longer here, I hope you stay good, become tough, and protect others as I have protected you.
Which of these two versions do I prefer? Well, yes!
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OK. Spoiler-y review is under the cut for Supergirl (2026). All I can say here is, if you loved the TV show, you're going to get your hope, help, and compassion for all AND MORE. If you want superhero spectacle, you will have a great time. If you want to celebrate woman and girlhood, you will achieve nirvana. If you were a fan of Woman of Tomorrow, you will get all the references you want. If you just want a damn good film, go watch Supergirl!!! It is a gift that DC keeps betting on Supergirl and this is just another wonderful and amazing installment of her mythos.
Milly Alcock and Eve Ridley make a fantastic duo as Kara and Ruthye. Their emotional scenes together as two lost girls (I say girls especially because the film does not shy away from celebrating femininity [in the girls are powerful way, not the girl math kind of way thankfully]) are the highest peak of the film. The moments where they are allowed to sit and just talk and be quiet and thoughtful with each other. Exist in proximity with their relational pain. That is the part of the movie where I actually teared up. It wasn't the fighting. It wasn't the cameos. it was a woman teaching a little girl that even when the world ends, it doesn't mean you get destroyed with it. And I'm tearing up even now just thinking about it. The tragedy that ties these two together is so inspiring because you get to see them laugh and joke and be unserious right after. Life goes on even after your dog pees in your bedroom. Drink a little alcohol, but maybe not too much. Take your dad's sword and do crazy things at 13. Safely, please, and preferably with a pseudo-god at your side.
For a PG-13 movie, there's a surprising amount they get away with. It is appreciatively darker than I had expected. And that lets us really feel the Woman of Tomorrow vibe which is a dramatic and dark (though hopeful!) story at its core. I almost feel like if they had wanted to make an adult superhero film especially considering the themes of death, genocide, and mercy being so prevalent in the source material, they could've easily made the Game of Thrones of the superhero genre and I think it would have benefited from that.
If you are looking for a faithful retelling of Woman of Tomorrow you will not find it. Of course, that comes naturally with adapting a comic series into an hour-and-a-half movie. The ending of the film fundamentally shows why this is. The WoT Kara is a microcosm of her mythos, an epic and established hero with history and confidence. Though they are the same age, Film Supergirl is not that. She's a weathered young adult who isn't too sure about what to do with the remnants of her life. She can barely get through the day.
They do a great job integrating Kara's origin story. It's not about getting her powers. It's about exchanging them for the life she knew. And I love how much they drive that home. Interestingly, they decrease some of Kara's tragedy while increasing Ruthye's which is very, very curious.
I will say the fight scenes are amazing. And one thing in the comic that I was always bewildered about was how the heck did Kara fight so well without her powers? And they really showed how capable she is in this movie even when heat vision-less.
It's also quite a gorgeous movie. Give me good bright lighting and messy, grungy sci-fi environments a la prequel Star Wars and I am always on board.
The tone of the movie balances WoT's darkness and the commercial energy of a superhero film. I think they did a great job with that as it's quite difficult I can imagine. To listen with tears in my eyes as Kara recounts Argo City's slow destruction while Ruthye asks when does the rage fade and then later be hit by a pink astronaut bubble suit and a six-inch-tall bus driver. Perhaps that's how they kept that PG-13 rating actually....
Let me actually say. The world feels alive! Minor characters show up and stay with you for a little while. Enough for us to get their personality and a sense of how diverse intergalactic space travel is. Hilarious, strong, and tragic people running a bar or getting snacks at a rest stop. Most importantly, they are multifaceted with their own interests and priorities. They really did a perfect job not letting Kara and Ruthye be an insular system amongst the stars. There are others like them coming in and out of their lives. It really makes the world feel lived in.
Just one pet peeve: Kara and Ruthye could've carried the whole movie. In fact I think if they had let them, it would have been stronger emotionally too (and it was already making me cry!). Lobo and Superman did not need that much screen time. They're fine. Just not the story. (Also why did Clark have the last line in the film... it has haunted me since I left the theater).
Now, let me compare Film!Kara to TV!Kara a bit. I think I realized this about Wot!Kara. TV!Kara is someone who did not let the loss of her world make her jaded even in the slightest. That's what makes her so inspirational and hopeful. She is arguably the most emotionally strong of these three. WoT!Kara has arguably the most tragic origin story seeing the loss of her people in three terrible waves. And because of that she is more hardened and a lover of expletives. There is more visible anger there, more than TV!Kara, but it is still subdued and controlled. Almost like S3!Kara. Film!Kara is somehow a balance between the two. And she acts the youngest. Energetic, but chasing a life where she doesn't have to confront her grief, and that leaves her far more impolite and brash, but still so, so good. All three still remain the woman who would help Ruthye. And being able to see three different shades of Supergirl like that... truly a miracle.
OK, but seriously, it's a good film. It's 2AM and I'm still waxing poetic about it. For me, WOT was a story about Ruthye and Kara. About extreme loss. And unconquerable grief. And how that can corrupt you. Or push you to live well. And Supergirl (2026) delivers on that. All with a great helping of cheesy goodness. And, of course, her signature hope, help, and compassion for all. I actually would love to see Ruthye again with Kara. They make a great team! And I can't wait to see how Kara develops as a superhero in future films.
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JULY 20th!!! The Guild is BACK with a Kickstarter for our Reunion movie! Please reblog if you love the show, we don’t want to pay the big platforms to reach our fans, screw that! Help us make an amazing 20th anniversary celebration! PLEASE!
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Just watched the JD Vance interview on The View. I loved how respectful everyone was. We need debate not soundbites. Also, I got the impression that in the White House echo chamber, they tend to think all the hate and critique is Trump-focused because, well, that's what US policy revolves around: his ego.
However, after hearing the ladies, they seemed to really impress on him that this isn't about hating Trump. The violent immigration policy, the war in Iran, the erasure of black history from public spaces, the anti-trans hysteria, only accepting white refugees from South Africa, and everyone's favorite: inflation have all contributed to a question of America's humanity. Who are we to enable all those things? Who fits in their American vision? What will the next generation be like witnessing it all?
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