um say more because twitter suggests the changes are AWFUL

Off the top of my head:

They tone down a lot of Lilo's eccentricities/'weirdness' (affectionate) like gone is the amateur voodoo, the reason for Scrump's surgery, taking pictures of tourists, etc.

The other little girls teasing Lilo is framed more as a result of not knowing how to talk to her because her parents have died, than a response to Lilo's quirks. (I guess to make them more sympathetic? It doesn't really matter though because they aren't in the movie that much.)

Nani and Lilo now have a really kind/caring next door neighbor (David's mom? Aunt? Grandma???? Never specified but they're related somehow, I assume, since he lives there too.) So now Nani and Lilo have a convenient source of support which begs the question: why does Nani not lean on her more for help? (They have a dumb rationale for this--I'll get there.)

Cobra is not the social worker, he's just straight up a CIA agent.

Instead the social worker is a brand new character who is also kind and supportive and ultimately convinces Nani to give Lilo up (and the movie wants us to know that this is a GOOD thing*)

*I want to be clear that like. I am not advocating for negative portrayals of foster care/social workers, obviously. XD It's just that in the context of this movie specifically, 'the state separates a Hawaiian family for the greater good' is not the happy ending they THINK it is

Nani now has an additional tragic backstory element in that she was this really bright, promising young woman with dreams of going to college to major in marine biology but all of that had to be tossed aside in order to care for Lilo.

Nani overhears Lilo's wish for a friend (just like in the original) but then DOES ABSOLUTELY NOTHING ABOUT IT. The NEIGHBOR is the one who takes Lilo to the animal shelter and suggests getting a pet. Nani even argues with her about it after the fact!

Nani, in response to Lilo reminding her of THE FAMOUS LINE FROM THE ORIGINAL AND YA KNOW, THE THEME OF THE FILM, 'Ohana means family, and family means no one gets left behind or forgotten': That sounds nice but that's not reality!

No Gantu, because they didn't have the budget for him.

Pleakly and Jumba have a device that lets them morph into two human guys and they remain that way for most of the movie because again, budget.

Jumba is the primary bad guy. He's arrested again at the end/doesn't join their little family unit.

After the incident where Stitch nearly drowns Lilo, the social worker convinces Nani that it's best for her to give Lilo up. Nani agrees.

Therefore the most moving and nuanced scene in the original movie--when Nani sings "Aloha Oe" to Lilo--is fundamentally changed. Nani still hasn't told Lilo that they're being separated (BY CHOICE) and it's Lilo who asks Nani to sing the song, seemingly motivated by nothing. At least, nothing pertaining to the original context.

(Context that is IMPORTANT to the MOVIE ABOUT A HAWAIIAN FAMILY BEING SEPARATED BY AN AGENT OF THE UNITED STATES GOVERNMENT, SINGING "ALOHA OE", ORIGINALLY COMPOSED BY QUEEN LIL'UOKALANI, NOW VIEWED AS A FAREWELL TO HER COUNTRY AND PEOPLE AFTER BEING DEPOSED AS MONARCH OF THE HAWAIIAN ISLANDS BY THE US GOVERNMENT)

Nani isn't really fighting to keep Lilo because she like. Wants to care for Lilo, and understands what she needs emotionally--the movie frames Nani's prolonged refusal to seek help and support as a misguided sense of responsibility.

(That isn't an interpretation, she tells Lilo outright that it's her responsibility to look after her because they're family. And then another character is like, 'Ohana means family and family means no one gets left behind...but that also means not leaving yourself behind.' Again, not an interpretation, that's the text of the film.)

So Lilo ends up with the neighbor and Nani goes to college but it's TOTALLY OKAY because she has an alien portal device that lets her come visit Lilo so it's FIIIIIIIINE that the state convinced Nani to separate the two of them TOTALLY FIIIIIIIIIIIIIIIIIIIIIIIIINE.

Oh and Lilo doesn't formally adopt Stitch--I guess because they felt he's sentient enough to make the 'I bought him!' thing uncomfortable??? I don't know. He's a cartoon alien dog! Do we also feel that Shaggy owning Scooby is bad??? ....I weep at the current state of media literacy.

Another change that just annoys me: They keep the 'Stitch plays the record through his mouth' bit, but when Lilo shows Nani, they have Nani get distracted every time he opens his mouth, I guess because if Nani had seen it, that would break the suspension of disbelief that she's buying his 'earth dog' act?

In conclusion: Neither Nani or Lilo really wants to be here, so the movie simply spins its wheels, putting off the inevitable, easy solution of listening to the nice neighbor and social worker, totally undermining the point of the original.

Oh my GOSH it was such a top tier episode. There was SO MUCH they managed to cram into twenty-three minutes of television. I gotta go back and rewatch it, but off the top of my head, favorite bits were Kara super-speeding away after her confession of love admiration for Jimmy, (okay, really all of the Kara and Jimmy stuff) the reveal of Clark going 'home', and the cliffhanger proving that once again, Lois is always the craziest person in the room, diving head-first into VERY RISKY ENDEAVORS!

In a shocking turn of events, it was actually a canon thing! XD Long, loooooong ago, I noticed this parallel between Lois and Alex and I started brainstorming a crossover fic. But then I fell behind on Superman & Lois and thus the motivation to see it through kinda petered out. XD

Here's what I had:

“Are you going to tell him?”

They're standing in what remains of the main cavern of the Fortress. Alien weaponry and salvaged Kryptonian artifacts litter the floor, the shelves that once displayed them reduced to slushy masses of ice chips.

As Alex surveys the damage, she wants to laugh at the question. Are you going to tell him? Clark will know, the minute he returns to the Fortress, that something has happened.

But she sincerely doubts she'll get a questioning phone call.

“No,” Alex tells J'onn, her voice sounding much stronger than she currently feels. “No, we—we don't know anything—won't know anything until Brainy is finished with the diagnostics.”

J'onn's expression is skeptical, and she can tell he wants to press the issue further, so she moves to start putting the scattered items back...somewhere. Anywhere. Anything to keep her hands and mind occupied, away from the only concrete thought she's had in the last hour or so.

Kara is trapped in the Phantom Zone. She's gone. She's—

“He needs to know, Alex.”

J'onn's voice is low and gentle. She shoves aside a pile of snow with her bare hand, ignoring the way the chill is starting to settle into her arms and legs. A stark reminder that this place...really isn't meant for humans.

“Not yet,” Alex says. She briefly worries that J'onn will argue with her...and that she'll lose that argument, because she can't come up with a single, compelling reason as to why she shouldn't tell him.

She just...she can't. Because the only time they call Clark is when the world is ending—literally. Clark is a last resort. Clark is...he's...

Next of kin is the phrase that comes to mind.

And Alex refuses to even acknowledge that possibility.

J'onn must sense her thoughts—an impressive feat, given how hard she's trying to suppress them—and simply nods.

“Alright,” he agrees. “Not yet.”

--

It's a bright, beautiful, downright pastoral day in Smallville. Not that Lois would know, as she's spent the greater part of the last...seventeen? hours? Seated at the kitchen table, pouring over the collection of files Maxy was able to dig up and send her way.

She finishes skimming another accounts report, and checks it against another document on her laptop. Notes the inconsistencies, moves on to the next.

Lather. Rinse. Repeat.

“Mom. Mom.” Lois blinks, and looks up from her mountain of files. Jonathan stands at the far end of the table, holding a bowl of cereal. “You're using like. The whole table.”

“Oh,” she stands and starts to try and clear a space for him. “Sorry hon. Let me just—”

“Actually, I think I'll go...” he nods towards the family room, wearing an amused look. “Coffee table looks safer.”

“Yeah, yeah,” she waves off his gentle teasing. “Use a coaster!”

He disappears into the family room, and Lois smiles, ultimately grateful for the interruption; the mention of the coffee table has made her acutely aware that some caffeine would be...pretty good, right about now.

She moves to start a pot, checking her phone as she pulls the filters and grounds from the cupboard. The usual alerts appear on her notifications screens—The NY Times, Gotham Gazette, National City Tribune...

In fact...there have been a lot of alerts from the Tribune, of late, and yet hardly any coverage of Supergirl exploits.

She skims the top stories—a few mentions of other meta-human heroes. Nothing about Kara.

Gonna have to tell Clark his cousin is slacking, she thinks as she turns on the coffee maker. ...Maybe have him call—

“Mom, mom!”

It's Jonathan again, but his voice is high and distressed, coming from upstairs. Lois drops her phone on the counter, all thoughts of the Tribune and coffee forgotten as she hurries for the stairs. There's only one thing on her mind, only one thing that could make Jonathan call out like that.

Jordan.

--

Boy oh boy, I am HYPED :D

Honestly I've been excited about the cartoon since the announcement; Josie Campbell is...director? Showrunner? She's involved somehow, and I loved her work on both New Champion of Shazam and the recent Legion movie, so that's cool; the art direction looks SLICK and I appreciate that apparently one of the rules folks had while working on it was to make Clark look as cute/hot as possible. XD

Haven't really paid much attention to see if there have been plot/story announcements thus far, at least outside of the blanket, 'rookie Superman' and 'Clark x Lois' premise. Kinda hoping they go for some more obscure pulls in terms of rogues? (Feeling a little burnt out on Lex, tbh.)

This is such a fun question...so I feel really bad for giving such a non-answer! XD

I am supremely awful at these sorts of things, because I don't know a ton of actors/directors/general film people. XD I also feel like the choices should be cohesive/make sense together? So as much as I wanna be like, 'ah, OF COURSE Ludwig Goransson should score it' it'll really depend on the overall vision for the movie.

Are they gonna go wild and crazy with it? Lean into the heavily stylized visuals of Evely's art? Or are they gonna try to ground it a bit? Go with a more literal True Grit take? Are they going for more of the spirit of the book, or a faithful, one-to-one adaptation?

(I get that this is overthinking it and runs completely counter to the very concept of 'dream team', but I need more info, before I can start wildly spitballing! XD)

so I wanted to ask, do you have any recs (supergirl or not) for comics with great art?

OOOOoooh, I do indeed have some recommendations! (I too am always hungry for Really Good Comic Art, and I'll admit that I'm still working to go outside my comfort zone and try new creators/types of stories, so this list is not exhaustive! But hopefully some of these titles can act as springboards for further exploration--that's how I've been going about it!)

RIGHT, SO! In terms of 'cape comics' and superhero stuff:

I actually had a post saved in my drafts when the news first dropped that we were getting a SUPERGIRL AND LoSH MOVIE, IN THE YEAR OF OUR LORD 2023, but at the time there weren't many details so I scrapped it. XD But! Now we do have details! AND SO...SOME THOUGHTS!