SUPERGIRL BREAKDOWN! Easter Eggs & Details You Missed!

[00:00] DC Studios Supergirl movie features Seth

[00:02] Rogan eating some poop corn that might

[00:05] secretly be the most important subtle

[00:06] joke of the movie. So, join me as I

[00:08] overthink it and overanalyze everything

[00:10] that happened in this movie with a big

[00:12] New Rockstar Easter egg breakdown. I'm

[00:15] Eric Voss of the New Rockstars channel,

[00:16] and this is a scene by scene breakdown

[00:18] of DC Studios Supergirl. In this video,

[00:21] I'm going to break down all of the

[00:22] Easter eggs and comic references, what

[00:24] the filmmakers were really aiming to do

[00:25] with this film, what it contributes to

[00:27] the overall DC universe continuity, and

[00:29] just some other fun details I noticed

[00:31] that you might have missed. Hey, two

[00:32] movies in and Crypto is still my

[00:34] favorite thing about the DCU. And if you

[00:36] agree, consider grabbing this Dog House

[00:38] of Solitude shirt that's exclusively at

[00:40] our merch store, nerdriot.shop, and the

[00:43] best way to support what we do here at

[00:44] New Rockstars. The film opens with this

[00:46] record player with alien writing on the

[00:48] inside lid as Krypto licks a half-runken

[00:50] bottle of booze and knocks it over,

[00:52] causing the needle to hit the LP and

[00:54] start playing. The song is This Summer

[00:56] by Slaybells, a relatively recent track

[00:58] released in April 2025, showing that

[01:00] Cara has music taken very recently from

[01:02] Earth. We really learn in this movie

[01:04] that in the cosmos of the DCU, a lot of

[01:06] alien races and societies just kind of

[01:08] adopt popular music from Earth. We

[01:11] follow the alcohol as it drips down into

[01:13] the machinery of Carara's spaceship and

[01:15] causes something to spark. There is a

[01:16] daily planet newspaper on the floor. Set

[01:18] visits revealed this full newspaper

[01:20] front page. It's dated Thursday, October

[01:22] 4th. And Superman gets the huge headline

[01:25] spanning all six columns. Superman saves

[01:27] town from nuclear reactor explosion with

[01:30] an article talking about a near meltdown

[01:32] at a Silver Ridge nuclear facility.

[01:34] Meanwhile, his cousin Cara gets

[01:36] relegated to a smaller two column

[01:37] headline, Supergirl rescues cats. The

[01:40] article reads, "It can't be easy living

[01:42] in the shadow of your cousin, especially

[01:44] if your cousin is Superman." Supergirl,

[01:46] however, doesn't seem to mind coming to

[01:47] the rescue of a family of cats that had

[01:49] fallen into a sewer. She had no problem

[01:51] getting her hands and suit dirty to save

[01:54] her trembling furballs. Superman may

[01:56] have been saving an entire town from a

[01:58] potentially devastating nuclear

[02:00] explosion, but Supergirl continues to

[02:02] win over hearts with this save. And the

[02:04] photo shows Cara in her Supergirl suit

[02:06] with her hair tied in a tight ponytail

[02:08] holding two hopefully grateful cats. So

[02:11] fun joke hidden in there. She had to go

[02:13] into a sewer to get them. Yuck. Also, we

[02:15] know Cara is definitely a dog person,

[02:17] not a cat person. But this opening shot

[02:19] and newspaper blurbs established Cara

[02:21] with the save the cat screenwriting

[02:23] maxim for heroes that Blake Snder

[02:25] actually coined from the 1978 Richard

[02:27] Donner Superman film where Christopher

[02:29] Reeves Superman saves the ugliest cat

[02:31] ever from a tree. for a little girl with

[02:33] high knee socks who definitely got her

[02:34] ass beat when she went inside.

[02:36] >> Haven't I told you not telling lies?

[02:39] >> This photo shows what Cara would have

[02:41] looked like in the era when she was

[02:42] tagging along with Superman when he

[02:44] joined the Justice gang at the ranch in

[02:46] the retconed Peacemaker season 1 finale

[02:48] that we saw in the season 2 premiere.

[02:50] And it looks like her cousin Call really

[02:51] set her up with these easy wins of

[02:53] saving cats in order to help her public

[02:55] image so that she'd feel more at home on

[02:57] Earth the way he feels. And hey, at

[02:58] least she made it above the fold. Clerk

[03:00] probably pulled some strings at the

[03:01] Daily Planet to get her place there.

[03:03] Below the fold, we see a headline about

[03:04] Romeita Lake, named after comic writer

[03:06] John Ramita Jr. And at the very bottom,

[03:08] there's a mention of a political leader

[03:10] named Collins stepping down after a

[03:12] disastrous year, probably giving us the

[03:14] name of the Metropolis mayor stepping

[03:15] down after the events of Superman.

[03:17] Krypto pees directly on Superman's

[03:19] newspaper photo. And Cara, waking up

[03:21] hung over, still wearing her sunglasses,

[03:23] says,

[03:23] >> "You managed to get most of it on the

[03:25] paper this time.

[03:28] Good job, buddy." Supergirl Kerazorel is

[03:31] played by Millie Alco, the Australian

[03:33] actress who played the young Raineira

[03:34] Targaryen and House of the Dragon season

[03:36] 1. She appeared at the very end of the

[03:38] 2025 Superman film in the middle of a

[03:40] drunken vendor back to claim her dog,

[03:42] which we find out in that scene did not

[03:44] belong to Superman, but to his cousin.

[03:46] This Supergirl film is the second

[03:48] feature in the DC studio slate. Directed

[03:50] by Craig Gillespie, who directed ITA,

[03:52] Dumb Money, Kella, Larsson, the Real

[03:54] Girl, and written by Anna Nogera, a

[03:56] playwright who will also be writing Teen

[03:58] Titans and Wonder Woman for DC Studios.

[04:00] The film was originally announced with

[04:02] the title of Supergirl Woman of Tomorrow

[04:04] since DC Studios heads James Gun and

[04:06] Peter Saffron said it was going to be

[04:08] based on Tom King and Billy Eve's 2021

[04:11] Supergirl Woman of Tomorrow graphic

[04:12] novel series which was wellreceived for

[04:15] its true grit narrative structure, its

[04:16] vibrant pastel color scheme, and its

[04:18] quite mature themes. But then a few

[04:20] weeks before the film came out, the

[04:22] director and screenwriter in a series of

[04:24] interviews revealed that they didn't

[04:25] really use the source material as an

[04:27] inspiration. Gillespie implied he didn't

[04:29] even read it at first and just based his

[04:31] shot list on Noggera's script. And

[04:33] Noggera's script contains really none of

[04:34] the narration from Ruthie and makes

[04:36] significant changes to the character of

[04:38] Creme. As we'll talk about throughout

[04:39] this breakdown, the filmmakers in

[04:40] general just had other priorities in

[04:42] mind. Cara gets a video call from her

[04:44] cousin Superman. She labels him Clark,

[04:46] which is his Earth name, which is how he

[04:48] initially introduced himself to her. I

[04:50] like how Cara has a button to end the

[04:51] call and a button to mute because she

[04:53] probably just doesn't like talking to

[04:54] her cousin that much. You'll notice

[04:56] Krypto in this movie does not wear the

[04:58] collar with the Superman sigil that he

[05:00] wore in 2025's Superman. Similar to

[05:02] Cara, he spends much of the movie

[05:03] without the superhero costumeuming. Cara

[05:05] leaves this icy world that she was

[05:07] parked at, and we see her crowd surfing

[05:09] with Krypto, the shirt that Cara wears

[05:11] throughout this movie under her trench

[05:12] coat depicts Debbie Harry, lead singer

[05:14] of Blondie, the singer of Kami that was

[05:16] featured so heavily in this movie's

[05:18] marketing. And then, in the light of a

[05:19] yellow sun, Cara and Krypto play Fetch

[05:22] in space. Since the sunlight is yellow,

[05:24] Cara has advanced powers like she would

[05:25] have on Earth and can float in space

[05:27] without needing any kind of oxygen. Cara

[05:29] repairs the part of her ship where

[05:30] Krypto had spilled the booze, and we see

[05:32] her eating cereal with Krypto while

[05:33] they're both watching a movie on her

[05:35] ship screen. This movie, if you look

[05:36] closely, is Casablanca, so she's a

[05:38] romantic at heart. We now find ourselves

[05:40] on the planet of Hoer, given the solar

[05:43] category of red, meaning Cara doesn't

[05:45] have her powers here and is capable of

[05:46] getting drunk. The name Hoer is not one

[05:49] of the planets in the comic series. It's

[05:50] based on the DC comics editor Britney

[05:52] Holier who championed the 2021 Supergirl

[05:54] Woman of Tomorrow story and heavily

[05:56] influenced Tom King's initial idea. But

[05:58] in the comics, the home world of Ruthie

[06:00] is not ever given a name. I appreciate

[06:01] the detail that in space the rings of

[06:03] this planet Tolure are red as this space

[06:06] debris, ice, and rocks that form the

[06:07] rings would be eliminated by the red

[06:09] sunlight of the closest star. We meet

[06:11] Ruthie Marie Null played by Eve Ridley

[06:13] in her home with her father Elias Null

[06:15] and her mother Delila Null. They're all

[06:17] part of the Denastia clan and Elias has

[06:19] a reputation as a talented swordsmith.

[06:21] Their homestead and armory is raided by

[06:23] the Briggins led by Creme of the Yellow

[06:25] Hills played in this movie by Belgian

[06:27] actor Matias Gonertz. Creme of the

[06:29] Yellow Hills is a DC villain who only

[06:31] appears in the 2021 Woman of Tomorrow

[06:33] comic story line. Tom King and Billy

[06:35] Evely conceived him as a bearded

[06:37] shirtless romance novel coverl looking

[06:38] figure who's actually a genocidal maniac

[06:41] who has committed a variety of horrible

[06:43] crimes on a variety of planets that Cara

[06:46] and Ruthie follow the wake of

[06:47] destruction of the character in this

[06:49] script and played by Skoner is quite

[06:51] different. He's bald, aside for a long

[06:53] braid, a studco covered face like a

[06:55] ravager from James Gun's Guardians of

[06:57] the Galaxy movies or a Mad Max villain.

[06:59] And he's played with a series of odd

[07:00] head tilts and grunts and mannerisms

[07:03] with an odd accent that just makes them

[07:04] a bit hard to read the motivations of.

[07:06] Ruthy's brother, Emmen, doesn't know

[07:08] there are strangers in the house and

[07:09] hops out in the hallway to playfully

[07:11] surprise his sister and gets killed.

[07:13] Delilah loses it and gets killed too,

[07:15] followed by Elias. The home gets torched

[07:17] and only Ruthie is left alive. We see

[07:19] her bury her three family members

[07:20] lakeside and takes one of her father's

[07:22] prized swords as payment for a warrior

[07:24] who could help her avenge these deaths.

[07:26] This is another significant change from

[07:28] the comic story line. In the comics,

[07:30] Creme initially serves as an agent of

[07:31] the local king to kill Ruthy's father

[07:34] who's a never named rock farmer and

[07:36] Creme leaves his ornate sword in her

[07:38] father's gut that Ruthie retrieves in a

[07:40] kind of morbid Excalibur moment. Yeah.

[07:42] See how these horizontally oriented

[07:44] frames really do make a pretty cool

[07:46] cinematic visual that could have worked

[07:47] great as a storyboard with this

[07:49] interesting true grit narration in the

[07:51] corner. Again, this movie just goes in a

[07:52] different direction. Cara and Krypto get

[07:54] drinks at a bar since this planet has a

[07:56] red sun. Cara is capable of getting

[07:57] drunk here and she blows a flame off of

[07:59] a drink to sip it. We actually see Cara

[08:01] do this in a bar on Andurf's asteroid in

[08:03] issue two of the comics. Cara says 23 is

[08:06] going to be her best year yet and

[08:07] wonders that maybe they should just be

[08:08] red sun people so that she can stay

[08:10] drunk all the time. She puts some tunes

[08:12] on the jukebox and then drunkenly gets

[08:14] tugged back when she forgets her device

[08:15] is still plugged in. The track she plays

[08:17] is another April 2025 track called Catch

[08:19] These Fists by Wet Leg. A lumpy alien

[08:22] makes a move on Cara and she says, "Not

[08:24] going to happen." This movie is really

[08:25] filled with practical alien puppets and

[08:27] prosthetics and languages that do paint

[08:29] the DCU cosmic landscape with a fun

[08:31] amount of species diversity. Ruthie

[08:33] comes in and pitches the room to avenge

[08:35] her family in exchange for her father's

[08:36] precious sword. Cara wants nothing to do

[08:38] with it. Not my monkeys, not my circus,

[08:40] she says. But since an Elias null sword

[08:42] is valuable, a big brute alien just

[08:44] takes it. He's played by Will Cobin, who

[08:46] will also be playing Bones in DC Studios

[08:48] Clayface, Cara confronts this brute

[08:50] outside and ends up beating his ass. Her

[08:52] strength and agility is pretty

[08:53] impressive considering she does not have

[08:55] powers on this red suned planet. And

[08:57] considering she's drunk as a skunk, but

[08:59] she does giggle when she notices she's

[09:00] bleeding. Cara returns the sword to

[09:02] Ruthie. And I like how in the background

[09:03] of this moment, we can see Krypto

[09:05] excitedly hopping and barking at the

[09:06] brute steed. Cara wakes up hung over and

[09:09] wounded the next morning. And while

[09:10] brushing her teeth, Clark catches her

[09:12] with a call, saying that if she stays

[09:13] off world for so long and not enough

[09:15] time in Metropolis, she'll never catch

[09:17] her stride.

[09:17] >> I'm worried you're not going to find

[09:18] your people.

[09:19] >> Yeah, well that's the thing, Clark. I

[09:21] have no people.

[09:23] >> Ruthie arrives to ask for help again and

[09:25] follows Cara outside with Krypto. They

[09:27] shot all of these parts in the Scottish

[09:28] Highlands, specifically near the Arkal

[09:30] in Southerntherland. But I do feel like

[09:32] something here might have been removed

[09:33] in the edit because we just kind of see

[09:35] Creme and his number two drum Baxton

[09:37] just suddenly walking right up to Cara's

[09:39] ship and taking it along with Cara's

[09:40] uneaten cereal since Krypto was also

[09:42] eating that cereal during Casablanca. I

[09:44] think that's what leads the dog to bark

[09:46] and rush at Creme. Cara, who cannot move

[09:48] super fast here to intervene, is unable

[09:50] to stop Creme from firing a poisoned

[09:52] arrow at Crypto and the Briggins leave

[09:54] with Cara's ship. The poisoning of

[09:56] Crypto by Creme is the inciting incident

[09:58] of the comic story line, but it ends up

[10:00] playing out differently in the text.

[10:01] It's actually even better for Crypto,

[10:03] don't worry. But this film uses the

[10:05] 3-day ticking clock for Crypto and the

[10:07] search for his antidote as the narrative

[10:08] structure. Cara leaves Crypto with a

[10:10] local healer, and Cara sets a 3-day

[10:12] countdown on this Kryptonian pocket

[10:14] watch locket with a photo of Krypto

[10:15] inside. I think when we later see her in

[10:17] the flashback in Metropolis taking a

[10:19] Polaroid, I think that's actually the

[10:20] photo that she stuffs into this pocket

[10:22] watch. Cara briefly flashes back to the

[10:24] first moment she met the puppy in Argo

[10:26] City, running up to her filthy during a

[10:27] funeral procession. Cara sits at a bus

[10:29] stop as a run-down public transportation

[10:31] bus arrives. This is described as a

[10:33] wormhole bus, suggesting it travels

[10:35] through wormholes to get from planet to

[10:37] planet. The driver, Lloyd, is played by

[10:39] Paul Hunter, whom we just saw as Lord

[10:41] Ashford in HBO's A Night of the Seven

[10:43] Kingdoms. His little alien co-pilot is

[10:45] not listed in the credits, but it's an

[10:46] uncredited vocal cameo by Seth Rogan,

[10:48] who worked with Craig Gillespie in his

[10:50] previous movie, Dumb Money. It's no

[10:52] surprise this little dude gets the

[10:53] biggest laughs of the film. This bus is

[10:55] adapted from the space bus that Cara

[10:57] wakes up on at the beginning of the

[10:58] second issue of the comic series because

[11:00] in the comics, Cara also gets hit by

[11:01] some poisoned arrows. And it's Ruthie

[11:03] who drags her onto the public

[11:04] transportation where she finally comes

[11:06] to. They really did put a lot of effort

[11:08] here to the anatomical diversity of all

[11:10] these aliens. From this one smoking a

[11:11] hookah to this furry one drooling on

[11:13] Cara's shoulder. Kind of like the

[11:15] drainy-nosed furry alien who leans on

[11:17] Cara in issue number two. This guy is

[11:19] played by Leo Bill, who played the

[11:20] headmaster in Craig Gillespiey's movie

[11:22] Kella. Ruthie enrages a screeching

[11:24] alien. So, there's kind of a crazy story

[11:27] with this particular alien design. It

[11:29] seems to have been repurposed by ILM's

[11:31] creature shop from the character Lexo

[11:33] Suger from 2017 Star Wars Episode 8, The

[11:36] Last Jedi. An alien aristocrat from a

[11:38] deleted scene in the Kanto bite subplot.

[11:40] When Jason Mamoa posted an Instagram

[11:42] video with a life-sized practical prop

[11:44] of this alien, fans noticed that it was

[11:46] repurposed from the Star Wars deleted

[11:48] scene, even though the event he was at

[11:50] had a metal plate collectible drawn by

[11:52] Bill Key for this movie, showing these

[11:54] new alien designs in the style of her

[11:56] 2021 comic art. So, I don't think this

[11:59] was meant to be an intentional Star Wars

[12:01] DC universe crossover, but it says

[12:04] something that the creature designers

[12:06] Warner Brothers paid to populate the

[12:07] aliens for this movie were just kind of

[12:09] like, uh, we got this one that Ryan

[12:10] Johnson didn't want. Let's just throw it

[12:12] in Supergirl. I know not everyone is up

[12:14] to date on every Star Wars deleted scene

[12:16] and background alien, but you know,

[12:18] someone probably should have known or

[12:20] just cared a bit more or said something.

[12:22] Cara diffuses this conflict by

[12:23] screeching in the native language.

[12:25] >> I'm sorry. I didn't mean to.

[12:28] Craig Gillespie said that in total five

[12:30] languages are spoken in this film. I

[12:32] guess those would be the common tongue,

[12:33] which we hear is English, S and Krypton,

[12:35] aka Kryptonian, Scalarian, the local

[12:38] bilky language, and the screeching. I

[12:40] like how they used VFX here to stretch

[12:42] out Milliey's chin. Or maybe she can

[12:43] really stretch it out that far like a

[12:44] snake. This bus is hijacked by Scarian

[12:47] Raiders. Scarian raiders are a group of

[12:49] space fairing female pirates. First

[12:51] appearing in Super Boy in the Legion of

[12:53] Superheroes number 223 in 1977,

[12:55] originating from the planetclar, they

[12:57] are known for attacking and pilfering

[12:59] science outposts and research labs

[13:01] seeking high-tech equipment to help

[13:03] their struggling world. Cara calls them

[13:05] tech pirates, which tells us that she's

[13:06] dealt with these teleporters before with

[13:08] their part stripping laser crabs on the

[13:10] hull of the ship. Their leader is played

[13:12] by Clara Rosajer. The slightly more

[13:14] indigo one is played by Heather Agopong.

[13:16] The other one is played by Alice Hukin,

[13:18] who in Game of Thrones season 6, episode

[13:20] 5 played one of the children of the

[13:22] forest who created the Night King. Cara

[13:24] swipes the blue one's teleporter device

[13:26] and uses it to smartly teleport right as

[13:28] the Robo Crab lands on the purple one.

[13:30] She teleports all around the bus

[13:31] fighting them. The teleporting in this

[13:33] scene looks pretty different than all

[13:34] other forms of teleporting we've seen in

[13:36] comic book movies before. It's more like

[13:37] a digital glitch and made this fight

[13:39] scene pretty fun to watch. Cara asks the

[13:41] Seth Rogan alien if they can get closer

[13:43] to a nearby yellow sun. And he says,

[13:45] "Sure, if I had an engine or some balls,

[13:47] but seeing as I have neither, no."

[13:48] Really the biggest laugh of the movie

[13:50] and all of the screenings I had of it.

[13:51] Cara gets blown out of the airlock

[13:53] before she can fully put on her space

[13:54] suit. But her frozen over body floats

[13:56] into the rays of the yellow sun, and she

[13:58] regains her powers, clearing each of the

[14:00] robo crabs and repelling the scarian

[14:02] raiders's blue laser in this field of

[14:04] fuse lodge with her regained heat

[14:05] vision. Next, they go to this

[14:07] interplanetary rest stop, a way station

[14:09] poking above the cloud line, similar to

[14:11] Cloud City on Bestpin in Empire Strikes

[14:13] Back. There are neon signs with alien

[14:15] writing all over this tower, devised by

[14:17] the Peterson Linguist team, who

[14:18] developed the spoken and written

[14:20] language of Sut and Krypton for 2025

[14:22] Superman and worked on this film. More

[14:24] of the goofy Guardians of the Galaxy

[14:25] Moisley Cantina creature mix includes

[14:28] this little thing who poops pellets that

[14:30] get scooped up as edible snacks like

[14:32] kettle corn, what I'm going to call poop

[14:34] corn. The Seth Rogan alien gobbles them

[14:36] down, but later Cara says these taste

[14:38] like [ __ ] and toss them aside. So, I am

[14:40] obsessed with this gag. I guess Cara

[14:42] expected these turds to not taste like

[14:44] [ __ ] suggesting this creature might be

[14:46] old or sick. Maybe this poopcorn is

[14:48] stale like a 7-Eleven hot dog. Maybe

[14:50] Cara is just open to trying weirdly

[14:51] sourced snacks around the galaxy. Though

[14:53] later she does seem disgusted to learn

[14:55] the milk she drank came from the

[14:56] creature on the floor. So, here's my

[14:58] theory on this. I think Cara likes to

[15:00] roll the dice on this local delicacy of

[15:02] poop corn because if you eat them while

[15:04] they're still warm, they taste good. But

[15:06] if you wait a second too long, the

[15:07] rancid flavor kicks in. Kind of like

[15:09] McDonald's fries. You have to eat them

[15:11] in the first 10 minutes. If you let them

[15:12] get slightly cold, they taste like [ __ ]

[15:14] So really, it's Ruthiey's fault for

[15:17] nagging Carara to keep her from eating

[15:19] her McDonald's fries while they were

[15:20] still hot. This has been my TED talk on

[15:22] the poopcorn and Supergirl. I also like

[15:24] the detail that whatever 7-Eleven you

[15:26] find yourself in throughout the DC

[15:28] galaxy, it's universal to find blue

[15:30] raspberry ices. Cara interrogates the

[15:32] Scarian raiders. She heat visions over

[15:34] the captain's shoulder and then says,

[15:35] "Don't worry, I'll do the other side to

[15:36] even it out." The lighting in the BFX

[15:38] here are such that it's hard to see that

[15:40] Cara is laser cutting the raiders's hair

[15:42] until she says what she's doing. The

[15:43] raider explains that the Brigins are on

[15:45] a planet called Bilki, a planet that

[15:47] Cara thought to be dead, but the raider

[15:48] captain explains is actually dying after

[15:50] half of its population died in an atomic

[15:52] war, and the other half struggles to

[15:54] survive due to a resource struggle

[15:56] attracting filth like the Briggins, who

[15:58] are involved in sex trafficking women

[15:59] whom they call brides, in order to

[16:01] continue their bloodline. The planet

[16:02] name of Bilki comes from Bilki Eve, the

[16:04] artist behind the amazing pastel artwork

[16:07] in the 2021 comic series. It's an

[16:09] interesting choice to name the ugliest,

[16:11] dimst, grimmst, most visually dull, most

[16:14] repurposed Guardians of the Galaxy

[16:15] Volume 3 soundstage set looking location

[16:17] in this movie after the artist who

[16:19] crafted over a dozen beautiful and

[16:21] haunting settings in the source material

[16:23] that this movie hardly used. Making Crim

[16:25] and the Briggins sex traffickers of

[16:26] these brides is why many critics

[16:28] compared this film to Mad Max Fury Road,

[16:30] which of course centered around Immorton

[16:31] Joe sex trafficking women whom he called

[16:33] his brides. But I think any comparison

[16:35] between this movie and Fury Road just

[16:37] gives a false impression considering

[16:39] Fury Road has the best edited action of

[16:42] any movie of this century thanks to

[16:44] George Miller's wife Margaret Sixel. But

[16:46] it seems like the script used this

[16:47] disgusting crime as the one awful thing

[16:49] the Briggins have a reputation for doing

[16:51] in order to simplify the source material

[16:53] where Cara and Ruthie go planet by

[16:55] planet to find the variety of awful

[16:57] things the Briggins have done. In issue

[16:59] number three, we learn that Creme was a

[17:01] loner who joined the Brigins while

[17:02] imprisoned on a planet called Kuran and

[17:04] joined the Brigins in a racial genocide

[17:06] between the purple-kinned and the blue-

[17:08] skinned members of the species. In issue

[17:10] number four, Cara and Ruthie go to

[17:12] Parnat, where the Briggins had torched

[17:14] the landscape and left only a crying

[17:16] infant alive. To Incomm, the moon that

[17:19] orbits Escom, where we meet a poor

[17:21] demmed green alien who witnessed the

[17:23] Brigins torturing and killing his best

[17:25] friend. Then to Tillowise, where we meet

[17:27] an elderly goblin alien who's digging

[17:29] the graves of his loved ones murdered by

[17:30] the Brigins, exhausted and still having

[17:33] 120 graves left to dig. And Cara uses

[17:35] her super speed to dig them in 5

[17:37] seconds. Then to Earl, where Cara allows

[17:39] a huge purple alien to pummel her

[17:41] because in this guy's culture, they're

[17:43] not allowed to express sorrow. And

[17:44] eventually, he just breaks down crying

[17:46] over his whole family being murdered by

[17:48] the Brigins, and Cara hugs him. Then to

[17:50] Tire coming where Cara and Ruthie find a

[17:52] citadel with tapes that recorded the

[17:54] Brian's destruction that Cara does not

[17:56] let Ruthie watch and Cara just comes out

[17:58] of the citadel completely shaken at a

[18:00] loss for words. This one was the most

[18:01] haunting for me. Then to Yala where they

[18:04] find a captured Brigand being stoned to

[18:05] death and his last words were how much

[18:07] he enjoyed torturing people. Then to

[18:09] Ecvvic, a beautiful peaceful world run

[18:11] by silent monks where Cara and Ruthie

[18:14] find the monk's cathedral in the clouds

[18:16] filled with their blood and dismembered

[18:18] body parts. Supergirl screams on the

[18:20] surface of a nearby sun. And then

[18:21] finally to Nelon, where Ruthie is the

[18:24] one who refuses to explain what they had

[18:26] just witnessed, saying, "Some tales are

[18:28] too sad to tell. No life exists on this

[18:30] planet." I know this was a PG-13 movie,

[18:32] and you can't include all of these

[18:33] horrors, but for the ones that are

[18:35] unseen, you certainly could. It's just

[18:37] kind of hard for me to imagine how

[18:38] anyone who actually read issues three

[18:40] and four of the source material would

[18:42] adapt the Briggins the way they were

[18:43] adapted in this movie. Like the point of

[18:45] making Crim such a mass murderer, a

[18:47] monster whom Cara and Ruthie only learn

[18:49] about via the aftermath of his actions

[18:51] is to make Ruthie and Cara's final

[18:53] argument over whether to kill Crim so

[18:55] gripping. I understand the adaptation

[18:57] choice to sum up the Brian's evil by

[18:59] just making them sex traffickers. But if

[19:01] this is a story of liberating those

[19:03] brides, it would just be nice to give

[19:04] those women, you know, some

[19:06] characterization or dialogue in this

[19:08] movie beyond Sarna's one line of please

[19:11] no, don't before she's stabbed to death.

[19:13] It just kind of seems like this movie

[19:14] was trying to balance a lot of

[19:15] priorities and just a lot of might have

[19:17] been cut out of an edit. Cara equips

[19:19] Ruthie with an inflatable protective

[19:20] suit that comes out of a collar that

[19:22] goes around the neck. I really like this

[19:23] hardware and how it's triggered by just

[19:25] a little button that can only be

[19:26] accessed by another. Kind of like a

[19:28] parental safety lock. It reminds me of

[19:30] the tap the nose function on the pit

[19:31] droids and Phantom Menace.

[19:33] >> Hit the nose.

[19:38] >> Later when we see Ruthie rolling around

[19:39] in this thing, she looks like Randy in A

[19:41] Christmas Story. Then onto the planet

[19:43] Bilki. They pass through the grim

[19:44] encampments. Cara tells Ruthie about

[19:46] Superman on Earth and how she's

[19:48] Supergirl despite being only 10 years

[19:50] younger than Clark. This is a change

[19:52] from the source material as we see

[19:54] explained in the flashback. More on that

[19:55] in a bit. In a nightclub, singers sing

[19:57] the girl from Epana, the Brazilian

[19:59] Bosanova and jazz song by Astred

[20:01] Gilberto and Stan gets another example

[20:03] of Earth music randomly being popular in

[20:05] the outer galaxy of the DCU. Akevie

[20:08] alien spots Ruthie and wants her for

[20:09] trafficking. Cara challenges this guy to

[20:11] an arm wrestling match to get info about

[20:13] the Briggins, but this guy gets shoved

[20:14] aside for an even bigger brute who

[20:16] clears the table. I like how Cara just

[20:18] pushes aside one last cup in a move

[20:19] that's kind of like a cat who doesn't

[20:21] give a [ __ ] Cara breaks this guy's arm

[20:23] and ends up in the crosshairs of every

[20:24] other criminal in the bar. Cara tells

[20:26] the band to keep playing

[20:27] >> playing.

[20:29] You know, it's like the Titanic

[20:31] >> referencing the string quartet from

[20:32] James Cameron's Titanic just playing

[20:34] through the chaos. This band ends up

[20:35] playing cheek to cheek by Irving Berlin

[20:37] for Fred a stair and Ginger Rogers in

[20:39] 1935's Top Hat. We end up not seeing

[20:41] this fight. Craig Gillespie chooses to

[20:42] keep us and Ruthy's point of view under

[20:44] the table for all of it. In the corner

[20:45] of this bar the whole time was Lobo,

[20:47] played by Jason Mamoa. Cara knows all

[20:49] about Lobo, calling him an immortal with

[20:51] a god complex who killed off his entire

[20:52] planet. In the comics, Lobo is an alien

[20:54] mercenary and bounty hunter from the

[20:56] utopian planet Zarnia. He's the last of

[20:58] a species and he was introduced in Omega

[21:00] Men number three from 1983. Tom King

[21:02] said that he originally conceived of the

[21:03] Superman woman of tomorrow graphic novel

[21:05] as a Lobo Supergirl story, but then his

[21:07] editors, including Britney Holshire,

[21:09] suggested to remove Lobo and make

[21:10] Supergirl the true grit Rooster Cogburn

[21:12] character. So, putting Lobo back into

[21:14] the movie is kind of a nod to that

[21:16] scrapped idea. Jason Mimoa always wanted

[21:18] to play Lobo and actually texted James

[21:19] Gun asking to play Lobo right after

[21:21] James Gun was announced as head of DC

[21:23] Studios in October 2022. Lobo wears an

[21:25] object on a chain around his neck. In

[21:27] the comics, this thing contains a red

[21:29] lantern ring. You know, of the Green

[21:31] Lantern Corps network. In the 2010

[21:33] Brightest Day story line, Atrocidus,

[21:35] leader of the Red Lantern Corps, hires

[21:36] Lobo to attack him while he was with Hal

[21:38] Jordan, Sinestro, and Carol Ferris in

[21:40] order to gain their trust so that they

[21:42] would help him hunt down the butcher,

[21:43] the Red Lantern entity. Atrocidus gave

[21:45] Lobo a Red Lantern ring as payment, but

[21:47] Lobo just wears it as a trophy, and it's

[21:49] not clear if he's ever used it. However,

[21:50] in a set visit, apparently Jason Mamoa

[21:52] said that the thing around his neck in

[21:54] this movie is one of the grenades that

[21:55] he totes around. I actually think it was

[21:57] meant to be a container for a red ring

[21:58] and they just didn't tell Jason Mamoa.

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[22:57] Lobo seeks Drum Baxton as his bounty.

[22:59] That's creme number two of the Briggins.

[23:01] Ruthie asks Lobo for help and he lifts

[23:03] her up, but Cara intervenes, posing as a

[23:05] ditzy party girl from Metropolis on

[23:06] Earth on a space tour. I like the idea

[23:08] that Lobo wouldn't know that most young

[23:10] women from Earth would have no access to

[23:11] casual space travel like this. Lobo gets

[23:13] annoyed and leaves, but he does leave

[23:14] Cara with a happy birthday. The two

[23:16] barkeeps, Merrick Van and Bumar Van,

[23:19] bring Cara and Ruthie to their home,

[23:20] promising info on the Brigins. Ruthie

[23:22] asks Cara more about Superman, whom Cara

[23:24] calls a nerd, saying he sees the good in

[23:26] people, and she sees the truth. Cara

[23:28] says this line with more of a shrug in

[23:29] the theatrical cut than in the

[23:31] meaningful gravitas in the take used in

[23:33] the trailers.

[23:33] >> He sees the good in everyone, and I see

[23:36] the truth. But I think they wanted to

[23:38] keep Cara in this moment less judgmental

[23:40] of her cousin and shrug off their

[23:41] differences as Kal just not having gone

[23:43] through the same emotional trauma that

[23:45] she did on Argo City. And that makes his

[23:46] heart light as she says. This

[23:48] distinction in the flashback it sets up

[23:50] I think is where the script is

[23:51] strongest. It's a difficult nuance to

[23:53] strike to show how Superman and

[23:54] Supergirl are both on the same moral

[23:56] alignment generally, but their

[23:57] worldviews are just colored by different

[23:59] experiences. An upbringing on a dying

[24:01] life raft city from a dead civilization

[24:03] versus an upbringing on a Kansas farm.

[24:04] Ruthie must have heard stories about

[24:06] Krypton before because she thought

[24:07] everyone on Krypton died the day the

[24:09] core erupted. By the way, this answers a

[24:10] question about the DCU cosmic mythology.

[24:13] The DCU version of Krypton was not

[24:15] destroyed by solar flares from RAW or

[24:17] anything else, but rather just a

[24:18] destabilizing core as is often the case

[24:20] in various DC continuities. Cara says,

[24:22] >> "Peron didn't die in a day. The gods are

[24:25] not that kind."

[24:25] >> I really love this line and how it sets

[24:27] up the fate of Argo City. But the fact

[24:29] that Cara says gods hints at the

[24:30] Kryptonian religious belief system. They

[24:32] tend to follow rowism centered around

[24:34] their red son of Ralph. Action comics

[24:36] 886 and 2010 detailed the row orthodox

[24:39] pantheon has 14 major deities, 211

[24:41] demigods, and 1,42 titans. In 2025,

[24:45] Superman, Jorel, and Larara Lurvan's

[24:47] message to Kal opened with the phrase,

[24:48] "We love you more than heaven. We love

[24:50] you more than land." So, there must have

[24:52] been some Kryptonian concept or idiom at

[24:54] least related to an afterlife. And we

[24:56] flash back to the final days of Krypton.

[24:58] Cara's mother, Allura Enzay, played by

[25:00] Emily Beichchum, looks out of a window

[25:01] at this red leafed tree. This is very

[25:04] significant to Cara in the comic series.

[25:05] Throughout the series, Cara recalls the

[25:07] color of the blue and red leaves on the

[25:09] tree outside of her window on Krypton,

[25:11] part of artist Bil Billy Eve's

[25:12] psychedelic fantasy to draw Cara into

[25:14] introspective spirals dwelling on plants

[25:17] radiated by the red sun of Ralph. The

[25:18] blue and red leaves are where Cara is

[25:20] inspired to wear the suit colors that

[25:22] she wears. This script kind of keeps the

[25:23] leaves red and doesn't really make the

[25:25] suit connection. Rather just kind of

[25:26] keeps the red leaves something that

[25:27] reminds Cara of her mother. Cara

[25:29] narrates that her father Zorel played by

[25:31] David Crumbholtz and his brother Jorel,

[25:33] remember Superman's father, played by

[25:35] Bradley Cooper in Superman, warned the

[25:36] council of the doom that was coming, but

[25:38] the council didn't listen. The building

[25:39] quakes. Allura tells Zorel that she

[25:41] thought they had more time, but Zorel

[25:43] says Krypton's core is unstable and they

[25:45] only have minutes. Zorel grabs a bedside

[25:47] journal and a framed photograph of the

[25:48] two of them just before that red leaf

[25:50] tree crashes through the window. They

[25:51] are speaking the fictional language

[25:52] that's called su and krypton. An

[25:54] original language developed by the

[25:56] Petersons. It has a written and a spoken

[25:58] form. The architecture of krypton is an

[26:00] example of neocclassicism. Towering

[26:02] structures with curved arches and golden

[26:04] domes and golden spires. It kind of

[26:06] looks like ancient Rome if Rome could

[26:07] have continued into a future tetopia.

[26:10] Allura and Zorel see an escape pod zip

[26:12] off into the sky. Allura asks, "Is that

[26:14] him?" Zorel says, "It's Kal." And Allura

[26:16] says, "Your brother declared him

[26:17] conqueror of worlds." So that stuff

[26:19] Jurorel said in his message.

[26:21] >> Lord over the planet as the last son of

[26:23] Krypton.

[26:24] >> Dispatch of anyone unable or unwilling

[26:26] to serve you. Ker, take as many wives as

[26:29] you can. So your genes and Krypton's

[26:32] might and legacy will live on in this

[26:34] new frontier.

[26:36] >> Do us proud, our beloved son. Rule

[26:38] without mercy.

[26:40] >> Confirmed. It was not a mistransation by

[26:42] Lex or any kind of hack of the message

[26:44] by Brainiac. is a true sentiment that

[26:46] Jorel had and something that he said to

[26:48] his brother and sister-in-law in the

[26:50] final days of Krypton. Making Superman's

[26:52] biological parents these fascist

[26:54] imperialistic colonizers remains one of

[26:55] the more controversial choices in James

[26:57] Gun's DCU. But at least this movie

[26:59] suggests that not all Kryptonians, or

[27:01] even not all members of the House of L

[27:03] felt the same way. The Kryptonians of

[27:04] Argo City flee into this structure.

[27:06] Zorel looks at his pocket watch device

[27:08] in fear. And a plasma beam fires upward,

[27:10] forming a dome around the city, but

[27:12] forming a chaotic barrier that cuts down

[27:14] the middle of a street, wrecking

[27:15] buildings and keeping some people in,

[27:17] but dooming other Kryptonians meters

[27:19] away from them out. This whole idea of

[27:21] doming Argo City was Zorel's idea and

[27:23] design as like a life raft failsafe plan

[27:25] in case he and his brother were right

[27:27] about the destabilizing core. But in the

[27:29] Woman of Tomorrow comics, Cara was born

[27:31] already and remembers this day. She was

[27:33] born on Krypton and is actually older

[27:35] than her cousin Call. She only appears

[27:37] younger due to time dilation based on

[27:39] how long she versus her cousin spent in

[27:41] their respective pods. Being technically

[27:43] born verse is really part of her

[27:44] frustration with being called Supergirl,

[27:46] while her younger cousin is Superman.

[27:48] But this movie makes it so that Cara was

[27:50] born 8 years after Destruction Day and

[27:52] about 10 years younger than her cousin.

[27:54] Of course, this particular origin story

[27:55] is adapted from issue number six from

[27:57] the comic story line where we learn that

[27:59] thousands of citizens of Argo City died

[28:01] in this quickly improvised bubbling of

[28:03] its atmosphere, saving 18,000

[28:05] Kryptonians on a floating asteroid. But

[28:07] what followed on Argo City was a

[28:08] harrowing period. The population of Argo

[28:10] City decreased by 13,000. The minerals

[28:14] in the soil get irradiated by yellow

[28:16] suns into cancerous kryptonite that they

[28:18] have to toil to build lead shielding to

[28:20] protect themselves against. That plus

[28:21] food and water shortages and deadly

[28:23] meteor showers. The sequence in this

[28:25] film shows Argo City blasting away from

[28:27] Krypton as its surface collapses. And we

[28:29] catch up with the floating city in space

[28:31] where Zorel and Allura get pregnant with

[28:33] Cara and raise her in the city, living a

[28:35] somewhat happy life together until a

[28:37] plague sets in from the radioactive

[28:39] mineral in their soil, kryptonite. Its

[28:41] radiation is slowly poisoning everyone

[28:43] in Argo City, starting with Allura.

[28:45] Yeah, there's none of the bleeaker stuff

[28:47] from the source material like the

[28:48] attempted lead shielding, the meteor

[28:49] strikes, the crop famine. This movie

[28:51] just kind of confines it to kryptonite

[28:52] cancer, which in fairness is bleak

[28:54] enough. The radiation affects Zorel,

[28:56] too, and he tells Cara that he found his

[28:58] brother's blueprints for the escape pod

[28:59] that he built for Cal. Zorel builds a

[29:01] new pod retrofitted to be able to fit

[29:03] Cara and send her to Earth. Zorel

[29:05] emotionally tells his daughter that her

[29:06] life will be the continuation of

[29:08] Allura's life and his life, saying, "You

[29:10] are our souls unfolding into the

[29:12] future." Allura makes her daughter

[29:14] promise to just be good. But that

[29:16] doesn't mean she can't be tough or has

[29:17] to be nice. In Allura's funeral

[29:19] procession, they cover her in the red

[29:20] leaves of her beloved tree. The pool

[29:22] that Zorel playfully fell into is now

[29:24] covered in algae to show the state of

[29:26] ruin in Argo City. They bring Allura's

[29:28] coffin to the central furnace that

[29:30] powers the dome for cremation. It's here

[29:32] where a dirty puppy Krypto, after

[29:34] remaging through garbage, runs up to

[29:35] Cara to comfort her. So, it's kind of

[29:37] like John Wick where Jon gets that dog

[29:38] right after his wife dies. And for him,

[29:41] avenging that dog is like fighting for

[29:42] the beloved woman that he wasn't able to

[29:44] save. Zorel puts his daughter in this

[29:45] space suit and loads her into the pod

[29:47] with Krypto. He gives her his Kryptonian

[29:49] pocket watch and says, "We are with

[29:51] you." We see her point of view on Zorel

[29:53] as she zips away from her father through

[29:54] the barrier of Argo City into the stars.

[29:56] And think about it, Zorel positioned her

[29:58] pod so that she'd be facing backward

[30:00] from the propulsion so they could look

[30:01] at each other for as long as possible.

[30:03] Back on planet Bilki, Cara figures out

[30:05] that Merik and Bomar are the parents to

[30:07] Sarna, one of the brides taken by the

[30:09] Brigins. We see the family photos on the

[30:11] wall and the daughter's handprints in

[30:12] the frame. They made a deal with the

[30:13] Briggins to trade two women for their

[30:15] one daughter. They poisoned her tea, but

[30:17] because Bilki is a planet with a yellow

[30:19] son, the poison doesn't knock her out

[30:21] right away. Cara demands milk to coat

[30:23] her stomach, and she realizes it's from

[30:24] the gross looking pet on the floor.

[30:26] Creme smashes in as Cara tries to puke.

[30:28] She headbutts him and gets some of his

[30:29] facial studs in her face, but Creme

[30:31] notice keeps sipping the milk that Cara

[30:33] was drinking. Creme seems to always

[30:35] finish the food that his target started

[30:37] on throughout this movie. Like remember

[30:39] Cara's cereal on her ship? He continued

[30:40] eating that cereal later. This milk he

[30:42] continues drinking. And then later that

[30:44] wormcovered plate of food in Ruthie cell

[30:46] he picks up and starts eating from with

[30:47] the brigen ship towing crates filled

[30:49] with the traffic brides. Lobo riding his

[30:51] spacehog motorcycle from the comics cuts

[30:53] the cables of the crates in order to try

[30:55] to flush out Drum Baxton. Creme who was

[30:57] described as having the strength of

[30:58] 1,000 men catches one of the crates.

[31:00] Several brides break out and Cara and

[31:02] Ruthie help them escape. Lobo tries to

[31:04] lasso Drum, but gets clothesline by a

[31:06] brigen cable. Cara helps him up.

[31:08] >> Aren't you the dicks from that dive bar?

[31:09] >> Funny.

[31:11] >> That's what I've been calling you.

[31:13] >> Touche.

[31:13] >> Considering Lobo wears glam makeup that

[31:15] was inspired by Jean Simmons from Kiss,

[31:17] I do appreciate that he has a sense of

[31:18] humor about this and considers himself a

[31:20] ditz. They team up to fight the Brigins

[31:21] and one of the more enjoyable action

[31:23] stunt pieces where I got to give credit.

[31:25] Jason Mimoa and Millie Alco are doing a

[31:27] lot of the stunt fighting themselves

[31:28] here. Creme stalks Sarna down. Ruthie

[31:30] tries to kill Crim, but Cara tackles her

[31:32] out of the way, allowing Crim to catch

[31:34] Sarna, kill both of her parents, and

[31:35] then for no apparent reason, kills her

[31:37] too before Cara can fly up to the Brian

[31:39] ship and teleports away. This

[31:41] teleporting technology is actually

[31:42] called the Morru Globe. It's a dangerous

[31:44] artifact that can banish someone to the

[31:46] other side of the universe, but only by

[31:47] committing the mass execution of

[31:49] thousands of people. I was going to say

[31:51] this might not be the Morru Globe

[31:52] technology here in the movie, but maybe

[31:54] that's why Crim went out of his way to

[31:56] kill three people in order to power that

[31:58] artifact. Again, something else that

[31:59] might have been removed in the edit from

[32:00] this movie. Cara flies up into space and

[32:02] screams where no sound will carry,

[32:04] leaving a single teardrop floating in

[32:06] space. This might have been inspired by

[32:07] that gnarly moment in number four of the

[32:09] comic series when Cara, after seeing the

[32:10] mutilation of all the monks on Epic,

[32:12] flies up to the nearby yellow sun and

[32:14] just screams on the surface of it. Cara

[32:16] comes back down and calls the local

[32:17] alien who sold them out Squidward, the

[32:19] same thing Tony Stark called Ebony Ma in

[32:21] Avengers Infinity War. And she gets him

[32:22] to take her to the planet where the

[32:24] Brigins are. With her head covered on

[32:25] the transport ship, Cara uses her X-ray

[32:27] vision to look at a photo of Crypto on

[32:29] her watch. They land on the planet

[32:30] Barington, one planet from the Woman of

[32:32] Tomorrow comic story line that they do

[32:34] kind of bring in. In issue number five,

[32:36] Cara and Ruthie get banished to

[32:37] Barington by the Morru globe, and it

[32:39] orbits only a green kryptonite plasma

[32:41] star. It also has dinosaurs on it. No

[32:43] dinos. The movie version of Barington

[32:46] orbits both a yellow sun and a green

[32:48] sun, revealed in this pretty cool shot

[32:49] of Cara stepping forward as the yellow

[32:51] sun sets on the horizon and the sky

[32:54] turns green behind her. Cara flashes

[32:56] back to the moment she arrived on Earth

[32:57] in the Arctic ice, greeted by her cousin

[32:59] Kal aka Clark.

[33:01] >> Hi there.

[33:04] >> Oh, I'm sorry. I don't Oh, I don't um I

[33:08] don't speak Kryptonian. Superman does

[33:10] not speak su in Krypton or as he calls

[33:12] it Kryptonian which was an important

[33:14] plot point for 2025 Superman. Superman

[33:16] says he's been tracking her pod for the

[33:18] past month and right away he introduces

[33:20] himself as Clark immediately trusting

[33:22] her with his most precious secret. He

[33:24] says shoot. David Cordswe is so affable

[33:27] as Superman. We really remember how well

[33:29] cast both of these two are in this

[33:31] universe. She clocks the Fortress of

[33:32] Solitude in the distance. I'm actually

[33:34] wondering if the pod landed here due to

[33:36] Zorel's navigation coordinates or if

[33:38] Superman might have caught the pod as it

[33:40] was approaching Earth and then gently

[33:41] placed it here by his fortress so that

[33:43] he could be the one to first greet Cara.

[33:45] He tells his cousin that not all of

[33:46] Earth looks like this and that she's

[33:48] going to love things like bowling. She

[33:50] wonders why he's in his underwear. Yeah,

[33:51] that suit he's wearing was the blanket

[33:53] or undergarment that Ma Kent found him

[33:55] in when he arrived as a toddler to this

[33:57] planet in his own pod. He also warns her

[33:59] as her powers are about to kick in now.

[34:01] And we cut to a later memory of Cara in

[34:03] her apartment in Metropolis, hair in a

[34:05] ponytail. Through her window, we can see

[34:06] the top of the Daily Planet building.

[34:08] She's overwhelmed by the sounds of

[34:10] traffic and conversation throughout the

[34:11] city. So, now we know why she listens to

[34:13] pop and punk music from Earth. She puts

[34:15] in these headphones from her iPod in

[34:16] order to block out the sound. She takes

[34:18] a Polaroid of Puppy Crypto. Yes, I think

[34:20] the same photo that she'll put into her

[34:22] pocket watch later as this puppy tears

[34:23] apart the bedding as Cara just kind of

[34:25] zon out. Back in the present, Ruthie

[34:26] tends to Cara in the cave, but Ruthie

[34:28] gets taken by the Briggins and wakes up

[34:30] in a cell beside Lobo, who takes a

[34:31] liking to Ruthie. Creme visits Ruthie

[34:33] cell to intimidate her, but does not

[34:35] kill her right away, giving her a window

[34:36] to manipulate and attack the guards so

[34:38] that she and Lobo can escape. The green

[34:40] sun finally sets and yellow sunlight

[34:41] fills the cave, brightening the

[34:43] Supergirl suit that Ruthie brought along

[34:44] with her. Cara flashes back to the exact

[34:46] moment Clark gave her this suit, saying

[34:48] the bright colors are there to remind

[34:49] people that they are good. And in this

[34:51] moment, Cara's memory intercuts with the

[34:53] last words from her parents, helping her

[34:55] realize that her mother saying to just

[34:57] be good means to embrace what her cousin

[34:59] told her good looks like in the eyes of

[35:01] the children they're saving. Also, by

[35:03] the way, confirmed that Superman or

[35:04] maybe Ma Kent or maybe one of the robots

[35:06] in the Fortress of Solitude were the

[35:08] ones to make Carara's suit for her in

[35:10] the DCU continuity. I kind of hope that

[35:12] Cara has gotten to meet Martha and

[35:14] Jonathan. Ruthie gets caught by Creme on

[35:16] the outer deck and he nearly kills her

[35:17] here, but Cara flies in fully suited up

[35:20] in a suit. Now, we have already seen

[35:22] Cara in this suit in the DCU twice

[35:24] technically. So, making the audience

[35:26] wait 85 minutes for this does amount to

[35:28] a surf Dracula. If you don't know what

[35:30] that is, you can pause the video and

[35:31] read the tweet here. Cara heat visions a

[35:33] sword out of Crim's hand. Ruthie kicks

[35:35] the hilt so it pops up to her hand, but

[35:37] she gets snagged by the chain suspending

[35:39] the tank and goes over the side. Cara

[35:40] gets her leg latched by this grapo hook,

[35:42] which she rips off and uses that same

[35:44] chain to sweep the deck. Cara gets

[35:46] plugged by some kryptonite delight

[35:48] arrows from Creme that we see poisoning

[35:50] each of her red blood cells. So, while

[35:52] Cara did not get plugged with arrows in

[35:54] the initial assault on Krypto like she

[35:55] did in the comics, different arrows do

[35:57] find her here. Creme calls in Drum to

[35:59] kill Cara, but in an instant, Lobo

[36:01] disappears from out of nowhere and

[36:03] beheads his bounty. Look, I can look

[36:04] past the goofy editing that others

[36:06] online are griping about with this

[36:08] scene, but really not here in this

[36:09] moment. Like, guys, we go from a

[36:11] close-up on Cara, then to just an

[36:12] offscreen sound and a quick shot of Drum

[36:15] falling to his knees as his hair is

[36:16] tugged upward from behind by Lobo, who

[36:18] again came out of nowhere, and then 1

[36:20] second of Cara reacting and then just a

[36:22] half second close-up of Lobo laughing

[36:24] and then another half second of just the

[36:26] top of Drum's head quickly being stuffed

[36:28] into a bag. This is all while Mimoa

[36:30] growls some line about finally getting

[36:32] his bounty and we can barely hear it in

[36:33] the mix due to the punk music here.

[36:35] Look, I know I know this is probably the

[36:37] MPA telling them that they had to remove

[36:38] a decapitation in order to stay in a

[36:40] PG-13 rating. And clearly they couldn't

[36:42] reshoot something like this, so they

[36:44] just had to trim this down frame by

[36:45] frame. And I'm sure Gillespie and the

[36:47] editors hated having to do it. But, you

[36:48] know, the whole scene hinges on Lobo's

[36:51] arrival in this moment. It's the Han

[36:53] saves Luke from Darth Vader in THE

[36:54] TRENCH RUN. YAHOO! YOU'RE ALL CLEAR,

[36:56] KID. NOW, let's blow this thing and go

[36:57] home moment. So, it's really just

[36:59] unfortunate that in a big movie like

[37:01] this, we see this. Lobo drops Creme over

[37:03] the side where he slides down the chain

[37:05] to where Ruthie is. And then Lobo yanks

[37:06] back his space hog and uses the grenades

[37:08] to blow up the engines. Lobo does not

[37:10] seem to care about the brides who are

[37:12] inside the ship. Cara falls into one of

[37:14] the suspended tanks and allows it to

[37:16] fall into the lake below. She heat

[37:17] visions out of the flooded tank and lets

[37:19] the yellow sun rays rid the kryptonite

[37:21] crystal from her blood cells and she

[37:22] sees the crashed Brian ship and Creme

[37:24] chasing Ruthie and the wreckage. She

[37:26] gets Ruthie to safety and then uses her

[37:27] X-ray vision to see the brides still in

[37:29] the burning wreck and then goes in and

[37:30] saves them as well. But then Cara flies

[37:32] back out to the plane to wallop Creme.

[37:34] The specific way she thrashes his body

[37:36] around looks a lot like the way her

[37:38] cousin Call thrashed the engineer and

[37:39] Superman. These cousins like to wallop

[37:41] the same way. The other Brigins surround

[37:43] Ruthie with her motorbikes and tank. And

[37:45] then we get this slow motion sequence of

[37:46] Cara saving Ruthie from all these

[37:48] explosions and debris and attacks as we

[37:50] hear the middle by Jimmy Eatworld

[37:54] covered by Kelty Ga and Kid Motel. So

[37:57] this needle drop look I get the

[37:59] intention. The lyrics give a message to

[38:01] a young girl a girl in the literal

[38:03] middle that everything everything will

[38:05] be all right. All right. But you can't

[38:07] blame people for rolling their eyes in

[38:09] this moment. Like imagine if over

[38:11] Superman's big speech to Lex Luthther in

[38:13] that critical moment in Superman, we

[38:15] started hearing a Regina Spectre cover

[38:17] of Dashboard Confessionals Vindicated.

[38:18] Don't get me wrong, I love Regina

[38:20] Spectre. I love Dashboards Vindicated.

[38:22] But there is a time and a place for a

[38:23] needle drop in a superhero movie. Needle

[38:25] drops can come in the falling action

[38:27] after the climax. They can certainly

[38:29] pump through the credits, but the moment

[38:31] of emotional catharsis in a movie should

[38:34] be carried by the composed original

[38:36] score, not by a music supervisor hitting

[38:38] a jukebox button. Like in James Gun's

[38:40] Guardians of the Galaxy, yes, Peter

[38:41] Quill does start singing a song from his

[38:43] mom's awesome mix playlist in order to

[38:45] distract Ronin. But what happens when

[38:47] the Guardians of the Freaking Galaxy

[38:48] join hands with the Power Stone? It's

[38:50] not a track that James Gunpick for the

[38:52] movie. It's the original score of the

[38:53] movie that underscores that moment. Owen

[38:55] Gleaserman's review at Variety was

[38:57] pretty harsh and not always fair, but he

[38:59] was right on the money when it comes to

[39:01] trying too hard to be punk rock with

[39:03] punk rock needle drops. That makes you

[39:05] by definition not punk rock. I mean,

[39:07] visually, this is a very fun display of

[39:09] Supergirl's full power set that makes

[39:12] her billowing cape and emotional urgency

[39:14] look glorious. So, it's just a shame

[39:16] that this overindulgent song choice

[39:17] takes us out of it. One of the freed

[39:19] brides saves Cara from the last brigand

[39:21] and Ruthie runs over to kill Creme, but

[39:22] Cara talks her down, saying it won't

[39:24] bring her any peace, and she'd have to

[39:26] carry Creme with her for the rest of her

[39:27] life. Ruthie decides to walk away. But

[39:29] when Crim tells Cara that he's just

[39:30] going to hunt Ruthie down, Cara takes

[39:32] the sword and stabs Creme once in the

[39:33] gut for Krypto and once in the neck for

[39:35] Ruthie. In the comic story line, the

[39:37] final debate with Crim goes down in a

[39:38] pastel toned tropical beach at the edge

[39:41] of the universe. Creme is tied to a tree

[39:42] and he reveals to Ruthie that he just

[39:44] killed her dad for not laughing at his

[39:46] joke. He and Ruthie end up dueling and

[39:48] she cuts his fingers off and there's

[39:49] this long exchange about what vengeance

[39:51] would really bring the soul. Ultimately,

[39:53] Cara and Ruthie decide to exile Creme

[39:56] for 300 years in the Phantom Zone. And

[39:59] at the very end of that sentence, an

[40:00] elderly Ruthie has a very old and

[40:03] decrepit Creme released. And the framing

[40:05] matches the same opening panels of

[40:07] Ruthie finding her dad's corpse on the

[40:09] hill. Ruthie decides not to kill Crim.

[40:11] She just hits him with her cane and

[40:12] turns away. It's kind of an ambiguous

[40:14] ending because while Ruthiey's narration

[40:16] says Cara moved her sword swiftly

[40:18] through the air and through Crim's chest

[40:19] and returned the bloodcovered sword to

[40:21] Ruthiey's hand, Billy Evely deliberately

[40:23] leaves Crim's arm moving in the final

[40:25] panel. And it's revealed that all of

[40:27] this narrated text is coming from

[40:28] Ruthiey's fictitious fiddle foul book

[40:30] where she actually lied about the fate

[40:32] of Creme so that the pirates he's

[40:34] running from wouldn't go looking for

[40:35] him. And I understand this movie can't

[40:37] really do a 300year time dilation and

[40:40] this kind of unreliable narrator ending.

[40:42] But I do think it's one of the more

[40:43] nuanced gray areas that make this comic

[40:45] series ending great in my opinion. But

[40:47] since this script just did away with all

[40:49] of Ruthie's narration, there really

[40:50] would be no point to ending the movie

[40:51] this way. Also in the text, we learn

[40:53] that Krypto's Kryptonian anatomy

[40:54] actually allowed him to resist the

[40:56] poison from Crim's initial arrow and

[40:58] heal on his own, and that Cara didn't

[41:00] actually need the antidote for her dog.

[41:02] The whole time, she just went on this

[41:03] journey on behalf of Ruthie and her

[41:05] ethical development. But here in the

[41:07] movie, Cara really does need the

[41:08] antidote, and she ends up giving it to

[41:10] Krypto back on Holure and the dog's

[41:11] healed. Ruthie says that she plans to

[41:13] take up swordsmithing like her father

[41:14] and live with her aunt. But first, Cara

[41:16] invites the girl to join her in

[41:17] celebrating her birthday. Before the

[41:18] credits, we end the film in a scene that

[41:20] might have originally been planned to be

[41:21] the post-redit scene. Cara goes back to

[41:23] Clark's apartment that we saw in the

[41:24] 2025 Superman film, where he and Lois

[41:27] talked right before he turned himself

[41:28] in. Clark says, "Birthdays have always

[41:30] been tricky for me, too." Implying that

[41:31] his biological birthday was the day his

[41:33] home planet died, and his pretend

[41:35] birthday with the Kent would have been a

[41:37] lie. Clark also says, "Could have used

[41:39] your help with the last guy." Referring

[41:40] to his battles with Lex and Ultra Man in

[41:42] the Superman film. Notice in the

[41:44] metropolis skyline outside the window,

[41:46] we see Luther Cororp tower completed

[41:48] again with the two towers linked by the

[41:50] central bridge that originally detached

[41:52] as a floating command center. The fact

[41:53] that it's all back together as one big

[41:55] piece suggests that Luther Corp didn't

[41:57] really suffer that many meaningful

[41:58] setbacks. Cara indicates that she's

[42:00] going to stick around setting up her

[42:02] team up with her cousin Call Superman

[42:04] and I guess also Lex Luthther in some

[42:06] armor that Superman's going to help him

[42:07] build as these three and John Stewart

[42:09] Green Lantern and more face off against

[42:11] Brainiac in Man of Tomorrow next summer.

[42:13] How does Supergirl leave the state of DC

[42:15] Studios? We discussed that question in

[42:18] depth in this Sunday's episode of our

[42:19] sneak peek podcast. Be sure to check it

[42:21] out. A special thanks to one of our NR

[42:22] Underground subscribers, Jeremy Dunham,

[42:24] for supporting us at the executive

[42:26] producer level. You can get all of our

[42:27] exclusive bonus content by clicking the

[42:29] link in the description below or going

[42:30] to nr underground.supcast.com. Big

[42:32] thanks to Studio Tech Brian Kim, New

[42:33] Rockstars editors Joshua Steven Hurd and

[42:35] Abby Freel and all of our supporting

[42:36] editors for their work on this video.

[42:38] Follow me at EA Boss. Hit that subscribe

[42:40] button. Thanks for watching and I'll see

[42:41] you next time. Bye.