Kara then asks him: "Where you ever going to tell me the truth?"
We went from a female-centric show about a hero trying to find her humanity & balance her life, and stand up for women everywhere, to a male-centric show about a jerk from a planet of terror that needs a Mommy/Wife to show him how to be good.
Oh, Supergirl...you make me so incredibly sad.
The ratings are the lowest they've ever been.
( http://tvseriesfinale.com/tv-show/supergirl-season-two-ratings/ )
Geez, I wonder why?
It's probably too late to turn this around now, but if the writers care or want to try, here's some advice:
- After being introduced, does your Strong Female Character then fail to do anything fundamentally significant to the outcome of the plot? Anything at all?
- If she does accomplish something plot-significant, is it primarily getting raped, beaten, or killed to motivate a male hero? Or deciding to have sex with/not have sex with/agreeing to date/deciding to break up with a male hero? Or nagging a male hero into growing up, or nagging him to stop being so heroic? Basically, does she only exist to service the male hero’s needs, development, or motivations?
- Could your Strong Female Character be seamlessly replaced with a floor lamp with some useful information written on it to help a male hero?
- Is a fundamental point of your plot that your Strong Female Character is the strongest, smartest, meanest, toughest, or most experienced character in the story—until the protagonist arrives?
- …or worse, does he enter the story as a bumbling fuck-up, but spend the whole movie rapidly evolving past her, while she stays entirely static, and even cheers him on? Does your Strong Female Character exist primarily so the protagonist can impress her?
- It’s nice if she’s hyper-cool, but does she only start off that way so a male hero will look even cooler by comparison when he rescues or surpasses her?
- Is she so strong and capable that she’s never needed rescuing before now, but once the plot kicks into gear, she’s suddenly captured or threatened by the villain, and needs the hero’s intervention? Is breaking down her pride a fundamental part of the story?
- Does she disappear entirely for the second half/third act of the film, for any reason other than because she’s doing something significant to the plot (besides being a hostage, or dying)?
There's also the Bechdel test:
- The movie/TV show has to have at least two women in it,
- who talk to each other,
- about something besides a man.
- at least one female character
- who gets her own narrative arc
- that is not about supporting a man’s story.