Spoilers "Superman & Lois" Season 2
- Thread starter The Realist
- Start date
Its ridiculous yes but not unrealistic that a young person will take a relationship far too seriously.
The refugees from Earth 1 killed their doppelgangers, sure.
Murder is as Murder does.
It's Cisco's memory machine/crib notes, and John's Mind whammy I was unclear about, or at least I feel that they were inconsistent about their use, considering Clark "forgot" he had twins, but everyone else was fine.
Yeah it's one of those "don't think about it too much" things.
This.
For all purposes that matter, S&L is treating Clark and Lois's post-Crisis history as the one that's "real," for them and for us.
Or Clark got J'onn to dewhammy him.
Otherwise Superman would have gone back in time 17 million years, to rescue his child.
Otherwise Superman would have gone back in time 17 million years, to rescue his child.
The problem is they want the viewers take this seriously too. But I simply can't. They are fifteens. I know that for him perhaps is the end of the world, but for this he want to endanger his family and giving away important family belongings. Really, please
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yeah it seems a bit of a lame storyline, hopefully leading to something, to be honest I've found the lana storyline boring so far too, hopefully that is setting something better up too
I don't see your objection, since you already acknowledged the answer. He's fifteen years old, so yes, everything feels like the end of the world to him, every crush is an eternal romance. I was the same way at fifteen. The writers aren't telling us we should agree with Jordan -- on the contrary, they had Clark explicitly caution him that teenagers' feelings can change and that he should have patience rather than acting impulsively based on what he feels at the moment. Jordan's wishes aren't supposed to be objectively correct and admirable, just believable in a teenager. We don't have to agree with characters' views or choices to understand and care about what they're going through emotionally.
He is immature, and of course the immature cherry on the top was Jordan being astoundingly reckless and shortsighted to think anyone has a right to know the family secrets, and as Clark was wise to point out--the danger that would pose to family and friend alike.
However it may or may not land, I think it's safe to say that this element of the story isn't aimed at the cynical adult audience, but the teen demographic who are meant to see themselves in this and invest in it. Teens always treat teen drama as if it's the end of the world. They're teens. It's kind of their thing.
Yeah, Jordan's just acting like a typical teen who doesn't have the experience or maturity to realize there is life after your first love and high school. Clark was in that position once too. Keep in mind he did come back to Smallville after his training with Jor-El with hopes to reunite with Lana, only to find she moved on with Kyle. Then bam, Lois.
Maybe I need to explain myself better. There are many films and series that perfectly represent how teenagers live their problems as if they were the end of the world, but at the same time these works of fiction also make the viewer understand how the importance of the aforementioned problems is relative compared to, well, all the rest.
Superman and Lois isn't one of them. Using dramatic music, dramatic pauses, dramatic shots and dramatic speeches the authors really want us to believe that Jordan's problems with his girlfriend are of absolute importance. Nothing in the show keep them in the right perspective. The only adult who tries to argue with Jordan about them is depicted as possessed by Alien Rage, therefore unreliable. It might be fine if this were, like, a show set exclusively in a high school.
The problem is that the protagonists are also adults (I mean, their names are in the title of the show!) with adult problems (even if filtered in a fantastic way). So when the show tries to give the same gravitas to a threat that could wipe out life from Earth and to Jordan's insecurity because his girlfriend kissed another person, well, I find it really hard to take the latter seriously. And if I was interested in something like that I would watch Euphoria, not a show with caped guys beating aliens.
Superman and Lois isn't one of them. Using dramatic music, dramatic pauses, dramatic shots and dramatic speeches the authors really want us to believe that Jordan's problems with his girlfriend are of absolute importance. Nothing in the show keep them in the right perspective. The only adult who tries to argue with Jordan about them is depicted as possessed by Alien Rage, therefore unreliable. It might be fine if this were, like, a show set exclusively in a high school.
The problem is that the protagonists are also adults (I mean, their names are in the title of the show!) with adult problems (even if filtered in a fantastic way). So when the show tries to give the same gravitas to a threat that could wipe out life from Earth and to Jordan's insecurity because his girlfriend kissed another person, well, I find it really hard to take the latter seriously. And if I was interested in something like that I would watch Euphoria, not a show with caped guys beating aliens.
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This sentence is improperly formulated. You are not psychic. You cannot actually know what another person wanted or intended. All you can know, all you can legitimately assert, is what it seems like to you. And what it seems like to you is entirely different from what it seems like to me. I got no such impression from it.
Besides, the word "absolute" doesn't make sense here. The impact of a story isn't about objective absolutes, it's about feelings. A good story makes you empathize with what the characters are feeling, even if you objectively disagree with it. It's not the job of a story to detach itself from a character's emotions and declare them invalid. It's the job of a story to make you feel what the character is feeling, to make you suspend disbelief and set aside your own reality and immerse yourself in someone else's head. Empathy does not require agreement. There are stories that invite us to empathize with hardened killers or broken, self-destructive addicts, not to endorse what they do or believe, but simply to immerse us in the experience of seeing the world through different eyes. Empathizing with what a teenager is going through should be far easier, since we've all been there. It's not saying you should approve, it's encouraging you to remember what it felt like for you at that age.
Some of my most satisfying experiences as a writer have been times when I've gotten deep into the heads of characters I objectively disagreed with, and did my best to explore how their worldviews made sense to them. It would've been bad writing if I'd maintained some judgmental detachment and clearly said "This Person Is Wrong, Don't Believe Them." That would've been making it about me, not about the characters. Every character does what they believe is right or justified, so when you're writing a given character, the goal is to reveal how their choices and reactions are valid to them. It's not about whether it's objectively right, it's about how it feels to the character and why they feel it's the thing to do. A good story lets you empathize with both sides of an argument, to understand and relate to what drives everyone, even the characters whose actions you disapprove of.
"Alien Rage" would not--and did not--prevent Clark from speaking the truth about the dangers of revealing their secrets or the nature of teenage relationships. No one present for those conversations said anything to the effect of, Well, Clark's not in his right mind because his mind is linked to some creature in the mines. Just disregard anything he said to you until further notice." If--as you suggest--the writers are talking to us as well, then Clark's statements and his judgement were very reliable, in fact, he offered cold, hard facts about the undeniable danger of letting Jordan's emotions pushing him to do the unthinkable in revealing his family's secrets and going overboard in believing he's in the romance of his life.
Break that down: isolating the romantic feelings are--as you point out--do not hold the same weight as Bizarro, but I will repeat that the other half of the Jordan matter--his wanting to reveal the family secret is of utmost importance, as it would expose his entire family to the earthly (and otherworldly) threats that would not waste a second exploiting that knowledge. Then, you have the D.O.D.--now hostile to SM--with its own Ultimen army--with a leader clearly out to discredit and/or destroy SM. To the Kents, that personal threat IS a threat to their world. What would Clark's life be worth (to himself) if Lois, the boys--any of his longtime Smallville friends, or (through bait /planned collateral damage), cities' worth of people were murdered due to Jordan deliberately revealing the secret to anyone? So again, the pure teenage romance part of the Jordan sub-plot is Teen Drama 101, but the secret identity protection is not.
The series handled that well enough up to this point (IOW, Clark has to be correct about that issue), and would only make Clark appear to be paranoid if Jordan (or Jonathan) broke the family trust and there were no consequences for what would be a grave mistake.
Of course, as a writer you don't do any such thing. No writer does. One constructs something in one's imagination to make narrative sense of an imagined character's possibly reprehensible or confounding behavior, but only in those terms that seem sensible or emotionally relatable to the writer. The only head the writer can get into is their own, and one is confined in one's understanding of people to the model of reality in one's own mind and nobody else's.
Indeed, neither are writers.
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Yeah, it is a little surprising that Clark hasn't gotten a job in Smallville.
Do we know if it was an active farm when Martha was living there? I've been a little surprised the live on a farm, and have a big barn, but don't appear to have any animals.
Didn't they have some cows or horses on Smallville? I thought there were at least one or two scenes with him throwing bales of hay out to the animals like they weighed nothing.
I realized this morning that I never watched last week's episode, I watched it this morning.
The Bizarro reveal was a surprise, I was pretty much twice now they've gotten me with their villain fake outs.
I'm glad they seem to have resolved the Jordan/Sarah drama. After all the buildup to them getting together, I was a little disappointed they appeared to be heading for a breakup already.
Johnathan taking drugs that appear to be made kryptonite seems like a really bad idea to me.
Do we know if it was an active farm when Martha was living there? I've been a little surprised the live on a farm, and have a big barn, but don't appear to have any animals.
Didn't they have some cows or horses on Smallville? I thought there were at least one or two scenes with him throwing bales of hay out to the animals like they weighed nothing.
I realized this morning that I never watched last week's episode, I watched it this morning.
The Bizarro reveal was a surprise, I was pretty much twice now they've gotten me with their villain fake outs.
I'm glad they seem to have resolved the Jordan/Sarah drama. After all the buildup to them getting together, I was a little disappointed they appeared to be heading for a breakup already.
Johnathan taking drugs that appear to be made kryptonite seems like a really bad idea to me.
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