Season Analysis

Supergirl

Season 1 Analysis

Season Woke Score

out of 10

Season Overview

Kara Zor-El, Superman’s cousin, decides to finally embrace her superhuman abilities and become the hero she was always meant to be. Though Kara will need to find a way to manage her newfound powers with her very human relationships, her heart soars as she takes to the skies to fight crime.

Season Review

Season 1 of "Supergirl" is overtly political and feminist from its opening episodes, though its more explicit identity-based narratives are less intersectional and queer-focused than later seasons. The show's central premise—a powerful female superhero—is immediately framed through a self-congratulatory and unsubtle feminist lens, primarily through the character of media mogul Cat Grant, who embodies the 'Girl Boss' trope. The narrative frequently uses the alien/refugee storyline as a clear metaphor for contemporary immigration debates, portraying skepticism towards aliens as systemic oppression. While the main threats are external invaders, not internal Western corruption, and the moralizing is often focused on simple good vs. evil, the constant explicit messaging about gender and identity pushes the score to a moderate-to-high level. The major LGBTQ+ arc of the series is not a plot point in this season, keeping that score low.

Categorical Breakdown

Identity Politics7/10

The narrative uses Kara’s status as a refugee and alien as a constant, overt metaphor for real-world immigrant and minority groups, framing anti-alien sentiment as bigotry and systemic oppression. James Olsen, traditionally a white character, is race-swapped to Black, and one character critiques the power dynamic by mentioning Superman's 'male privilege.' The narrative centers group identity through the 'alien' lens more than universal human merit.

Oikophobia5/10

The central conflict involves the hero defending National City/Earth against foreign invaders, which supports the idea of protecting one's home. However, the show presents a strong, recurring negative human element in the form of anti-alien politicians and sentiment, framing parts of the host culture as prejudiced and corrupt. Kara explicitly mentions rejecting the 'white picket fence' and motherhood in favor of her heroic career, which directly impacts the anti-family/deconstruction of heritage aspect.

Feminism8/10

The show is explicitly and 'unapologetically feminist,' featuring heavy-handed dialogue that constantly calls attention to its female leads. Kara's boss, Cat Grant, is the perfect embodiment of the 'Girl Boss' trope—a successful, cold, and demanding media mogul who delivers lectures on female empowerment and career fulfillment. The narrative positions Kara as having to overcome the shadow and 'male privilege' of her cousin, Superman, to establish her own female-centric worth, aligning closely with the 'Girl Boss' and emasculation of males criteria.

LGBTQ+3/10

The primary storyline in this category, involving Kara's sister Alex Danvers coming out and beginning a relationship with a female police detective, is a key plot point of Season 2, not Season 1. The first season is focused on traditional heterosexual romance tropes, keeping the score low. The show's general progressive posture and political themes suggest a permissive environment for alternative sexualities, but they are not centered or lectured upon within this specific season.

Anti-Theism2/10

There is no overt hostility toward religion, specifically Christianity, in the first season. The show's moral framework relies on a clear distinction between good and evil, with characters engaging in 'shamefully overt' declarations of right and wrong based on heroic values. The morality is entirely secular and humanistic, failing to acknowledge a higher moral law but also not actively promoting moral relativism or portraying religious characters as bigots.