Supergirl Quotes

This is Sailor Supergirl,” George says. “She knows all about black holes.

Supergirl is this unattainable, idealistic optimist of an alien, and all of us can escape into her world, and she always saves the day.

I wasn't worried about myself. I didn't consider the possibility that either of the men could catch me. I was all-star varsity soccer. I was Braveheart in Urban Outfitters. I was Supergirl. I was seriously delusional.

Yeah, Supergirl here was giving him a steamy version of some big bad x-ray vision. Probably deciding if he is a boxer or briefs kind of guy.” - Caylie

In July 1970, the Women’s Liberation Basement Press, in Berkeley, California, launched an underground comic book called It Aint Me Babe. The cover of its first issue featured Wonder Woman marching in a rally protesting stock comic-book plots. Inside, Supergirl tells Superman to get lost, Veronica ditches Archie for Betty, Petunia Pig tells Porky Pig to cook his own dinner, and when Iggy tells Lulu “No girls allowed!” she has only one thing to say: “Fuck this shit!

Hell is behind a black door.

Living a life for God has less to do with being great and more to do with being available. Making an impact in our world has less to do with being talented and more to do with being willing. Changing a life has less to do with having what it takes and more to do with giving what you have to God. The question is not if God can use us but when he will use us. Nothing is impossible with him.

But this is the brilliant truth that outshines the lie: God is totally used to dealing with human imperfection. He has always worked in and through people who struggle and sin, people who try and then have to try again and then maybe try one more time. He gets it. He is just waiting for us supergirls to say, “This is who I am. You know my stuff. If you can use me, God, I’m yours.” And the craziest thing of all is that he will.

God heard the cry of the psalmist stuck in a cave. He heard the cry of his Son in a lonely garden. He hears every cry of a tired supergirl’s heart, both happy and sad. And he is ready to love us right where we are. Crazy or not crazy. Joyful or depressed. Broken or whole. Fallen or triumphant. We can give the Liar a good, swift kick as far as this lie goes. God is not on the outs with us when we struggle with him. He is on this journey with us, and he is not leaving. He promised he never would. And it doesn’t get any more real than that.

It is a little-known but significant fact that no president has appeared more times in Superman comic books than JFK. He was even entrusted with Superman's secret identity and once pretended to be Clark Kent so as to prevent it from being exposed. When Supergirl debuted as a character, she was formally presented to the Kennedys. (Not surprisingly, the president took an immediate liking to her.) In a special issue dedicated to getting American youth to become physically fit — just like the astronaut 'Colonel Glenn' — Kennedy enlists Superman on a mission to close 'the muscle gap'.

The movie style eventually known as ‘Film Noir’ served up hard-bitten crime stories featuring morally bankrupt men and mysterious femme fatales, blending violence and sexual desire into bleak tales of modern life, without clear messages of morality. The comic book industry offered younger readers its own version of the Film Noir mood with a wave of crime comics that began sweeping the newsstands around 1947.

Saffy, it is others that have taught me more about myself than I ever have, and it is you who have taught me the most. You have taught me that it is okay for me to be me. You remind me that to change who I am for you would be for me to take a step away from the person you fell in love with. Not even a mountain of my words will ever come close to expressing what a difference you have made to me in my life, and you know I written a great deal with you as my muse. From a chance meeting in Italy that defies all odds I have found someone I didn't think would exist in my life, not for a long time, maybe not ever. I found someone who loves me, for being me, for my rainy days as well as the sunny ones. All I have to say other than I love you is. You are my motivation for life. Thank you. For so much. My Goddess. My SuperGirl.

Comic book writers often suggest that women don’t have the same dedication to the noble cause, because their need for love is often of equal or greater importance than their quest for justice. Superheroines want to fight crime, but want to settle down as well. If Mr. Right popped the question, a heroine could easily retire that mask and cape and settle down to life as a wife and mother. The implication is that no matter how powerful a woman is, she needs the love of a man to complete her.

If all superheroines were as indestructible as Superman, leaping across rooftops, smashing through windows, and flying through flames in a skimpy swimsuit wouldn't be such a problem. However, male heroes are usually presented as being unquestionably more powerful than women.Yet, they wear costumes that cover and protect most of their bodies. Women on the other hand, are written as weaker, and presumable less able to protect themselves. Yet they charge into battle with most of their bodies exposed............................................... ...............The reason for this superhero fashion double standard is that comic books have always been primarily targeted to a heterosexual male reader. As a result, female superheroes must look attractive to these readers. And in the world of male fantasy, attractive= sexy. So, revealing costumes are fitted onto idealized bodies with large breasts, tiny waists and impossible long legs. Men need to look powerful and virile, but can't display bulging genitalia showing through their spandex, as it would be too threatening for most straight male readers.

It seemed to be a requirement that the women who wore an "X" on their costumes would eventually take a dip in the crazy pool at least once. Power intoxicated these women and made them cruel, maniacal menaces who cast aside loyalties to friends and lovers. Even when possessed by an evil entity, the implication was that a suppressed part of the heroine's soul was reveling in the rush of deviltry.

Sex appeal was the “spoonful of sugar” that helped the “medicine” of feminism go down. A liberated heroine who still looked sexy would be less threatening to the male readers of comic books.

The token females of most superhero teams often had to suppress their femininity in order to be taken seriously by their male compatriots. When heroines like Invisible Girl or Wasp do display an interest in traditionally female pursuits like love, fashion or the latest hairstyle, their male teammates chide them for being frivolous females.

Wonder Woman represented modern America as leader of the free world, and champion of the downtrodden. She forsook her kingdom and immortality to make the whole world a better place and, most of all, to fight for the rights of females. Just as America emerged as a global peacekeeper, Wonder Woman's adventures took her wherever women were in peril and their freedom was threatened, like the planet Venus with its butterfly-winged women, or the subterranean paradise Eveland.'Ihe "loving ways of the Amazons" that she was sent to teach the world were presumably the wisdom of the matrilineal society that predated the Greeks. "I can make bad men good and weak woman strong!" she says, as she spreads her message of empowerment across "man's world.

Hannah yelled, “Read my lips…you are not Supergirl!” “She has long blonde hair and blue eyes. It’s possible!” Calista yelled back. “You’re delusional! And she’s a freaking cartoon character! Give me your shirt.” Hannah tried to reach Calista from the front seat. “No! Elijah bought this for me!” Calista hid behind Elijah, who threw himself over her. Hannah growled, swiping, “I’m going to rip that shirt off you!” “That’s not appropriate!” Calista smacked Hannah away. “Neither is your shirt!

Who needs power and stamina when you could be pretty, right?

Bumblebee.

Supergirl

Bumblebee

impress the super-girl in his class. Stop being so paranoid. He

Find the loyal. Punish the wicked. I had a standard way of approaching the topic. I'd tell a joke about the king, something a little bawdy. Having to do with the rumors that the firstprince was sired by the king's sister and not the reverendmother. Those who go along with the humor reveal themselves to be unknowingly awaiting eventual execution. Your father actually didn't laugh, much to his credit. Instead he objected forcefully. He screamed at me for my rudeness on his land. He did not like the content or context and asked me to immediately apologize for the blasphemy and walk away from the home of his family. And I stood there looking at this small man, this farmer of rocks. Screaming at me about his service to the king and my betrayal of our sacred nation. Him making demands of me. knowing nothing of my life! my sacrifices for my king, my duty served so often. I wasn't on that field anymore. Instead I saw him in my mind's eye, years after this, bending down day after day, clearing the fields of their hard seeds. And all the while imagining himself my better. Because he didn't like a joke I told. I was lost in this vision, and when I found my way out, my sword was in his gut.

And that's when I learned that far-off gods are fine for prayer, and I judge no person who seeks comfort in the infinity of the heavens. But here below, when the demons come in close, you're better off just relying on the staunch will of a good woman.

The truth,” Mrs. Hodgkins says, standing back up and turning to her cold marble pupils, “is imagination without boundaries is like a gun, it can be dangerous and kill.” She turns slightly and points to the back of her head to demonstrate. Her brains spill over the left crevice of her skull, clinging like hardened jelly. “Or imagination can save lives.

And the wolf said, I’ll huff and I’ll puff and find your money, you shit-faced fucker…

We were going to save the world, because no one ever saved us.

Demons? No problem. Just find your local stalker psycho and ask the whistling dear head hanging above his fireplace how many licks on a toostie pop does it take to make a demon go away.

He’s a pig,” whispers May, her frail body wavering in the firelight. “An ugly pink pig. And I think the pig needs to be butchered.

The image of May shoving the gun down her lace panty butt crack and drawing it like an old west cowboy is too much. Who are we? Who the fuck are we? Supergirls for real, that’s who.

The inclusion of females in stories is specifically discouraged. Women, when used in plot structure, should be secondary in importance .

The old folks say there is only black and white. That may do for their tidy lives, but it doesn’t apply to all of us. We, Supergirls for real and the wretched creature at my feet, live in the gray and the mist. We may never see the stars, but we believe in the dream of them.

And then, standing there in my Godzilla t-shirt, her blonde hair combed to the side, she says, “Supergirls stand together.” I had to say the rest, “Supergirls stay together.

No, the only way to peace is through darkness, the black door, through the cellar to the money.

DC Comics is the present day publisher of Superman, Batman, Wonder Woman, and other well-known superheroes. DC is the amalgamation of two different publishing concerns: National Comics, which produced Superman and Batman, and sister company All-American Comics, which produced Wonder Woman, Flash, and Green Lantern. The two companies merged in 1944 to form National Periodical Publications, whose comic books bore the “Superman-DC” logo. The publisher was known colloquially as “DC,” which it later adopted as its official name.

While the secret identity was a precious commodity for most male heroes, some were confident enough to share theirs with a special someone. Heroes like Dr. Fate, The Flash, and Sandman revealed their heroic identities to their girlfriends, who then became their assistants, or “helpmates.” Hawkman and his girlfriend Shiera were the reincarnations of an ancient Egyptian prince and princess. Shiera’s eagerness to help her winged boyfriend often got her into trouble. “I hope this will teach you to stay out of affairs that aren’t your concern,” Hawkman snaps after he has rescued his sweetheart from yet another scrape. But by 1941, Hawkman needs help, and Shiera is a prime candidate. Hawkman’s costume consisted of tights, mask, and wings that were attached to his bare chest by crisscrossing straps. After quickly making some modifications that would not violate any obscenity laws, Hawkman presents Shiera with a feminized version of his costume, now complete with discreet bikini top. “. . . you mean I’m going to pose as you . . . oboy! This is going to be fun . . .” gushes Shiera, as she slips on the green and red costume. Thus was Hawkgirl born, joining another club for 1940s heroines: the Partners.

Making her debut in 1947, Black Canary was the archetype of the new Film Noir era heroine. Originally, Black Canary was a mysterious female vigilante, who played the role of criminal in order to infiltrate the underworld and bring its gangsters to justice. A gorgeous blonde in a low cut black swimsuit, bolero jacket and fishnet tights, Black Canary was actually Dinah Drake, a florist who wore her black hair tied in a bun, and sensible, high-necked blouses. When trouble brewed, Dinah slipped into her fishnets and pinned on a blonde wig to become the gutsy, karate chopping Black Canary. But Dinah had another incentive to lead a secret life. A roguishly handsome private detective named Larry Lance became a frequent customer in Dinah’s florist shop. He had a knack for getting into trouble, and Dinah would usually end up switching into her Black Canary guise to rescue him.

Technically, Sheena predates even Superman, having first appeared in the primordial dawn of comic books in 1937. But her true origins are older than that. Sheena is often described as the female version of Edgar Rice Burroughs’ 1912 creation, Tarzan. The majority of Burroughs’ popular works revolves around a tension between the savage and the civilized, also seen in Sheena’s adventures. Burroughs’ work, like that of fellow adventure writer H. Rider Haggard, came out of the colonial era, and was written for men and boys who yearned for an escape from stifling modern life, through tales of dangerous worlds and exotic women. The common theme of these stories is that a man from the civilized world finds his way to a fantastic, often barbaric, world of adventure, where he falls in love with an intoxicating savage princess. While most of Burroughs’ heroines, like Dejah Thoris or Dian the Beautiful, were in need of rescuing, Haggard’s 1886 novel She introduced a stronger heroine. The novel’s English protagonist encounters the beautiful queen Ayesha, the ruler of a lost city in Africa. Ayesha is referred to as “she who must be obeyed,” and is a creature that provokes both fear and lust. Ayesha was the ultimate fantasy of civilized man: the beautiful, savage white queen, ruling a kingdom unhindered by the laws of modern morality. This brand of men’s fiction produced the swirling foam of exotic and erotic fantasy from which rose the jungle Venus known as Sheena. (...) Now that we have some historical context on these female monarchs, let’s talk about their specific origins. In the 1930s, there were several studios that produced art and stories for the various publishers who were getting into the new field of comic books. One of the most successful and prolific was the Universal Phoenix Studio, operated by two young artists named Will Eisner and Jerry Iger. In 1937, they created a female Tarzan-type character named Sheena for the British tabloid Wags. The strip was credited to the pseudonym W. Morgan Thomas, and the heroine’s name was meant to remind readers of H. Rider Haggard’s She. Demand for new comic book material was growing in the United States, and American pulp magazine publisher Fiction House was looking for material for a new comic book. Sheena made her American debut in 1938’s Jumbo Comics #1, just three months after Superman’s now legendary first appearance. She was the first female adventure character in comic books. This would be just one of her claims to fame.

When DC Comics was trying to figure out how to retool Wonder Woman’s image to make her cooler, they looked at another Diana—Diana Rigg. Rigg had caused a stir as Mrs. Emma Peel when the British TV series The Avengers was imported to the US in 1966. Mrs. Peel defined the heroine of the mod ’60s—brilliant as she was beautiful, witty, champion fencer, martial arts ex-pert, modern artist, crack shot with a pistol, and fearless secret agent. Attired in sleek black leather catsuits or mod body stockings, Emma Peel was a true force to be reckoned with, combining beauty, brains, and power.

If Batgirl’s origin sounds like standard comic book fare, it was. But it was her motivations that set Batgirl apart from her sister heroines of the ’60s.

However, like Elasti-Girl and Batgirl, many of the DC’s female characters got better treatment than the heroines featured in Marvel Comics. Scanning a comic book rack in the ’60s, the covers would tell two different stories about the women starring within those pages. Wonder Woman and Supergirl starred in comic books that featured their names on the covers. These heroines were often seen performing great feats of strength like battling monsters or stopping missiles with their bare hands. Batgirl’s name might be featured prominently on a cover of Detective Comics. The Doom Patrol’s Elasti-Girl was shown in the thick of battle fighting side by side with her male compatriots. On the Marvel Comics covers, Invisible Girl, Wasp, and Marvel Girl were shown struggling in the clutches of a villain, or watching helplessly from the background as their male teammates took care of business.

Perhaps the suspicions stemmed from the distinct lack of women in Batman’s world. True, he crafted his Bruce Wayne alter ego to be an idle playboy, which meant there were a lot of beautiful women in his life. But, the most important female figure in his world seemed only to be his sainted, slain mother, to whose memory, along with that of his late father, Bruce swore to uphold justice and thwart evil. Bruce and Batman might have had romances with girls like debutante Julie Madison or reporter Vicki Vale, but showed neither any true affection. The one female who generated the most heat with Batman was the seductive, whip-wielding jewel thief Catwoman. Of course, since she was on the wrong side of the law, any chance of a romance with Batman was immediately crushed. (...) Batman’s sexy foe Catwoman was deemed too racy for the new world of the Comics Code. She was gone by 1954.

Lois Lane was part of the Superman dynamic from the very start. The intrepid star newspaper reporter had made her first appearance in 1938’s Action Comics #1, the same issue where Superman made his debut. She was infatuated with the powerful, godlike Superman, while repulsed by his meek pantywaist alter ego, her rival reporter Clark Kent. Lois’ 1940s persona of tough crusading reporter was in the mold of Hollywood dames like Rosalind Russell. Lois’ tireless effort to get her next headline, along with her impulsive personality, often put her in danger, from which Superman would have to rescue her. But the 40s Lois was no pushover. She was a modern career woman, and her dream was to get her greatest scoop: Superman’s secret identity. The Superman/Lois Lane relationship had many complicated factors that would prevent a romance from ever reaching fruition, while still providing the right tension to sustain the relationship for decades. First off, they were literally from different worlds. Superman was the last survivor of the doomed planet Krypton, and was raised by simple midwestern farm folk. Lois Lane was very much a woman of 20th century America: emancipated, headstrong, and unwilling to take “no” for an answer. Superman’s timid farm boy Clark Kent persona crumbled before Lois’ ferocious, emasculating temperament, while his heroic Man of Steel found himself constantly confounded by her impetuous nature. Meanwhile, the very issue of Superman’s secret identity always threw a wrench into his romance with Lois. Besides the basic duplicity, Superman becomes his own rival, squelching any chance for a healthy relationship. Superman loves Lois Lane, but tries to win her heart as meek Clark Kent, with the rationale that he wants to be sure Lois really loves him for himself, not for his glamorous superhuman persona. But since he’s created a wallflower persona that Lois will never find attractive, he sabotages any chance for love. Lois, for her part, is enamored with Superman, yet has a burning desire to discover his secret identity. Lois never considers that she risks losing Superman’s love if she learns his secret identity, or that the world may lose its champion and protector. (...) If the Lois Lane of the ’40s owed much to the tough talking heroines of that decade’s screwball comedies, the Lois of the ’50s was defined by the medium of the new era—television.

He was now Superman. SuperSuperHotMan… and I was Supergirl.