dean-mcgrath

Supergirl‘s Rhea and Lena might seem like an unlikely duo at first, but if you strip away the ladies’ stoic exteriors, their potential partnership actually makes perfect sense.

“Lena has just suffered a great deal of loss; she lost her brother, she just lost Jack and she’s in a very fragile emotional state,” executive producer Andrew Kreisberg reminds TVLine. “What she could really use is a mother, and her own mother is sadly not up to the task. So along comes Rhea, who’s eager to fill the role of the supportive mother. They become this newfound family, as Rhea’s needing to be a mother, and Lena is needing to be mothered.”
Following last week’s end-of-hour meeting, Rhea will continue to sink her claws into Lena on Monday’s episode (The CW, 8/7c). And although Kreisberg can’t say exactly what Mon-El’s menacing mother is up to, he promises that it will have major repercussions for Kara and Lena’s friendship as we head towards the show’s May 22 season finale.

“[Kara and Lena’s] loyalty to each other is certainly put to the test,” he says. “Lena is very firmly on Kara Danvers’ side, but is she on Supergirl’s side? That’s an interesting question that gets asked. We love their relationship, and we think they’re great together. We have some great plans for next season in terms of exploring that relationship and having it travel in new places.”

Also on the chopping block: “Karamel”!

“By design, [Kara and Mon-El] have always had this tumultuous relationship, but they finally settled into a good place,” Kreisberg says. “His parents definitely complicated things for the two of them, but now they seem even more firmly committed to each other, thinking that Rhea has left the planet. Little do they know, she’s up to something sneaky. One thing we’ll ask is: Where exactly do Mon-El’s loyalties lie? He’s already made the decision to stick with Kara over his family, but is he going to be able to abide by that as Rhea’s plans unfolds?

And here’s one final note on Rhea: You can, sadly, stop holding your breath waiting for former Lois & Clark stars Teri Hatcher and Dean Cain to share the screen.

“Storywise, it became difficult to make that happen, much to my, Dean and Teri’s dismay,” Kreisberg says. “There’s an episode in which they both appeared, and even though they weren’t in any scenes together, just to see their names together in the credits blew my mind.”

Supergirl fans, what do you suspect Rhea is cooking up in that crazy little head of hers? 

Source:  www.tvline.com

Hungry Kids of Hungary - Escapades (2010)

The Hungry Kids of Hungary are one of the many indie/alternative rock bands that seem to be musical wildfire in Australia at the moment. From Brisbane, this five piece consists of Dean McGrath on vocals and guitar, Kane Mazlin on vocals and keys, Ben Dalton on the low end, Remy Boccalatte playing rhythm, and the talented Ryan Strathie behind the kit. The band chewed through their first self titled EP, and their second, Mega Mountain, through a short space of time in 2008. A couple of years of solid touring later, and they emerged in late 2010 with their fantastic debut long play, Escapades

Escapades opens solidly, with the entertaining “Coming Around”. Featured on Triple J’s Hottest 100 of 2010, this song combines all the elements of a great rock song: a strong, memorable riff, a strong rhythm, and a chorus complete with a good hook and the obligatory doo-whoops of an indie chorus. It’s great to hear an album opening with one of it’s stronger tracks. It makes that next spin so much sweeter.

Straight away we get into the second track, the fast-paced “Wristwatch”. From the opening, you can hear the driving floor tom hits. Listen closely. What are they? Like, eighths? Sixteenths? Strathie’s hands must be bionic. This track is gone as quickly as it started, but it was a nice little song while it lasted.

“Closer Apart” is slower paced, and seems to mellow the album down. However it lacks something that a good song needs. A good single needs (like I said before) a memorable hook. A good album track needs to show experimentation, pushing the music in a different direction. I don’t really feel it with this song. It’s a shame, really, because the next on the album, “Let You Down”, is a great number. It’s got a great little guitar solo, and a real poppy x-factor about it. This band is honestly full of hooks, I swear. “You Ain’t Always There” continues the great pattern started by the previous track, with cute falsetto vocals, a great (but perhaps a little quiet) bassline, and a chorus that threatens to lift you off your feet. Seriously. I saw them do this one live, and it was tight and trimmed, with five great voices working the chorus harmonies. Perfect. 

Another, if I may, brief memory from seeing them live was the reaction of the crowd when the band played possibly their best song, “Scattered Diamonds”. Wow. They went nuts. And with good reason. The sixth track on Escapades, “Scattered Diamonds” mixes all the great elements of a good HKoH song and gives you, in my honest opinion, musical perfection. I’m not really sure what to say for this song. Do I mention the lyrics that I seem to be able to recall perfectly every time I hear the song? I mean, come on, they just fit perfectly. The bassline walks and runs and seems effortless, yet is clearly the result of some skill. The guitar part is rather quiet, and upon further inspection is quick unremarkable, but yet I can remember it perfectly, tone and everything. And the drumming. Where do I start on that? It seems to wax and wane between huge and powerful, and subtle and beautiful. I could talk about this song all day. Just listen to it, if you haven’t. Please. 

The next track, “No Returns”, slows down the album a notch or four. For some reason, maybe it’s the season, maybe I’m a poet, but this song just reminds me of an old Christmas carol. It’s something to do with the harmonies, I’m sure. Regardless, it’s a slow song, which doesn’t really capture a heap of emotion, as a slower song should. I’m a big fan of slow songs, but I think they need to carry emotion beyond the lyrics. I can think of a heap of songs by Billy Corgan, of The Smashing Pumpkins fame, that actually feature the lyrics themselves as backing to the instrumentation. It’s a reversal of something that is quite common in popular music, and it works quite well. It’s a shame they didn’t use it here, because the lyrics themselves are far too boring and unremarkable to be the focus of an entire song. 

“Eat Your Heart Out” continues the pattern of slower songs, but does so with a little more atmosphere, and a lovely guitar part, with a great, echoey tone. Again, the slower songs on this album don’t really gel for me. It’s better than the previous, but is still missing something. I do, however, make an exception for the next song, “Set It Right”. This song combines powerful elements with quieter sections to create what is certainly one of the better tracks on the album. This song is a showcase for the huge drumming of Strathie, who controls the entire feel of the track. And does it fantastically. 

The album ends on a bit of a weak note, in my opinion. “China Will Wait” is an excercise in blues chords and just seems too loose around the edges. “The Vacationer” has a nice little run that drives the chorus, but again, much more tightening is needed to bring this track together. The closing track, the dreamy “Window Shopper”, just isn’t what this album needs to finish with, honestly. It needed something charged with emotion, but also with a good, rockin’ finish. I think of great finishing tracks, like “The End”, from Abbey Road, “I’ll Go Crazy” from the brilliant “****” by the Greenhornes, “Farewell and Goodnight” from Mellon Collie and the Infinite Sadness, “I Can’t Win” from Room on Fire by the Strokes. All great songs, all with a double helping of emotion to end the album on a real high. Unfortunately, that strong ending is missing from this album. 

These five fantastic musicians really are great at crafting indie rock melodies, and as a lovely bonus, they’re all great with their respective instruments too. Something that I failed to mention (and probably wasn’t given a great chance to) is the great guitar-work on this album. McGrath is a great guitarist, and as you can hear on the album, has a great idea of how his guitar should sound in terms of its timbre. Based upon the new tracks that this band played at their appearance at Homebake, there is a new album in the works, and it’s going to further their own brand of indie-pop-rock.