It feels so good to confess and pen that my favorite television series “Superman and Lois” has officially returned and graced the small screen for the production’s final outing, along with the swan song for The CW taking the stage for DC Comics superhero-related content, as all live-action material will be released under the umbrella and watchful eye of director and co-CEO James Gunn.
It’s fundamental to realize that the stories of Kal-El, Clark Kent, and whatever names you remember the Big Blue Boy Scout by are essential. It’s, and whatever name you remember the Big Blue Boy Scout by, it’s important to remember that the actor may change, but the value and integrity of the icon will live on.
First, it’s crucial to know and understand the series has always been predicated and crafted upon pure admiration, respect, and an ode of gratitude to the legacy and ethics of the man of steel, but with the human substance and the brilliance of enveloping the iconography of DC comics with a sprinkle of creativity. The series has always gotten flack for being on the ‘CW’ and attached to the ‘Arrowverse.’ Still, the clear distinction is that the writers are helping to weave a promising narrative that exhumes and breathes pure Superman mythology.
Four years later, the production traveled down the road of the elusive Death of Superman arc that many try to engage with, leaving the audience divided or not taking enough risk to tell a narrative worth exploring. Now, with that addressed and mentioned, I can safely confess that the 2-hour premiere of the Superman-centric family drama didn’t disappoint. Still, it does invoke the question of how the world can function without its protector.
The simple and subtle twists, keeping the phenomenon and continuing a story serialized, offer the audience a sense of continuity and salvation, waiting for the next moment to witness. The season 3 finale was a thrilling escape, and the season four premiere picks right up with Lois, played with ease and finesse by Bitsite Tulloch, who is also the heart of the series and the conduit for the viewer. Tulloch approaches the role from the point of strength, and it’s clear the first two episodes of S4 are perfectly conceptualized from the POV of not only a mother but a wife, pondering and understanding the element of death is fast. It’s the antagonist, as human beings, to whom we never want to bear witness.
Ushering in the role of the flashbacks by the writers portraying the pain Lois is about the experience, most notably realized with limited screentime for Superman (Tyler Hoeclin) himself illicit and weave the construction of cherishing the best moments when knowing the phone call we dread picking up or seeing the hero we idolized fall before you know the vitality fade from the body. It’s pretty remarkable to watch as stories run parallel of fragmented memories of Lois and Clark building the life they envision, from essential experiences unfold, juxtaposed to the present-day tragedy as the skeletons and dark secrets in the presence of Lex Luthor (Micahel Cudlitz) catch up to the idolized mirage of the world you work so hard to build.
Cudlitz’s performance as Luthor is raw, intense, and scary, as this portrayal of the character is a bit unhinged and methodical and feels similar to Vincent D’Ofornio’s Kingpin under the Marvel brand. The critical difference is that this variation of Luthor doesn’t care how much he will lose until he sees the last ounce of blood leave Superman’s carcass, and Lois’s hollow empathy takes center stage on her face. Last season, Lex instructed Lois to retire. She didn’t blink at the threat of her armor of Clark; her husband, Superman underneath, stood firm, only for the kingdom Lane built to crumble, echoing how the writers script and paint Luthor as a man without a mission; he stands toe to toe with Jonathan and Jordan, explaining that they either stand aside or face the consequences. In addition, while all of this is occurring in Smallville, Clark is fighting Doomsday, and the visuals are pretty polished and thrive well, especially on a smaller budget. Still, one could notice that the lack of series regulars feels mismatched.
Then, the moment occurs. The raw fear from Tulloch and the Raimi-esque background emotion of the residents of Smallville seeing their guardian fall, the scene was perfectly paced and crafted by the director Gregory Smith as viewers witness the demise of Superman, dropped back to the streets he grew up on, a broken shell devoid of life, and the pain of a wife becoming a widow, and the conscious choice of children now almost adults seeing their father. This man brought them into this world, lying empty, only for the first part to draw to a close.
The chemistry and character development of seeing Jordan (Garfin) struggle to fill the proverbial boots and shadow of Superman are brilliant. This is juxtaposed to the humanity of Jonathan (Bishop) and the courage Lois instilled in him, connecting back to the importance of carrying the wrench and Jordan-wielding powers; both are integral to each other’s growth. As were Lois and Clark, two sides of moral promise. The twins are the key to keeping the miracle of hope alive and the value of courage lifted in the darkest of moments.
The second episode is then painted as a way of bargaining and dealing with the next step of loss, and once again, Tulloch steals the show every time she steps into the frame. One would think that the series would do a time jump, but no, the fallout transpires, and the other pinnacles of Clark’s life, not Superman’s, realize what just happened. Lana (Emmanuelle Chriqui) is distraught, struggling to accept her friend. The boy she grew up with is gone, the brother she always had, only for the hindrance of her position as Mayor to entangle the vacuum of vengeance manifesting as she looks to rid Luthor from Smallville, only for the confession of big business taking a stranglehold, acting as a meta-commentary of how small cities fold from the pressure and thumb of corporate conglomerates.
It’s a beautiful dilemma and a strenuous predicament the writers and showrunners have cooked up, just like the MacGuffin of advancing the Death of Superman arc and the misguided hubris of Jordan trying to fight back against Luthor, leading to a scene feeling quite reminiscent of Christopher Nolans’ “The Dark Knight” with Lois being forced to decide which child she loves more, as the choice a parent never wants to encounter. The looming hysteria all works and never lets go of the audience.
The episode then speeds by, and the decisions of everyone involved in the series continue to pay off but also show that no one is untouchable. The last scene is a pure tearjerker and a visual reflection of saying goodbye. You feel frozen, shiver, and beg not to let it happen, and then it does.
It feels the final season will culminate around the question of living without ‘Superman,’ which will make the eventual return of the Man of Tomorrow much more fulfilling. Hopefully, the writers give the grief time to breathe and don’t rush the blanket of despair currently swallowing the Kent family. Not to mention, Lex Luthor is incredible this season, and it feels like the 17-year-long plan Luthor crafted is only beginning, so buckle up, and let’s see if the CW can stick the landing; seven more episodes to go.
Superman and Lois return with a darker and more tragic deconstruction of the superhero experience while offering a realistic canvas of how death and life affect the value of connection.
All about Superman and Lois
A synopsis for Season four, which is the final reads: “Superman & Lois” picks up right where last season left off: with Superman (Tyler Hoechlin) and Luthor’s monster locked in a ferocious, moon-wrecking battle, as Clark (Tyler Hoechlin) fights for his life against the seemingly unstoppable creature. Back on the ground, General Lane (guest star Dylan Walsh) struggles to stay alive after being kidnapped by Luthor’s henchmen, while Lois (Elizabeth Tulloch), Jordan (Alex Garfin), and Jonathan (Michael Bishop) race against time to rescue him. But Lex Luthor (Michael Cudlitz) is standing in their way; he has permanently moved to Smallville as the next step in his malicious plan to destroy Lois Lane.
Meanwhile, Lana Lang (guest star Emanuelle Chriqui) uses her position as Mayor to fight back against Luthor’s schemes, putting her in the sights of the most dangerous man in the world and threatening everything she holds dear. This includes her relationship with John Henry Irons (guest star Wolé Parks), who must put his Ironworks plans on hold and rejoin the DOD now that General Lane is missing. But they aren’t the only duo in trouble, as Chrissy Beppo (guest star Sofia Hasmik) and Kyle Cushing (guest star Eric Valdez) face an uphill battle of their own, with countless roadblocks that threaten to ruin their future together.
Amid all the chaos, Sarah Cortez (guest star Inde Navarette) and Natalie Irons (guest star Tayler Buck) also join the fight against Luthor while both are facing impossible decisions about their paths in life. As Clark’s battle with the terrifying monster continues, Lois, her boys, and the world must face an unthinkable possibility: What if Superman never returns?
“Superman & Lois” stars Tyler Hoechlin as Clark Kent/Superman, Elizabeth Tulloch as Lois Lane, Alex Garfin as Jordan Kent, Michael Bishop as Jonathan Kent, and Michael Cudlitz as Lex Luthor.
Based on the characters from DC Comics created by Jerry Siegel and Joe Shuster, “Superman & Lois” is from Berlanti Productions in association with Warner Bros. Television, with executive producers Geoff Johns, Sarah Schechter, Brent Fletcher, Todd Helbing, Sarah Schechter, and Greg Berlanti.
“Superman & Lois” Seasons 1-3 are now available to stream on MAX. New episodes for Season four drop every Monday at 8 p.m. EST.
