Superman and Lois Season 1 Episode 1 “Pilot”
Director: Lee Toland Krieger
Starring: Tyler Hoechlin, Elizabet Lulloch, Jordan Elsass, Alex Garfin, Erik Valdez, Inde Navarrette, Wolé Parks, Michele Scarabelli, Fred Henderson
Rating: TV-PG
Runtime: 64 minutes
Marvel Studios’ WandaVision redefined what’s possible for live-action superhero TV but when it comes to more straightforward small-screen comic book adaptations, The CW’s Arrowverse is still the best game in town. And as a testament to the franchise’s enduring success, it has debuted an excellent new take on the world’s first superhero. After a couple of years of scene-stealing guest appearances in other shows, Superman and Lois gives Tyler Hoechlin’s Man of Steel and Elizabeth Tulloch’s Lois Lane the showcase they deserve. The superbly crafted, loving pilot injects new life into the Superman mythos by forcing DC’s ultimate power couple to face a new challenge: parenthood.
The Crisis on Infinite Earths event made massive changes to Lois and Clark’s personal timelines. The couple has been married much longer now and rather than one infant son they are now parenting two teenage boys, Jonathan (Jordan Elsass) and Jordan (Alex Garfin). The stunning intro sequence ignores the Crisis connection, instead of having Clark narrate a brief overview of the latest update of his origin, including his arrival on Earth, his adopted father’s death, his debut as Superman, and his awkwardly adorable first meeting with Lois, before continuing to detail their marriage and eventually the birth and childhoods of their children. The whole 90-minute pilot is devoid of overt Arrowverse references and while this might irk some fans (I do think they could have at least briefly mentioned Clark’s cousin Supergirl) it’s an understandable choice. Superman has far more name recognition than any of the network’s other DC headliners and the creators presumably wanted the show to be welcoming to casual viewers who will tune in to see the Last Son of Krypton in action but don’t want to catch up on a half-dozen other series. Still, it’s hard to imagine even the most cynical of fans not melting during those magical first few minutes, which are dripping with love for Superman and everything he represents. A brief scene of Clark saving a little boy from a car accident in his classic Action Comics costume with Hoechlin’s immensely charming delivery of “My mom made it for me,”, (proving that trunks-on the outside costumes can work in live-action) is especially delightful, and shows that the creators at work here get the character a lot better than many filmmakers or even comic book creators currently do.
Superman has been a notoriously difficult character for filmmakers to handle with Christopher Reeve and Richard Donner’s original Superman: The Movie being the only cinematic adaptation to be universally praised. Modern movies have been criticized for being either too nostalgic (Superman Returns) or too dark (Man of Steel). The character has fared a bit better in live-action television, with both Lois and Clark: The New Adventures of Superman and Smallville being beloved in their days. Superman and Lois is a logical next step from those predecessors. Like the similarly titled Lois and Clark it positions Lois as an equally important lead and studies her relationship with Clark in detail, but does so at a different point in their lives. In addition to being set in the titular town, it also draws a lot of its substance from coming of age themes, just as Smallville did, only now its Clark’s sons who have to deal with growing up with their unique heritage. Making Clark a parent solves several of the major problems the movies usually have as it makes him relatable and flawed without having to retread familiar material about him learning about Krypton or how to be a hero. He’s quite good at being Superman here, as the montage and another sequence of him stopping a nuclear reactor meltdown show. It’s as Clark the dad that he struggles, especially in his relationship with Jordan. Jordan has Social Anxiety Disorder and has become very distant from his father, whose decision not to tell the boys his secret identity means he’s often absent from important family functions, like therapy sessions, without being able to provide a good explanation.
Hoechlin’s take on Clark has been praised, especially in his initial appearances on Supergirl, for his optimistic, friendly attitude, which contrasted sharply with the angst the character endures in the recent Zack Snyder movies. Because of that, the fact the Superman and Lois pilot can get rather dark and heavy itself at times might cause some people to be taken aback. Life gets harder for Lois and Clark when he is laid off from the Daily Planet and finds out that his mother, Martha (Michele Scarabelli) has died of a stroke in quick succession. But these and the problems with boys are needed to allow Clark to grow as a character and despite the high emotional stakes the show manages to maintain a hopeful core.
The family returns to Smallville for the funeral, where they’re reunited with the Cushing family: Clark’s high school girlfriend Lana Lang (Emmanuelle Chriqui), her husband Kyle Cushing (Erik Valdez), teenage daughter Sarah (Inde Navarrette), and younger daughter Sophie (Joselyn Picard) who points out her mother’s romantic history with Clark, causing a moment of awkwardness. The discomfort continues when Kyle criticizes Clark for “bailing” on Smallville and praises unseen business tycoon Morgan Edge, who is buying both the Planet and a lot of Smallville real estate, arousing Lois’ suspicion. The boys apparently know Sarah from summers spent in Smallville and it becomes obvious there’s an attraction between her and Jordan. Rounding out the supporting cast are Dylan Walsh as General Sam Lane, Lois’ father and Clark’s military contact (Walsh replaces Glenn Morshower, who played the general in Season 1 of Supergirl) and Wolé Parks as the Stranger, the mysterious armored villain targeting nuclear power plants. Sam is more likable here than he usually is, especially in comparison with Morshower’s version, whose extreme distrust for aliens and superheroes made him something of a secondary antagonist, although there is still tension between the new Sam and Lois. However, this time it’s because Sam is pushing Clark to prioritize his superhero work when Lois feels he needs to step back to be more present for the boys. We have Crisis to thank for the drastic change to the general and Walsh seems like he’ll be an enjoyable presence while also providing necessary tension. Parks is only unmasked for one scene and even then we only see him from behind so his performance can’t really be judged fully but his voice conveys the character’s anger and menace well in his encounters with Clark. I won’t spoil the reveal of who the Stranger actually is, but he’s a new take on a well-known comic character who bears a grudge against Superman and his inclusion suggests that the show will dive more into Arrowverse mythology, specifically related to Crisis, going forward in a way that should be interesting.
While they’re hanging out with Sarah in the barn a bunch of heavy pipes fall on the boys, but they are miraculously unharmed. This leads their parents to become more convinced that at least Jonathan (who is a starting varsity quarterback as a freshman) has some amount of superpowers. Lois pushes harder for Clark to tell them the truth but while he continues to question whether to do so the boys themselves become suspicious. They wind up finding Clark’s spaceship in a secret cellar in the barn and angrily head out to confront their parents. With no choice left, Clark tells them he’s Superman and demonstrates his powers, lifting the family truck over his head and then beginning to fly. Jordan is outraged at having been lied to and while he was more willing to hear his parents out Jonathan isn’t happy either. Later, while Clark is battling the Stranger (with Lois’ blessing) Jordan goes to a party with Sarah but winds up in a fight after he kisses her, having not realized she had a boyfriend. Jon followed his brother to the party and fights a lot of the boyfriend’s friends on his behalf but both boys are eventually being beaten pretty badly when heat vision blasts out of Jordan’s eyes, hitting a garbage can in which a fire had been lit, causing a large explosion. Jordan later admits that when the pipes were falling he felt a powerful strength and instinct come over him and that he actually shielded Jon. He’s still a bit scared and angry by the episode’s end but Clark apologizes for being absent in the past and reassures him that he will help him get through this dramatic change.
As strong as the pilot is, the show is going to live or die on how it handles the teenage drama going forward. Garfin is good in the role and the representation of mental health issues is appreciated but Jordan’s angst could become tiresome if not handled carefully. The fact that his first scene sees him playing Injustice against Superman in his room full of dark decorations with edgy music blasting was definitely a little much. But there are also moments where the character’s story was genuinely moving, especially when he questioned whether his parents’ secret or his alien heritage might have actually caused his mental illness, rather than just exacerbating it. While Jordan is an original creation for the show, Jonathan Kent has existed in the comics for the last several years and has earned his own loyal fans. The show’s setup risks wasting him by turning him into a stereotypical jock older brother, but the pilot thankfully gives him more nuance. Yes, Jon pokes fun at his brother sometimes but he’s also fiercely protective of him and he also earns viewer affection through being more friendly to and appreciative of his parents. Elsass is very charming and seems like he’ll be a reliable source of comic relief while also being capable of handling his own dramatic arcs when they come. And while Jordan may be the first to unlock his Kryptonian gifts it’s almost certain that Jonathan will as well and hopefully become the hero he is in the comics. He is shown breaking a tire swing rope with a football at an extremely young age which doesn’t seem like something a human boy could do.
But no matter their own merits or problems the best thing about the boys is what they bring out in their parents. Hoechlin has already demonstrated his intense charisma and charm in his past appearances in the part and continues to do so in the Superman scenes here but Clark’s struggle with fatherhood and the other family-centric material allows him to show much more dramatic range than he has so far. His reactions are especially impressive in the material revolving around Martha’s death. Lois has a slightly smaller part in the premiere but I think that’s because she doesn’t require the same amount of setup and retooling as her husband. A kickass journalist who struggles to balance being a dedicated career woman and a loving mother, Lois is an easy sell to a 2021 audience and doesn’t have to consciously avoid the “boring” stigma Clark is often labeled with. Tulloch continues to be perfect for the role, delivering quips with excellent timing, while keeping the character’s underlying strength and tenderness constant. Hoechlin and Tulloch also still have a vibrant, supremely enjoyable chemistry and benefit from the strong writing for the couple. Most Arrowverse shows struggle to make the leads’ romances compelling (though supporting ones are often well done) usually imbuing them with so much drama and arguments that it’s hard to see why the partners even like each other. Lois and Clark can disagree but they also support each other unconditionally and are frequently shown enjoying being around one another.
My biggest concerns about the show are related to the Cushings. Ever since it was announced Lana Lang was going to be a part of Superman and Lois, I’ve been concerned about what her role would entail. A married Superman should not be part of infidelity of any kind and while the actors and creators have been quick to insist that they’re not planning a love triangle I remain anxious, especially in light of The CW’s history with the character. Kristin Kreuk’s Lana remained an absurdly big part of Smallville even after Erica Durance’s Lois started stealing the show. I have to imagine Lana’s role on the new series is partially a tribute to its predecessor and given that Chriqui’s performance makes it clear her Lana is still quite fond of Clark I still dread some kind of romantic tension, even if it’s “justified” by supernatural or other kinds of interference, especially because if there isn’t any I don’t really see why the character would be included. Chriqui’s take on the role is rather flighty and doesn’t seem to have much depth so far, on top of the fact that she’s surprisingly not aware of Clark’s secret identity, which would be one reason for her inclusion. Whatever issues Lana may pose, however, Kyle’s are much worse. The show seems to want him to offer a different perspective from Lois and Clark’s, politically and otherwise, that it doesn’t completely want to refute, and it tries to make him sympathetic by making him the Smallville fire chief and having Sarah tell Jordan he’s seen some traumatic stuff, but the character is so intensely detestable as soon as he’s introduced that the efforts fall flat. It’s pretty much impossible to feel any kind of sympathy or respect for the type of guy who directly insults someone at their mother’s funeral, no matter how brave he is in other areas of life, and if the show tries to redeem him too easily, or worse, continues to portray him as someone who supposedly has virtues despite his flaws it risks defending his toxicity. Sarah is the only Cushing worth investing in, but while Navarrette gives a decent, understated performance so far there are still causes for concern related to her character. At the party Sarah tells Jordan about when she attempted suicide, leading to her current regimen of medication, and this is when he kisses her. In the show’s defense, I think it knows this is a weird move and it’s seemingly meant to illustrate that Jordan genuinely struggles to understand social cues. Again, I applaud the show for attempting to tackle a complicated, important issue like adolescent mental health, but it stepped onto a tightrope by delving into suicide. It’s a very dark topic for a show that’s at least partially meant to be a fun superhero adventure and while it’s handled fine so far its involvement in what’s clearly going to be a romance storyline risks glorifying or romanticizing suicide, something other, misguided teen-oriented shows have recently done, with 13 Reasons Why being the most notable example.
But the Cushing’s baggage is hard to worry too much about when the rest of the show is this great. The most impressive thing about Superman and Lois other than its handling of the titular characters is its visual style. Calling a good-looking TV show cinematic has become something of a cliché but there really is no other word here. Both the overall look of the show and its spectacle is startlingly good throughout the pilot. The cinematography recalls both the darker, movie-like quality of Crisis‘ Speed Force sequences and the best of Amir Mokri’s work on Man of Steel with the latter in particular coming to mind during shots that bask in the vast farmland landscape. But I’d argue that Superman and Lois‘ look is actually even stronger than those predecessors, with a wider color palette that results in some absolutely gorgeous compositions, especially during any of several sequences at sunset. The Kent farm at night is also a really nice sight, with the yellow light from the house creating some sharp shadows. Visually Superman and Lois actually has a lot in common with the Snyder films, especially Man of Steel, but without the more controversial or problematic aspects, and this comes out even more in the action. Quick camera movement effectively displays the propulsive power Clark (and in this case the Stranger) have and you can really feel the impacts that come from their titanic strengths clashing. This is similar to how Snyder displayed Kryptonian power in his cinematic efforts but the action in Superman and Lois is more easily enjoyed because it doesn’t come with a large amount of urban destruction and 9/11 imagery. The choice to have the big fight arrive at various different locations (including, briefly, outer space) brings visual variety and also emphasizes how fast both combatants are. It’s clear that Superman and Lois has a larger budget than other Arrowverse shows are given (rumor has it that HBO Max is helping finance the show, although there is no official confirmation of that) and that results in visual effects that look more in line with what one expects from a superhero movie. I’m not saying more money automatically means better action (Arrow‘s hand-to-hand combat and old-fashioned practical stunts are just as good in their own way, for example) but among the shows dealing with high-powered heroes, Superman and Lois definitely has an advantage. The opening power plant rescue is the kind of CGI-heavy sequence that The Flash and Supergirl sometimes struggle to make look convincing but this show pulls it off easily. Adding to the impressive visuals is an effective score by Dan Romer. Although what seems to be Clark’s new main Superman theme isn’t quite as rousing as what Blake Neely and Daniel James Chan came up with for the character’s Supergirl appearances, otherwise Romer’s work adds a lot to the emotional impact of many scenes, especially quieter dialogues and the opening montage.
The excellent audiovisual style is one of many indications of the amount of love and effort that went into creating the show and as a fan it’s refreshing to see that level of devotion given to these characters. In both comics and film creators are tending to move towards more obscure characters, with several of them deeming icons like Superman unrelatable or uninteresting, but with a fresh narrative hook, high production value, and a perfectly cast leading duo Superman and Lois is a reminder that comics’ first superhero and greatest journalist can be just as compelling when done right.
Notes:
- The pilot was followed by a half-hour behind the scenes special titled Superman and Lois: Legacy of Hope. It was definitely a little corny and was mostly the creators and cast bringing up some generic talking points but again it was nice to see the love they have for the material. And there were some nice video messages from other CW superhero actors.
- Although a planned crossover with Batwoman had to be canceled due to COVID-related filming restrictions, the first season of Superman and Lois will still feature at least one team-up episode when David Ramsey reprises his Arrow role of John Diggle at some point. Ramsey will also be directing an episode.
- Morgan Edge has also been recast, with Adam Rayner replacing Adrian Pasdar, who played the character on Supergirl. Neither Sam Lane nor Edge were really important parts of Supergirl so I don’t mind this and these and other changes can all be attributed to Crisis but I hope the show does draw on Supergirl‘s established canon and cast a little more going forward.
- This isn’t the first time that Injustice has been shown to exist in the Arrowverse and it continues to be a delightfully weird detail.
- Superman Returns did allude to Clark having a child, and when Brandon Routh reprised his version of the character in Crisis it confirmed he did, but as the movie never got a sequel the idea of his Clark actually dealing with parenthood was left unexplored.
- Jordan is presumably named for Jor-El, Clark’s birth father, just as Jon is named for his adopted Earth father.
Superman and Lois Episode 1
It has some things to watch out for but overall Superman and Lois gets off to an incredible start thanks to a fresh narrative focus, high production value, and great performances from its leads.
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Writing8.5
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Acting9
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Production10