Ta-Nehisi Coates’ Superman Movie Could Be a Period Piece

Illustration for article titled Ta-Nehisi Coates' Superman Movie Could Be a Period Piece

Image: DC Comics

Early reports say that Ta-Nehisi Coates’ already much-anticipated Superman movie could take place in the 20th century, which offers some very interesting options for what’s going to be an extremely interesting movie.

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This information comes from a piece today from the Hollywood Reporter, which clarifies the process is still so early that this is merely a possibility rather than Coates’ definitive pitch, since “Coates isn’t expected to deliver his Superman script until mid-December.” But here are the vague details as of now: “The Superman film appears to be moving onto its own track and won’t be part of the [DCEU], as of now. Sources tell THR that Coates is crafting a Kal-El in the vein of the original Superman comics and will have the protagonist hail from Krypton and come to Earth. While the story is currently being crafted and many details could change, one option under consideration is for the film to be a 20th century period piece.”

There are some very interesting potential stories to be told about a Black Superman throughout the 20th century even if “period piece” is purposefully vague. I can imagine a movie that takes place in 1978, the year the first Christopher Reeve Superman movie came out, to directly compare and contrast how the two heroes would be received by the world. But it could be even more powerful to see the challenges faced by Coates’ Superman during the character’s original comic setting in the 1940s or during the civil rights movement of the ‘60s.

When Joe Siegel and Jerry Shuster first created Superman in 1938, the last son of Krypton was, for lack of a better term, a Social Justice Warrior rather than a superhero who fought supervillains. He caught criminals, sure, but he also stopped fought poverty, protected victims of abuse, and in a 1946 radio serial even took on the Ku Klux Klan. Bringing Superman back to those roots could be absolutely fascinating to see on screen, especially compared to the spectacle that was Zack Snyder’s Justice League. Again, this is all merely speculation for now, so anything is possible. The prolific Coates has plenty of time to consider all his storytelling options.

As a reminder, this project was announced just this past February and will be produced by J.J. Abrams, but has no director attached just yet. The report notes on that front, “Insiders say Warners and DC are committed to hiring a Black director to tackle what will be the first cinematic incarnation of Superman featuring a Black actor.”


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Justice League’s Most Heroic Moment Feels Like a Classic DC Throwback

Let’s light this shit up, Barry.

Let’s light this shit up, Barry.
Screenshot: HBO Max/Warner Bros.

Who would’ve known a callback to one of the best DC movies ever was sitting on the cutting room floor, just waiting to be resurrected in Zack Snyder’s Justice League?

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Over the past five years, the internet has discussed the “Snyder Cut” so much that watching the film was almost like running down a checklist of every rumor or revelation that had already made it online: The Black Superman costume. Martian Manhunter. Victor Stone’s football career. Deathstroke. Darkseid. The Knightmare. Jared Leto. The list goes on and on. So, to be honest, while it was great to finally see it all put together, there weren’t many surprises.

Though one scene, in particular, stood out.

Illustration for article titled Justice League’s Most Heroic Moment Feels Like a Classic DC Throwback

It comes near the end of the movie as the now fully formed Justice League is battling Steppenwolf and his minions. Its been established that in order for Ray Fisher’s Victor Stone (Cyborg) to enter and destroy the Unity, Ezra Miller’s Barry Allen (The Flash) will have to touch him with a catastrophic energy surge to break through its defenses. To achieve that, he’ll have to run faster than he ever has before.

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Victor and the Unity
Screenshot: HBO Max/Warner Bros.

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Victor touches and begins to interact with the Unity, Superman returns and kicks the crap out of Steppenwolf, and the last step is for Barry to energize Victor. He’s been circling the city and building up speed for a while and warns everyone that he can’t maintain it. He calls for Victor, pleading with him to hurry up. Just as Victor is about to finish, Barry is shot by a parademon, knocking him out of his run.

“Barry, where are you?” Victor pleads as the Unity is seconds away from syncing. But the Flash has lost all the momentum he built up, has a huge, painful injury, and says he needs a second to catch his breath. A second is too long—the Unity syncs, Darkseid arrives, and the Justice League loses.

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Welp. We didn’t see that coming.

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Not so fast.
Screenshot: HBO Max/Warner Bros.

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Starting at the Unity, destruction begins to explode out into the world. Most of the Justice League die instantly. As the explosion reaches Barry though, he starts running towards it. Barry realizes he has to go far beyond the speed of light to make everything right again.

“You’ve gotta break the rule, Barry, and you gotta break it now,” he tells himself. The music on the soundtrack suddenly sounds more heroic, and as Barry speeds up, the film slows down—the world around him begins to rewind. First, chunks of dirt. Then buildings. Light posts. As Barry runs faster and faster than he’s ever run before, he begins to think of his dad and how proud he’d be. He thinks of the passage of time and how the future and past are all “right now.” The closer Barry gets to the Unity, the more everything comes back together. We see bodies start to reconstruct—Superman’s bones and veins pop back together—then the metal on Victor reforms and Barry taps him on the shoulder. He did it.

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The scene is epic in scope and powerfully made. Watching it instantly made me think of Richard Donner’s 1978 classic, Superman. In that film, Margot Kidder’s Lois Lane is killed and Christopher Reeve’s Superman breaks his own rules and flies so fast around the planet he reverses the rotation of the Earth, reversing time, and bringing Lois back to life.

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Was Snyder purposefully paying homage to that film? It seems probable. And either way, the scene shows Barry in such a new way, it completely changes his character. Not only is he fast and resourceful, but he also has abilities the other heroes could never even imagine. Abilities he’s barely begun to explore. At first, he may have seemed a little intimidating, but the Flash is a worthy, necessary member of the Justice League after he saves them all, and the world itself.

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And here, we, go.
Screenshot: HBO Max/Warner Bros.

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Not to mention, the scene helps pay off the mysterious moment from 2015’s Batman v Superman where another version of the Flash (one who appears in the epilogue a few minutes later) appears to Bruce Wayne to warn him about Lois Lane. By seeing Flash actually time travel as part of this scene, not only is it an exciting, powerful moment, but it informs other stories around it.

While I enjoyed the expansion and backstory of Cyborg, new glimpses at Atlantis, the extended Themyscira sequence, Darkseid, and more, it’s that Flash moment that really brought it all together for me. What were your favorite moments in the film?

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Zack Snyder Delves Into Justice League’s Ending—and What Could’ve Come After

Batman lives a Knightmare of his own design in Batman v Superman.

Batman lives a Knightmare of his own design in Batman v Superman.
Image: Warner Bros.

Four years on from the release of Joss Whedon’s mangled Justice League—the ramifications of which are still being felt, both at Warner Bros. and among fandom circles alike—Zack Snyder’s Justice League has been unleashed upon the world. But this is a Zack Snyder project, so of course it’s far from over.

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Speaking to Vanity Fair today, Snyder blows wide open the largest addition he made to his four-hour-long take on Justice League. That addition was made possible by the film’s financial injection to properly “finish” what the director already had when he first departed the project under tragic circumstances. But “finish” feels wrong to say, when those additions actually untie plot threads of his Justice League to set the stage for multiple new movies.

“They didn’t want me to suggest more films to come, they wanted me to cul-de-sac it as much as I could,” Snyder told Vanity Fair, before offering a fascinating, grim, but astonishingly true sentiment about comic book blockbusters as we know them. “I’m like, ‘Look, that’s just not the genre.’ It’s not the comic book genre to end the story, regardless if we ever make [another] one or not.”

So he didn’t. And while these are movies that may never be seen, the director then went on to set up what could’ve happened in two more Justice League films—the conclusion to what he believes is a “five-part trilogy,” alongside Man of Steel, Batman vs. Superman, and now Justice League. If you’ve not had the four entire hours to sit down with the new film just yet, you’re going to want to turn around now.

Illustration for article titled Zack Snyder Delves Into Justice League's Ending—and What Could've Come After

Snyder’s Justice League concludes its gargantuan runtime—divided into six “parts,” even if it is presented as one long, continuous thing on HBO Max—with a roughly 30-minute long epilogue sequence. It’s here you’ll see things like Harry Lennix’s Martian Manhunter appearing to Ben Affleck’s Bruce Wayne (Snyder originally wanted John Stewart’s Green Lantern, but Warner Bros. pushed back against usage of the Green Lanterns in general, presumably due to its own plans for that stable of characters), and an expanded version of what became the 2017 film’s post-credit scene, a team-up between Jesse Eisenberg’s Lex Luthor and Joe Manganiello’s Deathstroke that would’ve set the stage for Affleck’s now-scrapped solo Batman movie.

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But the bulk of its runtime is given over to an alternate-reality known as the “Knightmare sequence,” previously hinted at in Batman v Superman and the theatrical release of Justice League as an alternate future where DC’s New Gods/Apokolips character Darkseid successfully subjugates the Earth. It’s here Affleck’s Batman—alongside Ray Fisher as Cyborg, Amber Heard’s Mera, Ezra Miller’s Flash, and Manganiello’s Deathstroke—gets a scene Snyder always wanted to do: putting him up against Jared Leto’s Joker.

“The cool thing about the scene is that it’s Joker talking directly to Batman about Batman,” Snyder said. “It’s Joker analyzing Batman about who he is and what he is. That’s the thing I also felt like fans deserved from the DC Universe. That is to say, the Jared Leto Joker and the Ben Affleck Batman, they never really got together.”

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The Joker’s barbs set the stage for an alternate reality that would’ve been explored, and ultimately undone (as it is in this version of Justice League), across two more films. Calling back to a line from future-Flash in Batman v. Superman—in which the speedster tells “our” Batman that “Lois Lane is the key”—Snyder wanted to explore a timeline where, knowing that Superman’s true weakness is his greatest love, Darkseid’s agents hunted down Amy Adams’ Lois Lane and, after Batman fails to stop them, murder her. “Darkseid comes to Earth. Superman says to Batman, ‘Guard Lois. This is a war between me and Darkseid. If you can help me as a friend, keep Lois safe,’” Snyder explained. “Lex tells Darkseid that the key to Superman’s weaknesses is killing Lois Lane. For whatever reason, Batman fails. Darkseid comes back and kills Lois. Batman fails, he hesitates. They were in an argument.”

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This would’ve created the reality now seen in Justice League’s epilogue, where Batman’s ragtag group of survivors attempt to go back and change time, avoiding the wrath of Superman, now controlled by Darkseid’s mastery of the Anti-Life Equation—a powerful command from the comics that lets whoever successfully masters it dominate the minds of the galaxy. But that’s not even the wildest thing about Snyder’s revelations. It’s why Batman fails to save Lois: he’d fallen in love with her in the time between Superman’s death and resurrection.

The final Justice League movie would’ve seen Batman’s apocalyptic team successfully manage to go back in time to the moment of Lois’ death and encourage the past Batman to overcome his feelings and sacrifice himself to save Lois and all of reality. “Superman doesn’t succumb to the Anti-Life Equation,” Snyder said of this new, Batman-less timeline. “Then the final movie has Aquaman leading the forces of Atlantis, Diana leading forces of Themyscira, and Superman and Flash leading the forces of [humans] against Darkseid in a giant war.”

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You can’t have a DC Universe without a Batman for long, and that’s where the 2021 version of Justice League comes back into the picture. When Snyder’s film picks up with Lois, a brief shot of her rummaging through a dresser reveals a positive pregnancy test. It’s never picked up on in the film again, but according to Snyder, that would’ve set the stage for the big reveal of his third Justice League film. “It was going to be Lois and Superman’s son,” Snyder concluded. “He doesn’t have any powers, and then he was going to end up being the new Batman. Twenty years later, on the anniversary of [Batman’s] death, they take young Bruce Kent down to the Batcave and they say, ‘Your Uncle Bruce would’ve been proud if you did this.’”

It’s…a lot to take in. And the fact that Snyder has unleashed this bucketload of information to the public as his cut finally sees the light of day indicates that, perhaps, he’s doing so as a way to let fans know that for all the set up in the “Snyder Cut” as we now know it, this future series of movies won’t ever actually get made. After all, now you know all the ins and outs of what would’ve been a wild trifecta of Justice League movies, do you really need to see it unfold?

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But then again, this is Zack Snyder, a man who’s become very keenly aware of the power of wielding his fan’s desires in the last four years. “I didn’t think I’d be here talking about [a restored] Justice League,” Snyder teased to Vanity Fair. “So never say never.”

Zack Snyder’s Justice League is now streaming on HBO Max.

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Superman & Lois Is Starting to Realize It’s a Superhero Show

Clark’s distractions find him behind in the chase for Thaddeus Killgrave.

Clark’s distractions find him behind in the chase for Thaddeus Killgrave.
Image: The CW

This week’s Superman & Lois centers the classing superhero story push and pull—whatever is Clark Kent going to do about balancing his life with his family and his life as the Man of Steel? But while the episode has some smart approaches to an age-old trope, it finds itself asking a similar question of the show in the process.

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“Haywire” pulls on an increasingly messy tangle of threads that all eventually try to converge into a similar debate, revolving around Clark’s renewed focus on spending time with his family as he continues to perform heroics as Superman. Clark is the uncomfortable target of a visit from the in-laws—this case in particular being his kinda-sorta boss at the DOD and Lois’ father, General Sam Lane (Dylan Walsh), who shows up to support Jordan’s first Smallville High football game and then proceeds to spend the rest of his time whining that Clark is being Superman 90% of the time rather than 100% of the time. Meanwhile, as Jordan and Jonathan celebrate the first win of the season, the latter discovers that picked-on, injured teammate Tag (Wern Lee) is hiding a strange secret beyond his broken arm.

And then there’s Lois, who, muzzled by the threat of legal action from Morgan Edge, tries to take him on before a Smallville council vote to give him rights to the town’s mines—and loses, frustratingly so, momentarily fraying her relationship with Clark when he’s not there at a time she needed him most. Throw in villainous scientist Thaddeus Killgrave (Brendan Fletcher) briefly breaking out of custody because of Clark’s lack of focus on Metropolis, and you’ve got a recipe for impending disaster as Superman has to wrestle with the idea of carving out a part of his life that’s solely his own.

Those are the interesting parts of those beats, and the bits where “Haywire” doesn’t threaten to collapse in a heap of set up and promise that, soon enough, Superman & Lois will fall more in line with its siblings on the CW. But even with those moments, Superman & Lois is slowly but surely being pushed from the more grounded, character-driven arcs that have made the first three episodes so interesting, and into larger, more explosive, more comic-book-y realms.

Sam might have left his argument with Clark humbled by Lois—she’s furious that he would try to parent her children for her—but he does so to go set up that mysterious Anti-Superman project hinted at by Captain Luthor (remember Captain Luthor? Superman & Lois barely feels like it does, despite being four episodes in). Lois being unable to stop Morgan from gaining the Smallville council’s support means he’s suddenly found himself a convenient pile of “X-Kryptonite”—a gimmick from the comics accidentally created by Supergirl of all people, that temporarily grants non-metahumans Kryoptinan powers—hidden in the town’s mines. And Jonathan and Jordan’s arc seemingly ties into that when it’s revealed the secret Tag’s hiding from the team isn’t the result of resentment from his teammates bullying him, but because he’s started displaying erratic, uncontrolled, vibrating superspeed abilities.

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Image: The CW

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This all might be fine, but it means right now that every thread of the show is currently pushing toward comic book stakes. And in an episode that’s meant to be about Clark taking a stand that his priorities will favor his family more than being Superman, that’s not great, because it means those stakes are eventually going to require an escalation where the answer is decided for Clark. Yes, he can still be a goofball romantic and try his hardest for his boys, but no matter where he turns in the corners of his life, it’s all going to come down to problems that Superman has to solve, not Clark Kent. And that’s a shame, because the superhero side of things is where Superman & Lois feels the most aimless, like it’s slowly falling back into line with the rest of the CW’s DC oeuvre and not where it finds itself the most interesting. In spite of the encroachment by all the superheroic setup, there are beats and character moments in “Haywire” that really work, even if they are a little bit earnestly cheesy.

Every time Jonathan and Jordan’s relationship veers closer to setting the two on the arc of the former being jealous about the latter crowding his space as “the popular football kid,” it gracefully sidesteps to build out their relationship as brothers who genuinely, sincerely care about each other. Lois standing up to her father’s toxic helicopter parenting that she’s been through once already in her life—and emboldening Clark to take a firmer stand on his private life, too—is a fascinating twist in their usual distant, but still warm relationship. Hell, even the moment between her and Lana getting drinks together works beyond the “girl’s night” schmaltz; it gives us more insight into the latter’s relationship with Kyle, mirrored in turn by the goofy, lovably earnest move Clark makes at the climax of the episode, turning the Kent farm barn into a romantic fairy-light-and-candle-lit dinner date for Lois.

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Image: The CW

A move cheesier than an entire dairy farm’s output? Absolutely. But it makes good on Clark inevitably being pulled away from said cheesefest in a way that doesn’t read as the typical balance of power in superhero relationships that “the work” will always come first, strongly pulling Clark’s arc over the episode together in the process.

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After all, what is the story of Clark Kent and Lois Lane, one of comic’s most iconic couples, if not earnest and cheesy? That remains Superman & Lois’ greatest strength now, even as its tone in these episodes so far has played with and inverted that lightness in equally interesting ways. Hopefully that human heart remains the dominating factor of the show, even as things inevitably ramp up on the superhuman side of things—otherwise the lesson about priorities learned by Clark here might ultimately go to waste.

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Kevin Feige Teases The Falcon and The Winter Soldier’s Mysterious New Marvel Comics Location

Sam and Bucky are going travelling.

Sam and Bucky are going travelling.
Screenshot: Marvel Studios

Morning SpoilersIf there’s news about upcoming movies and television you’re not supposed to know, you’ll find it in here.

Fede Alvarez teases his Texas Chainsaw Massacre follow-up. Work has begun on Chip ‘n Dale: Rescue Rangers and The Midnight Club. Henry Golding teases reshoots on Snake Eyes. Plus, what’s to come on Supergirl and The Flash. To me, my spoilers!

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Illustration for article titled Kevin Feige Teases The Falcon and The Winter Soldier's Mysterious New Marvel Comics Location

The Texas Chainsaw Massacre

In a recent interview with Bloody-Disgusting, director Fede Alvarez described the next Texas Chainsaw Massacre film as “Old Man Leatherface, suggesting it will follow the recent trend of sequel-ignoring follow-ups in the vain of 2018’s Halloween. 

It is a direct sequel, and it is the same character. It is old man Leatherface.


Chip ‘n Dale: Rescue Rangers

Production has officially begun on the live-action Chip ‘n Dale: Rescue Rangers movie.


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Coming Soon reports production has additionally begun on Disney’s live-action Peter Pan.

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A House on the Bayou

/Film reports Blumhouse is producing eight new horror films exclusively for Pennyworth’s EPIX. The first in the series, A House on the Bayou, comes from writer-director Alex McAulay and is said to follow “a troubled couple and their preteen daughter who go on vacation to an isolated house in the Louisiana bayou to reconnect as a family. But when unexpected visitors arrive, their facade of family unity starts to unravel, as terrifying secrets come to light.”

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Illustration for article titled Kevin Feige Teases The Falcon and The Winter Soldier's Mysterious New Marvel Comics Location

Photo: Netflix


The Falcon and the Winter Solider

Speaking to Entertainment Weekly, Kevin Feige hints that the show will utilize a location that was not “previously available” to Marvel Studios prior to the Disney-Fox merger:

There’s a setting in particular that people have already glimpsed in some of the trailers that is a setting from the Marvel Comics that was not previously available to us, but it’s more of an Easter egg in and of itself.

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Previous set pictures included elements of the Madripoor flag as set dressing, suggesting that Feige is teasing the infamous Southeast Asian island nation home to many of the Marvel Comics universe’s most notorious gangs and lucrative business dealings—and has many ties to the X-Men.

Meanwhile, in conversation with Comic Book Movie, series writer Malcolm Spellman appears to confirm Danny Ramirez plays Falcon’s successor, Joaquin Torres.


Supergirl

TV Line has photos from the March 30 season premiere of Supergirl. Click through for more.

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Illustration for article titled Kevin Feige Teases The Falcon and The Winter Soldier's Mysterious New Marvel Comics Location

Photo: The CW

Illustration for article titled Kevin Feige Teases The Falcon and The Winter Soldier's Mysterious New Marvel Comics Location

Photo: The CW

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Illustration for article titled Kevin Feige Teases The Falcon and The Winter Soldier's Mysterious New Marvel Comics Location

Photo: The CW

Illustration for article titled Kevin Feige Teases The Falcon and The Winter Soldier's Mysterious New Marvel Comics Location

Photo: The CW

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The Midnight Club

Production has officially begun on Mike Flanagan’s adaptation of Christopher Pike’s The Midnight Club.

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Sasquatch

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Black Lightning

Painkiller enjoys his own backdoor pilot in the promo for next week’s episode of Black Lightning.

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The Flash

Abra Kadabra returns in the trailer for next week’s episode of The Flash, “Central City Strong.


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Captain Luthor hunts Lois Lane in the trailer for next week’s episode of Superman & Lois.


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Banner art by Jim Cook

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Superman & Lois Proves a Little Superdickery Might Run in the Family

Jonathan attempts to get through to his brother after another fight with their dad.

Jonathan attempts to get through to his brother after another fight with their dad.
Image: The CW

Welcome back to Smallville, where nothing is as it seems, everyone’s masks are slowly falling apart, Lois Lane is excited to do some Capital J Journalism, and Superman’s real enemy of the day is his own gut instinct. And maybe high school football?

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“The Perks of Not Being a Wallflower” feels like the CW’s Superman & Lois finding itself in a bit of a rhythm already. Lois (Bitsie Tulloch) is off digging herself up a seasonal storyline over at the Smallville Gazette in the B-plot, while over in the A-plot, Smallville’s finest himbo is once again learning that he’s not as perfect at this whole dad dealio as he’d hoped. While the show’s first two episodes were mostly about how Clark (Tyler Hoechlin) dealt with the ramifications of revealing his double life to his sons Jonathan (Jordan Elsass) and Jordan (Alexander Garfin), and how much that changes their relationship, his arc this episode is more human than it is really metahuman. Because, oh no: it’s time for school sports.

Clark tells the boys he’s spent his entire life tuning out sonic waves to hear only the sounds of distress he needs to, say, ditch painting up the Kent family farm to go stop a bridge from falling down on the other side of the world. But he inadvertently also reveals the direct opposite thing any teenager wants to hear: their dad is always listening. After Sarah’s (Inde Navarette) boyfriend turns his eye from harassing Jonathan on the field to just out-and-out bullying Jordan in the corridors at school, Clark comes super-running just before Jordan can accidentally expose his burgeoning powers as his anger overwhelms him. Good news? He doesn’t turn a poor kid into pulp thanks to being a quarter-Kryptonian. Bad news? He and Jonathan are pissed that Clark super-monitors them. Which is fair, because, holy invasion of privacy, Superman!

Sorry, wrong DC show.

While Clark might mean well, the fact that he at first doesn’t understand his boy’s frustration that—Superman or not—their dad has been keeping tabs on them their entire lives, we quickly learn thanks to Lois this isn’t the first time he’s done this to people near to him. While it’s framed as a lovey-dovey moment of Lois recalling what a dope Clark was for spending weeks of his salary on flowers to apologize for super snooping on her when they were dating, it establishes a pattern that the rest of this episode begins to pick up on, especially with Jordan. If Clark wants to set an example to his sons, especially one beginning to wrestle with his identity as a potential metahuman, well-intentioned but insensitive uses of his power, repeatedly, is not the way to do it.

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Image: The CW

Because like father, like son, Jordan decides to emulate his dad a little by signing up alongside Jonathan for the school football team. While Jonathan’s there because, as he later intones to his brother, football is his thing, Jordan is there explicitly to leverage his burgeoning abilities to get one over on his bullies. Rough tackle after rough tackle might impress the machismo-drenched environs of a high school football field, but between it and his own near-brush with fighting early in the episode begins to lay the groundwork for something more sinister for Jordan, as he wonders why he shouldn’t use his power for his own gain, whether on the field or through violence.

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There’s a stark difference, but there are still parallels between father and son: a confidence in that what they’re doing is the right thing for those they care about, undercut with the dangerous power that they believe it’s the right thing because they know they are something more than human. For Clark, it’s his loved ones, and for Jordan, it’s Sarah, as the two begin to fumble through friendship in a typically teen fashion. At the very least, Jonathan knows to temper his brother when things might go too far, even though he’s clearly a little upset that the thing he’s good at is being co-opted by his brother all of a sudden. Whereas Clark, discovering that his second son has joined football practice, immediately flies off the handle out of concern (rightful concern, in some ways!) that Jordan could expose his abilities for some pretty selfish reasons. Long story short, more arguments abound in the Kent-Lane house, and more wondering for our titular superhero about whether or not he’s cut out for this dad stuff like he is the superpower stuff.

It takes Jonathan being a really good kid for both his brother and his father to come to their heightened senses. Thankfully, Superman & Lois doesn’t immediately dive into a brotherly-jealousy arc with the siblings, even though the potential is there. After all, Jonathan is presented as the athlete star of the family, and now Jordan’s encroaching on his young life’s livelihood just because he has latent powers to make up the deficit. Even outside of football, their increasing friendship with Sarah—herself going through some familial strife with her strained relationship with Lana (Emmanuelle Chriqui), who, like Clark, just wants to know what is up with her kids, even if that frustrates them—sees him pushed a little to the wayside while Jordan and her bond over their mental health issues.

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Image: The CW

And yet, Jonathan’s arc doesn’t go there. Instead, he goes to bat (sorry, wrong sports analogy) for Jordan with his dad. He begs his father to do what his namesake grandfather couldn’t do for Clark as a kid—allow him to play sports—because he sees how happy Jordan has been being able to start bonding with other boys on the football team. It’s incredibly sweet, and an act of love more powerful than whatever Clark thought he was doing super-spying on them and trying to keep their secrets hidden—even though two teens are unlikely to really be able to express that to each other in such a manner. Ultimately, it means both boys get to bond over a shared interest, and Clark…well, he learns there are other ways he can look after his sons without leaning on his powers to do so, signing up to manage the football team so he can look after the boys as a dad first, and as Superman second.

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Which is a good thing, because he’s probably going to have to save his Superman-protection for his wife before he goes back to snooping on the kids. While the Kent-Lane men go through metahuman Friday Night Lights, elsewhere in the episode Lois quickly finds herself getting in the deep end with her investigation into Morgan Edge. When a lead from another small town Edge set up shop in (only to abandon) puts her in the sights of a metahuman assassin—who starts by burning Lois’ car to prove a point before just trying to straight-up kill her source and her—she finds herself truly in her element. Not only is her hunch proven right, something dodgy is up with Edge, but she also sets the stage for Clark to have even more problems than he already does with the mysterious Captain Luthor. After failing to silence Lois, her mystery assailant himself is offed by another shadowy figure: a woman who uses a very Kryptonian-looking ocular blast to do the deed.

It turns out Clark might have a few more problems than football kids to deal with in his immediate future, then. But at least he knows now that if he does have to keep his eye off the football field, Jonathan and Jordan will have each other’s backs, powers or otherwise.

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On Superman & Lois, No One’s as Special as They Thought They Were

Nothing’s quite as simple as Clark and Lois thought it was going to be, for better or worse.

Nothing’s quite as simple as Clark and Lois thought it was going to be, for better or worse.
Photo: Dean Buscher/The CW

Superman & Loisdebut last week was all about bringing the CW’s own Man of Steel back down to earth a little bit, with familial struggles that he couldn’t solve with a punch or an eye beam blast. But when certain revelations about his family life brought the Kent-Lane team back to Smallville, the show presented the idea of a special little family in a small little town…before promptly skewering that notion in some interesting ways.

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Much of “Heritage” is about, thankfully, taking a bit of a handbrake to the pilot episode’s superheroic escalation, which saw Clark reveal to his teen sons Jonathan and Jordan that he is indeed Superman, and that the latter of the brothers—in spite of his parent’s speculation—is the one that inherited Clark’s powers. It seemed to wrap up rather abruptly: that in revealing his secret Clark had immediately begun the path to being the better father he was questioning his capability of, that in being the one who inherited his powers, Jordan would be able to open up and connect with his father after years of struggles with his mental health and his ability to understand himself. Problems over!

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After an episode that had largely focused on a more human side of the DC’s CW material, the indicators were there that we’d be neatly wrapping it all up in a bow to get to the Superman-Superboy power hour. But for now, Superman & Lois is at least thankfully intent on taking as slow a burn as possible in turning its main family into the network’s latest superteam. The second episode takes a little step back to instead knock a little of that special Kryptonian wind out of basically everyone’s sails in the Kent-Lane unit, to remind them that they’re still just as fallibly human as the rest of us whether or not they know (or are) a certain red-caped man of tomorrow.

Initially, Clark and Jordan bear the brunt of this, as the two are quickly eager to re-established their frayed bond with frequent trips to the Fortress of Solitude so that Clark can a) introduce Jordan to his holo-grandad, and b) begin learning the extent of his powers. At first, everything’s going well, and the distance between father and son that had dominated so much of the pilot feels like a distant memory. But when early tests by Jor-El’s monitoring systems seemingly detect that Jordan cannot store energy from the sun like his father can—that, as Jor-El puts it, his humanity is holding back what Kryptonian is within him to truly manifest abilities—father and son face huge blowbacks again.

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Photo: Dean Buscher/The CW

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Jordan returns to lashing out at the world around him, his family included, believing this as further proof he’s some sort of freakish abnormality. Clark, meanwhile, already stressed out at having to deal with a new villain who knows discomforting levels of things about him, once again finds himself wracked with self-doubt over whether or not he’s doing the right thing, either as Superman or as a father to both his sons. But it’s not just one Kent-Lane sibling who’s struggling with a reckoning over whether they’re as talented as they’d been lead to believe.

As Clark and Jordan begin spending more time together (and Lois is off doing her own thing, which we’ll get to), Jonathan, formerly the athletic wunderkind, finds himself in a strange spot of not being held upon high by his new school peers or even at home. Fallout from the fight at last week’s party has put many of his new teammates on Smallville High’s football team on a warpath to make Jonathan’s life on and off the field miserable, leading to his performance there suffering. That, combined with his parents’ focus on Jordan in the wake of his manifestation, leads to an explosive outburst with the brother at their rawest, screaming about how focus on the other is undermining the sacrifices they’ve all made relocating to Smallville.

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Lois—who thankfully gets much more of a plot thread this week compared to the pilot’s focus on Clark—faces a knockback that is a bit more professional than it is personal, but it’s still one that galvanizes her in her new quest to expose Morgan Edge’s myriad wrongdoings. Already on the hunt over Edge’s plan to pump venture capital into Smallville’s failing economy, Lois decides that she—embracing the figure of the know-it-all out-of-towner coming in to fix all the dumb boonies’ problems persona that’s been lobbed at her by people like Lana’s husband, Kyle—is the only one who can expose Edge’s sliminess after his takeover of the Daily Planet. Instead, she quickly learns what any journalist whose workplace is owned by private equity does: sometimes the people with infinitely more money than you will in fact hold all the power over you, and are willing to exercise it in some very petty ways.

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After Edge orders a radical re-write of a piece Lois filed about his predatory funding practices in small towns before his interest in Smallville, Lois is shocked to discover that she—intrepid reporter, bright star of the Daily Planet masthead, a woman who has never faced a re-write in her entire career!—is just as easily screwed over by Edge as anyone else, whether at the Planet or in Smallville (even if, like Kyle, people are desperate enough to risk a chance on Edge potentially screwing them). It all leads to a moment of climax that blows out on the Kent family farm’s staircase of all places. Lois, frustrated by Edge’s sliminess, Clark, pulled between the mysterious stranger’s growing threat and new revelations day by day about Jordan’s superhumanity, the siblings both being pushed further and further about their own stresses, everyone lets the mask slip a little, the kids especially. That is, until Lois has to remind them all that no matter what setbacks the family faces, they’re not problems that can be solved with superpowers, but problems confronted and challenged by standing together as a family.

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Photo: Dean Buscher/The CW

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It seemingly works, at least for a little bit—Jordan and Jonathan apologize to each other for not having their brother’s backs like they have their whole lives. Lois, meanwhile, realizes that she can’t do what she needs to do at the Planet anymore, handing in her resignation to become the, uh, second employee of the Smallville Gazette to continue investigating Edge on her own terms. As for Clark, it remains to be seen, as a Lois Lane pep talk really doesn’t get him any step closer to uncovering what we the audience know about Captain Luthor’s true identity in the first place. At least, on the home front, he’s beginning to get a better grasp on the problems his family is facing and decides that its time for him to be there as much as he can. Handing over a pocket receiver to his sons, he decides to let them call him—him being Superman specifically, obviously they all have cellphones—whenever they need, just as General Lane can summon Superman to save the day.

And speaking of the General, he’s going to need Clark more than ever—after Captain Luthor’s quest for more Kryptonite (and, after a scrap with Clark along the way, materials for a new suit) puts him on a collision course with the DOD. But instead of just leveling the building and getting what he needs, the “Stranger” gives General Lane a warning that someday he’ll become like the Sam Luthor knew on his own world—just as Kal-El will, too, Luthor darkly wonders. Here we’re treated to a flashback of a dark-suited Superman on Luthor’s alternate earth, eradicating a unit of soldiers (Captain Lane, included) with his heat vision with a cold emptiness.

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Turns out not even Superman’s so special for now—in a world of multiverses, he’s not the only last son of Krypton. But in revenge, Luthor’s now got plans for him to be exactly that, and it might take a bit more than Lois, Jonathan, and Jordan standing beside him to prevent that from happening.

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Superman & Lois and Man of Steel Are Surprisingly Alike, and That’s Great So Far

Is it a bird? Is it a plane? No, it’s a dramatically complex father figure whose alien nature pushes him away from his troubled son!

Is it a bird? Is it a plane? No, it’s a dramatically complex father figure whose alien nature pushes him away from his troubled son!
Image: Dean Buscher/The CW

io9 ReviewsReviews and critical analyses of fan-favorite movies, TV shows, comics, books, and more.

Adapting Superman is always a daunting task. He’s the ultimate beacon of hope, to some that perfection makes him either too simplistic to be interesting or in desperate need of a flaw. Superman & Lois, the CW’s latest foray into the DC universe, straddles a line between the two that feels quite unlike anything it’s done yet—but also feels in conversation with Superman’s adaptive past.

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Superman & Lois’ pilot episode, at first, does not feel like it’s from the same CW that has given us The Flash, Black Lightning, Legends of Tomorrow, Batwoman, and Supergirl. It doesn’t really feel like the same CW that gave us the first season of Arrow nearly a decade ago, just while it was still trying to feel its way through what an adaptation of the DC Comics world should look like in the modern era.

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The answer then was Batman, the answer it might give now is Crisis on Infinite Earths. Tyler Hoechlin and Elizabeth Tulloch’s Superman/Clark Kent and Lois Lane both appeared in the CW’s mega-crossover-meets-hallucinatory-event over the course of late 2019 and early 2020, but their arrival and energy here feels very different.

The echoes are still there—Lois, as loving of her husband as she is angry at the power structures around her, Clark, bright-eyed and bushy-tailed as a Superman who loves being a hero in spite of the world around him. An early indulgence as we flash through a quick rundown of Clark’s origins and his early life together with Lois include a tooth-shatteringly sweet callout to the iconic Action Comics #1 cover, only with Clark in a recreation of the suit seen in the classic Fleischer shorts rather than his Golden Age threads—threads he gleefully tells an onlooking child that his mother made for him as he soars back into the sky. And so it goes, you think, that you’re about to sit down for an hour of another new CW-DC TV show: it’s cute and it’s warm, and it likes knowing things about the comic books that you know about the comic books as well.

Illustration for article titled Superman & Lois and Man of Steel Are Surprisingly Alike, and That's Great So Far

Image: Dean Buscher/The CW

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But you’re not. The pilot’s hour-long runtime flies by without a single acknowledgment of Barry Allen, Kara Danvers, or the fact that the last time we saw Clark and Lois they were helping sow back an entire multiverse wiped out by a very desiccated LaMonica Garrett. What Superman & Lois quickly reveals itself to be is less in conversation with the CW shows that came before it but instead in conversation with Superman’s film past. And more specifically, his most recent past in Zack Snyder’s 2013 reboot, Man of Steel.

Before you raise your hackles too much in apprehension, Hoechlin’s Superman has not suddenly developed a taste for snapping necks or leveling Metropolis (although he does get quickly ejected from it, between a double hit of losing his job at the Daily Planet due to cutbacks and the sudden tragedy of the death of Martha Kent, the event that draws Lois and Clark back to the small-town life of Smallville). Instead, Superman & Lois is similar to its cinematic predecessor in that it is fascinated with what makes Clark, in particular, an alien, isolated being.

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In both Hoechlin and Henry Cavill’s Clarks alike, there’s the underlying tension and fear these men feel that knowledge of their dual lives will put the people closest to them in mortal peril. But beyond that in Man of Steel, that alien disconnect is mostly presented to us through Cavill’s Superman as a weapon of mass destruction: his alienness is the curse of his raw power, that he and people like him are an inherent danger to the humans who fear even his protection, let alone his anger, just by his superhuman distance. In Hoechlin’s Clark—who admittedly bears the dramatic brunt of the titular couple in this debut—this alienness is examined in his inability to really connect with the people closest to him, the push and pull of his squeaky-clean public persona contrasted with a man who just wants to do what’s right for his found families, as complicated and messy and challenging as those trials can be.

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Image: Dean Buscher/The CW

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This dilemma for Clark is mostly filtered through the fact that Superman & Lois also introduces us to a titular couple who are not just married, but have been married: they’ve started a family, raising two teen sons, Jonathan and Jordan Kent (Jordan Elsass and Alex Garfin, respectively), who have grown up without an inkling that their father is the world’s finest superhero. Jonathan, much like he is in the comics—albeit older here—is the child Clark and Lois dreamed of in their most idyllic fantasies: loving, but independent, gifted, but not necessarily arrogant about it, a promising young athlete whose skills on the football field may be the earliest indication that Clark’s powers can be inherited. Jordan is…anything but. An anxious, stressed-out child who’s developed into a quietly angry, troubled teenager, he’s the sort of kid that, were he anyone else’s son, Superman could seemingly immediately lift the spirts of, with a smile and some earnestly honeyed words about persistence and perseverance. But the fact that Jordan is his son creates a disconnect between the two that only pushes them further and further apart, even as Clark tries to pull Jordan closer to him, a bridge that not even a man able to leap tall buildings in a single bound can seemingly overcome.

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When the Kent-Lanes are drawn back to Smallville due to the aforementioned untimely passing of Martha (Michele Scarabelli), leaving Clark an orphan for the second time, this tension between the boys and their parents—Jordan and his father in particular—sets the stage for much of the pilot’s most fascinating and emotional dramatic conflicts. The frayed edges around the ideal Lois and Clark romanticized for their lives together form deep splits. For the parents, this comes in a harsh rebuttal from old friends they’d left behind in heading to Metropolis, a reminder that towns like Smallville exist under the intoxicating shadow of the cities that drain their livelihoods and brightest natives. For the kids, there are the swirling teen frustrations of young boys about to enter high school, suddenly stuck in some podunk town that to them was a boring prison they were sent to for summers because Grandma happened to be there—combined with the powder keg of Jordan’s struggles with his mental health and his rapidly decaying relationship with his family, his dad in particular.

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Image: Dean Buscher/The CW

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This powder keg inevitably and quickly sets alight, when after discoveries accidental and intentional by the brothers lead them to raise questions about there being something off about themselves and that their father is hiding something from them beneath the Kent family farm. Clark is forced to reveal that he is Superman to his sons—but the story’s focus on the familial bonds at its core don’t turn this revelation into merely just the tried and tested “I kept this from you to keep you safe” the way most superheroic identity reveals do. Instead, Clark’s secret plays out to Jordan in particular as a damning indicator of all the doubts and struggles he’s felt as a depressive young man: his problems are because he’s some alien-human freak, that his perfect brother might be perfect and more beloved by his parents because his alienness turned out to be superpowers rather than mental traumas. The all-out screaming match between father and sons breaks Clark more than anything could when wearing his supersuit; without parental figures of his own to turn to, he’s humbled by the self-doubt of whether or not he could ever be the father Jonathan Kent was to him.

The stress is likewise too much for Jordan, leading to some classic teenage rebellion. Skipping his family’s drama for a party he was invited to by the one girl he knows in town, Lana Lang’s daughter Sarah (Inde Navarrette), the young man’s swirling emotions and teenage awkwardness quickly create a dangerous situation that reveals the real twist of the Kent-Lane family’s dynamic. Unlike Lois and Clark had anticipated, it’s Jordan who has inherited Clark’s abilities, unleashing a blast of heat-vision when a fight over Sarah lands both him and Jonathan in a fistfight they can’t win. It’s a powerful moment, made more powerful by it galvanizing the first steps of Clark and Jordan’s reconciliation, as the former recognizes—with his wife’s help—that doubt and anxiety is not the curse of godhood that Man of Steel presented to its Clark in his alien nature, but something that makes this Clark and his sons alike more human than they could ever believe.

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Image: Dean Buscher/The CW

Superman & Lois’s debut hour shines brightest when its focus is on this particular drama for Clark and Lois and their sons, the tempering of their seemingly perfect superhumanity with their imperfect, complexly human lives. But beneath them, the seeds are sown for longer threads to come this season that might threaten to pull away from this introspective conversation and back into what be, perhaps disappointingly so, more in line with the Arrowverse shows we’ve gotten so far. In the background of their tumultuous relationship with their sons and the fallout of Martha Kent’s death, Lois and Clark are given dueling “foes” to brush up against.

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On Lois’ side of things, it’s classic journalism: the sniff of a conspiracy that ties the venture capitalist plundering of the Daily Planet into mysterious financial crisis manipulations in the farming economy of Smallville, with all signs pointing the DC universe’s finest investigative reporter firmly at odds with Morgan Edge (played by Adrian Pasdar in Supergirl, and by Adam Rayner here), a minor comics character who’s been everything from a TV mogul to the secret leader of the Apokaliptan-linked organized crime ring Intergang.

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Clark, meanwhile, is challenged by a supersuited masked villain who’s been prodding at nuclear power stations to draw Superman into a knock-out brawl in the climax of the pilot. He’s a character only teased ahead of broadcast as “The Stranger” (played by Wolé Parks), revealed here as someone not of this Earth and seeking revenge on Superman for apparently destroying his homeworld. He also seems to have intimate knowledge of Kal-El’s true identity, the fall of Krypton, and Superman’s greatest weakness.

In true comics-adaption “it’s all connected” style, of course, the climax of the pilot reveals the masked villain, recuperating in his icebound base after stabbing Clark with a shard of Kryptonite, as none other than “Captain Luthor.” Suddenly the green powersuit (albeit a more subdued military green here, with none of Luthor’s trademark purple accents) and distaste for Kryptonians makes more sense. But like Intergang before it, it also feels like the yearning inevitability of Comic Book Things to Come on a show that shone brightest in the moments that weren’t necessarily about that.

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Image: Dean Buscher/The CW

Whether Superman & Lois will successfully balance these two halves—one the CW’s past DC shows have always struggled to highlight beyond the melodramatic, even as they’ve excelled in embracing the other half, and the joyful lunacy that comic book superheroes can bring to the table—remains to be seen. But on one front at least, its pilot is a strong shot of promise that Superman & Lois is willing to treat its protagonists as just as fascinating and flawed outside of their comic book moments as they are in them.

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Updates From Spider-Man 3, Dark Army, and More

Pete gets ready to swing into action.

Pete gets ready to swing into action.
Screenshot: Marvel Studios/Sony Pictures

Morning SpoilersIf there’s news about upcoming movies and television you’re not supposed to know, you’ll find it in here.

The Resident Evil reboot sets a theatrical date (that will inevitably change, because, well). Another obscure comic book character is coming to DC’s The Suicide Squad spinoff Peacemaker. Plus, a new look at Resident Alien, and the CW shares what’s coming on Superman & Lois, Batwoman, Legacies, and more. To me, my spoilers!

Illustration for article titled Updates From iSpider-Man 3/i, iDark Army/i, and More

Dark Army

On the heels of the recent Dracula news, Paul Feig stated to Collider he’s “obsessed” with making Dark Army at Universal.

Oh, Dark Army. I love that project so much. I think the studio thinks it’s a little too expensive, perhaps. God as my witness, I’m gonna make that movie. I’m so obsessed with making that movie. One of the many reasons why I was drawn to doing this current Netflix [movie] is that there’s a lot of stuff I can work out in it, as far as effects and all that, that I can bring to Dark Army. I love it. It’s one of my favorite things I’ve ever written. It’s one of my favorite lead characters I’ve ever come up with. So, fingers crossed that we will make it someday.

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Spider-Man 3

Appearing as a guest on Variety’s Awards Circuit podcast, Tom Holland called Spider-Man 3 “the most ambitious standalone superhero movie ever made.”

I can say that it’s the most ambitious standalone superhero movie ever made. You sit down and you read the script and you see what they’re trying to do and they are succeeding. It’s really impressive. I’ve never seen a standalone superhero movie quite like it. And I’m just, you know, again, that lucky little sh*t who happens to be Spider-Man in it…I’m just as excited as everyone else to see it, let alone be a part of it.


Resident Evil

The new Resident Evil reboot is now scheduled for a September 3, 2021 theatrical release date. [Bloody-Disgusting]

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Peacemaker

Deadline reports Nhut Le has joined the cast of Peacemaker as the Charlton Comics character, Judomaster. Currently, it’s uncertain which incarnation of the character he’ll be playing.

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Superman & Lois

Superman and Lois Lane contend with Morgan Edge and parenthood in the synopsis for their series premiere.

In Superman & Lois, after years of facing megalomaniacal supervillains, monsters wreaking havoc on Metropolis, and alien invaders intent on wiping out the human race, the world’s most famous superhero, The Man of Steel aka Clark Kent (Tyler Hoechlin, Teen Wolf) and comic books’ most famous journalist, Lois Lane (Elizabeth Tulloch, Grimm), come face to face with one of their greatest challenges ever – dealing with all the stress, pressures and complexities that come with being working parents in today’s society.

Complicating the already daunting job of raising two boys, Clark and Lois must also concern themselves with whether or not their sons Jonathan (Jordan Elsass, “Little Fires Everywhere”) and Jordan (Alexander Garfin, “The Peanuts Movie”) could inherit their father’s Kryptonian superpowers as they grow older. Returning to Smallville to handle some Kent family business, Clark and Lois are reacquainted with Lana Lang (Emmanuelle Chriqui, “Entourage”), a local loan officer who also happens to be Clark’s first love, and her Fire Chief husband Kyle Cushing (Erik Valdez, “Graceland”). The adults aren’t the only ones rediscovering old friendships in Smallville as the Kent sons are reacquainted with Lana and Kyle’s rebellious daughter, Sarah (Inde Navarrette, “Wander Darkly”).

Of course, there’s never a dull moment in the life of a superhero, especially with Lois’ father, General Samuel Lane (Dylan Walsh, “Nip/Tuck”) looking for Superman to vanquish a villain or save the day at a moment’s notice. Meanwhile, Superman and Lois’ return to idyllic Smallville is set to be upended when both a mysterious stranger (Wolé Parks, “All American”) and impassioned self-made mogul Morgan Edge (Adam Rayner, “Tyrant”) enter their lives.

The episode was directed by Lee Toland Krieger and Todd Helbing wrote the teleplay for the first episode, based on a story by Greg Berlanti and Todd Helbing.

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[Comic Book]


Black Lightning

Black Lightning goes to therapy in the synopsis for “The Book of Reconstruction: Chapter Three” airing February 22.

BREAKING POINT – Jefferson (Cress Williams) is feeling even more lost after a frustrating therapy session. Meanwhile, Anissa (Nafessa Williams) continues to care for a still comatose Grace (Chantal Thuy). Lastly, Lynn (Christine Adams) has a breakthrough. China Anne McClain, James Remar, Marvin Jones III and Jordan Calloway also star.

The episode was written by Brusta Brown & John Mitchell Todd and directed by Salim Akil (#403).

Original airdate 2/22/2021.

[Spoiler TV]


Batwoman

Batwoman must steal a work of art including a hidden map to Coryana in the synopsis for “Gore on Canvas” airing February 21.

THE SECRETS UNDERNEATH – Batwoman (Javicia Leslie) is approached by Commander Kane (Dougray Scott) and Agent Moore (Meagan Tandy) to boost an infamous work of art that reveals the way to Coryana – and Kate. Despite her reservations, Luke (Camrus Johnson) and Mary (Nicole Kang) convince Ryan to take the assignment, causing tensions within the Bat-team to escalate. Meanwhile, as Alice (Rachel Skarsten) attempts to fulfill Safiyah’s (guest star Shivaani Ghai) insidious request, she slowly discovers that she may not remember everything about her time on Coryana. Norma Bailey directed the episode written by Daniel Thomsen (#205). Original airdate 2/21/2021.

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[Spoiler TV]

Additionally, Spoiler TV has titles for episodes six, seven, and eight of Batwoman’s second season.

Episode 2.06 – Do Not Resuscitate

Episode 2.07 – It’s Best You Stop Digging

Episode 2.08 – Survived Much Worse


Riverdale

The Archie gang start their teaching careers at Riverdale High in the synopsis for “Back to School” airing February 24.

BULLDOG PRIDE — Archie (KJ Apa), Betty (Lili Reinhart), Veronica (Camila Mendes) and Jughead (Cole Sprouse) prepare for their first day as Riverdale High’s newest teachers. Veronica introduces her husband Chad (guest star Chris Mason) to the group after he shows up unexpectedly in Riverdale. After realizing they are out of funds, Archie and Toni (Vanessa Morgan) turn to Cheryl (Madelaine Petsch) for help restarting the football and cheer teams. Finally, Betty, Kevin (Casey Cott) and Alice (Mädchen Amick) follow a lead after learning that Polly (guest star Tiera Skovbye) may be in trouble. Mark Consuelos, Charles Melton and Drew Ray Tanner also star.

Gabriel Correa directed the episode written by Ariana Jackson (#506).

Original airdate 2/24/2021. [Spoiler TV]

Likewise, Spoiler TV also has titles for episodes seven and eight of season five.

Riverdale – Episode 5.07 – Fire in the Sky

Riverdale – Episode 5.08 – Lock and Key


Legacies

Titles for episodes six and seven of Legacies imply the students of Salvatore meet a leprechaun.

Legacies – Episode 3.06 – To Whom It May Concern

Legacies – Episode 3.07 – Yup, It’s a Leprechaun, All Right

[Spoiler TV]


Charmed

The Charmed Ones experience new threats now that magic has been restored in the synopsis for “You Can’t Touch This.

The Charmed Ones (Melonie Diaz, Madeleine Mantock and Sarah Jeffery) encounter a new, magical obstacle as they try to relaunch themselves in the human world. Also starring Rupert Evans, Jordan Donica and Poppy Drayton. Bola Ogun directed the episode written by Joey Falco and Geraldine Elizabeth Inoa (episode #304). Original airdate 2/21/2021.

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[Spoiler TV]


Mr. Mercedes

Mr. Mercedes returns for its third season on March 4.


Resident Alien

Finally, Harry’s worried the police will find the corpse of the man he’s been impersonating in the trailer for episode three, “Secrets.


Banner art by Jim Cook

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Updates From Halloween Kills, Thor: Love and Thunder, and More

Michael’s about to light the big screen up in a big way.

Michael’s about to light the big screen up in a big way.
Image: Universal

Morning SpoilersIf there’s news about upcoming movies and television you’re not supposed to know, you’ll find it in here.

Get a new look at Chris Rock’s strange new Saw spinoff. Colin Trevorrow teases Camp Cretaceous connections to the wider Jurassic Park story. Superman & Lois is flying in with a bumper premier. Plus, what’s to come on Riverdale and Nancy Drew. Spoilers!

Illustration for article titled Updates From iHalloween Kills/i, iThor: Love and Thunder/i, and More

Thor: Love and Thunder

Chris Hemsworth confirmed Thor: Love and Thunder begins filming this week in a new Instagram post.

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Halloween Kills

Empire Magazine has a new photo from Halloween Kills, which David Gordon Green describes in the article as a film “about community fear, paranoia, misinformation and crowd panic. This movie is a great popcorn genre movie and not really any kind of statement, but it’s strange how things line up. It couldn’t be a more interesting time to release a movie like this.”

Illustration for article titled Updates From iHalloween Kills/i, iThor: Love and Thunder/i, and More

Photo: Blumhouse

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Spiral: From the Book of Saw

Empire also has a new photo of Chris Rock investigating a crime scene in the Seven-influenced Spiral: From the Book of Saw.

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Illustration for article titled Updates From iHalloween Kills/i, iThor: Love and Thunder/i, and More

Photo: Lionsgate


Sky Sharks

Nazi zombies ride flying sharks in the latest trailer for Sky Sharks, starring Tony Todd as the President of the United States.


Superman & Lois

Superman & Lois will enjoy a 90-minute premiere episode Tuesday, February 23, followed by a behind-the-scenes special titled Legacy of Hope.

In SUPERMAN & LOIS, after years of facing megalomaniacal supervillains, monsters wreaking havoc on Metropolis, and alien invaders intent on wiping out the human race, the world’s most famous superhero, The Man of Steel aka Clark Kent (Tyler Hoechlin, “Teen Wolf”) and comic books’ most famous journalist, Lois Lane (Elizabeth Tulloch, “Grimm”), come face-to-face with one of their greatest challenges ever – dealing with all the stress, pressures and complexities that come with being working parents in today’s society. Complicating the already daunting job of raising two boys, Clark and Lois must also concern themselves with whether or not their sons Jonathan (Jordan Elsass, “Little Fires Everywhere”) and Jordan (Alexander Garfin, “The Peanuts Movie”) could inherit their father’s Kryptonian superpowers as they grow older. Returning to Smallville to handle some Kent family business, Clark and Lois are reacquainted with Lana Lang (Emmanuelle Chriqui, “Entourage”), a local loan officer who also happens to be Clark’s first love, and her Fire Chief husband Kyle Cushing (Erik Valdez, “Graceland”). The adults aren’t the only ones rediscovering old friendships in Smallville as the Kent sons are reacquainted with Lana and Kyle’s rebellious daughter, Sarah (Inde Navarrette, “Wander Darkly”). Of course, there’s never a dull moment in the life of a superhero, especially with Lois’ father, General Samuel Lane (Dylan Walsh, “Nip/Tuck”) looking for Superman to vanquish a villain or save the day at a moment’s notice. Meanwhile, Superman and Lois’ return to idyllic Smallville is set to be upended when a mysterious stranger (Wolé Parks, “All American”) enters their lives. Based on the characters from DC created by Jerry Siegel and Joe Shuster, SUPERMAN & LOIS is written and executive produced by Todd Helbing (“The Flash”) and executive produced by Greg Berlanti, Sarah Schechter, Geoff Johns. The series is from Berlanti Productions in association with Warner Bros. Television.

Immediately following the series premiere of SUPERMAN & LOIS, The CW takes fan behind the scenes with the brand new special SUPERMAN & LOIS: LEGACY OF HOPE, with sneak peeks and interviews from the cast of the new series, plus special guests discussing the legacy of the Man of Steel.

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[Spoiler TV]


The Flash

Consequently, the season premiere of The Flash has been pushed back one week and will now air on March 2.

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[TV Line]


The Boys

Following a two-week quarantine, Erin Moriarty revealed she’s is back in Toronto to film the third season of The Boys.

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Jurassic World: Camp Cretaceous

Speaking with Entertainment Weekly, Colin Trevorrow stated events in the second and third season of Camp Cretaceous will “inform some things” in Jurassic World: Dominion.

It’s important to me, out of respect for the writers who are continuing to expand and create, to recognize [Camp Cretaceous] as clearly its own story and its own show. But this season — and if we’re granted further opportunities to tell the story that we have [in season 3] — will keep weaving in to the larger story and really inform some things, even in Dominion that will connect to discoveries made that I’m really excited about.

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Batwoman

Rachel Skarsten discusses Alice’s “even more unhinged” season two trajectory in a new featurette.


Riverdale

Archie goes nutzoid in the trailer for “The Preppy Murders” — next week’s episode of Riverdale.


Nancy Drew

Finally, “something terrible is coming” for the cast of Nancy Drew in the trailer for next week’s episode, “The Reunion of Lost Souls.


Banner art by Jim Cook

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