THE STORY – Two intergalactic cops, new recruit John Stewart and Lantern legend Hal Jordan, are drawn into a dark, earth-based mystery as they investigate a murder in the American heartland.
THE CAST – Kyle Chandler, Aaron Pierre, Kelly Macdonald, Garret Dillahunt, Poorna Jagannathan & Nathan Fillion
THE TEAM – Chris Mundy, Damon Lindelof & Tom King (Showrunners/Writers)
It’s hard to imagine that the excitement around the James Gunn era of DC films has already started fading just a year after audiences felt the hope-fueled highs at the end of “Superman” that left them singing Teddybears’ “Punkrocker.“ This summer’s “Supergirl“ was a blunt reminder that the tides are shifting in how we consume these cape-and-cowl stories that have oversaturated the cinematic landscape for over a decade. The recent sparse success of these projects underscores how selective creatives are when entering these well-oiled machines and trying to change them for the better. That’s where Damon Lindelof comes in. The Emmy Award-winning creator behind some of the most celebrated television series this century is once again pulled into the world of superheroes. His vision makes the new HBO drama “Lanterns“ not only a much-needed win for DC Studios but also a necessary pivot to showcase the full breadth of their storytelling, proving it can be as varied as the comics it draws inspiration from.
“Lanterns,“ marking Gunn and Safran’s DC Studios’ first foray into television (Excluding the preexisting wildcard “Peacemaker”), is a vast departure from the mostly family-friendly films the studio has released over the past year. Lindelof, alongside showrunners Chris Mundy and Tom King, ditches expected character history for a stripped-down police procedural primed for premium cable. It’s essentially “True Detective: Extraterrestrial,” as Aaron Pierre’s John Stewart, a Lantern Corps recruit, is under the wing of Kyle Chandler’s Hal Jordan, Earth’s first protector and, until now, the only human in the Lantern Corps. Over the course of John’s training, the series follows John and Hal as they are drawn to a small town in rural Nebraska, where a series of murders is tied to a far more sinister evil Hal has never faced. The two space cops enter a world of Manhunters, Midwest militias, and conflicting upbringings as they try to stop the biggest threat the planet has faced.
Setting the story primarily in a pre- “Superman“ timeline works well, giving the series an almost “Andor“-esque approach by avoiding ham-fisted connectors to the larger universe. Instead, it offers a richer narrative that probes what makes someone worthy. For Hal, becoming the Green Lantern was something that stumbled into his lap, and he took it with pride. It’s a mantle he wears with some shame and keeps because of his selfishness. Chandler’s shaggy hair and gruff demeanor fit the archetype of a veteran who’s been on the job too long and isn’t willing to yield to the new blood. For John, it’s a job he’s dreamed of his whole life. He’s a man without fear, a Marine who operates on a low register where most of Hal’s attempts to infuriate him bounce off.
It’s a training course from hell, but the contentious relationship between the pair drives the series to become something far more rewarding than an Easter-egg-heavy marathon of typical comic book television. With someone as talented as King, there’s enough for fans, especially as his years writing for DC Comics mesh well with Lindelof’s restraint as a writer. The payoff is worth it. The creative identity behind “Lanterns“ feels like the perfect amalgamation of all past successes each showrunner has had, fitting together seamlessly.
The world created for “Lanterns“ feels distinct, especially the characters beyond Hal and John. Garret Dillahunt fits perfectly as William Macon, a conspiracy theorist who controls the town of Rushville. William poses a threat but is just one of many personalities, alongside Kelly McDonald’s Sheriff Kerry, who struggles to keep a lid on things as the two Lanterns arrive and cause calamity. Lindelof uses this setting and characters to continue thematic threads from “Watchmen,“ heightening the work. “Lanterns“ smartly uses the Midwestern American setting as a red herring. The social sentiments in this community, along with men on horseback brandishing weapons over someone like John, form a clear metaphor that sets the tone from the first episode.
John’s position in life and the galaxy is one of the most fascinating aspects of “Lanterns.“ Many watching already know him as the titular Green Lantern, a hero adored for decades in other media. Yet here, John is a rookie, constantly working twice as hard just to be considered. As a Black man in America, he’s often playing backup and has to prove others wrong. One of the season’s highlights is in the third episode, which spotlights how much the mantle means to John and the lengths he’ll go to honor its legacy. Pierre is fantastic, bringing dry wit and stoicism that plays well off Chandler’s charmingly reckless persona.
“Lanterns“ hits familiar beats common to many detective series while planting seeds for what’s next in the DC universe. The series mostly achieves a fine balance. Some may find “Lanterns“ averse to the comic-heavy depiction of the ring’s powers, reducing it to something more unimaginative. But the grounded realism leads to more emotionally charged set pieces, even if it lacks the green-glowing spectacle many expect (Wait until James Gunn’s “Man of Tomorrow”). “Lanterns“ knows exactly what it is, and it’s all the better for it, unlike most other superhero shows airing these days.
THE GOOD – A riveting spin on a classic hero. Sharp writing, insightful commentary, and wonderful chemistry between Aaron Pierre and Kyle Chandler.
THE BADÂ – The pacing can lull occasionally as it hits the more familiar beats expected of procedurals it draws inspiration from.
THE EMMY PROSPECTS – Outstanding Supporting Actor in a Drama Series, Outstanding Guest Actress in a Drama Series & Outstanding Writing for a Drama Series
THE FINAL SCORE – 8/10
