Through two episodes, the new HBO Max series Lanterns has already become a whodunit, with more twists and turns than a script written by a committee of exhausted writers trying to meet a deadline. The show’s superficial trappings of magical power rings and shapeshifting aliens are just that – superficial – as it delves into a mystery that has multiple layers, because what’s a superhero show without a few pseudo-intellectual layers to make it seem more complex than it actually is?
The “mystery” begins with Green Lanterns Hal Jordan (Kyle Chandler) and John Stewart (Aaron Pierre) investigating a mass shooting in the small town of Rushville, Nebraska. Because, you know, that’s not a tired trope at all. Anyway, the suspect turns out to be an extraterrestrial in disguise, because of course it is, and Hal confronts and exposes him, leading to the alien blowing himself up to prevent the Green Lanterns from learning more. Case closed? Not quite, because the locals are acting suspiciously, hinting that they’re hiding something, and Hal discovers that the metal detectors at the Rushville football field are actually advanced technology capable of recognizing disguised aliens. Meanwhile, John Stewart is kidnapped by a group of aliens who introduce another mystery: a “Manhunter” in disguise lurking somewhere in Rushville.
For those who don’t speak DC Comics, a Manhunter is apparently a big deal, but for everyone else, it’s just another plot twist in a show that’s already trying too hard to be complex. So, who is this Manhunter? And, more importantly, who cares? Let’s take a look at the potential suspects, because that’s what we do in the age of peak TV – we overanalyze every little thing.
The Suspects: AKA The Entire Cast of Lanterns
The show has already introduced a plethora of characters, any of whom could be the Manhunter. There’s the local sheriff, the mayor, the football coach – all of whom seem suspiciously normal, which, of course, means they’re probably not what they seem. And then there’s the fact that the show is produced by DC, which means they’ll milk this mystery for all it’s worth, probably stretching it out for several episodes, or even seasons, because that’s what they do.
The fact that the show is already relying on DC Comics lore is no surprise, given that it’s a DC property. What is surprising is that they’re not trying to reboot or rehash the same old storylines (yet). Instead, they’re opting for a more nuanced approach, weaving together various threads from the DC universe. But let’s be real, this is still a superhero show, and we all know how those tend to go – big explosions, cheesy one-liners, and a healthy dose of nostalgia to placate the fanboys.
The Bigger Picture: AKA The DC Universe’s Never-Ending Cycle of Reboots
Lanterns is just the latest in a long line of DC shows and movies that promise to “change the game” or “revolutionize the genre.” But let’s be real, we’ve heard it all before. The Content Mines remain fully operational, churning out the same old ideas with slightly different packaging. Somewhere a Focus Group earned another bonus for suggesting that the show should have more “edgy” and “dark” themes, because that’s what the kids are into these days. And so, the cycle continues – another beloved franchise gets resurrected, only to be fed into the Merchandising Department’s endless void of plastic toys and overpriced apparel.
As the show continues to unfold, we can expect more twists and turns, more pseudo-intellectual nonsense, and more marketing speak about how it’s “pushing the boundaries” of what we thought was possible in a superhero show. But at the end of the day, it’s just another show trying to make a buck off of our nostalgia and love for all things DC. And so, we’ll keep watching, because that’s what we do – we’re addicted to this never-ending cycle of reboots and sequels, and Hollywood knows it. Somewhere an executive whispered, “Can this become a trilogy?” and the writer’s room nodded in unison, already planning the next installment in this never-ending saga. Joy.
Finn McFrame, celebrated satirical mastermind and self-proclaimed “Emperor of Irony,” started his illustrious career as a cinematographer, where his expertise in capturing every single frame of a squirrel stealing a baguette earned him accolades at obscure film festivals.
Born in the glamorous town of Boring, Oregon, Finn grew up with dreams of being a Hollywood director until he realized that satire, not cinema, was his true calling—or at least the one that let him sleep until noon.
Finn McFrame: changing the world, one satirical lens flare at a time.
