Capsule Review: Lanterns and More

Now that I’ve finished the script for the next issue of Rob Hanes Adventures, I’m finally catching up on some shows and films.

Lanterns (HBO/Max)

Though I’m not up to date on most current comics and recent Green Lantern continuity, among comics fans, this series has been very divisive.

Though the series jumps around in time, it primarily focuses on the relationship between an incredibly cynical and embittered Hal Jordan, the first Green Lantern from earth, who is training the person who will eventually succeed (or, rather, replace) him, John Stewart, who has experienced his own trauma by essentially being groomed into being fearless from a young age by his parents (the term “tough love” doesn’t come close to describing the way he was raised).

A main complaint of the series is that both Lanterns are very unlikable and don’t feel particularly heroic—indeed, one must wonder why they were chosen for these jobs. There also are lapses in logic that sometimes don’t make sense or ring true. That said, the series has kept my interest because of its unpredictable twists, often leading to episode cliffhangers that have kept me looking forward to the next one.

It will be interesting to see whether the series will stick its landing and, hopefully, explain the reasons for Jordan’s bitterness.

The Gentleman (Netfix)

Though on paper, this series also has “unlikeable” characters since it’s set in the drug trade underworld, it nevertheless possesses a sense of humor, as well as the usual stylish bravado typical of producer/director Guy Ritchie, who created and is involved with this series. In fact, I’d describe the series as positively Shakespearean.

Actor Theo James plays Eddie Horniman, a British aristocrat who discovers on his father’s death that the family estate is part of a huge illicit international pot trade operation (he soon discovers other old estates in the country are involved). Initially anxious to get out from under the thumb of the crime family that runs the operation (his main contact is the sardonic Susie Glass, daughter of the man who heads the organization, played winningly by Kaya Scodelario), Eddie soon discovers that he has more of a gift for thriving in the criminal underworld than he cares to admit. In essence, this show, Downton Abbey meets The Godfather, follows Eddie's ascent (or descent?) into becoming a ruthless crime boss.

Like Lanterns, the show is incredibly bingeable from episode to episode. It too suffers from some lapses in logic that made me question whether Eddie’s presence and decisions were actually helpful to the Glass crime family (leading me to half-joking with my wife that they should have named the show, “A Series of Unfortunate Incidents,” but it nevertheless is fun and addictive, boosted by a terrific supporting cast that includes Joely Richardson, Vinnie Jones, Daniel Ings, and the ubiquitous Giancarlo Esposito.

Margo’s Got Money Troubles (Apple+)

This winning series comes from legendary tv creator David E. Kelley, starring Elle Fanning as Margo Millet who, after becoming a single mother as the result of an ill-advised affair with her college professor, turns to OnlyFans and the sex work industry to make ends meet.

I admittedly approached this show with a little bit of trepidation because of Kelley’s reputation as a creator of “chick shows” that have never really been in my wheelhouse. That said, even though the series has some of Kelley’s trademark glibness, the characters and performances are winning and makes the audience emotionally invested. It helps that it has an outstanding cast, including Fanning, Michelle Feiffer as her partying single mom (Feiffer is married to Kelley in real life), Greg Kinnear as Feiffer’s pastor fiance, Nicole Kidman in a recurring role as a former female wrestler/now lawyer, and Nick Offerman as Margo’s former wrestling father. The entire cast is terrific, but the show really took off for me when Offerman’s character, a recovering alcoholic and drug addict, comes into the picture.

Ted Lasso (Apple+)

Back for an unexpected fourth season, the popular show picks up a little where the original three series run ended, when Ted is hired to coach Richmond’s new women’s football team, dubbed the Lady Greyhounds. With him along with this journey are his ex-wife and son, and many of the show’s familiar faces have returned.

The main arcs appear to be Ted re-finding love (including for himself) and the woman coach who Ted takes over from, Alice (played by Tanya Reynolds, who I first saw in the Netflix series Sex Education), who must overcome her resentment and bitterness over a football career cut short. Of course, the show also features the ongoing relationship between Roy Kent (Brett Goldstein) and Keeley Jones (Juno Temple), and other original cast member characters like Coach Beard and team owner Rebecca, while also focusing on the lives and relationships of the women’s team.

At times the show feels forced as it tries to recapture the lightning of the original series, but in the end, the show still successfully ultimately embodies the same heart and heartfelt commitment to showing often wounded human beings trying to overcome disappointments and the obstacles in their lives, and becoming their best selves.

Reacher (Reacher)

Though I’ve enjoyed Reacher, it’s a very workmanlike series—it doesn’t really break new ground, simply featuring a Shane-like character who rambles into town, comes across trouble and injustice, often breaking and bending the rules to get the job done. In fact, I’ve often compared it to the Lethal Weapon franchise, where the good guys investigate a mystery, then attack the bad guys’ lair and shoot its up, often with the help of a team. 

But, at the end, the series is very watchable, helped by the presence of its star, Alan Ritchson, a beast of a human being (and I mean that as a compliment) who perfectly embodies the superhuman bigger than life titular character.

I greatly enjoyed this third series, which I felt opened up the series a little more, particularly compared to the second series, with international intrigue becoming part of the backdrop.

Coyote vs. Acme

Notoriously shelved by Warner Brothers as a tax write-off, Coyote vs. Acme was released after being saved from the dustbin by Ketchup Entertainment.

The movie features perhaps some of the best animation mixed with live action since Who Framed Roger Rabbit. SNL alum Will Forte plays an accident compensation lawyer who halfheartedly agrees to represent Wile E. Coyote in a lawsuit against the Acme Corporation (represented by a slimy lawyer played by John Cena). It’s a fun bit of nostalgia and silliness that features many familiar players from the Warner Brothers cartoon catalog, including Bugs Bunny, Daffy Duck, Tweety Bird, and many more—the deepest cut (and a personal favorite) being Peter Lorre who famously appeared as a caricature in a Warner short back in the day.

I enjoyed the film though, in truth, the hype over the film perhaps raised my expectations too much. But it certainly deserved to be released

Odyssey in Hollywood

Report on LBCC 2026

Thanks to everyone who stopped by my booth at Long Beach Comic Con! I was delighted to see long-running fans and friends (some of whom I’d just recently seen at San Diego Comic-Con!), as well as make some new ones. Someone even stopped by to pick up some recent issues, who said he’s read and loved my stuff since the 1990s—picking up my original OG Adventure Strip Digest series at his local comic book store—and called them “pure comics joy” lol.

Truth be told, attendance was a bit low—but that said, I did cover the costs of the show, and as I said in my post about the first day, I was happy to see that many attendees were interested in buying and discovering new comics. So had attendance and foot traffic been stronger, I’m confident I would have done even better! Hopefully, the new organizers of LBCC will use this experience to improve the show.

The one advantage of a smaller show is the opportunity to chat and catch up with people. In fact, because of the smaller crowds, I purchased a selfie with actor Diedrich Bader, the first time I’ve done something like that! I’ve always enjoyed his work, but when I saw there wasn't anyone at his table, I decided to go for it. He was very down to earth and easy to talk with, and I had the chance him how much I particularly liked his voice work on the Brave and the Bold animated series, which he appreciated. (I wished I had mentioned Office Space too!) After I told him I was exhibiting, I asked if I could shared some of my comics with him, to which he was very gracious. I came back a bit later and handed him a couple of issues that he appreciated.

My table was near the back which actually wasn't an issue the first day, but on the second day, people didn't seem to be making their way to our end (and this was a consensus with my neighbor exhibitors). Even the celebrity autograph area was pretty dead. That said, sales for me the second day were slow but steady enough to make me happy when I saw my final tally after I got home, but had their been more attendees and better foot traffic, I could have done even better since, as I said, people were buying. On both days, by mid-afternoon, the floor was really empty, as if people went home early.

Hopefully, the organizers will learn to adjust to keep people engaged and excited for the whole day—I thought they should have taken advantage of some of the celebrities there by creating some kind of mainstage Q&A panels in the middle of the floor like they do at LA Comic-Con. And making periodic announcements and reminders about being sure to visit artist's alley and other vendors, and to raise the fun, excitement and energy level of the show (they did use the PA system periodically, so it's there.) Based on how I did and my relatively low overhead, I'm willing to exhibit there next year.

Anyway, I’d be up for doing the show again next year and hope this experience will help the new organizers/management of LBCC grow the show. 

See the entire photo gallery.