Lois Lane Storyline in ‘Superman & Lois’ Season 4 Experiences Intense Trauma Overload

Lois Lane Storyline in ‘Superman & Lois’ Season 4 Experiences Intense Trauma Overload

For enthusiasts of Superman & Lois, witnessing Lois Lane (Bitsie Tulloch) endure relentless challenges has become a familiar theme. Nevertheless, the traumatic narrative surrounding Lois in season 4 feels disproportionately intense and unsettling compared to previous seasons.

This article contains spoilers for season 4 of Superman & Lois!

The series illustrates the lives of Clark Kent (Tyler Hoechlin) and Lois as they settle into Clark’s hometown of Smallville with their teenage twin boys, Jordan (Alexander Garfin) and Jonathan (Jordan Elsass and Michael Bishop). While they navigate the complexities of marital life and parenting, Lois and Clark grapple with Clark’s secret identity as Superman and Jordan’s awakening Kryptonian abilities. Despite the acclaim for its stellar performances and innovative interpretation of the beloved DC character, Lois’ character arc has been increasingly uncomfortable. Each season seems to exacerbate the trauma she faces.

In the inaugural season, Lois confronts the shocking realization of her son’s superpowers while attempting to establish a new beginning in Smallville, all while her brother-in-law poses a lethal threat to her family. By the second season, her sister, Lucy (Jenna Dewan), emerges as a menace, jeopardizing Lois’ journalism career, attempting murder, and sending a perilous cult after them. The storyline takes an even darker turn in season 3 when Lois is sidelined due to a breast cancer diagnosis, turning her into a victim of fridging. Initially, season 3 appeared to set Lois up for a pivotal role in season 4, but those expectations have been thoroughly dashed.

Increasingly Extreme Trauma for Lois Lane in Superman & Lois

Bitsie Tulloch as Lois Lane and Tyler Hoechlin as Clark Kent in Superman & Lois

This season, Lex Luthor (Michael Cudlitz) takes center stage as the primary antagonist. After being released from prison—where he served seventeen years for a crime he didn’t commit—Luthor plots his revenge against Lois, who unwittingly assisted in framing him by publishing a manipulated confession tape. Although Lois was unaware of the tape’s alterations, Luthor’s fixation on vengeance leads him to wreak havoc on her life throughout season 4.

Luthor’s schemes quickly escalate. In the first episode, Doomsday, transformed into Bizzaro, kills Superman, leaving Lois to grapple with the dual loss of her husband and the father of her children. Although many fans anticipated this plotline based on the classic comic book tale, the story only declines further from this point. Just after learning about Superman’s demise, Lois rushes to save her father, General Sam Lane (Dylan Walsh), only to discover he has been buried alive and narrowly manages to rescue him.

As episode two unfolds, Luthor devises a sinister new plot. He contacts Lois, asserting that he has taken both of her sons hostage and that she must choose which one to save. In a desperate decision, she opts to rescue Jonathan, unaware that Luthor is not truly holding either boy. He exploits her choice to instigate conflict between her children. By the end of episode three, Lois is left devastated as she witnesses Doomsday brutally murder her father.

Having only reached the third episode, Lois is already burdened with the traumatic loss of both her husband and father, as well as enduring harassment, stalking, and psychological torment from Luthor. Disturbingly, this may just be the beginning of her suffering. The conclusion of episode three hints at a glimmer of hope for Superman, suggesting that Sam’s heart may offer salvation. However, given the present narrative trajectory, it is easy to predict that the series will tease hope for Lois only to cruelly snatch it away as Luthor continues his reign of terror.

The Unending Misery of Lois Lane

The key issue with Lois’ traumatic experiences in season 4 of Superman & Lois is that they appear predominantly aimed at entertainment rather than meaningful storytelling. The compressed season length contributes to a rushed storyline that lacks the depth needed to explore complex themes such as trauma, loss, and grief. While Superman’s death may be an understandable element, the relentless build-up of trauma without significant character or plot development feels excessive.

In previous seasons, Clark faced his own challenges, including dealing with his wife’s cancer diagnosis and external threats to his family. Yet, those struggles were utilized to build a heroic narrative surrounding him, highlighting his resilience, courage, and goodness. Even his premature death was portrayed positively through flashbacks and his Kryptonian hologram, reinforcing his legacy. Conversely, Lois does not receive this kind of treatment. Her trauma often lacks impact in terms of character development—which is evident in how her cancer storyline seems to have evaporated in season 4—or is depicted in ways that diminish her character.

Lois could have avoided much of her suffering had she chosen to step back from her journalism career, yet she opted to continue. While relinquishing her profession would be tragic, it is challenging for audiences to sympathize with her choice. Had her struggle been framed around the balance between saving the world and avenging her losses, it would have provided some rationale for risking her family’s safety. Instead, her decision to prioritize journalism over her family led to the devastating loss of both Superman and her father, leaving many questioning whether her choice was worthwhile given there are countless other ways she could have contributed to the world outside of her role as a journalist.

Ultimately, Lois’ storyline raises pressing concerns about narrative integrity. Her punishment seems disproportionately severe for a genuine misstep, while her sacrifices appear trivial or self-serving. At this point, it feels as though Superman & Lois revels in Lois’ trauma rather than using it to enrich the narrative.

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