{"id":5703,"date":"2026-08-20T23:06:17","date_gmt":"2026-08-20T23:06:17","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=5703"},"modified":"2026-08-20T23:06:17","modified_gmt":"2026-08-20T23:06:17","slug":"lanterns-ep-damon-lindelof-weighs-in-on-2026s-adaptation-wars-shouldnt-we-be-beyond-this-by-now","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=5703","title":{"rendered":"\u2018Lanterns\u2019 EP Damon Lindelof Weighs In on 2026\u2019s Adaptation Wars: \u201cShouldn\u2019t We Be Beyond This by Now?\u201d"},"content":{"rendered":"
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\n\tIf you\u2019re terminally online, you\u2019ve probably found yourself swept up in this year\u2019s exhausting discourse over creative license and beloved IP.<\/p>\n

Read more Hayden Panettiere\u2019s Boyfriend Breaks Silence on Her Death<\/a><\/p>\n

\n\tWhen the now well-received Lanterns<\/em> premiered its official trailer earlier this year, a vocal subset of fans objected to the premise of taking the ring-powered space cops of the Green Lantern Corps and grounding these colorful, cosmic superheroes in small-town Nebraska for a desaturated, Taylor Sheridan-esque riff on True Detective<\/em>. Earth\u2019s first Green Lantern, Hal Jordan, played by Kyle Chandler, also drew criticism for being portrayed as an older, messier iteration of the most famous intergalactic peacekeeper rather than the more idealized version in his prime.<\/p>\n

\n\tConcurrently, Christopher Nolan\u2019s modernized adaptation of Homer\u2019s ancient Greek poem, The Odyssey<\/em>,endured endless kvetching prior to becoming the highest-grossing film of his storied career. Some found fault with the use of American accents instead of British ones, something Hollywood has long conditioned audiences to hear in sword-and-sandal epics. Others argued that the characters should be speaking with Greek accents or even in an ancient Greek dialect to honor the source material\u2019s roots in Greek mythology. Additional gripes, among many others, targeted the use of the word \u201cdad,\u201d the Greek soldiers\u2019 anachronistic armor and two casting choices that together accounted for less than ten minutes of screen time.<\/p>\n

\nResident Evil <\/em>writer-director Zach Cregger \u2014\u00a0who delivered two of the most unique genre films this decade, Barbarian <\/em>and the Oscar-winning Weapons<\/em> \u2014\u00a0has also taken a great deal of flak for having the audacity to tell a new story that\u2019s set inside the world of the popular video game franchise. Hardcore Resident Evil <\/em>devotees contend that he should have just made an original movie if he didn\u2019t want to meaningfully engage with the existing characters and stories. Cregger maintains that his goal was to capture the experience of playing the games he himself loves.<\/p>\n

\n\tIf anyone understands fan backlash and demands for adaptational fidelity, it\u2019s Lanterns<\/em>\u2018 Emmy-winning co-creator Damon Lindelof. He\u2019s worked across a wide range of existing IP, including Watchmen<\/em>, Star Trek<\/em>, Star Wars<\/em>, Alien<\/em>, World War Z<\/em> and The Leftovers<\/em>. He also co-created Lost<\/em>, a series that is bound to be revisited or reinterpreted by someone else down the road. Having lived on both sides of the equation, he has heard every possible reaction to his work, from effusive praise to deep-seated contempt.<\/p>\n

\n\t\u201cWe all just have to acknowledge that there\u2019s a level of hubris involved in taking on any of this preexisting IP. But it is called adaptation. Source material is supposed<\/em> to change and evolve [by definition],\u201d Lindelof tells The Hollywood Reporter<\/em>. \u201cAs a consumer and as someone who\u2019s making this stuff, there\u2019s almost a responsibility to take risks. I don\u2019t think anybody wants to see you be completely and totally vigilant to the source material because then it isn\u2019t an adaptation at all. Shouldn\u2019t we be beyond this conversation by now?\u201d<\/p>\n

\n\tWhile some of these perpetual controversies are generated with financial and\/or political incentive in mind, Lindelof notes that such grievances are partially tied to Hollywood\u2019s habit of returning to the same wells. And though consumers claim to want more brand-new experiences like Obsession<\/em>, the numbers continue to show that branded entertainment still rules the day.<\/p>\n

\n\t\u201cThere is a fundamental grumbling and annoyance that we\u2019re still telling the same stories over and over and over again. But at the same time, we\u2019re hungry for something new,\u201d Lindelof says. \u201cAnd because we don\u2019t want to resolve or acknowledge that paradox in ourselves, we throw it onto the culture. It manifests itself in conversations about whether or not Odysseus is having enough sex.\u201d<\/p>\n

\n\tThus, until the audience behavior truly shifts away from franchise stories, barring a few outliers each year, creators like Lindelof will keep utilizing creative license to reimagine the familiar in the most compelling ways possible.<\/p>\n

\n\t\u201cNobody who does what we do goes to bed at night, saying, \u2018All that I care about is whether or not I pissed off the fans.\u2019 They go to bed at night, going, \u2018Did I do anything worthwhile creatively? Did I put anything authentically emotional into this story that people can relate to?\u2019\u201d Lindelof says. \u201cAnd the fact that we have to do it inside familiar IP most of the time is the cost of doing business.\u201d<\/p>\n

\n\tBelow, during a conversation with THR<\/em>, Lindelof and fellow Lanterns<\/em> co-creator Tom King also discuss the inspiration behind the traumatic backstory of aspiring Green Lantern, John Stewart (Aaron Pierre), as well as the challenge King currently faces in adapting his 2017 Mister Miracle<\/em> comic book run for animation.\u00a0<\/p>\n

\n***<\/strong><\/p>\n

\nIt\u2019s nothing new, but the discourse this year surrounding adaptations and source material has been as insufferable as it\u2019s ever been. Whether it\u2019s <\/strong>Lanterns <\/em><\/strong>or <\/strong>The Odyssey<\/em><\/strong> or <\/strong>Resident Evil<\/em><\/strong>, there\u2019s been so much bellyaching over creative license. Some of it is manufactured and disingenuous, but why do you think there\u2019s so much resistance to change when it\u2019s been proven that people rarely want more of the same?<\/strong><\/p>\n

\nDAMON LINDELOF <\/strong>I love the frame on the question. I love how insufferable [the discourse] is, and at the same time, it feels like it\u2019s such a vital conversation. In the case of The<\/em> Odyssey<\/em>, which is millennia-old, or Green<\/em> Lantern <\/em>[comic series], which is on the right side of the century mark, our engagement in these works generates a high level of passion. But the other level of it is this weird conceptual framework of ownership, and that\u2019s where it becomes insufferable. There\u2019s a direct corollary to the amount of time that you spend ingesting something or thinking about something or talking about it with your friends or communities. You begin to feel like a proprietary interest in protecting it.\u00a0<\/p>\n

\n\tSo I think we all just have to acknowledge that there\u2019s a level of hubris involved in taking on any of this preexisting IP. But to your point, it is called adaptation. I don\u2019t have my dictionary handy, and while I\u2019m sure there are multiple definitions of adaptation, the one that resonates the most for me is that source material is supposed<\/em> to change and evolve. [Writer\u2019s Note: To his point, here\u2019s another definition: Something that is changed or modified to suit new conditions or needs.<\/em>]<\/p>\n

Read more \u2018Lanterns\u2019 Premiere Lights Up Strong Ratings on HBO, HBO Max<\/a><\/p>\n

\n\tThe fandom will also watch the new Harry<\/em> Potter<\/em> trailer and be like, \u201cThis just looks exactly like Harry<\/em> Potter<\/em>.\u201d And then the other side of the fandom is like, \u201cThank God, this is exactly what I want. This is what I love about Harry Potter<\/em>.\u201d When you try to split that difference and say, \u201cHow can we do something original inside something that is iterative [and\/or] older than God?\u201d \u2014\u00a0that is always the $64,000 question. I should probably add inflation.\u00a0<\/p>\n

\n\tThe answer, particularly in the case for Tom and I, is that we identify primarily as fans. We were fans of this content long before we got the opportunity to make it. You don\u2019t start from a place of, What would I do<\/em>? You start from a place of, What would excite me? What would I hate?<\/em> Then you always come to an answer that\u2019s going to have some risk involved. As a consumer and as someone who\u2019s making this stuff, there\u2019s almost a responsibility to take risks. It\u2019s not just for the sake of taking them; you\u2019ve got to earn them. I don\u2019t think anybody wants to see you be completely and totally vigilant to the source material because then it isn\u2019t an adaptation at all.<\/p>\n

\nTom, what\u2019s your take on this tug of war?<\/strong><\/p>\n

\nTOM KING <\/strong>To me, at the end of the day, it\u2019s quality. And that\u2019s such a stupid answer. Clueless<\/em>, which is an adaptation of Jane Austen\u2019s Emma<\/em>, is completely different. It almost has nothing to do with it, but it\u2019s such a good movie on its own. When you look into it and you see the Jane Austen of it all, you\u2019re like, Oh my God, that\u2019s an amazing adaptation<\/em>. So adaptations have to do two things at once: they have to stand on their own and they have to talk to the old material. If they can\u2019t stand on their own, then what you\u2019re going to see is how you misinterpreted the old material. So quality, quality, quality is always just the apex of everything.<\/p>\n

\nWhen artists or bands cover well-known songs, the whole point is to hear their twist on the material. Nobody expected Johnny Cash\u2019s \u201cHurt\u201d to be a carbon copy of Nine Inch Nails\u2019 original, so it\u2019s puzzling to me why movie and TV adaptations are held to a different standard.<\/strong><\/p>\n

\nLINDELOF <\/strong>I hard agree. I also don\u2019t even know if they\u2019re being held to any standard at all. There is a fundamental grumbling and annoyance that we\u2019re still telling the same stories over and over and over again. But at the same time, we\u2019re hungry for something new. And because we don\u2019t want to resolve or acknowledge that paradox in ourselves, we throw it onto the culture. It manifests itself in conversations about whether or not Odysseus is having enough sex.<\/p>\n

\nKING <\/strong>So you do open my emails. Good.\u00a0\u00a0<\/p>\n

\nLINDELOF & KING <\/strong>(Laugh<\/em>.)\u00a0<\/p>\n

\nLINDELOF <\/strong>But I do find the conversation much more exhilarating on the outside than from the inside. Also, look at the movies and television shows that are generating the most interest and the most eyeballs. It\u2019s disproportionately a retelling versus a telling. So when something fresh and original like Backrooms<\/em> or Obsession<\/em> comes along, it\u2019s the exception to the rule versus the rule. All of us are completely and totally overwhelmed by the familiar.\u00a0<\/p>\n

\n\tNobody who does what we do goes to bed at night, saying, \u201cAll that I care about is whether or not I pissed off the fans.\u201d They go to bed at night, going, \u201cDid I do anything worthwhile creatively? Did I put anything authentically emotional into this story that people can relate to?\u201d And the fact that we have to do it inside familiar IP most of the time is the cost of doing business. But I don\u2019t disagree with you. Shouldn\u2019t we be beyond this conversation by now?<\/p>\n

\nKING<\/strong> I\u2019m working on Mister<\/em> Miracle<\/em> now, this animated series within the DC Universe. It\u2019s me adapting myself, but it\u2019s myself from ten years ago.\u00a0<\/p>\n

\nLINDELOF<\/strong> The fans will get to say, \u201cYou<\/em> ruined it!\u201d<\/p>\n

\nKING <\/strong>(Laughs<\/em>.) As a comic book writer, I\u2019ve been to ten years of conventions where people tell me about the parts they loved and hated in the book. So I\u2019ve been arguing with myself from ten years back, being like, Oh my God, you wrote that well<\/em>, or, You wrote that terribly<\/em>. I\u2019m hearing those fans from conventions in my head, and I\u2019m hearing my own instincts as a creator who\u2019s learned a ton since then, including by watching Damon create. So all of this is entirely on my mind, and I\u2019m trying to produce something that both honors and elevates the original on a new medium.<\/p>\n

\nJohn Stewart\u2019s (Aaron Pierre) traumatic backstory seems like it has both of your fingerprints all over it.\u00a0<\/strong><\/p>\n

\nLINDELOF & KING <\/strong>(Laugh<\/em>.)\u00a0<\/p>\n

\nActually, I could say the same thing about Hal. He has a little bit of Dogen (Hiroyuki Sanada\u2019s <\/strong>Lost<\/em><\/strong> character) in his background. In the case of John, though, had one of you been dabbling in Swiss folklore at the time?<\/strong><\/p>\n

\nLINDELOF <\/strong>In truth, a lot of that came from Vanessa [Baden Kelly], who wrote the [third] episode. Justin Britt-Gibson, as well. He was in our writers\u2019 room, and we previously worked on a Star<\/em> Wars<\/em> movie that we never got to make. I don\u2019t know how familiar you are with comic-book John\u2019s myriad backstories and introductions, but it was this idea of trying to honor the inconsistency of his comic book legacy with some new ideas of our own. Obviously, I was really proud to be in this room. This is not a show that I ran; Chris Mundy ran it impeccably. So it felt like I was batting around .175 in terms of the ideas that I was throwing out. But the more exciting part of the job was hearing other ideas from the other writers and going, \u201cYes, that<\/em>.\u201d So when it came to John\u2019s origin story, Tom pitched the dad and the apples, and that was very early in the pilot we wrote with Chris. But working backwards from that and saying, \u201cAlright, how did we get here<\/em>?\u201d \u2014\u00a0a lot of that heavy lifting came from Vanessa.<\/p>\n

\nKING <\/strong>Yeah, I remember us going, \u201cThis is a father story.\u201d And she was like, \u201cNo, this is a mother story.\u201d<\/p>\n

Read more Streaming Ratings: \u2018Masters of the Universe\u2019 Powers to No. 1 Debut<\/a><\/p>\n

\nLINDELOF<\/strong> She was like, \u201cEnough of the bad dads.\u201d<\/p>\n

\n\t***
Lanterns is now airing new episodes on HBO\/HBO Max every Sunday until Oct 4.<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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