In 2016, the TV show “Lucifer” graced screens with an opening scene of lead actor Tom Ellis driving a black 1962 Corvette convertible while “Ain't No Rest for the Wicked” by Cage The Elephant blasted in the background. After four years and a switch from Fox to Netflix, the show premiered the first half of its fifth season on Aug. 21.
The latest season begins a few months after the ending of season four with Lucifer (Ellis) running Hell and Chloe (Lauren German) working harder than ever as an LAPD detective to mask the pain of losing her partner. However, trouble brews when Lucifer’s twin brother Michael, also played by Ellis, comes to town and pretends to be the beloved devil, turning everyone’s life upside down.
This season was possibly the best of the series in terms of acting, writing and cinematography. Ellis shines as he works double-time. His interpretation of Michael is uncanny. For example, Michael is American, while Lucifer is British; and, Michael has a staggered posture, while Lucifer’s posture is straight. Viewers will have no trouble differentiating the two, and Ellis’s work should not go unappreciated.
Another highlight of this season is that the writers don’t only dive into the story about Lucifer and Chloe, as the audience also gets to see more of the side characters. Amenadiel (D.B. Woodside) and Linda (Rachael Harris) struggle with having a half-human, half-angel newborn baby. Maze (Lesley-Ann Brandt) struggles while trying to be more human than demon. The audience gets to know more about the characters’ motivations and why they act the way they do. It’s a nice change of pace, as previously these side characters only served to assist the main characters.
While the season had a lot of great moments, there are a few things that could have been better. For example, the story is taken back to 1946 in episode four and is told in a black and white film noir style. While this concept is interesting, the episode lacks a compelling plot. In truth, the audience only has to watch the last five minutes in order to see how it connects to the rest of the season.
Michael is another problem. While the character itself was performed exceptionally, his motivations seemed petty. The writing made him out as just a little brother pulling pranks on his two older brothers and not a villain to be truly afraid of.
Overall, this season exceeded expectations. It provided a compelling story and a lot of answers to questions that have been asked over the years. One of the major questions that are answered is the long-developed sexual tension between Lucifer and Chloe, exploring whether they will finally get together as a couple. The season showed each character in a new light — good and bad — as they all change.
The final episode ends with an epic fight scene, shot expertly with excellent camera angles and time-freezing CGI. It also offers a glance of a character that writers have been teasing for years, providing a tantalizing look at what’s to come in the second half of the season.