Lois Lane (Elizabeth Tulloch) and Clark Kent (Tyler Hoechlin) return to Smallville in “Superman and Lois” on The CW. (photo courtesy of The CW)

Amidst Kal-El’s limbo at the movies, The CW’s “Superman and Lois” reminds diehard fans and hopefully some burgeoning stories with pure characters can be just as narratively complex as sarcastic superheroes and morally compromised antiheroes.

The last “Arrowverse” series – joining current series like “The Flash,” “Legends of Tomorrow” and “Batwoman” – owes its existence to a sea of CW’s DC content, but the latest caped story feels tonally and visually more cinematic after two episodes.

“Superman and Lois” outsources much of its backstory across previous shows. This Superman/Clark Kent/Kal-El (Tyler Hoechlin) actually premiered in “Supergirl’s” season two in 2016. He returned for two crossover events, finally bringing Lois Lane (Elizabeth Tulloch) into the fold as well, culminating in a teased Justice League. Both major events glimpsed into Clark and Lois’ life together, introducing their newest obstacle, parenting twins, which now serves as the primary conflict here.

Set more than a decade ahead of the “Arrowverse’s” current slate of programming, the boys still don’t know dad’s big secret, and their lives in Metropolis are about to be uprooted. Clark’s hometown Smallville needs him, and the family probably needs a little more privacy once all those secrets, and perhaps some superpowers, arrive.

Now, the notion of Superman’s offspring spans various comics storylines, ranging from clones to children from alternate Earths. Brother Jonathan (Jordan Elsass) winks at the 2015 intro of Jon Lane Kent in DC Comics. But this Jonathan is quite different: a varsity quarterback his first year of high school and an all-around popular kid. The other sibling, Jordan (Alex Garfin), is a new arrival and quite the opposite in personality.

“Things with Jordan were more challenging: tantrums, night terrors,” a somber Clark narrates in the pilot’s opening. So how does the last son of Krypton raise his own sons, one on meds for social anxiety disorder? He might be the planet’s savior, but things at home remain in process.

The hour-and-half premiere provides some answers or sets the path to them, which continues in episode two. But unlike other Superman media on the big and small screens, this is a more vulnerable telling. Gone are the hokey one-liners and unadulterated commitment to the American dream. Clark and Lois care about the country and world, Superman working directly with Gen. Sam Lane (Dylan Walsh), but some things are less clear than they once were for the world’s mightiest Boy Scout.

Perhaps skeptical viewers wonder why Superman deserves yet another examination. After all, he headlined four others shows, dating back to the 1950s “Adventures of Superman,” starring George Reeves. The CW already gave the Man of Tomorrow an extended origin story with “Smallville” that lasted 10 seasons (the second of its kind, depending on what you call “Superboy”).

Clark Kent (Tyler Hoechlin) and Lois Lane (Elizabeth Tulloch) finally reveal to twins Jonathan (Jordan Elsass) and Jordan (Alex Garfin) who Superman really is. (photo courtesy of The CW)

At the very least, “Superman and Lois” traverses new territory, both child rearing and a nemesis who easily defeats the allegedly impenetrable man in the first round. Plus, the small screen hasn’t featured a Superman in full red and blue since Dean Cain in the ‘90s, which is reason enough to give the public a new face.

Yes, he’s clearly graced theaters quite a few times, though none in almost 40 years can be called a complete success. This Superman builds on 2013’s “Man of Steel,” omitting most cheesy elements (plenty of series keep that going, so fret not if you miss those vibes) and transforming him into a darkly poetic character overwhelmed by personal trauma (he has lost more than two parents).

Another “Man of Steel” steal: Lens flares abound on the Kent farm during this and other sunrise or sundown scenes. Sure, J.J. Abrams overdid them a decade ago, but they remain a wonderful homage to film history and serve a particular purpose here: Superman’s power derived from the sun, and director of photography Gavin Struthers (“The Witcher”) establishes a beautiful color palette that will hopefully continue throughout the series’ entire run.

To be honest, praising a CW show’s aesthetic choices is peculiar. The network generates ample sleeper hits, including several across the Arrowverse, but “Superman and Lois” looks different. And unlike the last cinematic iteration, this guy and everyone else feel quite human (kind of fun instead).

The characters already feel more layered. That’s something the recent films forget to do, spending so much time on grandiose set pieces, forgetting to present stories and emotional motivations that resonate. “Superman and Lois” works because of both Clark and Lois – Hoechlin and Tulloch effortlessly fit the roles – their struggles as parents and moving partnership paving the way for a show that can last several seasons.