The Boys is the remedy for superhero fatigue. There is no such thing as bloodless, consequence free violence in this universe. Every capes and tights genre convention we’ve grown accustomed to is flipped, drawn, quartered and blown up in gloriously entertaining fashion. Someone should make a “people or heads exploding” supercut video – it would be a long one. The show overcomes the bleak world it inhabits by leading with heart and being consistently funny. Just as in season one, Homelander steals every scene. It was challenging in the first season to reconcile how a man with the strength to shatter planets, fly and shoot laser beams from his eyes could be so immature and vapid, suffering from the same failings and shortcomings as us normies. Years and years of more traditional superhero fare has programmed us to believe that with great power comes great responsibility. The nuanced and flawed characterization of Homelander and the rest of the consistently fantastic cast leans into the more accurate notion that great power corrupts absolutely and those with power will go to ridiculous lengths to keep it. At one point our primary protagonist, Erin Moriarty’s Starlight, laments that “the good guys don’t win and the bad guys don’t get punished.” Expanding further would enter spoiler territory, but the show is breathlessly entertaining largely due to this type of writing. It’s Aaron Sorkin-like in clarity and believability. The characters always tell us the truth. The arcs of Karen Fukuhara’s Kimiko and Tomer Capon’s Frenchie stand out as particularly touching with the latter transitioning from slimy and untrustworthy in season one to something else entirely. Season Three should be a blast.
The Quick Critic
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