Episode 6 of The Boys Season 3 drops tomorrow (or tonight if we’re lucky) and has a lot of anticipation around it, simply because – as its title announces – it’s the Herogasm episode. It’s still amazing to me that the series was able to pull off the supe orgy event from the comics and put it on streaming video. Herogasm is every bit as zany as everyone expected, and surprisingly humorous too. I didn’t expect to laugh out loud when there were such … creative… things going on. Flying vibrators? Sex with a…. Okay, you have to watch. This show is good at that, though – mixing the sexual with the violent with the humorous with the occasionally touching. And not just the Herogasm kind of touching!
Herogasm comic cover by Darick Robertson
Here’s my non-spoilery teaser review of Episode 6, which everyone should watch when it drops on Friday (or Thursday night if we’re lucky). Stay tuned for a spoilery recap and in depth review this weekend once everyone has had a chance to watch.
I won’t give away what actually happens at the Herogasm bash, or who ends up being there to join in the fun (or pursue other goals while others have fun). Let’s just say that a lot happens, and it is both disturbing and darkly funny. I will forever appreciate The Boys for being able to combine all those things with a drug-fueled supe orgy that had so many pump bottles of lube on the set that many a hapless crew member apparently mistook one for covid-protocol hand sanitizer.
So yes, that happened.
Now that I’ve seen it, I can only imagine what it was like to be on the set that day. Jensen Ackles shared his own experience on set that day with us at a convention in Denver shortly after filming it.
Jensen: They had rented out this huge mansion, just gaudy and perfect, and I see the A camera operator, his mask down, eating a sandwich and he looks a little traumatized. I was like, hey man, what’s goin’ on, you good? And he just shakes his head nad says “I seen some shit, man. I seen some shit.” He was already PTSD and we hadn’t even gone to lunch yet. And he was right. I can’t unsee it, can’t put that toothpaste back in the bottle. There was the set dec stuff brought in by the art department and let’s just say there were a lot of sex toys all around, and in addition there were just like vats of lube. The problem was they looked very similar to the covid hand sanitizers that they had spread throughout the set, so every now and then you’d hear an expletive because somebody had done an entire pump of lube on their hand and was like oh crap!
Jensen to Supernatural costar Jared Padalecki standing next to him: I don’t know that you’re old enough to see this. (He then played it for Padalecki on their recent flight to another convention).
So, be prepared!
The underlying theme of the episode plays out before and alongside Herogasm — the slow but sure desertion of anyone who is truly “on his team” for Homelander. Because anyone who has watched Eric Kripke’s shows for a long long time knows he can bring the OMG and the OHMYHEART and the OUCH all in one episode.
Homelander is increasingly isolated, in one poignant and disturbing scene left with only himself to talk to – literally. He also talks back, which is never a good sign but makes for fascinating fictional media. It makes horrifying sense that it’s the persona created in childhood when John needed to dissociate, still with him after all this time – probably more and more present as the stress and isolation build up. It’s the ‘strong one’ who got him through the trauma that happened in the ‘bad room’, who at first tries to give him(self) a pep talk about being better than everyone and not needing anyone, then resorts to taunting him for the part of himself that still longs for love and approval. There’s the suggestion that he carve those parts of himself out, leave him pure, clean.
You get the feeling that’s exactly where Homelander is headed. Impermeable. Cold. Unfeeling.
Makes sense when you’re a helpless, traumatized child – shut off your feelings, make yourself like stone. Make the pain stop. My little bit of empathy for Homelander reappears briefly every time I hear about his horribly abusive childhood – his defenses make sense, but they are so far from helpful at this point, they’re likely to take everyone around him down. And there’s no justifying that, even if you can see how he got there. His lack of remorse when he kills, even innocent bystanders, is absolutely horrifying.
In contrast to Homelander’s coldness, Starlight in this episode runs hot and takes no shit. She’s increasingly fed up with everyone and their brother and sister who keep “telling me I need to be shitty in order to win.” You can tell she wants to give a big fuck you to all kinds of people in this episode, including Victoria Neuman, who is so damn pleasant even though you know she could pop everyone’s heads like a melon. That’s scarier than someone who actually looks scary! Annie January takes the spotlight in a different way in this episode, and I was cheering.
We also get more backstory of Frenchie’s childhood and how much it messed him up, which is for sure the theme of this entire show. We get more backstory on Mother’s Milk too, including exactly what happened with his family and Soldier Boy back in the day, the origin of his OCD and his current obsession to confront Soldier Boy and get some kind of revenge. For many of the characters, revenge seems like the only way to end that kind of obsession. Mother’s Milk is looking for that with Soldier Boy, Hughie is looking for that with A Train, and A Train is looking for it with Blue Hawk. Round and round and round we go.
And that brings us to Soldier Boy and Butcher. Butcher’s looking for that with Homelander; Soldier Boy is looking for that with the team who abandoned him. The utilitarian partnership between Butcher and Soldier Boy, with Hughie along for the ride, is a lot more fascinating than I expected it to be. Soldier Boy’s return shakes everything and everyone up, supes included. Having someone else on the playing field with at least as much power as Homelander is a game changer, but while there are plenty of similarities between the two, there are also differences.
I was thrilled that we get to know Soldier Boy better in this episode. Ackles brings unexpected depth to his character once again, much to my distress – he’s a jerk who’s stuck in the racist misogynistic homophobic ideas that were so common in his time, and that have clearly always worked just fine for him so why would he change them? They’re beliefs that have probably hurt countless people over the decades and he remains uninterested in changing them. But he’s surprisingly open in sharing his feelings and how lost he is in this new world. A world that, as he says, forgot him.
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He doesn’t seem interested in causing harm to anyone except the team that betrayed him. Like Homelander, though, he’s also a man who has nothing and has lost everything; and that, as we’ve seen before, is a dangerous man. Especially when they have great power. He may not be out for revenge against anyone but Payback, but he also can’t control his explosions that destroy city blocks and he’s not very concerned about collateral damage. Not exactly a caring, compassionate chap.
The rest of the original Payback team better be on the lookout…
The underlying theme of this episode is how much blame to give other things – whether outside influences or substances like V – for when people do bad things. Is it the V who turns people evil, corrupting them, or does it just bring out who they really are? It’s a metaphor both for the power and privilege someone gains and what that allows them to do, and also for the ways in which we absolve ourselves of blame for the things we do that hurt others – it’s not my fault, it’s the people who hurt me in the past. It’s the drugs. It’s the V. Or is it?
The episode is also very much about the mantra of Eric Kripke’s earlier show, Supernatural. Saving people, hunting things. What does it mean to be saved and what does it mean to be the one doing the saving? There are some pivotal choices made in this episode around that question. Mother’s Milk, Starlight, Kimiko and Hughie all make decisions about what’s most important to them, confronting some hard truths about themselves.
This is perhaps the most powerful episode yet of Season 3, with every actor stepping up with compelling performances, and twists and turns to make your head spin. One of the things I love most about this show is that I almost never know what’s coming. I don’t like it when things are predictable, and that is one thing The Boys has never been.
And just so you know, there are two episodes left of this season, and you can count on that unpredictability to remain. And then some!
Tune in tomorrow (or later tonight if we’re lucky) for Herogasm – and then check back here on the weekend for our spoilery review and recap!
It’s the day after the release of The Boys Episode 5 (The Last Time To Look on This World of Lies) after another week of anticipation running high and the official accounts doing a great job of teasing us while we wait. This episode was billed as “The Boys Musical” which left some fans expecting all the characters to burst into song ala Buffy’s musical episode – and while it wasn’t that, we did get some amazing song and dance (and there’s more if you make use of the XRay function on the streaming videos). Those moments provided a welcome interlude of lightness and even joy interspersed between the more usual moments of darkness, angst and violence. Oh, and kinky sex. I love The Boys for its ability to swing between those different states seamlessly, something Kripke seems to have mastered in all his shows.
The episode also introduces the new character of The Legend, a Stan Lee homage and iconic figure from the comics who is played to perfection by Paul Reiser. In the comics, The Legend was a Vought comic book writer who helped sell the Supes as heroes, and who later gives information to the boys.
Prime VideoOriginal comic art by Darick Robertson
He’s a former Vought employee in the series too, but more a producer and manager for the Supes with the official title of VP of Hero Management before Stillwell took that job. He’s also quite a character – decadent, irreverent, a man from a bygone era a bit like Soldier Boy is. He’s probably a complete asshole but somehow kind of appealing anyway. The Legend also provides some more pointed commentary on celebrity – to him, the Supes are “the talent”, and as he wryly notes, “who knows why they do what they do?” If you’ve ever been backstage or on the other side of the celebrity fence for even a little while, it’s both fascinating and disturbing to see how differently someone is treated who’s identified as “the talent”. They are both coddled and infantilized simultaneously, which is a great way to encourage narcissism and discourage self awareness. It’s doubly fascinating when this is a show employing a bunch of “talent” in real life, but The Boys never backs away from its own attempts at self awareness (or self parody).
I feel like I say this every time, but there are pivotal happenings in this episode for many of the characters. SPOILERS AHEAD, so be sure you’ve watched before you read!
Butcher is still sliding down that slippery slope at breakneck speed. He embraces taking the Temp V, rationalizing his decision to MM when he asks if it felt good to use his laser eyes and kill Gunpowder.
Butcher: It did – for once I leveled the fucking playing field.
MM isn’t having it, with the one line that encompasses the primary message of this show.
MM: The whole point of what we do – the whole goddamn point – is that no one should have that kind of power.
Butcher is not without ambivalence himself, especially about Hughie also taking the Temp V. He imagines Hughie as his younger brother Lenny, upset when Hughie reacts to the drug by vomiting a lot of green puke into the sink repeatedly.
After the epic events of last week’s episode of The Boys, this has been another week of anticipation while enjoying periodic teasers from the official accounts and lots of delicious back and forth between the Vought Intl. in-world social media and The Boys intrepid social media manager, who is hitting it just right with the fans. Whenever you see fans tweeting that they’d like to be friends with the person running a show’s twitter, you know someone has got their finger on the pulse of the fandom. But I would have expected no less! In one of my first chats with The Boys’ showrunner Eric Kripke, back in his Supernatural days, we talked about finding that elusive balance of keeping track of what fans want and also staying true to the vision of the work you’re putting out there. It goes wrong as often as it goes right, but so far, The Boys is finding that balance – and I am here for it!
We left off episode 4 at a pivotal time, with Soldier Boy freed from his cryogenic chamber and on the loose somewhere, Kimiko bleeding and badly injured, and Hughie still staring in awe at his magically (Temp V) healed arm and basking in the way he helped save the day.
So as I sat down to watch the screener for episode 5, I was practically bouncing waiting to see what happens next. To say I was on the edge of my seat for most of this episode is not an exaggeration. The title alone gave me chills – any title in this show that has the word “last” in it is guaranteed to put me on edge. Who can blame me?!
This is the non-spoilery preview of Episode 5 (Last Time To Look On This World Of Lies), so no major spoilers – you can read and still be assured of experiencing the full breakneck speed roller coaster of emotions that a new episode of The Boys is guaranteed to bring. We already know from the official account (so it’s not a spoiler) that this episode includes at least one musical sequence, which only Kripke can pull off integrating into a show as dark as this one. It is PRICELESS.
We also know from the official account that ‘The Legend’ appears for the first time, a character from the comics played in the series by Paul Reiser. Without spoiling anything about who he is or who he interacts with, let me just say that he is A CHARACTER – and that I thoroughly enjoyed everything about him.
In many ways, the fifth episode of the eight episode season ramps everything up into high gear. Almost everyone is at a turning point, back up against the wall, certain that they know best how to get what they want or what they think others want – and most of them willing to do just about anything to accomplish that. To say there are unlikely alliances as a result is also not an exaggeration – even if we did suspect some of them were coming. Mother’s Milk, as he often does, has the dialogue that sums up where they are right now, quoting his father who is so much the guiding light in his life even as he tries to live his own differently in terms of his daughter. If you don’t draw the line somewhere, how the hell are you gonna know where you stand?
There are lots of lines drawn in this episode, and there are also times when someone decides there is no line – which means there’s nothing to cross. This has essentially been the question the show has asked since the beginning, for all its characters. Where’s your line? The fact that not every character has one at this point is, frankly, terrifying. That’s becoming a risk to more characters than we might have expected, which threatens to blur the other line – the one between supes and the boys – into nothing. It’s interesting to see which characters have managed to hang onto keeping a line and which haven’t, with all the moral and ethical questions that brings with it. Is it okay to lie? Kill? Betray? If there’s no line, what will ever be off the table?
The other underlying theme of this episode is what it means to be human, and what we really mean by “humanity”. Is it determined by what’s inside you, literally or figuratively? Genetics, biology, what’s running through your veins? Is it the decisions you make and whether you retain a capacity for empathy, to care for other humans? And is it antithetical to power, the ultimate corrupter? So many good questions that are achingly relevant, not just on the screen, but in our real world right now.
I love that The Boys has slowly humanized its supe characters, with even Butcher pointing out that they’re all just people. And yet, knowing what they can do, he still fundamentally believes they’ve all “gotta go”. The exploration of what power is and what it does to people continues – we’ve seen reluctant supes wish they could go back to being just people, and we’ve seen what a taste of power does even to someone who has the best of intentions. At the end of last week’s episode, we left the ethical heart of the boys, Hughie, staring at his miraculously Temp V-healed arm with something like awe and wonder – while Kimiko lies gravely wounded in the same van. If that’s not a chilling case of power corrupting, I don’t know what is!
And then, of course, there are the people who have the worst of intentions.
At some points in this episode, the real life parallels are overt, echoing the ways in which those in power have marginalized and stigmatized those who are not. Sometimes Kripke and company really do seem prescient. I have sometimes heard the same words being spoken onscreen in the real world, from people trying to keep that power structure in place, gaslighting along the way to ensure there’s no change to it. From cancel culture to ‘bad apples’, from All Lives Matter, to ‘I don’t see color’, the talking points are all the more jarring because we’ve actually heard them. We even delve into the standard “this is no threat whatsoever, America is safe, go out there and go to your restaurants and movie theaters and live your lives” message – I might have jumped up and started cheering at that point, honestly.
I love when The Boys does that – it feels validating, cathartic. It’s fictional media but it’s reflective of so many of the things that are wrong in real life, and it feels like a relief to know others see it too. A Train’s arc at this point in the season is particularly interesting, and true to The Boys, takes some unexpected twists and turns.
Without giving anything away about his backstory and his journey, I have also been knocked on my ass by Jensen Ackles’ performance as Soldier Boy. I know how good he is from watching him bring Dean Winchester to life for fifteen years, but I didn’t know if he could make me feel anything for a new character who is only a parody of a hero, not a real one. I didn’t know if Kripke and the writers would bring as much nuance to this character as they have to the others, so that my emotions are all over the place and my empathy is pulled to the forefront again and again, only to be stomped back down. It’s exhausting, exhilarating – it’s why I watch fictional media! And this show does it so damn well.
Of course it’s all magnified with Soldier Boy. Ackles, if given even a crumb to work with, will pull you in and make you feel whatever the hell that character is feeling, whether you want to or not. I found myself cursing at the screen multiple times, overwhelmed with too many emotions, some that should definitely be mutually exclusive.
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And of course they gave him a ton to sink his talented teeth into. You would think I would have been more prepared! (Not complaining, not even a little). Seeing our world through the eyes of a man who’s from another time – not to mention one who’s been through the unprecedented experiences that Soldier Boy has – is fascinating. Riveting. Ackles can show Soldier Boy’s suffering, derision, amusement or mystification with just a look, so we get to see it all. I’m trying not to be hyperbolic, but he’s amazing in this role.
That there are a couple of Supernatural Easter eggs in this episode that no one but a Supernatural fan would notice only amped up the emotionality for me. I think I might have yelled “Damn you, Kripke!” at least once. Sorry, Eric. Don’t ever stop.
There’s a lot of evolution in many of the characters in this episode, some of it the predictable slippery slope of trying to make nice with a homicidal narcissist, some of it an unflinching exploration of what happens when you get a taste of power and you’ve felt powerless all your life. That’s compelling for anyone, and the show doesn’t shy away from making that clear. Surprising, perhaps, what a taste of real power does to people – all people.
Homelander continues to consolidate his power base, his ruthlessness now knocking out even my little traces of empathy for him – that’s what narcissists do when cornered. Tell a narcissist that no one loves them and set the fuse on the powder keg is a theme we see played out in this episode more than once. And with my psychologist hat on, they got that one right.
There’s an interesting little theme running throughout this season that is very clear in this episode too about the cost of not being genuine – of pretending you’re okay with things you’re not. For some of the female characters, that has meant pretending to be into a man who was actually hated and feared, not loved. When there’s nothing left to lose, the truth comes out. I think most of us can relate to feeling the pressure to pretend you’re okay with things you’re not, and it seems like a strikingly relevant message when we look around at all the things that many people keep pretending are okay in the real world when they are clearly not.
This wouldn’t be The Boys if there wasn’t also an insane sequence that takes the emotions in a completely different direction for a few minutes, and also one that involves some sort of sex that’s vividly depicted, so don’t worry, this episode has those too! Also, if you’re not shipping a couple of twosomes after watching this episode, I’m surprised. Especially if you’re a Supernatural fan.
Don’t miss the new episode of The Boys dropping on Friday – or, as Kripke teased, tonight if Jensen’s ass doesn’t break Amazon again!
And stay tuned for my spoilery wrap up of episode 5 right here on the weekend!
It has been an intense 48 hours in The Boys fandom. For those of us who were Supernatural fans before discovering the wonder that is The Boys (back in the first season for me), this season is extra special – because it has Supernatural’s Jensen Ackles joining in the fun as Soldier Boy. The first three episodes of the eight episode season had flashbacks of Soldier Boy, but as far as the boys knew, the original supe was killed back in the 1980s by some mysterious weapon. If it’s a weapon powerful enough to kill Soldier Boy, the boys figure it might be powerful enough to kill Homelander – and by the fourth episode, they set out to find it.
Of course, all of us know that Soldier Boy is more or less alive, thanks to Jensen’s casting and the teaser trailers that show him awakening in some kind of chamber and ripping off a mask and medical equipment and breaking his shackles. All sans clothing. If you’ve ever met an Ackles fan, you know that amped up the anticipation for this episode exponentially.
Ackles made the rounds of talk shows leading up to his character’s memorable entrance this week, chatting with Good Morning America, Live with Kelly and Ryan, and Late Night with Seth Myers. There was so much buzz about Soldier Boy that he even got his own hashtag emoji – with Ackles own face!
Prime Video, The Boys TV and showrunner Eric Kripke made it worse (better?) by teasing the reveal of Ackles’ bare ass, showing off their fandom savvy by using the popular peach emoji and even a photo from the actor’s own Instagram of his backside in a revealing wet bathing suit. Well played, everyone.
Of course, fandom has been using that photo to anticipate this day for a very long time.
The fandom didn’t really need any assistance getting worked up over Episode 4, however. So by Thursday evening, anyone who was able to had logged into their Prime account and was breathlessly awaiting the drop of the new episode. And waiting. And waiting. The hours ticked by and no Episode 4! Some lucky fans found the episode on their Fire sticks, but others had to wait a while – which caused a lot of teeth gnashing, understandably. And a lot of memes.
Kripke and company were using the hashtag #TheHuntForSoldierBoy and suddenly it was literally that! Eric also quipped that Jensen Ackles’ ass had broken the internet, which I guess we all should have seen coming.
Friday morning Prime had fixed the glitch, so I spent the day grinning as my social media feeds posted screencaps and gifs in appreciation of Soldier Boy’s various assets (and argued about them too because…fandom.) There was also, to our credit, a lot of gushing about Ackles’ acting, because even in his first scene, he shows us so much about Soldier Boy and who he is, – and he is so obviously NOT Dean Winchester or any other character that Jensen has played. Ackles manages to convey a formidable sense of power and at the same time clear twinges of vulnerability, confusion and hurt. As soon as this episode ended, I wanted to know MORE.
WARNING: SPOILERS AHEAD
Not all the spoilers, but there are some coming up since this is the recap article. So if you haven’t watched the episode yet, be warned!
Prime Video has a nifty feature that allows you to see (and hear) longer versions of some of the musical numbers peppered throughout this season, many of them by the brilliant Chris Lennertz, who also enriched Supernatural. This episode starts out with Mother’s Milk watching old video footage of Soldier Boy on ‘Solid Gold’, remembering happier times with his family before it was violently torn apart. As someone who has been a big Blondie fan since back in the day (and remembers Solid Gold and the Solid Gold dancers), it was an absolute treat to see Soldier Boy destroy Blondie’s ‘Rapture’ – and I do mean destroy. Ackles (who I’ve seen sing live many times and impromptu rap to some Ice Ice Baby) managed to make it hilariously bad, while letting Soldier Boy be his cocky ridiculous self and eat up the adoration of the scantily clad dancers fawning over him. If you haven’t watched the extended version yet, do it!
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It may have been an… unusual…version of ‘Rapture’, but it did get the official seal of approval on twitter from Blondie’s Debbie Harry herself, so pat yourself on the back, Jensen!
This little scene also gave us more insight into Soldier Boy – how much he’s already addicted to the celebrity status that being a supe has brought him, and how much he’s buying his own hype. He’s affected by the adoration of the dancers who are of course paid to fawn over him – he needs it, and he doesn’t seem to have a clue that it’s not genuine. We saw that in his interaction with young Grace too, in a previous flashback – how hard it hits him when she shatters his illusion that people like him and want to sleep with him. It’s just a little flinch, a little quiver of the lip, a dropped gaze as the bravado slips – but Ackles makes it pack a punch.
Other than that kind of little interlude, this is a dark dark episode. Written by Supernatural alum Meredith Glynn, every single character has an evolution that plays out in this episode, and none of them are going in a positive direction. The sense of hopelessness is pervasive, broken only by some dark humor and some moments of mirroring things that are dark in the real world, which always feels therapeutic to me.
Butcher’s evolution from trying to be a father figure to Ryan and stay on the straight and narrow, to being sucked right back into revenge being all that matters and willing to make himself a monster to achieve it, was heartbreaking to watch. The parallels between Homelander and Butcher get more glaring all the time, and it’s terrifying.
It’s not just taking the Temp V either – it’s Butcher’s willingness to muscle everyone and anyone into doing what he believes needs to be done, no matter the cost to them. Wielding power means getting other people to do what you want, even if it destroys them in the process. He sends Kimiko on a murderous mission as pay for Little Nina’s help, even though she does not want to go and Frenchie tries to stand up for her.
Kimiko: I’m not your fucking gun!
Butcher: That’s exactly what you are. In case you two forgot, I tell you what to do and you fucking do it.
Hughie following the same path into prioritizing revenge over everything else was even more heartbreaking. Completely demoralized from finding out that the year he spent working with Neuman was just him being manipulated by one more dangerous homicidal supe, all he cares about now is bringing them down. And doing whatever it takes to make that happen, even if it means putting Annie’s mental health on the line by asking her to play along with Homelander. I felt sick to my stomach when she had to kiss him for the cameras, hand clenched into a fist behind her back just like she had to do at those long ago pageants her mother forced her to fake some love for. Hughie, who had managed to hang onto his moral compass, letting so much of it go – that hurt.
I figured it was coming, but when Hughie finds out that Butcher is shooting up Temp V (with the show purposely looking exactly like he’s shooting up heroin), he is far enough down the road of revenge-at-all-costs that he wants some too.
Butcher: It’s poison. I have to do this, you don’t.
Hughie’s reason for wanting V also has to do with power, but for him the compelling reason has to do with his own masculine identity and how that gets mistakenly tied up with specific notions of power and strength. He wants it in part because Homelander humiliated him in front of Starlight. He felt weak and helpless, flashing back to being a kid at school, bullied unmercifully and just taking it. The fact that Starlight had to save him is intolerable to him – and we’re right back to themes of toxic masculinity. Hughie says he’s so angry that he can’t even breathe, and doesn’t that sound frighteningly familiar?
Butcher: Oh Hughie. This shit, it’s not power – it’s punishment. You don’t deserve it.
That’s a recurring question on this season of The Boys. Is Compound V something that makes you powerful and potentially keeps you safe, or is it a curse that turns you in to a weapon to be controlled and wielded by others to keep their own power? Multiple characters struggle with that question by the mid point in the season.
Frenchie and Kimiko, by this episode, are tired of being wielded as weapons. Frenchie is increasingly fed up with being treated like a dog by everyone – as Little Nina points out, starting with his father, continuing with her, and now playing out with Butcher. There’s a pointed moment when Butcher literally pets him like a dog to calm him down and to insist that he go along with what Butcher wants him to do – you can see him bristle at it. Such good, subtle acting by both Tomer and Karl.
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Kimiko is fed up too, reluctantly obeying Butcher when he orders her on that mission – which gives her the chance to take out the bad guy in an epic fight scene with The Seven-themed dildos as her weapon of choice – but realizing that to the prostitutes she just saved, she’s more terrifying than the bad guy was. She and Frenchie grow even closer as they share their frustration and disillusionment.
Kimiko: I can’t do this. Those girls, they were bought and sold, same as me. Butcher sold me. He doesn’t treat any of us as people. We only have each other. It’s you and me.
Supernatural fans recognize that line as a Kripke-ism, one of the main themes of that show. There’s a reason I love all of Kripke’s shows – the themes he tackles are universal ones, and I invariably relate. It’s always a compelling story when it’s you and me against the world.
The truly astounding PR for The Boys Season 3 has included a complex multi-platform in-world and real-world intersection of all kinds of content, from the fictional Vought social media as well as The Boys. The various Prime Video accounts also got into the act. There was a website for The Deep’s new book and an Audible version, and yesterday I stumbled on a website with The Seven themed sex toys like the ones Kimiko used to kill the bad guy. It’s mind blowing how much they’ve done and how brilliant it all is.
Mother’s Milk hangs onto some sense of morality for a little longer, Butcher’s treatment of Kimiko and Ryan prompting him to say what I might have been muttering – what an asshole Butcher is. We get more of Marvin’s backstory as a result, Butcher confiding that the reason they picked “some gruff Marine stuck in the brig” for the team was because every single person he went through basic training with said he was the one who held their platoon together. Butcher pulls MM back in, telling him he’s the one that is here to look after the boys. Butcher’s manipulation may sometimes be more subtle than Homelander’s, but they are both damn good at it.
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There is just as much chaotic evolution on the supes side.
Homelander continues his downward slide, buoyed by the realization that he really can do whatever he fucking wants – including being his powerful, violent, vengeful self. He’s now discovered that his followers will continue to follow him even when he overtly expresses his violent, racist, misogynistic side – especially when it resonates with theirs. Does this sound familiar?? He’s a master at manipulation, constantly using the “lighten up, I’m just kidding” excuse after overt threats. He has a key to Starlight’s apartment, insinuates that he’s been watching her sleep, signs his name on Hughie’s cast like he owns it, knowing it’s unwanted. It’s chilling.
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A Train’s desperation to be relevant again leads him to try to co-opt the Black Lives Matter movement and claiming he wants to explore his background. His motivation is mostly selfish, but his brother convinces him that there is a very real problem in their neighborhood (reflecting real life) and A Train actually tries to convince Ashley to do something about it.
A Train: He’s brutalizing black people in Trenton, and Vought has a responsibility here.
Ashley: (laughing then pausing) Oh, wait, you’re serious? Oh, of course, social justice is so important around here. Black Lives Matter is my favorite hashtag. My Insta? Nothing but black screens.
Priceless exchange skewering every disingenuous social media post ever. (Also we get more priceless Ashley content in this episode, including Homelander demanding to know “is your idiot brain getting fucked by stupid?” and Ashley turning that around on Cameron Coleman, who seems happy to say yes if it will get him fucked for real by Ashley’s impressive Homelander themed strap on. Powerful corporation in bed with news station…)
Vought’s response is an ad for A Train’s Turbo Rush energy drink in which he joins a march and gives a can to an officer confronting the protestors – and suddenly everyone is smiling and dancing. It’s a deliberate reflection of the infamous Kendall Jenner Pepsi ad, and it was one of those dark humor moments that I so appreciate.
A Train even gets up the guts to talk to Homelander about the racist supe Bluehawk and the over patrolling of black neighborhoods, which is quickly foiled by The Deep parroting Cassandra’s message of “don’t we need more supes, not less?” which Homelander is much more receptive to. A Train is furious at the sabotage, and he and the Deep end up in a fistfight in the hallway, trading threats and then punches. Homelander breaks it up and gives the Deep a hand, leaving A Train on the ground and telling him to “rest those useless fucking legs.”
Queen Maeve, after giving Butcher the lead on Soldier Boy and the weapon that supposedly killed him, has also been on the straight and narrow – constantly training instead of sex and drink and drugs – hoping to at least buy the boys a second or two to get in a good shot at Homelander. Starlight confronts her about her hopelessness and willingness to sacrifice her own life for that shot at revenge.
Starlight: You really care that little about yourself?
Supernatural fans recognize that as another Kripke-ism, an iconic line from Supernatural in similar words when Bobby confronts Dean about his determination to sacrifice himself to save Sam.
Starlight pulls an informal team together against Homelander, with her supe ex boyfriend Supersonic, Queen Maeve and even A Train seeming like they’re on board with the take down. I won’t spoil exactly how that goes, because it packs a gut punch and needs to be seen and experienced.
Meanwhile, no one can be trusted not to betray anyone else, and I don’t think anyone saw it coming that Homelander would ally with Neuman and she would turn on her father figure/mentor Stan Edgar. It’s a recurring theme that when you manipulate people and use them as a weapon, they will eventually turn on you – Edgar learns that the hard way. Homelander echoes the same theme that Kimiko and Frenchie recognized.
Homelander: You’re not his daughter, you’re his weapon. That’s what they do, all of them.
He leaves Neuman with some original recipe V, saying he’s glad she chose “your own kind.” What do you suppose she wants that for? I won’t spoil it, because it made me gasp.
Edgar is defiant even if he’s no longer in charge, forgiving Neuman since he’s the one who taught her to “play all sides”. When Homelander tries to gloat, Stan retorts that if he gave Homelander respect it would just go into that “bottomless pit of insecurity you call a soul” and calls him out for looking for Edgar’s approval “like I’m your daddy.”
Edgar: You’re not a god, you are simply bad product.
And that constant dehumanizing has taken a toll, that’s for sure. Also this show is all about the daddy issues, just saying.
But those weren’t the scenes many of us were waiting for with so much anticipation. Soldier Boy’s dramatic entrance scene did not disappoint – and could not have been more iconic. The boys break into the lab to hopefully find the weapon that killed Soldier Boy. Instead they find a harmless looking hamster in a cage. Frenchie makes the mistake of talking to cute little Jamie, who turns out to be a supe hamster who goes suddenly crazy, bouncing off the walls and breaking the glass of his enclosure to escape. That brings guards and an epic fight scene ensues. Jamie helps out by flying through the air like the Monty Python rabbit in The Holy Grail and eating a guard’s face, but the boys run out of ammo and the guards are still coming.
The scene gets even more epic then, as the rest of the boys find out about Butcher’s temporary powers in a dramatic way. In a scene reminiscent of Castiel’s dramatic entrance in Supernatural, Butcher walks through the lab as the guards fire at him repeatedly, bullets shattering glass all over, flashes of light from the shots illuminating the room, rock music playing, laser eyes glowing green. We also get unexpected naked Hughie in this scene, for reasons I won’t spoil but you can probably guess and that also result in him punching one of the guards so hard it has a….dramatic result. They take out all the guards, and then Butcher turns to a large container.
He pulls the door off with brute strength.
The boys all gather around as steam pours from the opened container with a hissing noise, and slowly we see there’s a person inside, oxygen mask on and tubes keeping him alive. Naked. He wakes slowly, raising his head, looking confused, disoriented, gradually figuring it out.
He takes off the mask, rips off the tubes and sensors.
Snaps the restraints that are holding him down like they’re butter.
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Butcher stares, whispers “Soldier Boy.”
Much of the fandom also stares and whispers, more like “omfg those shoulders holy shit”…
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The others gape, Mother’s Milk looking horrified and Laz Alonso making his expression memorable.
Soldier Boy staggers out, holding onto the sides of the container, then turns toward the boys.
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We get a full shot of Ackles in his birthday suit, most of us shocked into silence by that point just like the boys who are staring too.
Steam billows around him as he faces the people who have inadvertently freed him.
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Here, have a screencap too, this is a pivotal moment.
This is one of the steamier ones – not that kind of steamy, though it is undeniably that kind of steamy too! Steamy to preserve a little blurriness and leave something to the imagination…
Soldier Boy stumbles, and energy starts to gather, the room humming with it.
He clutches his midsection and Kimiko realizes what’s about to happen, throwing herself in front of Frenchie just as a ball of energy explodes out of him, sending Kimiko flying backwards with such force that she breaks through multiple concrete walls.
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Supernatural fans gasped a little extra at the exposed rebar protruding from the concrete, remembering all too vividly how Dean Winchester died.
Soldier Boy staggers out of the building, and the boys put a badly injured Kimiko in the van, Frenchie exclaiming over and over again that she’s not healing, Mother’s Milk trying desperately to save her.
Mother’s Milk turns to Butcher as he drives, Butcher and Hughie still frighteningly focused on their revenge mission instead of the gravely injured Kimiko.
Mother’s Milk: It’s over, Butcher. Ain’t no team for me to hold together anymore. You made sure of that.
If that scene doesn’t pack enough gut punch for you, the final one that I won’t spoil most certainly will. Hang on tight.
The fandom has been busy doing what fandoms do best ever since the episode aired – giffing and screencapping the Soldier Boy scene from every conceivable angle and discussing the relative merits of Jensen Ackles’ ass. It’s not an unfamiliar discussion for Supernatural fans – way back in Season 1 of the show, this shot of Dean Winchester’s backside resulted in what the fandom called the Ackles Ass Equation. It popped up on my timeline again today, 16 years later – some things never change!
All the fuss about his ass notwithstanding, even without any dialogue, Jensen Ackles made Soldier Boy a compelling character right from the start. He has always been able to convey more with a facial expression than many can with a page of dialogue, and we could see his confusion and vulnerability as he wakes up from what looks like it must have been a pretty horrific captivity. Shades of Dean Winchester thrown into hell for 30 years!
The scene was also beautifully filmed and directed, the steam everywhere making everything surreal, and if possible, making Ackles look even more beautiful. He has talked about how intimidating it was to have your very first day on set involve you in a robe and then the director saying okay, take off your robe now, and then the only thing between you and your new coworkers is a sock! (Karl Urban posted this bts photo from that day with a robe-clad Jensen -and that scary looking rebar!)
I can’t even imagine how intimidating that is, but you’d never know that by looking at the expression on his character’s face – he is in the moment, and embarrassment is the last thing he’s feeling. I guess that’s the mark of a good actor!
Jensen has told the story of that first day on set several times at recent Supernatural conventions, along with Supernatural costar Jared Padalecki – who has been waiting for those revealing scenes right along with us.
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Let me just say that if you were fascinated by Ackles’ performance and by Soldier Boy in this episode, you won’t be disappointed by next week’s episode of The Boys, which drops once again at some point between Thursday night and Friday for where I am in the US. Just another reason to look forward to Fridays!
And here’s some more good news that dropped yesterday just to make the day even better – not that we were doubting it, but The Boys is renewed for Season 4!
Congrats everyone!
We’ll have to wait and see if Soldier Boy returns, because much like Supernatural, anything can happen – fingers crossed!
The title of this episode (Glorious Five Year Plan) refers to something Mr. Edgar said about Vought’s long term planning, but I can’t help but think it also could refer to what The Boys showrunner Eric Kripke’s former show Supernatural originally was – Kripke’s Glorious Five Year Plan for the show that ended up running for a decade more and changing many people’s lives in the process. Mine included. The episode was written by Meredith Glynn, who also was a writer for Supernatural. It seems fitting to make the title into a Supernatural reference, because we get to see more of Soldier Boy.
Like, a lot more of him.
That was not a spoiler or a surprise to anyone following what Jensen Ackles and Eric Kripke and everyone else has said about that scene, but still, it’s maybe a bit eye opening. Okay, more than a bit. Let me just grab a cold drink here before I go on.
No significant spoilers here, by the way, so you can enjoy the full impact of the episode that is about to be released, which is AMAZING. I’ll be back with a more detailed recap in a few days once everyone has had a chance to watch and enjoy. This episode is a pivotal one, and not just for Soldier Boy. Most of the episode watches Homelander consolidate his power; he knows even more than we think he does about the people currently in power, and is not afraid to use every single method he can think of to flip that power balance to his favor. He makes some surprising alliances to do it – but that is so often what this show is about. The one you think holds all the power sometimes suddenly doesn’t, and the people you think are allies may just have been temporarily pretending to be. Virtually anyone is capable of stabbing anyone else in the back at any time, which keeps the suspense factor going every episode. The Deep, parroting his ambitious scheming wife, ingratiates himself with Homelander and gets into a physical fight with A Train, which leaves A Train roaring with rage. For a while it looks like Starlight has Queen Maeve, Supersonic and maybe even A Train (after that altercation) more or less united against Homelander, but underestimating him is never a good idea. Some people find that out the hard way.
I have to say that Antony Starr is brilliant as this unhinged-and-owning-it version of Homelander. He’s constantly manipulating everyone around him, keeping them off guard with provocative comments and overt threats that he then keeps insisting was “just kidding, lighten up you guys!” It’s like Gaslighting 101 and he is an absolute master. There’s a priceless scene with Ashley (Colby Minifie, always a favorite of mine) where he asks her in disgust, “Is your idiot brain getting fucked by stupid?” She says no, obviously flustered, but Ashley learns fast. Later she asks Cameron Coleman the same question, threatening/promising to punish him if he says yes, and did I mention there’s maybe an impressive strap-on somewhere in this scene? I can’t help it, I kinda love Ashley.
While the supes continue to smile for the cameras and engage in brutal infighting, the boys are in search of the weapon that was powerful enough to reputedly kill Soldier Boy – and thus maybe powerful enough to kill Homelander. Butcher is perfectly willing to send Kimiko on a mission of murder even when she protests that she’s “not your fucking gun”. In fact, that’s exactly what he says she is – he tells them what to do and they fucking do it. Frenchie bristles, especially after Butcher keeps treating him like a dog exactly as Little Nina taunted him about, but he also backs down. The parallels between Butcher, who is perfectly happy to use people as weapons instead of treating them like people, and the people in power at Vought who do exactly the same, are striking, and Karl Urban knows just how to make it chilling.
Kimiko doesn’t like it, but she does the job – decked out in silver stilettos and a skin tight sequined dress and looking like fire. This is not a spoiler since Karen Fukuhara has described this scene and the once-in-a-lifetime opportunity of fighting with dildos, but there’s nothing like actually seeing it. There’s the Star Spangled Banger for Homelander, the Deep’s Flounder Pounder, Black Noir’s Silent Screamer. It’s pretty epic. I’ve never really thought about a fight with dildos as the weapons of choice, but Kimiko makes it work – in a bloody, disgusting and entirely lethal way. As soon as I saw the cabinet, I started to snicker, after hearing Karen talk about enjoying the insane scene. She’s a brown belt in real life and it shows when Kimiko gets to do a fight scene. Sometimes the over-the-top scenes include an unexpected emotional impact too, which is something I value in this show – this is one of them. Kimiko’s innovative murder of the bad guy saves the prostitutes he hired or trafficked, but they’re more terrified of her than they were of him, and that isn’t lost on her.
And then there’s Soldier Boy. Eric Kripke tweeted some behind the scenes fun times with Soldier Boy back in the day, so you can look forward to more of that. Such as it is.
Everyone in the Supernatural fandom who has found their way over to The Boys is eagerly awaiting more of Jensen Ackles’ Soldier Boy. Without spoiling anything that isn’t already known, this episode includes a scene that is both insane (including a supe hamster that flies through the air like the Monty Python rabbit in The Holy Grail to eat a guard’s face) and dramatically epic (recall those temporary laser eyed powers we all know Butcher becomes desperate enough to take on) before Soldier Boy makes his memorable debut.
There’s a subtle Supernatural homage in there that reminds me of Castiel’s epic entrance complete with shattering glass and flashing lights, and then there’s a reveal that no one is going to soon forget. We’ve already seen in teasers and trailers what the boys see, so this is not a spoiler – steam pouring from an opened door, the shadowy figure of a person inside, oxygen mask on and tubes keeping him alive. He wakes slowly, raising his head, snapping his restraints and pulling out all his tubes and mask. He stands, staggers to the door, hands gripping the sides, looking disoriented, and then stumbles out.
I confess that I gasped. And maybe watched that scene more than once. Maybe.
Jensen Ackles has told the story of his very first day on set being naked in front of the coworkers he didn’t even know yet, “nothing between me and them but a sock”, so that’s no spoiler either. There’s a whole lot of steam going on, but let’s just say that all that working out he put himself through did not go to waste in my humble opinion. The Boys is all about showing its male cast with fewer clothes than its female cast, and I am here for it.
I won’t say what happens next so you can watch it for yourself, but I am looking forward to some gifs and screencaps from this episode. Like, a lot of them. ALL of them. Don’t let me down, fandom!
Halfway through the season and I don’t want it to end! Next episode drops in one week – stay tuned for a proper recap of this episode, for more from our exclusive chat with Jensen Ackles, and for more on The Boys Season 3!
I’ve used these words to describe Prime Videos ‘The Boys’ before, but it remains the most accurate description for the show as it moves into its third season – it is a WILD ride! From the start, The Boys has packed so many ups and downs and twists and turns into its eight episode seasons that I invariably end up feeling dizzy afterwards – in a good way. (If you love rollercoasters like I do, you know what I mean.) Once the adrenaline rush has subsided, the best thing about The Boys is that it makes me think. My brain was working overtime the night after watching the first three episodes of Season 3 so instead of sleeping, I was mulling over all the things that happened. Trying to make sense of each character’s evolution, trying to suss out the real life parallels this show makes unapologetically. Where is the story going? What’s it setting up for the rest of this season?
I love getting to the end of an episode and having questions like these rolling around my brain, keeping me awake. But if it just made me think, I probably wouldn’t have been bouncing in anticipation for this season. I think for a living as a psychologist, and then try to make other people think as a professor – so sometimes I just want to sit back and be entertained. One of the teaser trailers for this season of The Boys was set to Imagine Dragons and asked repeatedly, “is this entertaining?” Well, the answer is a resounding YES. Watching the eight jam-packed episodes of Season 3, I laughed, I was sad, I was horrified. I had to turn away a few times when it was too much. I scratched my head with a hypothesis slowly forming, and then sometimes did a triumphant fist bump being right – and sometimes gasped out loud being wrong. This is one of the few times when I’m happy to be fooled. Surprise me, Show, and I am here for it!
For those of you who haven’t been reading my reviews of The Boys for the past two seasons, I came to the show via Supernatural. Eric Kripke, the showrunner behind The Boys, was the creator and first five years showrunner of Supernatural also. He changed my life with that show, and I will basically watch anything he puts his creative touch to and at least give it a chance. Was I ever glad I did that with The Boys! From the very first episode, I was intrigued. And then I was hooked. When Supernatural’s own Jensen Ackles joined the cast for Season 3, I was beyond overjoyed.
So let’s just say I could not wait for this season to drop!
Without giving away any of the truly gobsmacking events of the first three episodes, because you need to experience those yourself (so NO BIG SPOILERS), here’s a synopsis of where we find the characters as Season 3 begins and as they progress through these first few episodes. Alot of time has passed in real life since we’ve been in this universe, and the show includes a time jump as well. It’s a year later – a year that, unlike the constant turmoil that we’ve experienced in real life – has been relatively calm for the boys. It’s heartbreaking that the calm, as is inevitable for this series, is mostly on the surface and about to be shattered. Somehow that makes it all the more devastating when that happens.
In the first episode, ‘Payback’, on the surface at least, things are going well for most of the boys. Mother’s Milk has a warm relationship with his daughter again, which is what he wanted most. His exploits with Butcher and company haven’t left him unscathed, though, when it comes to his marriage or his OCD. He still feels compelled to line up the forks at his daughter’s (painfully supe-themed) birthday party. And it turns out obsessions with revenge aren’t all that easy to walk away from either – MM has got an entire walk-in closet papered with old newspaper articles about a supe who died decades ago – Soldier Boy. It looks a lot like John Winchester’s hotel room walls, yellowed newspaper clippings proclaiming Soldier Boy cleared of various – and yes, we already doubt that.
Frenchie and Kimiko have been together for the past year. They can communicate seamlessly now, Frenchie fluent in her unique sign language and Kimiko also using her phone to text messages to him and express herself. They seem closer than ever, but we get a clearer look at how much the trauma of Kimiko’s past has affected her. She might not have words, but Kimiko can be eloquent, whether it’s carving FUCK into the furniture or playing an increasingly discordant melody on a laptop keyboard piano as other members of the team argue. There’s a poignant scene at an amusement park where Kimiko glimpses a brother and sister sharing cotton candy, smiling sadly knowing that she and Kenji never got to live that life and longing for it still. Sometimes this show is brutal with the “we don’t get to have nice things” and you just know this is gonna be one of those times.
Hughie and Annie have also been living a relatively quiet life. They’re spending most nights together, having a lot of sex (with the euphemism of don’t forget the AquaFresh), and getting along fine. Hughie finally feels like he’s getting some respect too, working alongside Victoria Neuman at the Federal Bureau of Superhuman Affairs. His coworkers are a little bit in awe of him, giving him accolades for helping bring down supes, and he looks dapper in his well-fitting suit. He has a collegial relationship with Neuman, the two of them eating lunch together, joking, supporting each other. United in their mission. Even Butcher reluctantly plays by the Bureau’s rules, deferring to Hughie though it clearly grates on him.
When you think of how far Hughie’s come, how shattered he was after his girlfriend’s death and how helpless he felt, it’s easy to imagine just how heady his new life must be. He doesn’t have to get his hands bloody and he genuinely feels like he’s doing some good in the world.
Unfortunately he’s on the wrong show. Of course we all know that Neuman is the one who’s responsible for all the exploding heads of the past season, so watching how close she and Hughie have become was immediately ominous. Poor Hughie. Like I said, on this show you really can’t have nice things.
Even Butcher has been living a relatively calm life, following the Bureau’s rules as far as who the boys can go after and how (no murder or dismemberment) and visiting Ryan at Grace Mallory’s heavily guarded and hidden away house. Though it’s a painfully awkward fit on Butcher, there’s a clear affection between Butcher and Ryan that makes even Mallory acknowledge that maybe Butcher isn’t a total asshole after all.
Or is he? As we move through the first few episodes, the line between Butcher and Homelander is more and more blurry as the differences between them narrow. They are both rage-filled, on a hair trigger, capable of brutality. Neither puts a scorched earth policy off the table. Is there a line that Butcher won’t cross to get his revenge on Homelander? Is he willing to sacrifice anyone and everyone to do it, including in a very real sense, himself and who he is?
Time will tell.
Once again, because this is The Boys, things fall apart dramatically and all of the boys are drawn back together, reluctantly understanding that in order to effectively fight a system that is much more vast and integrated than they suspected, they can’t keep playing by the rules. We’ve all seen Butcher’s laser eyes in the trailers, so it’s no spoiler when I say things go south in a dramatic way.
For all of them, but for Hughie especially, I found that evolution heartbreaking – because it requires him to turn off his natural empathy and sacrifice some of his humanity to do it. From the beginning, Hughie has been the one hanging onto that humanity, being the canary in the coal mine, willing to speak up even if he got punched in the face for it to try to find the elusive balance between morality and power. Can he keep hanging onto it this season?
That’s painful to contemplate. However, that’s one of the things I like best about The Boys – it makes me feel.
Things are changing rapidly on the other side of the fence too. Most of those things I won’t spoil, but suffice it to say some of them are jaw dropping. It’s no secret, since it’s been in the trailers, that Homelander is becoming even more unhinged than he was before – which is really saying something considering what we’ve seen him do. The more alone he is, the more unloved he feels, the more desperate he becomes, the thin thread keeping him from just doing what he wants – whatever the hell he wants – fraying with every loss.
Like any narcissist, he magnifies and tantrums over every perceived slight, no matter how small. He threatens and snaps and lashes out – verbally with the perfect words to go straight to a rival’s self esteem – and physically if they don’t back down quickly enough with their tail between their legs. The brutality with which Homelander abuses his supe colleagues is one of the most sickening things about him. He torments A Train and The Deep ruthlessly with targeted comments about their appearance, with words like ‘disgusting’. (The gender roles continue to be flipped alot this season – we don’t often see men ridiculed for their weight or subject to control over their appearance. Except of course celebrities, which all these actors are, which makes the whole thing really meta and even more disturbing).
Homelander excels at putting supes in the position where they have to do something they very much do not want to do, with others watching so they’re forced to go along with it. He knows each of their vulnerabilities and exploits them with precision. For Annie, it’s a familiar trauma, being forced to “go out there and smile” when you want to cry or scream or say no. Those well-done moments are when the show makes me sick to my stomach, not the blood and guts everywhere.
The hate that boils inside Homelander is more and more obvious, and more and more terrifying. He’s a loose cannon who doesn’t believe he has anything left to lose, and there is nothing more dangerous than that. The other supes are afraid of him, stumbling all over themselves not to offend him and to put themselves in a one down position that might keep them alive, but they are also increasingly resentful of his abuse and control. (Ironically, Homelander is also sick of being controlled, not wanting to tow the company line anymore).
Mirroring what has been happening with the boys, as this show often does, the other supes have also been living relatively quietly. A Train reconnects with his brother, the voice of reason in his life. The Deep is maybe-supported-maybe-controlled by his cult-arranged wife Cassandra, who quite literally puts words in his mouth to try to get him in Homelander’s good graces.
And then there’s Soldier Boy. It’s Queen Maeve who finds the yellowed file with the description of his demise and kicks off the search for answers – and hopefully for the weapon that was powerful enough to kill him (and thus Homelander). I admit to gasping out loud when that report and photo appeared on screen, even though we had already seen it in a teaser. Still – this is it, Jensen Ackles has arrived on The Boys! I think I was entitled to my scream.
You’ll have to watch the investigation with its unexpected twists and turns and revelations for yourself, but by the end of the third episode, Barbary Coast, the boys have enough clues to know where to look for those answers. We also get some flashbacks of Soldier Boy and his team Payback that are absolutely priceless. I mean, horrifying. Ahem. But priceless. Ackles’ Soldier Boy is a misogynistic asshole who apparently treated his sidekick like shit, but he’s a charming one. And I cannot wait to see more of him!
There’s a lot more going on in these first three episodes – in fact, so much happens in one episode of The Boys that it leaves my head spinning. The American Hero search for the next supe is going on, with Starlight’s old boyfriend Supersonic competing, which means a little bit of the song and dance that we’re apparently getting a lot of this season (also cannot wait because Chris Lennertz never disappoints – I mean, the second episode has a ballad called ‘Chimps Don’t Cry’…)
There’s plenty of humor too. Kripke excels in the unlikely combination of horror and emotion and humor, which is one of the things that made me fall in love with Supernatural too. That combination works well here. The character of Ashley carries much of the humor that delights me, and Colby Minifie is brilliant in portraying her. It’s often Ashley’s reaction that is the audience’s reaction, and Minifie makes it so obvious with her priceless facial expressions that I laugh every time. Ashley gets an assistant this season. Also named Ashley. You cannot make this up. Oh, and there’s a Payback supe named Swatto. Who flies, with comically small wings. Again, you cannot make this up. But Kripke and company can.
And this would not be The Boys if we didn’t have some graphic violence and some explicit scenes of various flavors of sexual depravity. I tend to be in the ‘hey to each his own’ camp, but there were times I laughed out loud at the poking fun at the lengths people will go to in order to get off. No judgment though! I could probably write a whole psychoanalytic article about the sexual acts the show likes to depict and the consequences of those acts and what that says about the people who came up with those ideas, but I’ll spare everyone that. Some of the sexual humor doesn’t work for me, but I admit to laughing at times. You’ll know those when you see them.
Kripke kept saying he pushed the envelope this season with the most out there scene ever on television in the first episode, and I can confirm that yes, that envelope was pushed so far it fell right off the desk. That’s not really why I watch the show, but I appreciate their guts in going wherever the hell they want to go. It works best for me when it’s a scathing parallel for the things that are happening in the real world that are upsetting every single day, from the old adage ‘power corrupts’ to the outcomes of racism and homophobia and misogyny. From mass media manipulation to political corruption to the NRA – I mean, the Vought Rifle Association – I frequently find myself nodding in response to something going on in the show. It feels cathartic to see that reflection, validating.
And when I say that Jensen Ackles is gonna knock your socks off as Soldier Boy, in the most disturbingly complicated way possible? I am once again not exaggerating.
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So, three episodes in and I am not disappointed. AT ALL. There are plenty of surprises that I didn’t see coming, and some subtle dropped hints that have me intrigued. In fact, I cannot wait to see what the rest of Season 3 brings us!
Check out the first three episodes tomorrow, and hold on tight. New episodes drop each Friday on Prime Video.
It has been a BIG day for the SPNFamily! After weeks of speculation as to whether zero, one, two or all three of the Supernatural cast’s new pilot projects would be picked up by the CW, the news came in the afternoon that the network had cancelled multiple shows. Some of those were fan favorites, and my heart goes out to those fandoms – it’s especially heartbreaking when a show is cancelled and doesn’t have a chance to do a proper wrap, leaving its characters and its fans in limbo. I’m so sorry for all those fans, and all those talented actors and crew now out of work.
The chances for the SPN pilots were clearly improved by that news, so it wasn’t shocking when all three pilots with Supernatural cast connections were picked up – ‘The Winchesters’ prequel with Jensen and Danneel Ackles and Supernatural writer alum Robbie Thompson executive producing and Jensen doing the Dean Winchester narrating, the Walker prequel ‘Walker: Independence’ aka Windy, with Jared Padalecki executive producing and Walker alum Matt Barr one of the stars; and Gotham Knights, with Misha Collins as Harvey Dent/Two-Face.
Fans joked that they’re changing the name of the network from The CW to The J2M network. But no joke, it’s a testament to the lasting popularity and power of Supernatural and the Supernatural fandom that they’ve made room for all three SPN cast pilots. The fandom may be fractured and contentious and right now arguing over which of the three everyone will be supporting (or not), but we are also passionate as hell, and currently trending all ‘our’ pilot pickups and faves.
Variety headline
After two failed Supernatural spinoffs, The Winchesters is the first to actually become a series. Fans have been a mix of enthusiastic and skeptical about the show portraying the beginning of the love story of John and Mary Winchester. The “mothership’s” canon had John not knowing about the supernatural at all at the time it’s set and their relationship being manipulated by celestial forces, so the prequel will have to come up with an explanation for them working together and their love story being an epic one. I’m a big fan of Robbie Thompson’s writing though, and I know how much Jensen cares about Dean, so I’m going into this hopeful – and beyond excited to hear Ackles bring Dean Winchester to life once again. I miss him. (I miss both Winchester brothers, and Supernatural itself, like a constant ache that just won’t go away). I’m hopeful that Exec Producer Danneel Ackles will bring a vintage aesthetic to the show that I can fall in love with too. Bell bottoms, paisley, the music…. Shot in New Orleans, so far, the show looks hauntingly beautiful and the cast seem wonderful.
Director Glen Winter with Thompson and Ackles
I’ve been enjoying Jared Padalecki on ‘Walker’ so I’m excited about that prequel too. Windy is set even farther back in time, in late 1800s Texas, centered on Abby Walker and her husband’s murder and her quest for revenge, and Hoyt Rawlins, the oft described “lovable rogue” type. I really enjoyed Matt Barr’s portrayal of the present day Hoyt on Walker, so I’m looking forward to the prequel. Much like The Winchesters, the show looks gorgeous, and the cast and crew are clearly beyond excited about it. Director Larry Teng took the fandom along on much of the journey, tweeting lots of photos and enthusiasm. I’m so happy for the cast, who seem lovely.
Director Larry Teng’s wrap post
Padalecki took to twitter to let the Walker family know that the enthusiasm and congrats weren’t lost on him – and that he is as excited as we are!
Misha Collins is playing the role of Harvey Dent (and later Two-Face) on the third SPN cast-related pilot to be picked up, Gotham Knights. Part of DC’s Batman universe, the show takes place after Bruce Wayne has been murdered and his adopted son allies with the children of Batman’s enemies when they’re framed for killing him. Misha has said that the first season sees him playing Dent, but later he’ll get the chance to play a villain as Two Face. Also he seems to have a black trenchcoat, much to the amusement of his Supernatural fans.
To make the day even more exciting, some news that I’ve been waiting for was also released – Jensen Ackles will guest star as Sheriff Beau Arlen on the season finale of Big Sky airing next Thursday. (I was sitting there watching Big Sky, trying to get a little caught up in anticipation, when that news came out). His character is described as “a confident and charming good ol’ boy from Texas who steps in as temporary Sheriff.” Charming indeed. That Deadline article came with a little ABC promo video, and let’s just say that Mr. Ackles is looking fine fine fine indeed with that long hair and a cowboy hat. Now we’ve got both Jared and Jensen as gun-toting cowboy lawmen on our screens this month. Phew.
Looking forward to next Thursday!
It’s been a great feeling to watch my timeline explode all day long with fans and other Supernatural cast reacting to all the good news. Misha Collins tweeted his excitement to his former co-stars, who will perhaps all be at the Upfronts next week (if Ackles isn’t committed to The Boys publicity and Padalecki isn’t finishing up Walker).
Looks like Jared is up for it – as long as he can play the cowbell! Seriously though, I love how this cast will always support each other and genuinely look forward to enjoying each other’s company.
Eric Kripke seemed almost as emotional as me about the incredible legacy the little show he created has left – and all the wonderful new things its cast has gone on to create. What a wonderful legacy for Mr. Kripke as well, as he prepares for the launch of Season 3 of The Boys (also starring Ackles, who luckily likes to keep busy).
Nothing is ever going to replace the OG Supernatural for me, but I feel incredibly lucky to have all these other shows to look forward to – and so proud of the actors who made Supernatural the phenomenon that it is, and everything that they’re out there creating now. Whether you’re planning to watch one show or two or all three, there’s alot to look forward to coming up!
It felt a little like San Diego Comic Con at SXSW on Saturday morning, when The Boys panel took the stage. It wasn’t as large as Hall H, but Ballroom D is plenty big and it was crowded with fans eagerly anticipating seeing the trailer for Season 3 and hearing from Eric Kripke and the cast. And they did not disappoint – they showed the trailer on the big screens and there were audible gasps from the audience (link at end of article fyi)
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For days, the fandom has been guessing that Imagine Dragons has joined The Boys family thanks to some twitter bantering, and the trailer confirmed that – perfect song for an amazing sequence of glimpses of what’s to come. From the unlikely musical sequence to Homelander’s disturbing fascination with milking a cow to the requisite blood and gore and humor mixed in, the trailer leaves little doubt that the new season is going to up the ante even over the last. Butcher’s laser eyes and Soldier Boy’s smirk are indelible images that make June 3 damn hard to wait for. And that last glimpse of an unkempt Soldier Boy breaking his bonds, just that look on his face….omg, bring it!
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For Supernatural fans like me, having Eric Kripke and Jensen Ackles working together again is a dream come true. There was even a little Supernatural Easter egg in the trailer, with a ‘We’ve got work to do’ from-the-trunk closing shot that I loved. I am a die hard Supernatural fan forever, but I fell in love with The Boys from the pilot episode and just keep being more and more fascinated and entertained by it.
The panel was moderated by Christian Slater, fittingly enough ‘the narrator’ in the animated series The Boys Presents: Diabolical. Eric Kripke was joined by Karl Urban, Laz Alonso, Karen Fukuhara, Chace Crawford, Jessie T. Usher and Jensen Ackles.
Ackles, the “new kid” on the show who joins in Season 3 as Soldier Boy, said he was nervous about joining a show that he already was a fan of, and that he “geeked out” over his talented castmates.
Jensen: it was a thrilling ride to be on and I can’t wait for you guys to see it!
He definitely got maybe even more than he bargained for, which makes June 3 even harder to wait for. Going from a show on the CW to one on a streaming service like Prime Video changes what you’re allowed to do substantially (and removes the weirdness of two seasoned hunters like Sam and Dean having the most PG13 language ever)
Jensen: I thought we’re gonna level up here, gloves are coming off, it’s gonna be all the things I couldn’t do with standards and practices. And then I read the script and I’m like, I can’t do that!
I reviewed the first episode of Diabolical earlier this week, with a teaser about what the new animated series is all about and how it kicks off. Today all eight episodes are available to watch on Prime Video, so here are some thoughts on the other seven episodes of this innovative show. They’re ‘fun sized’ episodes so you can watch as many as you’re up for – and it’s a welcome fix of The Boys universe for fans waiting impatiently for Season 3 to finally release in June.
Episode 2 Introduces Supes with some Weird Powers
Weird is actually an understatement. Again switching the perspective from “the boys” who are fighting against Vought to the supes themselves, this episode is all about some of the children whose parents sold their chance at a normal life for money in exchange for doping them with Compound V and making them into lab rats. When the parents find out that their kids didn’t get any of the really cool powers and won’t be joining The Seven any time soon, they returned them to Vought instead of dealing with the challenges. That in itself is incredibly disturbing – I can’t even deal with the thought of ‘returning’ a pet adopted from the SPCA let alone a child!
Vought houses the kids at an orphanage of sorts for kids with “shit powers.”
The emotional punch of this episode is in the sense of betrayal that the kids feel when they learn that their parents adopted them for a chance to get rich and then abandoned them, complaining that they wanted their lives back. The fun of the episode is that the writers got to go totally off the rails and create the most outrageous super powers they could think of. I can imagine them sitting in the writers’ room just giggling as they try to outdo each other.
Sometimes the humor makes me eyeroll even as I snicker. There’s Picante Balls, who can melt anything with his testicles and walks around with more bowlegs than Jensen Ackles.
Exhibit A.
Anyway…
There’s Boobie Face, with giant swinging boobs in place of eyes. Some of the failed supes are funny only until you think about it, like the supe that turns into various animals but his cognitive ability transforms too, or Ghost, who can’t touch anything or be touched by anything and stares forlornly at the food she can’t eat.
The abandoned supes, now adolescents mostly, decide to take revenge on their parents, all set to Hootie and the Blowfish’s ‘I Only Wanna Be With You’. Have to admit, I loved the poetic justice of some of the (bloody gory disgusting) ways the supe kids went after their parents. (I mean, you can imagine what Picante Balls does, right?)
Favorite part of this episode? It’s a meta episode! Narrated by one of the failed supes, whose power is that he always tells people what’s going on.
Supe: That’s right, I’m the Narrator.
Title card 3 minutes in: Shrug, we can do whatever we want.
As a long time Supernatural fan, I love the little bits of fourth wall breaking that executive producer Eric Kripke made an integral part of that show too. That is literally a big part of the point of The Boys and Diabolical – doing whatever the hell they want!
Episode 3 ‘I’m Your Pusher’ – Written by Garth Ennis!
Episode 3 of opens with another bit of meta. A comic book is grabbed from the racks – ‘The Boys’ written by Garth Ennis! This episode is also written by Ennis, ripped from the pages of the original comic and featuring Billy Butcher and Hughie – voiced by Simon Pegg! Simon was how the character of Hughie was originally conceived, but wasn’t right to play him in the live series by the time it aired – but he gets to here. There’s also some original cover art by Darick Robertson. This episode is more directly tied to the canon of the original series, and also to the truly original comics.
Butcher confronts the pusher for information about a supe he supplies known as the Great Wide Wonder. Not only do we get to hear about his heroin enemas, we get to see some of that too. Yay? Butcher intimidates the pusher into adding a substance Frenchie has mixed up to the next treatment. He does, so when Homelander and Queen Maeve host a rally to recognize the Great Wide Wonder, he arrives looking totally tweaked out after his special treatment. His super power is that he flies fast, like around the world, but this time he goes so fast he starts running into buildings and destroying things on his way.
Homelander (who clearly doesn’t like him and with purposeful irony): How high he has flown…
Antony Starr voices Homelander here too and made me laugh out loud at that delivery.
Great Wide Wonder is supposed to fly through a flaming ring in the middle of the river in front of the gathered crowd, but instead he flies right into the hapless supe holding the ring, emerging with entrails around his neck as he lands in the water in a pool of blood.
Homelander: Oh Jesus Fucking Christ
Queen Maeve wearily spins the narrative, echoing what we’ve seen in the original series, and Homelander goes along, swearing to avenge the Great Wide Way. Butcher is triumphant, but Hughie looks around at the destruction and bystanders throwing up and isn’t so sure.
It’s an interesting addition to the canon of The Boys universe, with some nice treats for the comics fans too.
Episode 4 – Social Media On Steroids
Episode 4 is titled “Boyd in 3D” and it’s tragic – and one of my favorites. The original series has commented a great deal on the impact of social media on all of us and the way that we’re manipulated through it. While that focus has usually been on its use by an evil corporation like Vought, this episode is at its core more about its everyday impact on all of us.
Boyd, who lives in Apartment 3D (haha), is a relatable everyman, scrolling Instagram and walking dogs for a living, almost getting run over by a truck in the process. He’s got a crush on his attractive neighbor Cherry, who has an asshole boyfriend and an inferiority complex because she hates her freckles. (Every Jensen Ackles fan who’s now watching The Boys just scratched their head at that).
Exhibit B.
Anyway…
When Boyd gets a piece of her mail, he very much wants to give it to her, but is sure she won’t give him the time of day.
‘The Boys’ kicks off its newest incarnation on March 4 with “The Boys Presents: Diabolical,” an 8 episode animated anthology series that takes place within the same universe as the original series, which in turn was based on the comic by Garth Ennis and Darick Robertson. Plenty of other well-known names are also contributors, including Awkwafina, Garth Ennis, Eliot Glazer and Ilana Glazer, Evan Goldberg and Seth Rogen, Simon Racioppa, Justin Roiland and Ben Bayouth, Andy Samberg, and Aisha Tyler.
While we all wait for Season 3 of ‘The Boys’ in June – and the introduction of Jensen Ackles as Soldier Boy – the animated series fills in some blanks and provides some even more over the top entertainment. Diabolical was described as a series that “plunges elbow-deep into the unseen crevices of superhero violence audiences have devoured—and emerges with a fistful of insanity.” That part turned out to be true, but surprisingly so did another teaser in the press release: “Diabolical has something for everyone—everyone who enjoys blood-drenched but also shockingly emotional television. It’s cartoons with the safeties off!”
Of course, that’s an advantage of animation versus live action – the show really can portray anything it can get away with. And it does. I’m not nearly as much of a fan of the blood-drenched aspect as many of The Boys fans, but I’ve been fascinated by the psychological and sociological messages of the original show. To my pleasant surprise, ‘Diabolical’ picks up those themes too (along with a lot of blood and guts). I’m a big fan of watching shows an episode at a time, maybe because I didn’t grow up binge watching, but Diabolical lends itself to that since each episode tackles a different theme and focuses on a different character, usually one we don’t yet know. So, as a means of whetting your appetite for all of Diabolical on Friday, here are some thoughts on Episode One, which pays homage to classic American cartoons.
The first episode is titled ‘Laser Baby’s Day Out,’ and introduces Simon, a Vought researcher assigned to one particular laser eyed baby. In keeping with what we know about how Vought treats its subjects, from Homelander’s tragic childhood to its lab full of often failed human experiments, the babies are there to make themselves useful by getting control of their lethal powers – or else. There’s an intimidating security guy there to see to it that Simon makes sure Laser Baby fulfills her supe potential.
Simon, on the other hand, is a very human everyman just doing his job, but as the time limit for Laser Baby to prove herself draws near, increasingly a father figure whose parental instincts are firing thanks to the baby’s growing attachment to him. From my perspective as a psychologist, that makes sense. We’re all wired to respond to certain ‘demand characteristics’ that infants possess – their oversized eyes and heads, the way they cling, the sound of their crying. Simon is not immune, as much as he tries to be (and neither are we, watching). He begins to fantasize about taking Laser Baby home and being a dad to her, never mind that she could slice him into ribbons with her eyes. In spite of how ridiculous that sounds, as a parent myself, it was impossible for me not to start rooting for Laser Baby and the bumbling but well-intentioned Simon.
One of the fascinating things about ‘The Boys’ in all its incarnations is how much it leads all its characters (and us as viewers too) down the slippery slope of where good intentions often lead. We clearly see evidence that the babies are dangerous from the start, but when Laser Baby can only laser accidentally when she sneezes and is put on the termination list, we’re somehow on her side anyway. Simon goes all out to save ‘his’ baby when she escapes, pursuing her in a hilarious chase across the city with first the intimidating guard and then the whole Vought security team after them.
In typical cartoon fashion, both the unlikely escapes and the graphic violence are over the top – there is SO much blood and gore that you can’t help but laugh as the baby cluelessly crawls through the resulting mess of blood and guts she’s created and gets away each time, leaving red knee and hand prints as she goes. The ridiculousness of the scene is part of both its humor and its chillingness because she looks like an adorable little crawling baby and there are giant men with huge guns confronting her. The chase scene is sprinkled with pop culture references from The Boys universe and in general, from King Kong to a poster in the local zoo of The Deep proclaiming that “Piranhas Need Love Too”. You can imagine what happened at that point in the episode. No, of course I wouldn’t cheer if a Vought sharpshooter almost caught up to the baby and a piranha ate his face.
I won’t give away the ending, but Simon and the baby end up on top of a skyscraper as he wraps the baby up in his coat and she calls him ‘Dada’. You need to watch the episode on Prime Video to find out whether they escape the Vought security team ready to swoop in.
I was hooked on Diabolical from this first episode. I love the way this universe is constantly pulling me in multiple directions, including directions that I absolutely know I should not be going in. I love the way it manipulates and stretches and questions a sense of right and wrong and that it’s dark as hell yet has moments of optimism and hope anyway in the resilience of its characters fighting against impossible odds.
This episode, like many in the original series, challenged my original perspective. It’s easy to see the threat of a human with lethal super powers and assess that as a 100% bad thing when you’re watching an adult onscreen – it’s a lot harder to root against that same human when you’re watching an adorable baby. Like Simon, we all feel like we’re bumbling through life sometimes, almost missing the elevator and then getting your coat caught when the doors close, being intimidated by the office bully, and just trying to do our jobs. We all want to make a difference somehow and most of us care – about someone. When that someone is threatened, how far would we go to save them? As a long time fan of executive producer Eric Kripke’s series ‘Supernatural’, that’s a familiar question – and I love that he’s still asking it.
You can watch ‘Diabolical’ starting March 4 on Prime Video. ‘The Boys Presents: Diabolical’ is executive produced by Simon Racioppa, Eric Kripke, Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Ori Marmur, Ken F. Levin, Jason Netter, Garth Ennis, Darick Robertson, Michaela Starr, Loreli Alanís, Chris Prynoski, Shannon Prynoski, and Ben Kalina. The Boys Presents: Diabolical is produced by Amazon Studios and Sony Pictures Television Studios, with Titmouse, Kripke Enterprises, Original Film, and Point Grey Pictures.
Stay tuned for more Diabolical – there are seven more totally out there episodes in Season 1! And don’t forget, Season 3 of ‘The Boys’ with the amazing returning cast and Jensen Ackles as Soldier Boy joining in the fun premieres on June 3!
