‘The Boys’ Penultimate Episode – with some Surprise Guest Stars!

The Deep, Ashley, and the Cost of Getting What You Think You Want

The penultimate episode of the final season of ‘The Boys’ is called ‘The Frenchman, the Female and the Man Called Mother’s Milk’, which makes sense considering some of the pivotal things that happen. It kicks off, though, with a musical! All the kudos to Chris Lennertz and Daveed Diggs for the opening number with Oh Father and his scantily clad dancers reminding everyone that Homelander is now bigger than Jesus, totally American, and ready to get rid of anyone who doesn’t conform (all served up with some blatant sexuality while no doubt preaching something puritanical).

As they’re working on that propaganda piece, we finally see the scene that was teased long ago, Homelander sitting in the Oval office, feet up on the desk.

He gives the president his marching orders — DCA will be the official sanctioned church, every boundary between church and state will be dissolved, and troops will be sent into every sanctuary city that took in Starlighters…

(Yes, I had to stop and scream about how RIGHT this show got its predictions for like the hundredth time because wow)

Because he’s Homelander he also wants to outlaw any milk that’s not actual milk and make breastfeeding mandatory lol. (Hey, I’m a big breastfeeding enthusiast but come on, Homie… I guess that’s the point though, he doesn’t give a damn whether or not it’s even possible for everyone).  It’s good for me to have scenes like these to remember just how unhinged and uncaring and narcissistic this crazy dictator parody is, no matter how good Antony Starr is at sometimes making him so sad. He also wants to disband Congress, which the President says he doesn’t have the authority to do. Uh oh. One tiny bit of doubt and you are in danger of being taken out; that’s how dangerous Homelander is, and how easily his ego is bruised. Homelander asks Ashley to read the President’s mind to see if he’s a true believer. He yanks off Ashley’s wig and exposes Back Ashley, who says the president is terrified of him and thinks he’s “a tiny bit psychotic”.

That’s that – the president’s head is smashed in and Homie is covered in blood, which he wipes all over the gold embroidered furniture. Annnnnnnnnnnnnnnnnd now Ashley is President!  Back Ashley tries to be the voice of reason, but Ashley marvels that she lost every single student council election, if only all those people could see her now. She’s trying hard to just enjoy it, but Back Ashley keeps pointing out the cost – that she can’t sleep, that she’s yanking out her hair, that she hates herself.

Back Ashley finally gives up and leaves, which is what Ashley thought she wanted – but now she is well and truly alone.

She’s not the only one whose relentless loyalty to a corrupt regime and dictator has left her anything but happy.  The Deep apologizes to Homelander for killing Noir, who he insists was saying some really mean shit about Homelander.  Homelander says it’s fine – then announces he’s abolishing The Seven, who haven’t had seven members in a long time (a recurring joke in the fandom). Deep tries to get Homelander to give him The Seven, citing his loyalty, ending with “please, the Seven is all I have”.

Homelander coldly says don’t make this about yourself and wishes him the best. The Seven is now The One.

Cut to a giant mural of The Seven on the side of a building being repainted – to just Homelander.

The Deep sits on a dock drowning his sorrows and throws the can carelessly into the water.

Zander the shark swims up and says he should come in and grab it – Zander (played by none other than Samuel L Jackson!) tells him to get in the water, that they know he’s responsible for the March 15 genocide. He finally sets out a threat: If he steps one foot in the water anywhere, all aquatic life will make sure he’s killed. It’s kinda a fate worse than death for the Deep. But damn, he really ended up deserving it. The ultimate sell-out.

As he’s pondering what to do, people on the beach start clamoring for him to save an old man who is drowning, his PR person reminding him this is his whole brand. He looks on in horror knowing he can’t as the old man sinks, people recording it all on their phones.

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Everyone Goes Darkside in ‘The Boys’ Episode 4 ‘The King of Hell’

Not gonna lie, as a Supernatural fan I was waiting for Mark Sheppard to show up as Crowley after the title of this episode appeared – alas, we didn’t get a Crowley cameo. From the reviews, some people were critical of this episode that “nothing happened to move the story forward” but I 100% disagree. This episode gave us the kind of insights I crave the most – the emotional and psychological ones. It didn’t move the story forward a great deal if the ‘story’ is ‘get the V1’ but to me the fascinating story is that of the characters and their relationships, and we got A LOT of insights about that.

WARNING: MAJOR SPOILERS AHEAD FOR THE BOYS EPISODE 5.04!

How to Sell a Lunatic as the New God

Samaritan’s Embrace is bankrupt and Homelander is convinced he’s a God, and those two things work together to make a dark statement about religion and power as The Boys continues to reflect some of our darkest reality in a truly disturbing way. Homelander continues to fascinate me as he uses his hallucination of Madelyn and the delusions of grandeur that followed to move ahead with his plan to be the savior of the world. He’s still very much obsessed with his own family though, the episode opening with him sadly looking at a phone of him and Ryan and then accusing Firecracker of smelling like Soldier Boy (which he’s absolutely correct about).

He tells Firecracker that he was visited by an angel who foretold his destiny.

Firecracker: Well praise be – what is it?

When he answers ‘God’, she thinks he means serving the lord, but he quickly corrects her. He won’t be serving the lord, he’ll BE the lord. The messiah.

Homelander is making sense of his tragic life and all its hardships as the price he’s had to pay for being special and destined to be god, and he’s convinced Firecracker saw it all along and she’s not about to dissuade him. Therefore, he informs her, he’s chosen her to spread the word – since they control the media.

Homelander: Jesus would kill for our marketing.

Firecracker: WTF face

(This is a theme throughout the episode, which is peppered with small humorous moments like WTF faces to break up the too-close-to-reality darkness).

We get a typical The Boys scene intended to make most people say ‘ewww’ with Ashley and Oh Father, who married for PR but have discovered that she loves punishing him and he loves being punished, so they make enough noise to disgust the guards at the door and send his ball gag flying with enough force that it breaks the wall when he screams in ecstasy, ‘Back Ashley’ enjoying the show as voyeur. She reads his mind when he’s unguarded though, and realizes that the church is bankrupt.

Just then Firecracker shows up and gets to deliver a Soldier Boy-worthy gross line – “Dang, smells like a wet shit in a Waffle House in here”.

I admit that got the “ewww” the show was going for.

Some of the Seven minus Homelander and Soldier Boy meet at Vought Tower to brainstorm how they can make Homelander being God palatable to the masses.

Worm: What we need is a good story, who’s read Joseph Campbell?

I like Worm. Bring him some tasty dirt, someone.

The PR lady, on the other hand, does not like Worm, saying no wonder his last film got a low rating on the AV Club (which is a real thing and a nudge at fandom ala what Supernatural used to do in its meta episodes, so it made me smile).

Worm: I had to service fourteen main characters and cross over a bunch of assholes – you try to make a good finale out of that!

(Writers getting meta and putting a writer character into the canon, it’s the series’ last season after all and Kripke has spoken openly about being worried about fan reception of the series finale – he didn’t write the ending to Supernatural, but that finale certainly came with a range of reactions!)

It’s Firecracker who comes up with the idea that they need a church that preaches America and convinces the masses that the real American hero is Homelander, and he’s their savior. The Democratic Church of America. Voila, kill two birds with one stone, rescue her hubby’s failing church and find a way to get people to accept Homelander as god.

I am sincerely shocked that doesn’t exist with exactly that name already, to be honest.

Fathers and Daughters

A variation on the theme of fathers and sons that has so characterized this season and this show, Annie pays her estranged father a visit. I know some people thought this was a needless detour but I loved exploring her backstory more and finally knowing what the real story was with her dad. Turns out he’s remarried and Annie has a half brother, Mason.

Annie: WTF face.

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‘The Boys’ are Back – Season 5 Kicks Off with the Return of Soldier Boy!

The Boys Are Back!

One thing about waiting for literally years between seasons of a show you like is – it builds up A LOT of anticipation! So let’s just say I was really excited to finally watch the season premiere of the fifth and final season of The Boys. I’ve been watching since the very beginning – I’ll give any show a chance that has Eric Kripke’s genius attached to it, and I was captivated by The Boys from the start because of its eerie reflection of what was already happening all around us. The comics began the tradition of calling out things that are wrong with our society, but by the time the series aired, the reflection started to seem less like fiction and more like reality. Season 5 was mostly written well before the last election and there’s no way Kripke and company could have known how disturbingly close to home some of the story lines would hit right now – but I’ve said more than once that the man is eerily prescient. As I watched the first two episodes, I can’t even count the number of times I started swearing out loud “OMG how could they be so spot on?!” or “This is impossible, Kripke how did you anticipate THIS??”   It’s certainly not a good thing that a show meant to be an over-the-top parody of all that’s gone wrong in modern (especially American) society ends up feeling so realistic and relevant, but it makes me feel better that someone else is seeing it too. That’s a first step to maybe stopping it, right? Right??

And yes, that’s a theme in the show too. You see why I love it so much?

Season Five Premiere – Fifteen Inches of Sheer Dynamite

WARNING: SPOILERS AHEAD!!

Prime Video released the first two episodes of the new season on Wednesday, so what follows is a spoilery review of how the new season kicks off and how our favorite (and not favorite) characters are doing. If you haven’t watched yet, you may want to come back when you have – I love this show and I love digging deep into it and its complicated characters, hence the spoiler warning.

Homelander’s Crisis Continues

The season premiere kicks off with spectacle, which is fitting for The Boys. It’s a full on mega church moment as Homelander appears at the Vought shareholders meeting to the religious ecstasy of his followers – I mean, shareholders. Promises of a safer, more God fearing nation…. Does this sound familiar yet? Meanwhile, Starlight disguised as a Firecracker backup dancer is hacking into the system – suddenly the footage of Flight 37 appears onscreen of Homelander callously threatening the doomed passengers as he looks on horrified in the present.

His eyes start to glow ominously, and then Sister Sage shakes her head to calm him down. I immediately thought, they’ll probably just say it’s AI – and sure enough, that’s what they do. Remember, this was written years ago, but they get it right anyway, solidifying people’s willingness to disbelieve what their own eyes see if it’s an inconvenient truth. Memes making fun of the “AI altered footage” hit the internet; Homelander points out that he has seven fingers in the altered footage. How did they know that would be such a thing?

Peter Thiel gets a shout out as calling Sage for advice, the little bits of reality name dropped just making it all more eerie. She’s fine with the ongoing conflict the leak caused. Homelander, predictably, is not. What he cares about is being worshipped – he’s more pressed about the unflattering memes about him than how his ratings are.  In fact, he says, posting those kind of critical memes should be a crime. (Yes, I was yelling about how spot on the show is once again at this point).  Homelander can’t stand being disrespected, his fragile ego too brittle to withstand it.

“I need people to be devoted to me,” he whines.

I can’t help but feel a little bad for him even as I’m horrified by him. He’s so DAMAGED. In the season opener, Homelander continues the psychological crises that plagued him in Season 4, knowing everyone around him has their heart rate skyrocket when they’re near him because they’re all afraid of him. His handy dandy little maternal fixation with Firecracker has dried up too (as did her milk once she stopped taking the drug that was damaging her heart to make her lactate).

Antony Starr is brilliant in making the strongest man in the world look exactly like a petulant toddler who’s been denied his favorite toy.

Homelander isn’t too happy with the other supes who are still loyal to him either. The Deep has a podcast because of course he does, along with Black Noir version 2. He’s all about the “men’s lives matter” and staying away from women because “bitches like Starlight make you weak”, claiming he’s never felt manlier.  Later he spreads his bare legs for an overhead camera to sell his red light for the perineum contraption, which if you recall was a real thing on the internet for a while with guys out there sunning their perineum. Homelander calls in the Deep and Black Noir after the Flight 37 video debacle, demanding to know why they let Starlight get away and haven’t found A Train or Butcher. He wraps his hands around their throats as he hovers over them like a predator, the stage manager who was working the shareholder meeting dead (and decapitated) beside him as a visual warning. Antony Starr is very very good at making Homelander very very scary – the fact that he’s unhinged combined with all that power and the sadistic desperation is a terrifying combination. Apparently the stage manager liked some Starlight posts, and that’s why he’s dead.

(The whole liking social media posts can get you killed thing, btw, is too close to home right now, but spot on once again).

The Deep doesn’t hesitate to offer up his phone to have his social media posts checked, sycophantic to the end (or at least so far).   He’s not pleased with Noir not backing him up, reminding him that he’s not the real Noir, he can talk! Noir remains both silent and mysterious. Ominously so.

Back home, Homelander stands in front of the capsule holding his bare-chested underwear-clad sleeping father, which is in his living room. He sighs. (Yes, that description is relevant, as are the many Soldier Boy photos and gifs that will inevitably grace this review – this is originally a Supernatural website, after all…)

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The Boys Season 4 Wraps Up With a Bang – Can’t Wait for Season 5!

The aptly named season finale, Assassination Run, kicks off (in universe) on January 6 – because of course it does. Honestly this season is hitting almost TOO close to reality right now, as the real world gets more and more terrifying. And yet I still find it validating to know someone else is seeing the chaos going on and reflecting it back to me.

So, here’s all the twists and turns and surprises the season ended with – SPOILERS AHEAD FOR THE SEASON 4 FINALE!

Directed by none other than Eric Kripke himself.

The story lines all converge in the finale, as they should. It’s January 6 and the news about A Train comes out (and the cancellation of that fabulous film Training A Train alas…)   Vought puts out a PSA with supes saying they take responsibility… which is exactly what they don’t. Congress counts the electoral votes as Frenchie works with increasing desperation on extracting the virus.

Torn Between Two Identities

The shapeshifter pretending to be Annie surprised Hughie by asking him to marry her, and he surprises her back by running to get his own ring and asking the same, and….yep, back in bed.

Hughie: Wow, that was great… two fingers was a lot…

Next season I hope Hughie gets to really open up about all the assault he’s endured this season.

The show has been able to say some nuanced things about female sexual assault in its four years, and it’s certainly had plenty to say about the trauma every single male and female character have endured, but Hughie’s sexual assault is an opportunity to say/show more about something not often talked about enough.

In between sleeping with Hughie, the shifter goes back to real Annie to recharge, confiding her own rather sad story. Sure, she’s a sociopath, but what did anyone expect?  She’s the ultimate example of the identity crisis every single character is having this season, literally not knowing who she is.

Shifter Annie: I barely remember what I look like. One minute I was me and the next I was Miss Jamison, my preschool teacher, and I could see every memory she had. She felt justified in doing all those shitty things…you all do. You all think you’re the hero of your own story.

Another major theme of The Boys. Erin Moriarty did an amazing job with this story line – it has to be, always, so difficult to play two versions of yourself!

While Shifter Annie is gone, Hughie calls Butcher, who tells him a story about a steakhouse in Nevada where he was gonna go with Lenny. The kind of memory you bring up when you know you’re running out of time.

Butcher: Funny what you think about when your time’s up.

He asks Hughie to go there, and to tell the Boys he’s sorry. Tears in his eyes, he hangs up.

Hughie and not-Annie and MM take Robert Singer (Supernatural’s Jim Beaver) to a secret bunker where they hope to be able to defend him and that they hope the shifter won’t get in. Oops, too late…

Singer: If you’d killed Neuman like I’d ordered, we wouldn’t be stuck underground playing pocket pool… ya idjit.

Every Supernatural fan everywhere: YESSSSSSSSSSSSSSSSSS HE SAID IDJIT!!!

To make it even clearer, he adds: Balls!

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The Boys Season 4’s Penultimate Episode ‘The Insider’

Suddenly we’re almost at the end of The Boys season 4 – it seemed to go by very quickly, didn’t it? This season’s reception has been a bit more uneven than the nearly universal kudos for the previous season, especially for the last episode and the treatment of Hughie’s assault. It’s undoubtedly challenging to keep upping the game with a show that started out with such high levels of shock, sex and especially violence right from the jump. That may be the source of some struggle this season, but I’m still thoroughly enjoying what this show does best – hold up a mirror to some of the worst parts of our real life and poke at them. There’s so much that’s over the top in reality right now, sometimes The Boys feels a little too real – but mostly for me it’s validating to see the reflection and be assured that yes, someone else sees the insanity too!

I also enjoy watching the show through the lens of what it’s trying to say, which is slightly different each season. It’s why my colleague Matt and I edited a book on The Boys, examining those themes with input from actors, psychologists and media experts. I was fascinated then, in Season 3, and I’m still fascinated now. (You can find Supes Ain’t Always Heroes at your favorite bookstore or on Amazon)

We have one more episode that will air in the wee hours of Thursday morning this week – and believe me, you do NOT want to miss it!

So, what happened last week in Episode 4.07? A lot!

The Life of Ryan

The theme of this episode – attempting to be your own person and who you really are — is expressed in a biting parody of one of my favorite shows of all time, Avenue Q, which I saw on Broadway with my kids a long time ago – and adored.  Vought Studios presents, of course, Avenue V, complete with puppets of all the supes and poor Ryan looking uncomfortable with every single thing they sing about.  Most of that is encouraging kids to rat out their parents and teachers and neighbors for anything that might be ANTIFA or Christmas hate.  Ryan keeps calling ‘cut’, though the director insists his dad approved the lyrics. Homelander, overwhelmed with issues of his own, leaves Ryan a snippy message to just suck it up and do it, but that doesn’t go over too well.

Ryan eventually stops the filming and addresses the camera, much to Homelander’s anger and disappointment (though he’s taking his father’s previous advice not to let anyone else prevent you from speaking your mind…Be careful what you wish for, Homelander)

(I feel like Cameron Crovetti had a blast filming this…)

Ryan: That song isn’t cool, none of this is cool. Your family isn’t your enemy, your family is all you’ve got. I’ve been thinking about my mom a lot. She died but she loved Christmas…and Terms of Endearment…and her husband Billy. But she wouldn’t love this and she wouldn’t want me doing it. My mom always told me to tell the truth.

Ryan is as torn as everyone else this season – in his case, between two dads.  At Homelander’s place, Ryan sees a package under the Christmas tree and recognizes the return address as “dontbeacunt”. It’s a photo of his mom and Butcher and their dog.

Butcher, watching Ryan’s speech on a TV in a bar, tells Kessler aka himself that’s why he’s got faith in the kid.

And then he collapses on the floor of the bar.

Butcher also reunites with the Boys in this episode, telling them about the virus Sameer is working on and that it would cause global pandemic and a supe genocide. They all notice for the first time that Butcher is sometimes talking to no one (as Kessler calls him an asshole and warns him that he’s pissing away their best shot).  Butcher agrees that they’ll only use the virus on Homelander and Neuman, much to his alter ego’s disgust.

Kessler confronts Butcher, aka Butcher confronts himself. Why does he have such a soft spot for supes? Is it because he fucked Maeve? Cares about Ryan, who’s not even his? Butcher says he gave Becca his word, but Kessler scoffs that if their love was so perfect and pure why did he go around fucking waitresses?

Nobody is better at convincing Butcher that he’s a fuck-up than Butcher himself.

The Boys are starting to pull together again, though. Butcher also got Mallory to pull some strings and free a reluctant and still guilt-stricken Frenchie. MM asks Butcher to be back in charge, saying he’s better off doing research instead of being the skipper – and trying to follow doctor’s orders. Hughie, Butcher and Annie start to figure out the assassination plot for January 6 (of course) and also find a supe shapeshifter that Sister Sage put on the job. Uh oh.

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‘The Boys’ Delivers a Gut Punch Episode with ‘Wisdom of the Ages’

Before we get into the fourth episode of Season 4 of The Boys, arguably one of the best episodes of the series, there’s other exciting news for the show – Jared Padalecki, who Eric Kripke cast as Sam in Supernatural, has finally said yes to hopefully joining The Boys in Season 5. If, as we suspect, Jensen Ackles’ Soldier Boy will also be back in Season 5, the entire Supernatural fandom will be sat and waiting impatiently (not that many of us aren’t already doing that this season, thoroughly enjoying SPN alums Jeffrey Dean Morgan and Rob Benedict (RIP Splinter) along with the entire stellar cast of The Boys).

I’ve been hoping Jared joined The Boys when his schedule allowed for a long time, so I’m thrilled to hear that might well be happening soon!

(You can catch up on all things ‘The Boys’, including deep dives into the characters and everything that makes the show special – plus exclusive interviews with Jensen Ackles on Soldier Boy and other cast – with that book Jensen’s holding, Supes Ain’t Always Heroes. Links at the end of the article fyi).

So, where are we now in Season 4?  The fourth episode of Season 4 of The Boys takes a dark dark turn – as in, things go very wrong for a lot of people.

It’s been more than a week, so I’m assuming you’ve caught up with all the insanity of the first three episodes (Spoilers for those episodes ahead). To recap:

The Insanity so Far: 4.01 to 4.03 Recap

Homelander and company have a plan for taking out poor Robert Singer and putting in fellow supe Victoria Neuman. On a personal note, Homelander is so obsessed with aging that he’s collecting gray hairs in a jar – gray hairs from anywhere he finds ‘em. He’s also sick of being surrounded by sycophants and imbeciles, proving it by demanding that The Deep give A Train a blow job and having them stand up and start getting to it (much to Ashley’s obvious excitement which was a touch I loved!).

That was a weirdly fitting counterpoint to Season 1 when The Deep forces Starlight to give him a blow job – and actually does go through with it. I love that the show remembers its own history.

Butcher’s having a crisis of conscience as he contemplates how much he’s willing to do to Ryan to “get him on our side”, personified in visions of Becca. Butcher’s new buddy Joe Kessler is not only played by Jeffrey Dean Morgan but has also traumatized the Supernatural fandom by channeling John Winchester (the character he played on that show) by insisting to Butcher that yes, he’d train his son up to be a killer. (Which is just what John Winchester did to both his sons).

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The Wild Ride Continues: Season 4 of ‘The Boys’ Kicks Off and I’m Here For It!

(Includes events in the first three episodes of The Boys Season 4 but we’ve left some of the biggest spoilers for you to experience yourself…)

The first three episodes of The Boys dropped in the wee hours of the morning yesterday, much to the delight of fans who’ve been waiting for almost two years for more of their favorite show. While we were waiting, Dr. Matt Snyder and I put together a book of essays and interviews from the cast of the show and psychologists and media experts who love it, dissecting the complicated characters and what makes them tick – Supes Ain’t Always Heroes. I was hoping to see some of the themes in the book picked up in the new season – which they were. So let’s dig in! What’s happening with all our favorites?

Neuman & Singer: Winning Ticket

I can’t help but like Victoria Neuman. I know, I know, she’s exploded lots of people’s heads, but she’s been used her whole life and is more focused on protecting her own daughter than anything, which is one of those universally relatable motivations. (Okay, okay, so Zoe is now a tentacle-spewing supe herself, but still).  In the first three episodes of Season 4, we see that while once she was, I think, genuinely friends with Hughie, now they’re at odds. Actually that’s an understatement, but Neuman takes it in stride.

Neuman: You guys are actually getting worse at your jobs!

I love her running mate too, Presidential candidate Robert Singer. He’s a bit less enthusiastic about her, with good reason.

Singer: Everyone told me to pick Buttigieg instead…

(I happen to know how much Beaver relishes this show and that kind of dialogue. You can read all his thoughts on The Boys and his character in his exclusive interview in  Supes Ain’t Always Heroes: Inside The Complex Characters and Twisted Psychology of The Boys)

Homelander: Daddy Issues

I’ve read some reviews that question whether focusing on the same big bad for four seasons will have to get old, but honestly? This season brings a whole new batch of neuroses and Oedipal struggles for Homie to deal with, and I’m here for that. So much of Homelander’s life has been anything but ordinary, but one of the things he confronts in this season is something that’s as universal as breathing – aging. How do you think he’s going to handle that? Yep, you probably guessed right.

And then there’s parenting. It’s tough to put your progeny in the spotlight when your own narcissism is insisting it should be YOU there, even if you really do care (as much as you’re able). Soldier Boy was proof of just how hard it is to break the horrors of intergenerational trauma, and hoo boy, did Homelander ever have a lot of that. Trauma with a capital T. We learn more about John’s early upbringing in the first episodes of this season, as he goes back to visit his first “home”. With a Fudgie the Whale cake.

That’s a real Time Magazine cover, btw, as showrunner Eric Kripke tweeted. He’s right, this show’s marketing team is beyond amazing!

I will forever relish the character of Homelander for a) Antony Starr’s brilliance and b) the opportunities it offers for real life parallels that are so on the nose they’re almost painful. He emerges from his trial calmly telling everyone to “remain calm, you’re all very special people” and I didn’t know whether to laugh or cry.

The New Supes Drop Some Truth Bombs

New supe Sister Sage energizes Homelander – and the show itself. As Homelander’s supporters square off in a shouting match with Starlight supporters, she comes up with the plan to manipulate public opinion against the Starlighters. And she knows the value of a martyr. Much like Stormfront, Sage is introduced in a way that makes us think we’re going to like her. Her apartment is literally floor to ceiling books and not much else, befitting for the smartest person in the world.

Sage: That person is too smart to give a fuck about Pottery Barn.

She’s also refreshingly and brutally honest with Homelander, commenting on his enlarged prostate and his gray hairs and that he’s “going through some existential midlife stuff.”

Sage also easily manipulates The Deep (and hooks up with him over their mutual love of Outback’s bloomin’ onion, which, valid) and knows how they could pitch Ryan as the newest chosen-by-God hero.

Sage: The chosen one narrative only works if he stands alone. Hollywood trains people to fall in love with the white boy saviors.

Oof, she’s not wrong.

Firecracker, on the other hand, is sort of a mini Stormfront, in that she’s every offensive thing we hear proclaimed on the ‘news’ and in the media every single day. She’s transphobic, anti-vax, you name the thing and she’s saying it – on her “Truth Bomb” youtube channel usually.  Occasionally she says something that really is a truth bomb. “What are you selling?” Sage asks her at the TruthCon convention.

Firecracker: Purpose. These people have nothing, maybe just lost a job or a house. I tell them a story, give them a purpose.

This show hits you in the stomach just when you least expect it.

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Fathers, Sons and The Power of Choice – The Boys Explosive Season 3 Finale

The season finale of Season 3 of The Boys has been one of the most anticipated ever. It’s honestly been so much fun watching the excitement ramp up each week for each episode – it was a brilliant decision on Eric Kripke and Prime Video’s part to release the episodes over five weeks instead of all at once, especially with the insane promotion we were treated to each week. I watched the whole season before it streamed in the press screeners, but I still felt entirely swept up in the anticipation and excitement (and, let’s face it, dread!) each week.

The cast traveled to Brazil for four wild days of promotion, which only served to amp up the anticipation even more. We were treated to interviews and red carpets and the cast all having a bloody good time. And Jensen Ackles looking like this.

Now that everyone has had a chance to watch it, this is the spoilery recap and review of the season finale, so SPOILERS ahead. LOTS OF THEM!

I’ve been watching this show since its beginning and have loved it since then, but Season 3 has been a whole different ballgame. As a passionate Supernatural fan, the addition of Jensen Ackles as Soldier Boy meant that I was even more excited about this season, but even I wasn’t prepared for just how much I’d be drawn in by the character or just how complicated my feelings about Soldier Boy would be. He’s an asshole and a bigot and a bully, but Ackles also portrays him with vulnerability and humor and at times he’s almost charming. I feel like I should not have been hoping for any kind of redemption arc for Soldier Boy, and yet I found myself nervous as hell going into the finale, hoping that a) he wouldn’t be killed off and b) he might find at least a little bit of redemption. Help save the day, maybe?

Well… I should know Eric Kripke better than that by now!

I’ve been writing a lot about this season of The Boys being all about choice, and the season finale sees every main character have to make some difficult ones.

Passing It On From Father To Son – Or Not

This season is also about the intergenerational transmission of trauma, and the toxic masculinity messages that are passed down from fathers to sons. One of those messages is about strength and power. All the men whose fathers were abusive, with either physical or verbal violence or both, have a hard time not repeating the cycle.

Butcher’s father was both, and those toxic messages are ever-present in his head, bleeding out of him in eruptions of physical violence and caustic, cruel barbs thrown at enemies and friends alike.

In this episode, he vacillates wildly between giving into those violent impulses, laser focused (heh heh) on taking down Homelander and willing to use anyone as a weapon to do that, and trying to hang onto the caring part of him that wanted to protect Lenny and now wants to protect Hughie.  He never does tell Hughie about the Temp V being fatal, but he unceremoniously knocks him out with a punch and shoves him in a convenience store bathroom to keep him from taking it again. So, a few points at least in his favor?

On the other hand, he’s been fine with using Frenchie and Kimiko and now Soldier Boy to get the revenge he wants, and he’s as manipulative as ever in this episode, as he repeatedly tells Soldier Boy that Homelander is not really his son. We see Soldier Boy’s ambivalence several times, hesitating to kill his own son and emotional about having a child – but Butcher knows to play to the rage he feels at being tossed aside and replaced, focusing that rage on Homelander by telling Soldier Boy that he is his replacement and the reason he was tortured. Well played, Butcher, but chillingly cruel.

Homelander was not just abused but neglected, deprived of not just a father but a mother too. A sensitive boy like Butcher seems to have been, he too had that knocked out of him with cruelty, absorbing the same message that to be “a man” you must not only be strong and powerful but unfeeling too. Showing vulnerability is weakness, unmanly. Both men struggle to have any kind of healthy relationships – even Butcher’s with his wife was doomed once Ryan existed – and both have been increasingly isolated and alone as this season progressed.

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The Boys Season Finale Is Almost Here – Non-Spoilery Thoughts on The Instant White Hot Wild

The season finale of The Boys Season 3 has all the over the top fight scene showdowns we would expect  from a finale episode – but it also has so much more. And much of that is a dizzying mix of heartbreaking and hopeful. Those emotions are so far apart that rocketing back and forth between them is what I called in my review of last week’s episode a mindfuck, and this week is even moreso. Back on the roller coaster for the finale, though – I’ve admitted that the twists and turns and speed are both terrifying and exhilarating, so I keep opting to climb right back on.

There are a lot of reckonings in the final episode. Some of the characters find their lines and then pick a side – and it’s not always the one we’re expecting them to pick. I went into watching this episode holding my breath, because despite all of us knowing he’s a Class A asshole, most of the show’s fans do not want Season 3 to be the last we see of Jensen Ackles as Soldier Boy.

The character is a big departure from Soldier Boy of the comics, from his overt cowardice to his origins (and not being the father of Homelander). That left Kripke and company the room to create a character that is much more nuanced and complex, and then to cast someone as brilliant as Ackles to portray him. The cast has been effusive in saying that Jensen “fit right in” and Ackles, in his customary humble way, has said that he was just hoping not to mess up a dynamic that was already working perfectly (which it was). All of that shows. Soldier Boy, Butcher and Hughie was the trio I had no clue I needed until they were on my screen – and now I definitely want MORE.

As I pushed play on this episode, now knowing that Homelander is Soldier Boy’s son, I had about a thousand hypotheses of which direction things could go. Suffice it to say, I bit my nails a lot while watching – and that I was still shocked. And once again, I felt more than I anticipated and more than I wanted to. No spoilers in this article for the finale episode, but HANG ON TIGHT! Here are my non-spoilery thoughts after watching the season finale, now that I’ve (sort of) composed myself.

The final episode revisits the main themes of the season, including toxic masculinity, which Kripke and many of the actors have talked about in interviews throughout the season. Almost every character struggles with what that means and what that role entails. Is masculinity inextricably linked with ‘strength’ and ‘saving people’ and if so, how is that defined? Who gets to define it?

The theme extends beyond gender. The Boys has an interesting twist to the “saving people, hunting things” mantra that Kripke wove into Supernatural, asking if it really matters who’s doing the saving. And there’s an underlying theme that’s deeper, and one that struck me as very real life – what does it do to the person who needs to be saved? Does being saved translate to weakness and saving to strength? Would we even be asking that question if we weren’t as a culture obsessed with being badass in some oddly strict definition of the word, no matter how we identify? It’s part and parcel of the whole superhero genre, but is that a message that’s actually helpful? Sometimes being strong isn’t about being able to laser someone in half or throw them across the room. Sometimes it’s about being there for someone else when they need it, even if that doesn’t look very badass. As a psychologist, I am awed when I see that kind of strength in my clients – ordinary human beings doing extraordinary things to help others. That’s a whole different definition of badass.

And what of the definitions that our culture instills in us? All those gendered stereotypes about what strength looks like, the strict boundaries of “what it means to be a man”. As this entire series has vividly shown, and perhaps this season especially, some of those rules and norms are toxic, harming the individual and everyone around them. Driving people away. The idea that you don’t need anyone, that relationships aren’t important, that everyone is a threat to your place in the hierarchy. That you can never be the one who needs saving. The reiteration of a hierarchy that says someone has to be the alpha male and everyone else has to fall in line – and that if you are that alpha male you have to hang onto that spot no matter what or who gets sacrificed.  Do you have to internalize those rules you learned from a flawed parent and live by them, or can you decide to make your own rules? And will it be too late if you do?

I said in my review of the last episode that The Boys comes from a very Freudian perspective – that we are inevitably shaped by our pasts, whether we want to be or not. Especially, as Freud believed, those early years and our first caregivers. But neither Freud nor The Boys would say that there’s no escaping that early experience, even if it was traumatic. As Kimiko says in this episode, “Our past is not who we are. I thought I’d always be broken, but you saw something in me.” The question is, which of these characters can see that something in themselves, and will it be enough for them to break away?

The heartbreaking answer is that for some, no it will not.

One of the reasons this season, and especially these last few episodes, hit me so hard is because they also echo some of the main themes of Supernatural. There’s a reason I was and always will be so emotional about that show. This season of The Boys looks at family and its importance in our lives and its many definitions, just as Supernatural did. Family by blood, family by choice, family by shared time in a foxhole trying to survive. Family as the support system who gets you through, and family as abusive and controlling and ultimately soul-destroying. Family as the people who give you those ideas about what it means to be a man or a woman without leaving any space for any other options, and demonstrate those rules with the abuse that makes them unforgettable.

Sometimes. Sometimes the cycle doesn’t get broken – and I hate that.

There are vivid reminders that abuse doesn’t always mean beating the shit out of someone (though sometimes it does). Words can do lasting damage just as easily, and sometimes those are even harder to forget or fight back against – because it’s your own self you’re talking back to. (The Boys makes that literal at times, which I invariably love an unreasonable amount). The voices in our heads can talk us out of irrational thoughts that hold us back, or they can talk us into staying afraid and trying to stay safe the only way we’ve learned. With all the trauma and PTSD in The Boys, it’s inevitable that both of those voices exist – and are sometimes given voice themselves!

The messages about fathers and sons in this show are Freudian in their flavor too. There’s a tremendous fear of betrayal, the darkest side of competition, mixed with heartbreaking longing, very Oedipal.  Sometimes I hope desperately that the message will be different, but this show has never been one to avoid the dark side.

The season ultimately turns out to be all about choice – as Kripke’s shows often are. Do you choose to have power if you can, or do you turn it down? Is there something worth giving it up for? Conversely, is there something worth holding onto it for, even if there is a price? There are no easy answers for any of the characters, and that holds true in the real world too.

I love that a show that’s entirely ‘out there’ rings so true for what is right here in front of us every single day. I love that it reflects the worst of humanity, specifically mirroring the things that make my stomach turn on a daily basis – and that it also reflects the best. It’s dark as hell, and disturbing, and sometimes truly painful to watch, but it makes me think and it makes me feel. It gets the wheels turning as fast as that roller coaster barrels down the steepest hill and leaves me just as breathless.

One more ride on the rollercoaster? Sign me up.

Do not miss the season finale of The Boys this Friday (or tonight if we’re lucky), and be prepared for some of the twists and turns  not being what you expect. Season 4, anyone?

– Lynn

You can read Jensen Ackles’ thoughts on fandom

and his 15 years on Supernatural (along with the

other actors) in Family Don’t End With Blood and

There’ll Be Peace When You Are Done – links in

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The Boys Episode 3.7 Drops A lot of Bombshells (And A Music Video)

Only one more episode of Season 3 of The Boys to go, and I don’t think anyone is ready for this wild ride to be over! This week’s episode, ominously titled “Here Comes A Candle To Light You To Bed” brought one of the biggest revelations of the series, and delivered it in a way that ensured it left a powerful impact. I know some people guessed what was coming, but I wasn’t one of those people, so it left me gobsmacked and repeating WTF more than once. Luckily I love it when this show can surprise me, so this is far from a complaint.

MAJOR SPOILERS AHEAD, SO BE SURE YOU’VE WATCHED THE EPISODE FIRST!

It’s been amusing, as a long time Supernatural fan, to watch the rest of the world discover Jensen Ackles’ acting brilliance as they watch this season of The Boys. He gave a tour de force in this episode, once again making me feel a ridiculous range of emotions that shouldn’t be possible for one character – especially one like Soldier Boy. And yet…

Look, even the official accounts can’t help but get a little heart eyed over this character (and the guy who so vividly portrays him).

More than anything, this episode was about agency and choice, as many of the characters confront their own fears and make decisions about their trajectories in life that acknowledge those fears but refuse to be constrained by them.  Homelander and Vought (as now personified by Ashley) continue to hold power by wielding that fear, Ashley utilizing their voicepiece Cameron Coleman to cast doubt on Annie’s accusations. Surely no one can take her seriously when she’s clearly just a woman scorned, and oh by the way, doesn’t she have ties to known terrorists and human traffickers? No wonder she started a home for runaway girls!  Imagine a world where the real bad guys take the moral high ground to silence a voice for change and people just believe it…oh wait.

Maeve is one of the characters who has faced the worst case scenario and decided she’s willing to lose it all to go up against Vought and Homelander. He visits her to see if he can find out where Butcher and Soldier Boy are, trying to scare her by saying that Soldier Boy has already killed seven supes and fried the power out of others – reminding her that could happen to any of them. His fear mongering doesn’t work on her anymore though.

Maeve: That’s the difference between you and me. You need to be a supe; I can’t wait til it’s over.

In one of the many parallels in this episode, Homelander recalls almost fondly that at one time he wanted to have kids with Maeve, just as Soldier Boy recalled the same about Crimson Countess previously. In an eerily prescient theme for what’s going on in the real world right now, Homelander assures her that he’d never force himself on her – but that doesn’t mean he wouldn’t harvest her eggs against her will to make himself some kids. It’s a shocking attempt to control her body and her reproductive decisions and how the hell are Kripke and this show always so good at predicting the dystopian future?

Maeve refuses to give him the upper hand though, saying that the day is still a top three for her, because she saw him scared. Touche.

Later, Homelander speaks at a rally and attacks Starlight once again when he’s supposed to be rallying in support of candidate Robert Singer (Supernatural’s own Jim Beaver). Homelander is losing it a bit though, hallucinating Soldier Boy in the crowd, his eyes glowing for a second before he gets himself under control. Walking it off, he ends up in a nearby barn where a cow is plaintively mooing. As ‘Crimson and Clover’ starts to play, the scene goes surreal, Homelander milking the cow and looking positively orgasmic while doing it and then drinking the milk right out of the bucket.

Only on The Boys, seriously.

Neuman catches him at it and tells him to pull himself together, offering him some information and a working alliance. That should go well.

A Train wakes up in the hospital with a new heart and an Ashley-written fake news story about how he got it that involves Soldier Boy killing Blue Hawk just as he and A Train were getting along again. Nice cover story, tying up all the loose ends. A Train is ambivalent about going along with all this, but you get the feeling he’s going to cave, drawn back in by the fame and fortune – and Ashley knows it.

Black Noir, on the run and hiding from Soldier Boy, also faces his fears – with the help of Buster Beaver and his cast of cartoon characters. Nathan Mitchell somehow manages to convey all kinds of emotions without saying a word, and it’s a brilliant use of cartoons to depict Noir’s backstory (as this show has done before).  Much like Homelander’s heart to heart with his own mirror image, Black Noir’s dream sequence in his head gives voice to his own self doubt and trauma without him having to utter a thing.

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