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Hard to deny that we live in an age dominated by the superhero. That classic Superman chestnut, “Look up in the sky!“, feels as apropos as ever when you can’t drive down a major road without Tony Stark’s mustachioed mug or Clark Kent’s Kryptonian biceps flexing down at you like judgemental gods. They rule the box office, they rule the pop culture conversation, they rule the graphic t-shirt real estate at every coffee shop. We’re about one particularly effective after-credits scene away from fandom spilling over into actual worship—pull up any video from inside Hall H if you don’t believe me—which means there’s no better time to ring up The Boys.
Adapted by Seth Rogen, Evan Goldberg, and Eric Kripke from the Dynamite comic series by writer Garth Ennis and Darick Robertson, the eight-episode Amazon series has a wickedly sharp eye for what an actual modern age of superheroes would look like. Costumed vigilantes come with an army of publicists to craft public apologies. Major media corporations schedule the crime-stopping “team-ups” that would drive the optimal amount of social media engagement. And there’s the possibility that the superheroes themselves, so shiny and glossed in front of a camera, are the type of A-list TMZ trash-monsters in their private lives who might smash a man’s skull during a particularly aggressive round of analingus. This is an actual thing that happens in The Boys. A lot of wild things happen in The Boys. But underneath all that superpowered ****-murder is genuinely one of the most timely TV series I’ve seen in a long time.
Way - Mayhem - Wee - Hughie - Campbell
Our way into the mayhem is “Wee” Hughie Campbell (Jack Quaid), a completely normal A/V salesman living a completely ordinary life until a super-fast superhero named A-Train (Jessie Usher) literally runs through his girlfriend Robin (Jess Salgueiro), turning her into...
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