Eviscerating the culture of superheroes and lies in a corporate-run dystopia

Alone in the wreckage of his memories and hallucinations, Black Noir is the only audience in a show where a cartoon American eagle with the voice of Soldier Boy intimidates him and leaves him with brain damage – a gonzo image that epitomizes the culture of cotton candy superhero entertainment and its potential lobotomization of the viewer as the country goes to hell in a hand basket. “The Boys” imagines a world, not unlike ours, where superheroes are the opium of the people, so much so that men will take up the chant “Supe lives matter” as if it really meant something (more than , say, #ReleaseTheSnyderCut). As the legend says:

“Being American is knowing you’re the hero. So what do we do? We sweep all our dirty shit under the rug, and we tell ourselves a myth like Soldier Boy. And I get rich by selling it.”

Season 3 of ‘The Boys’ ends with Kimiko being re-energized on Compound V – of her own choosing, so she can protect her family, Frenchie – while Butcher faces the prognosis he is left with. 12-18 months to live due to his overuse of Temp V. Butcher joins his team, who are now much more suspicious of him, just in time to learn that VP candidate Lamar Bishop (Graham Gauthier) is is drowned.

It is the result of a secret and treacherous assassination that The Deep committed in a swimming pool at Homelander’s request. Finally, these Aquaman powers come in handy. “The Boys” appears to set up Ryan and replacement contestant Victoria Neuman (Claudia Doumit) as antagonists for Season 4. Victoria, introduced to Hughie as Head Popper, has already outwitted her adoptive father Stan Edgar ( Giancarlo Esposito) this season, and if it means protecting her daughter, she clearly has no qualms about forging an alliance with a megalomaniac who derives sexual gratification from milking a cow and then drinking the milk.

As the sign says, “God, Guns, and Homelander.” Three seasons later, “The Boys” continues to spread irreverence and speak truth to power as an acidic subversion of the superhero-industrial complex.

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