The Boys isn’t about superheroes, it’s about TV

Superheroes The Boys They are always watching television. That’s because, like in our world, they’re on it: As the self-centered superteam known as The Seven, they’re constantly appearing on talk shows, speaking to reporters about current events, promoting their upcoming movie, or starring in a television show of their own. Season 3 The BoysOne of The Seven’s primary media ventures is the reality TV show “The Seven”. American Hero, a talent competition where superhero hopefuls compete for a spot on the team’s roster.

American Hero is incredibly silly — the glimpses we see of it make it seem like a cross between America’s Got Talent American Ninja Warrior — and notably has nothing to do with being a superhero. It’s a celebrity audition, one that’s built for a world where being seen as a hero is better than being a hero.

The BoysFrom the beginning, has been very concerned about superheroes being media products. Immediately and continuously assaulting viewers with costumes stars using their images to sponsor products. The only reason their corporate overlords seem to have superpowers is for off-the books operations to wipe out political enemies both at home and overseas. In its third season, however, its self-serving superheroes — namely the nigh-invulnerable Homelander (Antony Starr) — starts to believe TV appearances are the real superpower, much more so than being bulletproof.

Photo: Amazon Studios

Homelander’s arc in season 3 directly follows the fallout of season 2, with the monstrous superhuman in check thanks to his teammates Starlight (Erin Moriarty) and Queen Maeve (Dominique McElligott) blackmailing him with footage of him leaving a plane full of innocents to die, and the very public revelation of his girlfriend/partner Stormfront (Aya Cash) as an avowed Nazi. Homelander responds to both private and public pressures, but he is also submissive, making him a great corporate accomplice for the Vought Corporation. Whenever he wants to step outside of those bounds he’s reminded that America’s superhuman sweetheart, Starlight, is the teammate that brings the most ratings, and therefore holds the most power.

The season turns on a moment in the premiere when, on live television, Homelander decides he’s fed up with it all. He goes on an unapologetic rant, saying that, despite the countless quotes he’s given about his indiscretion with Stormfront, he’s not sorry at all. This is when the best thing happens. His ratings rise.

The Boys has always been an unabashedly political show, but it’s at this moment where it draws the most open and obvious parallels to real-world politics. From this moment on, Homelander’s season 3 arc strongly echoes Donald Trump’s political career, as the insecure and narcissistic antagonist continually tests the limits of what will be tolerated on air, and is continually delighted to find that no one ever pushes back. If they are able to inflict such horror on others because of a constant, deep-seated hunger for validation, it is clear that this group has found it. The BoysAs media critics for the President have argued, in the fickle but adoring god TV ratings which, without any safeguards will always thrill at new lows.

Photo: Amazon Studios

Then, it spills over into American HeroHomelander then uses it to his benefit. Homelander picks the winner among the contestants, and also filters through PR to ensure that a Muslim hero is not excluded. Homelander then uses the show as an opportunity to reinstate The Deep (Chace Crawford), his former teammate who was banished in season 1 after his sexual assault of Starlight. The whole redemption process of The Deep follows, and Homelander uses the show to reinstate him. A book and Lifetime original movie are being produced about this journey. Cassandra Breier, his wife, is also involved in the rehabilitation. She wants to be a media player.

Season 3 The Boys is still the violent satire it’s always been, it’s remarkable how much of it is also concerned with making television. There’s irony to that — the season starts with a film premiere — but among this season’s core convictions is in the idea, vital to the right-wing ideologues it satirizes, that real power is in the ability to shape reality regardless of facts. It’s a great way to establish a new reality, than by repeating it over and over on television.

In this, a background theme of the show moves to the forefront, as superhuman idols — we’re reminded several times that people still Love Homelander and the Seven, lest we think too many share the views of our hero-hunting protagonists led by Billy Butcher (Karl Urban) — are out doing less than before, but taking great care to shape their public narratives.

Photo: Amazon Studios

Modern folklore is often used to describe superhero comics. It’s a form of art from the 20th century that most closely resembles mythology passed down by our forefathers. This idea, though seductive, can’t withstand any real scrutiny. Superheroes are — in the real world as well as in The Boys — products carefully safeguarded and monetized by corporations, created via exploited writers and artists to phenomenal profits. Does this public perception of superheroes — as powerful symbols to root for, to see ourselves reflected in, to willingly chronicle entire fictional universes for — outweigh the fact that they are just maintained in the interest of perpetually buttressing corporate profits?

Fuck no, says The BoysYou can stream the show on Amazon Prime. There is also an animated spinoff, called The Boys: DiabolicThis spinoff, as well as another one about college-aged heroes, will air soon. Maybe they’ll do a reality show next.