The Boys Is Point-and-Laugh Political Satire at Its Worst

As a long-time fan of “The Boys,” I’ve always been drawn to its unapologetic satire and biting commentary on American society, particularly its critique of corporate culture. But with the latest season, I feel like something has shifted. The show’s scathing take on Vought and its illegal activities no longer feels fresh or insightful. Instead, it comes across as preachy and assumptive.

In the finale of “The Boys” Season 4, titled “Assassination Run,” an anticipatable event unfolds: The power-obsessed superhero Homelander seizes control of the US government. The specifics of his takeover – through a January 6 coup with backers rallying behind him, and a televised address assuring safety under his rule – reflect the show’s waning satire on politics. Over its course, the series’ progressive commentary morphed into smugness, while its imitation of real-world events led to an underwhelming climax. As the series progresses towards its fifth and final season, Homelander’s transformation into a god-like emperor reminiscent of our 45th president is undoubtedly going to be a major plot point. This development is both predictable and disappointing from a narrative standpoint.

In “Assassination Run,” Homelander’s past actions, which include atrocities not related to resistance-Twitter topics, serve as a reminder of how thought-provoking The Boys used to be before focusing on late-capitalism criticisms that mainly targeted Donald J. Trump. Within Vought Tower, Homelander plans his takeover and compiles a list of Vought International employees who possess knowledge of the team Seven’s mistakes and fatalities. These individuals, including writers, assistants, and marketers, could potentially expose secrets, making them expendable according to Homelander. Chace Crawford delivers the line, “Sorry, buddy, you’re on the list,” with an offhand cruelty, while The Deep eliminates a former colleague by punching through their face and crossing their name off a slip of paper. This depiction of mass layoffs is The Boys’ unique portrayal of corporate ruthlessness.

The self-serving attitude of executives in large corporations, their disregard for employees, and the hollow “we’re a family” rhetoric are unfortunate consequences of the greed found among Fortune 500 companies. “The Boys” excels at exposing the moral vacuum of America’s wealthiest one percent, and this has been its focus since the show’s debut in 2019. In Eric Kripke’s adaptation of Garth Ennis and Darick Robertson’s graphic novels, Vought International’s power over the entertainment industry was expanded to create a more realistic world that mirrors our own. To effectively satirize this world, the creators cleverly blurred the lines between reality and fiction. Executive producer Seth Rogen (who previously starred in “The Green Hornet”) made cameo appearances as himself, while references were made to Joss Whedon’s past role at Marvel Studios. Vought was depicted as a dominant force controlling various aspects of society – cable news, movies, religion, and even birthday parties – and it aimed to expand its influence into the military, transforming local superheroes into global superstars fighting crime and terrorism around the world.

By the summer of 2019, viewers on Prime Video had expressed concerns over Marvel’s partnership with the U.S. military. This controversy arose when an Air Force commercial promoting recruitment coincided with the release of “Captain Marvel.” The provocative message of “The Boys” – that superheroes aligning with the military for propaganda purposes was problematic – seemed like a commentary on this issue. In their comics, Ennis and Robertson expressed disdain for weapons manufacturers like Lockheed-Martin and Haliburton, who profited from the U.S.’s post-9/11 wars.

In simpler terms, “The Boys” was one of the earliest corporate-satire shows on Amazon Prime Video, exploring themes similar to series like “I’m a Virgo,” “Fallout,” and “Utopia.” These shows ask thought-provoking questions about living in a world where people can be forcibly sterilized, persecuted, racially profiled, and massacred, all in the pursuit of higher profits. In “The Boys,” these ideas are presented through shareholder meetings and fan conventions, revealing how executives like Madelyn Stillwell, Stan Edgar, and Ashley Barrett manipulate public image while ruthlessly expanding their company’s reach. Unlike other corporate satire shows that may only confirm viewers’ existing beliefs, “The Boys” puts a dark twist on everyday situations, such as an office email, to create a disturbing commentary on American capitalism at its highest levels.

In “Assassination Run,” Homelander and The Deep concur that Ashley, who holds crucial information on their illicit activities, must be eliminated. However, they’re unaware of her last name, leading them to mistakenly eliminate her assistant, also named Ashley. Another instance is the continuous joke throughout the season titled “Training A-Train.” Vought funded a biopic about A-Train, one of their Seven members, which alters his childhood background. His Black brother and coach are portrayed as a drug dealer, only to be replaced by a white savior, Will Ferrell. This film initially gives off a “Blind Side” feel in the third episode, “We’ll Keep the Red Flag Flying Here.” However, it later becomes an infuriating commentary on our media landscape’s obsession with tax breaks in “Assassination Run,” as Vought ultimately cancels the production due to realizing they could generate more revenue from the write-off.

In this scenario, the connection between the current plot point and an earlier event is explained in a relatable manner. The V752 Expo in “Beware the Jabberwock, My Son” saw Vought introduce custom digital product placement with offensive stereotypes for commercial gain. This tactic, which targets viewers in specific phases of VCU, allows Vought to capitalize on diversity. Initially uneasy, BIPOC fans eventually applaud, unknowingly endorsing the algorithms that will later determine the worth and eventual fate of projects like “Training A-Train,” a potential prestige picture starring a Black lead.

Effective satire uses a blend of humor and discomfort to make us examine ourselves in the mirror, causing us to reconsider our beliefs. Shows like “The Boys” have always successfully criticized corporate culture through this method. However, with Homelander’s character transformation into Trump, the corporate satire took a backseat to extensive culture-war commentary. This fourth season of “The Boys” is disappointing because it often resorted to mere mockery of politics without exploring why we accept corporate executives having so much power. The Federalist sex party is an example of this overused trope in the show, and now seems tired compared to the more intriguing question: why do we submit to those in power making decisions for us?

The tone of “The Boys” has shifted excessively, becoming overly presumptive – we’re supposed to recognize through Homelander the danger Trump poses to America, and through characters like Tek Knight, the flaws in our criminal justice system. However, this approach has adopted a preachy tone, repetitively presenting what we already know without considering our role or response. When “The Boys” directs its critique towards Vought, it challenges aspects of American culture that require introspection – our fascination with spectacle, loyalty to brands, and misplaced aspirations for wealth. These elements of our national identity are ripe for examination, satire, and transformation. It’s essential to remember that the malevolence in America is not limited to Homelander alone; “The Boys” was more effective when it acknowledged this truth.

2024-07-22 19:29

The Boys Is Point-and-Laugh Political Satire at Its Worst

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