It’s possible that the hit show The Boys on Amazon Prime Video, which mirrors the current state of America during the second phase of the Trump era, includes graphic scenes such as exploded penises, powerful sexual encounters, and enough blood to color every state red. Despite its seeming alignment with our present circumstances, the creator of the series, Eric Kripke, claims that this wasn’t the original intention.
In a chat with Jon Favreau on Pod Save America, Kripke explained that the show was initially intended as a satire of celebrities and Hollywood, likening it to the concept: “Imagine if Iron Man actually was Robert Downey Jr.” This idea came from one of the producers, Seth Rogen. The discussion took place during an Emmys For Your Consideration event hosted by Prime Video and Vulture.
After Trump was elected, Kripke recollects, we noticed an interesting overlap – authoritarianism and celebrity. Homelander is essentially a fascist figure but has such captivating charm. Upon recognizing this, we exclaimed, ‘Oh dear!’ I can’t claim it was intentional, but we accidentally hit upon the ideal symbol for the current zeitgeist, and we had to explore that concept as deeply as possible.
Indeed, “The Boys” has advanced significantly, reaching a stage where creator Eric Kripke mentions that aspects in the upcoming fifth and last season – with the power-hungry, totalitarian Homelander apparently ruling over America – are startlingly reminiscent of current events he has “already occurred to some extent.
“We wrote all that before the [2024] election,” Kripke admits. “We had, in hindsight, naïve hopes.”
In today’s world, authoritarian tendencies are not exclusive to America, but I’ve often felt that Donald Trump embodies a distinctly American brand of authoritarianism. His wealth, fame, and celebrity status are all characteristics uniquely aligned with the U.S. What are your thoughts on this connection and how it has evolved throughout the narrative?
In essence, we explored the dark side of stardom in our series. Celebrities and politicians share a common sin: hypocrisy. While they may present themselves as virtuous public figures, their true nature often reveals itself to be the polar opposite when they let their guard down. So, Homelander, who appears as a benevolent Superman figure, is actually a raging sociopath. A-Train, who comes across as an arrogant athlete, hides his fear of losing and his use of performance enhancers behind closed doors. We crafted these characters to embody hypocrisy.
Over the last ten years, we’ve come to understand that creating support is both about politics and entertainment, often poking fun at this reality in our show. The emphasis on making superheroes as entertaining as possible for the public has been a recurring theme, though it hasn’t spared us online criticism, particularly from those on the conservative side. My stance has always been that I hail from a small town in Ohio. My issue isn’t with you; it’s with those at the top who claim to have your best interests at heart but don’t. Instead, they stir up conflict, pit us against each other, and do so for personal gain and wealth accumulation. Both sides are guilty of this, but I find the behavior on one side particularly reprehensible: It’s all about tearing apart the nation to amass a bit more money and power in another golden toilet.
How do you avoid making your work too obviously related to real-life events while still drawing inspiration from them?
One essential aspect of this job involves being deeply invested in current events, often leading to strong emotional responses when unexpected news occurs. For example, when the case of Roe v. Wade was overturned, it sparked a wave of anger across our team, and I can’t claim to fully understand the emotions of my female colleagues, who were rightfully enraged. Yet, we grapple with these political issues internally, seeking ways to convey that anger effectively in our work. This is why Annie’s storyline about having an abortion was introduced – it serves as a means for us to express and process our feelings. In contrast, when it comes to celebrity-related topics like the Kendall Jenner Pepsi commercial, we tend to approach humor more freely.
In discussing Vought’s propaganda machine, one might ask: Why did you decide to involve Ryan, Homelander’s son, in your propaganda efforts? This question brings to mind an eerie and ironic scene from season four, where Ryan makes an appearance in the Avenue V Christmas special – a program reminiscent of Fox News combined with Sesame Street. The inspiration behind this decision seems to be rooted in a historical event that left a deep impression on you: a children’s game produced during the late 1930s, where the objective was to expel Jews from Germany. This game was popular among children and portrayed Jews as rats, which is a chilling reminder of how propaganda can be used to manipulate people in dark times.
In essence, we’ve moved from imagining George Orwell’s novel “1984” to experiencing firsthand the intricacies of propaganda. It’s captivating and polished, yet a crucial aspect often overlooked is the use of propaganda targeted at children. I found myself pondering, “Could we create Homeland Youth? How do we engage the young generation?” because it’s such a subtle but powerful tactic. The puppets weren’t our original concept; they originated in the spinoff show “Gen V.” I just adore them so much that I exclaimed, “We need to utilize these Sesame Street-like puppets!
In season four, you breathed life into Firecracker – a character who embodies an intensified form of a right-wing political figure, similar to Marjorie Taylor Greene, though you clarified it wasn’t modeled after a specific right-wing TV host but a politician instead. The intrigue lies in the fact that while Trump is the main figure, there are these fiercely devoted Trump supporters, like concentrated versions of his influence. They’re so immersed in the ideology, much like overly sweetened orange juice, and they’re incredibly energetic. I found myself wondering, what if Homelander had an ally as radical as he is? What a powerful tool for propaganda that would be!
In essence, people within the party or administration are mimicking Trump’s behavior because they understand it is a means to gain influence, wealth, and win elections. This transformation is evident, with individuals such as Marjorie Taylor Greene consistently portraying this persona, while others, like Marco Rubio, have adopted MAGA ideology as they seek favor. To illustrate further, it seems as though the political landscape has morphed into a professional wrestling arena, where characters are crafting personas for public consumption. Valorie Curry, who plays Firecracker, provides an excellent example of this phenomenon. When she’s off-stage, she is more reserved and thoughtful, but when she performs, her character becomes hyperbolic and aggressive. This transformation underscores the trend of individuals embracing culture-warrior roles to garner support from their base.
As a movie enthusiast, I ponder over the striking resemblance between this show’s narrative and current real-life political dynamics. Initially, it seemed like those trying to challenge Homelander believed they could sway public opinion against him by revealing his misdeeds, falsehoods, and true nature. However, last season, Homelander appeared to comprehend that he could get away with virtually anything, as long as he had a strong enough fanbase. Was this always the master plan, or did it evolve in response to real-world events unfolding?
One approach to following “The Boys” could be by observing the progressive deterioration of Homelander’s mental state throughout the series. Initially in season one, he exhibits a hint of insanity. However, as we progress through season two, his instability becomes more pronounced. By season four, out of five, he comes to understand that he doesn’t need to wear the mask anymore. He was wearing it to maintain the image of being a friendly Superman-like figure, but then he realizes that people don’t want that from him. Instead, they want him to fuel their fears and hatred. Consequently, he decides to give them what they desire.
For over a decade now, we’ve been witnessing similar scenarios with Trump. Time and again, we think his actions will turn his supporters against him, marking the end of his political journey. However, quite the opposite happens – it seems to fan the flames even more.
In later seasons, the true hypocrisy unfolds as we make clear that those who adore him are considered by Homelander to be repugnant individuals. They’re so detestable that he wouldn’t even deign to urinate on them if they were on fire. This is where the real irony lies, as behind closed doors, he takes every opportunity to sanitize with hand sanitizer after shaking their hands.
In simpler terms, we’ve delved deeply into understanding what drives individuals to such extreme ideologies, even at the cost of estrangement from loved ones. This transformation can occur swiftly and surprisingly. We wondered, where does this surge in radicalism originate? While there are countless reasons, one particularly intriguing aspect is explored through our character, Firecracker, in episode two. People find themselves fearful and disgruntled, struggling with job losses, escalating food prices, and witnessing the destruction of their communities by drugs like Oxy or fentanyl. Mainstream politicians have failed to provide comforting words, leaving a void that is filled by new voices promising solutions. These voices claim that the root of their suffering is an evil force attacking them, implying that they are not victims but warriors in a battle against this enemy. This rhetoric offers power and purpose that people may not find elsewhere. It’s important to note that these individuals are not inherently bad; rather, they are scared and seeking belonging amidst the chaos. The establishment exploits their fear and loneliness for its own gain.
In this season, there’s more exploration of Homelander’s past, as well as other superheroes’, and it’s interesting to note how significant past traumas can impact powerful individuals. If Donald Trump’s father had offered him comfort instead of criticism, or if Elon Musk had received more understanding, perhaps our current circumstances would be different. This pattern is evident among the supes, as they all grapple with issues stemming from their backgrounds.
Writing a straightforward villain poses challenges for me. It’s difficult to comprehend someone who decides to be evil upon waking up in the morning. A character who says, “I’m going to do the right thing,” or “I’m compelled to address an inner need,” is easier to understand and justify compared to one who deliberately chooses evil.
Through a pivotal scene for Homelander’s background, I was eager to delve into how he didn’t suddenly appear without explanation. His character development is a result of upbringing, questionable decisions, and the errors of previous generations. This unresolved trauma echoes across the generations, and it takes conscious effort to attempt to break the cycle. Antony Starr’s performance in that episode was remarkable. He made a character who humiliates another person by making him masturbate in front of everyone seem almost pitiable. It’s a feat of acting that leaves you feeling sympathetic towards Homelander, despite his heinous acts of torture. I often tell people that I don’t require empathy for Homelander; instead, we should strive to comprehend him.
Balancing human moments amidst the show’s explosive scenes is crucial for keeping viewers engaged. The series can swiftly shift from humor, to intense violence, to explicit content, and then to emotionally poignant scenes. The audience will only join this rollercoaster ride if they have a deep affection for the characters and wish to accompany them through their wild journey, similar to Mr. Toad’s adventure in Disneyland. Therefore, it is essential that we develop a genuine connection with those individuals on screen.
In our production process, approximately three and a half weeks are required to construct an episode. Approximately two of these weeks are dedicated to extensive discussions about characters, their psychology, motivations, and plot progression. We ponder where we want each character’s journey to begin and end, and how to navigate the path between these points. As scenes start to come together, they often serve a purpose of emotionally advancing our characters.
Our show is known for its graphic violence and explicit content, but we always aimed to push boundaries further by making it profoundly emotional. This was an unexpected twist, as viewers might not anticipate such feelings from this type of show. In essence, our goal was to elicit tears from the audience, something they might least expect.
In the final season, Homelander seems to be in power as martial law is enforced, raising questions about whether this was a preemptive move or a foreshadowing of events by the time season five begins. Given that we wrote these scenes before the election, it appears our optimistic assumptions were misplaced. As we approach the climax, it’s time for a dramatic shift. We’ve been warning about Homelander taking over the country, and now it seems that moment has arrived. At the time, we hoped to create a cautionary tale, but events have proven otherwise. While I can’t reveal too much about season five, some of what we wrote has already become reality. Many fans ask for a happier ending, but I must remind them that I have little control over the direction things take.
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2025-06-09 19:55