Hughie (Jack Quaid) is such a normal kid that he sins of being a coward. He is the typical one who does not dare to ask for a salary increase even though he deserves it and who prefers to go unnoticed. But one day he’s out on the street with his girlfriend and, wham, she explodes like a bag of blood and guts because she’s run over by one of the trendy superheroes, the speedy A-Train (Jessie Usher), who was running on the asphalt. Then he lets himself be convinced by Butcher (Karl Urban), a guy who tries to uncover the corrupt reality of superheroes who dominate justice, the economy and the media. This is the unusual starting point of The Boys, the series with which Amazon Prime Video has just taken the summer series scene and that adapts the comic by Garth Ennis and Darick Robertson.
The Boys stands out from the current superhero cinema with a presentation of characters where men and women with superpowers are anything but heroic and in many cases directly villains, and the real (anti) heroes are those who try to fight them. This is why it works. The caped characters look like superheroes, they speak in public like superheroes but they are moral corruption with a nice wrapping.
Eric Kripke’s series, in fact, proposes a multiple criticism. The dependence of the United States on the arms industry is denounced, contributing to the warlike climate due to economic interests. Talk about the privatization of armed conflicts with these caped mercenaries. Denounce a capitalist system that turns something that should be pure (doing good) into a simple marketing maneuver: here is fantastic Eric Moriarty as Starlight, the naive superheroine who joins the Seven with the best of intentions and on her first day of work already is the victim of sexual harassment by one of the alleged colleagues. And I would say that what works best is this reading of superheroes as a critique of today’s society’s entertainment star system, also because a server spends all day reading (and writing) about entertainment.
It is inevitable to see these heroes called Homelander (Anthony Starr) or The Deep (Chace Crawford), their reconversion into amusement parks, stuffed animals and promotions in cereal boxes and think about the empire that Disne and has ridden around princesses, now superheroes and also the characters of Star Wars. It is inevitable to see A-Train visit a teenager with cancer for contractual obligations (with the ubiquitous cameras, of course) and think about the visits that Hollywood actors (especially those of Marvel) make to hospitals only when they are promotional. from a movie. It is inevitable to realize a reality: celebrities, like these superheroes, no matter what they do, they survive the scandal, either because the truth is hidden from the public, because the public is stupid or because they orchestrate millionaire image washes.
All this criticism works, moreover, by the work of Dan Trachtenberg (10 Cloverfield Lane) as director. Lays the aesthetic foundations of The Boys As a superhero production and, when the budget does not allow to introduce too many visual effects and focuses on the more mundane side, it does not lose the visual invoice that takes you into that world of superheroes to the highest bidder. AND Eric Kripke, until now an irregular television scriptwriter (Supernatural, Revolution, Timeless), find the tone between action, superhero and black humor.
If Amazon wanted to storm the summer after La casa de papel and Stranger things triumphed on the rival platform, they have achieved their moment of glory “
You only need a couple of shots of Homelander, for example, to understand the disturbing moral corruption that hides the cape (made in the colors of the American flag), you only need a few minutes of Starlight to want to hug her for having grown up with a mother who only I wanted to exploit her as a star (she represents the actresses who install Hollywood before their time and are eaten by wolves), You only need to see a couple of interactions between Butcher and Hughie to understand that this is a rude festival with a beastly road ahead for the harmless widower.
If Amazon Prime Video wanted to storm the summer, at least now that The Paper House and Stranger Things have already had their moment of glory on Netflix, they have the right proposal.
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The series with which Amazon has just assaulted the summer Syrian scene