Martin Carr reviews the first episode of The Boys…
If this fails to light a fire under the arse of every executive in every writers room across Los Angeles sack them now. Ever since someone leaked a Deadpool test which then turned into an R rated cinematic freight train people have been trying to replicate it. Creative doors might have been kicked open and exploited by Logan, Preacher and American Gods, but until now nothing has punched a hole next door. Being R rated and funny was eventually never going to be enough, which is what Eric Kripke, Seth Rogen and Evan Goldberg knew whilst everyone was busy catching up.
What The Boys offers beyond the next evolutionary step for red band rated television shows is savage social commentary. Everything from perceptions of industry, celebrity and personal privacy go under the knife without once compromising character, story or emotional impact. Superheroes are big business, well protected and hand selected according to demographic desires. Think of the Vought Corporation like Apple with a rotten core driven by merchandising, approval ratings and public safety profiteering.
Think of all the ways Hollywood has tried to subvert, reinvent or challenge audiences since Tim Miller’s Deadpool then watch this happen in one episode. Like a latter day studio system these superheroes indulge diabolical addictions, literally kill people in broad daylight and are legally exonerated under law while people are paid off. This is a look behind that corporate curtain at superhero worship, power and privilege which requires a global population to get down on its collective knees and show gratitude.
Not since Watchmen has a more unflinching indictment of popular culture made the leap from cult status to small screen without compromise. These characters are three dimensional, self-aware and exploit their position without impunity. Adapted from the comic book by Garth Ennis and Darick Robertson conflicts are quickly established, relationships form seamlessly and this world brims with rich possibilities. Jokes are sarcastic, bloody and perfectly timed. Pay offs are cued up early on with subtlety and broad stroke character introductions feel full bodied and believable.
Stand outs include Karl Urban’s Billy Butcher, Antony Starr’s Homelander and Chace Crawford as The Deep. Dan Trachtenberg who is best known for directing 10 Cloverfield Lane handles the action set pieces with style and elicits pathos in between those rare non-world establishing moments. With a second season not only greenlit but going into production next spring consider this a warning shot from those people with Hollywood by the balls.
Martin Carr
