One of the reasons behindThe Boys’ cult-classic status is its ability to thumb its nose at traditional superhero tropes. In an era where superhero entertainment has become the norm, audiences crave something different - or at the very least, an alternative take on the traditional escapist worlds. Thankfully,The Boyscomic by Garth Ennis, Darick Robertson, and Russ Braun delivers just the right amount of subversion to satisfy that craving.
Much ofThe Boys’ cheeky take on superheroesrevolves around the traditional notion of a “supe” as someone who valiantly combats wherever it arises. The story’s core “tweak” of this idea centers around the corruption that afflicts these heroes on their path to justice.
However, an even more intriguing layer lies beneath this main narrative:a subversive exploration of the role of the supervillainin traditional superhero genre storytelling. This secondary focus is just as deliciously twisted as the “hero gone bad” storyline, offering a fresh and captivating - albeit underused and forgotten - perspective to an already sassy plot.
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Baked into the traditional superhero story is the idea that superheroes exist to combat supervillains: those dastardly evildoers with the power and resources to easily overwhelm ordinary law enforcement. This premise rests onthe assumption that supervillains, at their core, are fundamentally criminal, driven by a willingness to break the law for personal gain. The “super” in this context means that their evil intent and their ability to realize their malicious desires are at levels not normally experienced in society.
Based on the original comics by Ennis, Robertson, and Braun,The Boystelevision show is streaming now on Amazon Prime.
In line withThe Boys'“flip the script” subversive approach to its genre, traditional supervillains are noticeably absent from the narrative. Instead, the story’s primary focus is on superheroes, but with a twist.The “supervillains” inThe Boysare, in fact, superheroes– not evil-hearted ones, but well-intentioned crusaders dedicated to saving the world, akin to Superman or Spider-Man. However, their pursuit of justice has led them to clash with Vought, the corporation responsible for their existence, due to some perceived infraction. As a result, this nuanced portrayal blurs the lines between heroism and villainy.
Naturally, when employees disregard official policies and “go rogue,” there are consequences. Typically, these consequences might involve disciplinary actions such as fines, suspensions, reassignment, or, ultimately, termination. However, the issue with Vought employees is that they possess superpowers.Enter the Seven:Vought’s elite team of superpowered employees who, for better or worse, areentirely devoted to the “Keep Vought Great Forever” mantraand willing to do whatever is necessary to see their mission through.
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On one hand, thanks to Vought’s influence, any recalcitrant supe employee is quickly labeled “supervillain” in the media, which is a designation any true supervillain would quickly recognize as “fake news.” On the other hand, the superheroes recruited to punish these wayward employees - the Seven - are celebrated as true superheroes, despite their job being “company security.” However,the Seven are not far removed from their “evil” colleagues; they simply have a greater investment in the Vought system. Most importantly, despite their superhero moniker, the Seven couldn’t care less about truth, justice, and the public interest.
Like real-world companies that manufacture narratives to protect their bottom line, Vought “creates” superheroes to maintain its dominance.
A superhero story where do-gooders are branded criminals for insubordination and failing to follow corporate agendas offers an immensely intriguing twist on the concept of supervillains. Equally compelling is the notion that superheroes are little more than corporate enforcers, tasked with reining in “rogue” colleagues. For superhero fans, little could be more fascinating thana narrative where the “superhero” is a construct of a corporation willing to sacrifice anything and anyone for profit. Like real-world companies that manufacture narratives to protect their bottom line, Vought “creates” superheroes to maintain its dominance in the market.
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Unfortunately, somewhere along the path to exploring a groundbreaking concept in the world of superheroes,The Boysinexplicably reverts to the well-trodden narrative of unchecked power corruptingeven the “noble” hero. While the story initially hints at a more nuanced exploration of supervillains as potentially rebellious figures, it ultimately shifts its focus.
As the narrative progresses, it becomesincreasingly centered on the Seven,their deviant, corrupt, and “unheroic” behavior, and the efforts to hold them accountable. Consequently, the show largely abandons its initial exploration of the complexities of supervillainy to instead focus on the familiar trope of superheroes abusing their power.
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This narrative turn doesn’t diminishThe Boys' greatness. Instead, it represents a missed opportunity to deliver an even more impactful critique of the superhero genre. Given Ennis and Robertson’s initial efforts to redefine supervillains as nonconformists, the shift to a more traditional approach feels particularly disappointing. By reverting to familiar tropes,The Boysfalls short of its full potential for biting social commentary.
The Boys
The Boysfranchise is a satirical and dark superhero series based on the comic book by Garth Ennis and Darick Robertson. It explores a world where superheroes, or “Supes,” are corrupt, violent, and morally bankrupt, all controlled by the powerful corporation Vought International. The story centers around two opposing groups:The Boys, a vigilante team aiming to expose and defeat the corrupt heroes, andThe Seven, Vought’s elite team of Supes led by the ruthless Homelander.
