The Boys - Season Two (2020) Review

Those pesky, nay!, Diabolical Supes made a return to the screens this September and after a successful, nigh on cult first season, does The Boys perform just as well this time out or have the ‘Spice Girls’ reached breaking point? Let’s Discuss:

Poster for The Boys’ Season Two

Stepping up from a rather local and grounded season one, the second promises more character lead turmoil as the fractured Boys aim to mount a fight back against Vought minus one Billy Butcher who’s AWOL. Starlight and the Seven have a power shift as Homelander clashes with Stormfront and Vought aim to capitalise on social paranoia based off the threat of a Super Villain... welcome to my review! (To be updated weekly when new episodes air)

For those who might find themselves needing it, here’s a recap of the first season: https://youtu.be/05EvKELy5a8

The Seven, Assembled

Bonus Content: I’ll be a bit more lenient here and need to make a distinction. There’s a small batch of ‘bonus content’ listed on Prime Video alongside the series‘ release and I’ll get to that in due course but first I need to draw your attention to YouTube. The Boys is still an incredibly underrated series despite its stars and notable creatives but the community online has seemingly found a soft spot for the Amazon original. Savage Books, Point of Information and Lady Jenevia have all made stellar video essay content around the series, and Full Fat Videos have also chipped in with incredible efforts in a collaboration with Prime Video’s YouTube Chanel itself, for deep and interesting takes on character, meaning, symbolism etc. Be sure to check those out and expect a few to be linked below, they're more than worth it! So now, onto the Prime Video listed content: My Dad Works Here & Vought Corporate Video - parodying the media and its conventions, we also get a good tastes of The Boys’ brand of comedy, high-end satire. Jabbing at the form of Advertising as well as satirising big industry, imperialism and the state, it’s one that’s aimed at returning fans and is very particular with its identity which, as a whole is something that’s perhaps turned off a wider, general audience in the mainstream. Get it Done: An introduction to Stormfront and sprinkling the seeds of her rivalry with Homelander, effectively acts as a trailer and implies that Starr’s ‘Evil Superman’ is slipping down the pecking order. Gives a feel that Esposito‘s Stan Edgar is going to be a large part in this season, he plays a stellar villain and is really enchanting in his performance. Trailers/Bad Guy: All being something one could consider as a ‘trailer’, it once again doesn’t feel like anything that has mass appeal, it knows its audience and plays on that - the trailers show more Supes, more character, more plot and a sense of some key events to boot, serve the show well but are perhaps unique in its kind - its almost - ironically so - the finger to the audience, perhaps a reason as to why it’s not more widely regarded by the general public.

Homelander (L) & Queen Maeve (R) ‘Supporting the Boys’

Episode One: The Big Ride

After an attached introductory recap, we‘re faced with a Vought board meeting and Giancarlo Esposito needs no time at all to paint his Stan Edgar as a villain: cold delivery and sinister, greed backed motives, he‘s a step up in diabolicalness from Elisabeth Shue’s Stilwell who fronted Vought in the maiden outing. Black Noir gets a sequence in cross cutting with this meeting, already likely matching his screen time from season one - he’s conducting Vought’s imperialistic crusade in the desert of Syria as he deals with ‘Super Terrorist’ Naqib. As a whole, his target is to dispatch these ‘villains’ as a means of preventing them from being used as assets by countries in political conflict. Black Noir is a mute Deadpool and the character portrayed by Nathan Mitchell, is very good at communicating physical humour. And cut to the funeral of Translucent, his death is taken advantage of by The Seven and spun as an attack via terrorist group ‘El Diablo’. Homelander delivers a righteous speech where he gets a chance to play himself as the hero in front of a mass audience. We then crosscut between Starlight’s serenading of her late colleague and Hughie and co. In hiding, this editing structure still plays on the romance between Starlight and Hughie, A-Train remains hospital bound, Kimiko learns English, MM plays doctor and Frenchie is pulling the strings on a mass smuggling operation. Holed up in the basement of a comics store, Hughie meets Starlight incognito and its made very clear that Billy Butcher is a wanted man, via their rekindling, it’s our first taste of that sharp dialogue that populated the first season. Starlight/Annie can’t move past Hughie’s secrecy and suddenly we’re cross country in a water park as the Deep ridicules the playing children about the difficulties of swimming asking if they’ve ever experienced the Mariana Trench. In what’s one of the more outlandish set pieces from this opening trio as a whole, it was absolutely hilarious and delivered brilliantly from Chance Crawford. In a wider sense, it adds a lot of character and dare I say charm to The Deep who’s arc felt a little forced or at best badly paced and was a standout negative in the maiden season. Deep is then bailed out from Eagle the Archer - the world furthermore expanding and adding to its roster of Heroes and Villains. Then cut to Seth Rogen - producer of the series who takes the role of himself in this universe to be an in-world filmmaker. This glimpse of him in episode one sees the man on a press junket for Translucent’s film franchise which is then followed by a re-enactment of Stilwell’s death on a Chris Hansen fronted “Crimewatch” type series. Butcher is squared with the blame and it covers the murder committed by Homelander. We‘re pulled back to the basement as the Boys see themselves listed as wanted. Tensions are near boiling point and it appears the Boys are ready to fracture and splinter off in their own ways. Homelander, visiting his old flat, laps up his final bottle of Stilwell’s milk in what has fast become a hilarious meme, the face of the Seven is then on recruiting duties meeting possible new addition, Blindspot, who’s likely to win over the millennial audience thanks to his hampered senses as the squad diversifies. Disrespected by this attempt to add to his team, Homelander dispatches of him in spite of feeling powerless in his rankings And as an attempt to pull back full control. Starlight, on her way to complete a mission backed by Hughie, sees her image fully put through the male gaze a number of times as her series is being heavily advertised. Content wise, we’ve now got a lot to get through so let’s begin! Hughie and Starlight aim to blackmail Gecko, a low level Vought worker who sells himself in an S&M sense for those willing to dismember his limbs and after capturing it on film, Gecko is persuaded by Starlight to attain some Compound V. Frenchie finds his subordinates have been smuggling humans and trafficking them one of whom happens to be a Supe and has injured one of the workers. We witness a focus group who mull over how to brand a villain and chip in with ideas for Vought’s marketing of The Seven. Whilst finally the Deep’s arc is a bit contradictory to rest of the season, his arc of depression and soon to be redemption is better handled for one, but allows for a different approach of the concept of a hero - he’s taken in the context of isolation and it allows an exploration of the psyche rather than the general concept making the Deep one of the more tragic and interesting characters. With Starlight’s blackmail, that negotiation sequence (if you will) introduces themes and commentary upon: celebrity culture and the risk of idolising false gods. In world advert for the American Army plays and its the first glance we have of Maeve in this season. Furthermore, it introduces Stormfront in a clip that was used in the pre release advertising campaign and sees the new hero assert herself into the Seven which seems to rattle Homelander who again has the perception his power is slipping. After a bit of a bust up, MM and Hughie reconcile and The Boys head to their contact in the CIA - Rayner - to try and pull themselves and Starlight out of the hole they find themselves in. Rayner clicks in regards to the bigger picture, piecing together that Vought have spun this whole conspiracy for their own gain, before our protagonists have a chance to realise, Rayner is killed. Homelander heads to 99 to confront Stan Edgar and raise his grievance that his power is being undercut by Vought’s powerful establishment. Edgar believes the firm is the more powerful party whilst Homelander is of the opposite opinion and we proceed to learn more about the companies history, specifically how Vought‘s founder was a war criminal and tested a primitive Compound V on Jewish prisoners after being backed by the Nazis. After the formula was proved to have results, the US pardoned him lost war and went on to benefit from it for their own gain with Soldier Boy (Jensen Ackles) and numerous others since. Edgar forced his power over Homelander and removes control from the Supe in every way but image. Whilst on the topic, his passionate speech about how Vought have since become ethical, is a nuanced and masked strip down of big business and capitalism. Stating they’ve moved forth whilst keeping the Vought name proudly flying as well as continuing to test on Humans (Gecko is a lab rat) and the defenceless - particularly children who are exposed to the formula and alter develop powers which is the case for a lot of the Supes who form the Seven. Vexed by this, Homelander returns to Rebecca and Ryan, ready to play dad. Annie succeeded in her blackmail attempt and will come into possession of a ’V’ sample in the coming days. In the absence of Billy Butcher (Urban) - de facto leader of The Boys - the cast are still exceptionally good, and it’s a unique situation as the dynamic is almost pitching to the viewer who’s the best suited leader. And whilst on Butcher, that rumoured short film is something to keep your eyes peeled for, it’s a role that Urban was all but made for and who’s going to complain about seeing more from London’s finest Supe killer??

Homelander speaking at Translucent’s Funeral

Episode Two: Proper Preparation and Planning

Daddy’s Home!! Butcher is back on our screens and appears to be racking with some kind of amnesia, or is, at least, attempting to place where Rebecca lives. Butcher is off grid and on the run as he’s public enemy number one. Willing to run with it though as he’s initially not willing to divulge his struggles to his peers. Homelander is vexed by Ryan not showing his powers to the world and struggles to play Dad as he’s got no background to source off. Elsewhere, the women of the group are put through their paces in an intensive day of press junkets. The Deep riddles in self pity whilst playing his beloved Goo Goo Dolls’ biggest hit, and his gills, voiced by Patton Oswalt, force him to confront his issues and flaws whilst on his ‘trip‘ back to the front of the Seven. Butcher goes on the offensive to dig the Boys out of trouble, contacting The Colonel. A-Train sprints back into the picture and is fully aware that Starlight is playing double agent. Gecko gives Annie his sample of Compound V and A-Train seems to be running surveillance on the darling Supe in a petty and incredibly bitchy manner. These early two episodes are a really different tone and approach, more character driven and likely to spawn a number of sub plots which I appreciate. It’s nice to see some of the undercooked characters get more of a run out this time round. Maeve reveals to possible flame Elena that Homelander monitors her love life and as such, Elena is perhaps a target now. Whilst Ryan’s powers lie dormant, we get a good profile of Homelander and the god complex which he’s possessed since childhood, it also humanises him as he can, in some sense, display outwards some love to at least one individual. Does offer a unique look/question: how does one harbour an infant Supe? Something Brightburn tried and failed. The Boys themselves conduct a raid on a store and it’s revealed that one of the men - Mouse - is Kimiko’s brother. The Supe siblings reunited, they bolt from the scene after immobilising the group. Stormfront further isolates herself from her peers in the Seven and rebuffs Starlight’s attempts at friendship after dishing her a little bit of advice on how to handle her public image. The Boys catch up with Kimiko who’s subdued her telekinetic brother and they hurl in into the van. Hughie and Billy vie for power and leadership of the group only for Billy to assert his role via a right hook. He revealed the fate of Rebecca to his peers and the relationship between the Boys is seeming to change for the better. A-Train attempts to steal the Compound V but fails and Starlight threatens to go public with his murder of Pop Claw. Overall I appreciate this change of tone, it’s a welcome fleshing out of characters who much needed it whilst also keeping one eye on Hughie and Butcher - the two leads.

L-R: Frenchie, Hughie and Butcher

Episode Three: Over the Hill with the Sword’s of a Thousand Men

Best of the three by far! Infusing a Billy Joel music video into a high seas affair, the relationship between Hughie and Butcher is rekindled via an apology for the Punch thrown. Hughie meets it with a swing of his own before being separated by MM. Homelander buries his heels and remains at Rebecca’s home with her and Ryan - Anthony Start gives a damn good performance being stunningly eery atop of his usual nuanced showings. The show gets heavily meta with its pitch for Dawn of the Seven and highlights the whole brand of comedy that runs through the show: irreverent, edgy to an extent, and really high-end, cerebral/conceptual stuff. The truth about Compound V is revealed to the news via Starlight and we learn a little more on the background of The Deep as Black Noir is broken by the news. The Boys themselves are conflicted, or more so, Butcher is. Homelander hurls Ryan off the roof and Rebecca is shocked and outraged by his actions, with Homelander still cold to his own actions, he grabs Rebecca and suddenly Ryan is awakened. Triggering his powers, it opens a whole narrative strand as it appears, or it is at least presented to us that a Supe can be naturally birthed, contradicting all we’ve been lead to believe so far. Maeve still feels like a side character, she’s used in this instance to shed more light on Homelander’s wring doings rather than provide herself with greater depth. I suppose that’s something to do with the focus - it has to juggle both the long form story as well as sub plots and for the most part succeeds even if a few occurrences are a little jarring or shoehorned in. Mouse breaks himself free from the capture of The Boys and destroys an NYPD helicopter, jeopardising the safety of the team. Deep seizes an opportunity, Vought hits crisis point. Hughie pours out his love for Starlight as the Seven begin to crumble in Edgar’s hour of need. Homelander is suddenly vindicated, he and the Seven are indeed more powerful than Vought and the unit are the companies biggest asset. That said he is still a pawn as Vought get ahead of the curve of curve by spinning a ‘Super Terrorist’. Shooting sharks (literally) in a vast, open barrel, Deep and his marine companions set about apprehending the Villain only for The Boys to go deep into Free Willy. Forcing Hughie to relive his catalyst moment with Robin. MM joins him in solidarity and ultimately pulls him free from the corpse of this Whale. This is the Boys at its best and what made Season One so well received (A look ahead to a point for later), it contextualises clips seen in the marketing materials namely: Deep’s apology, the first clashing of Stormfront and Homelander and further exploration of Crawford’s character. As the Boys and Seven cross paths once more, A-Train suffers repercussions from using his powers, Starlight is near to killing Hughie until Butcher - assisted by Mouse - level Homelander with a telekinetic blast. Mouse and Kimiko head to escape but are cut off by Stormfront who decimates an apartment block, slaughters a few innocents and then delivers a racial slur before murdering Mouse. This sequence really did a disservice to Stormfront, it just relies on these cliches and crutches to make a generic villain which seems world's apart from her sassy and powerful introduction which was a bit of a let down. Homelander and Stormfront clash again and Vought later save their face from the Compound V testing scandal by again, spinning the actions of their heroes for good. This conspiracy if you will, is incredibly well written, so high quality its both genuinely believable as well as incredibly vexing to the audience. That in mind, it does provide a good narrative decide and is a means of keeping the Seven looming over the story. Butcher and Hughie seem to have broke new ground in their relationship. So my final points on episode three! Firstly, does the show need another Homelander? Stormfront struck me as being undercut, her character loses a sense of personality as she has no on screen origin and is little more than a carbon copy of Homelander. If they pursue that plot line then so well be it, I’ve ultimately got no control over that matter but we don’t need to have a female Homelander just for the sake of providing him with a competitor. Just pitching it differently, if we were to remove the whole slur and the slaughter of an estate, it’s ultimately still effective - she’s bested him to get the target first, is morally superior and gets the best of the confrontation but would, first and foremost be more organic. As characters they are opposed by age and interests as well as having contrasting images but it generally feels like this was her moment with the Plane in season one - it worked at the time and could’ve been sufficient again but was a little too rushed and unnecessary for my tastes. Generally though and as a final point on this episode, this was a return to form, without detracting from episodes one and two as they are vital for painting more depth into some characters who are comparatively shallow but it’s a key episode undoubtedly. It reaches a certain spot in the narrative arc, old paths cross once more, heroes and villains face off and its our first brushing with a major key turn that’ll be important in season two and beyond. An all but flawless episode episode bought down slightly by the poor genesis of a new villain, it has potential to be a criticism but for now we’ll have to wait and see.

The Deep Bracing for Impact

Butcher - The Boys Short Film

A short five minute affair that fills a gap and answers where Billy has been in the difference between the first and second season. Synopsised as follows: Billy goes on the run after being made in a restaurant and under the cover of darkness meets an old friend. Here it’s revealed the pair are old army colleagues and we learn a little more about Butcher’s past as well as getting a well choreographed action scene. I’ll be the last person to complain about more content relating to The Boys but as we end with Frenchie’s SOS call to the Supe Killer, it does feel a little like an afterthought and kills some of the allure whilst offering little else in exchange. Somewhat shallow, it’s still carried by a great Karl Urban performance and is largely entertaining but a little redundant to say the least.

Billy Butcher, Reflecting

Episode Four: Nothing Like it in the World

General Review