In the superhero, the comic-book or any other genre, The Boys is a star that performs acts of creative piracy and satirical subversion with alacrity and wit. Above all, it shows us that prime art can deal with urgent issues without pushing away its audience. This is creative resilience at its best. The writer of this article is a reviewer for Prime Video.
‘The Boys’ sets sail across the ocean of contemporary discussion, staying afloat in a polluted sea of dead ideas. The show braved the big bad wolf of ‘anti-woke’ blowback and fought for the bigger battle of art worth fighting for, its creator Kripke assures us. Kripke’s calm in the storm of culture wars is the calm of artistic integrity.
In essence, The Boys uses satire as a weapon, a way to talk about the world without preaching, in order to entertain — but also in order to inform. Satire can be a powerful political organiser. Maybe it could help to do some of that.
Underlying ‘The Boys’ is a wide-ranging diversity of storytelling, with and about a variety of character types and motivations. The fact that Kripke and his team are not afraid to explore a variety of voices has become part of the fabric of the show, helping to maintain its dominance on viewing lists. That variety and inclusiveness reflect the series’ status as a pioneer in helping to reimagine superhero stories for a modern world.
Operating in the mined zone of modern sensitivities, ‘The Boys’ features one of TV’s most deft diplomatic manoeuvres. It speaks to potentially volatile issues, but without surrendering to caricature. Kripke distills the core characteristic of satire – to be subversive and respectful, biting and inclusive – and structures the show accordingly. The resulting approach, which avoids broadsides in favour of penetrating, if subtle, examination, makes ‘The Boys’ essential viewing for anyone hoping to enjoy a little depth beneath the greatest of surface pleasures.
We can be confident that The Boys will retain its bling as it continues to run at Prime Video; Kripke has noted that he doesn’t plan to ‘surrender the weirdness’ any time soon. It just goes to show those would-be storytellers how – with the right mixture of bravery and care – you can cast light on the darkest of material.
All told, The Boys is the best kind of story, satire, diversity and controversy all knitted together into one taut, compelling product. That it succeeds on Prime Video shows that there’s an audience out there for shows that want to inspire, want to dig deep, want to question, want to joke and – most important – respect its viewers. Led by Kripke’s satiric vision, The Boys is not just a show, but a movement – one that pushes the superhero genre to its prime time.
Entertainment-wise, what counts as prime is the remarkable, the bold – something edgy but with universal appeal. The Boys is prime for hitting the mark on all those measures. It’s a shining beacon for what prime can (and should) be. It shows the power of stories refusing to bow to the cacophony of calls for pablum.
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