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No one really believes that superheroes will save the planet. But there are enough followers convinced that they offer a convincing alternative to the gods of yesteryear to have aroused generations of blasphemers (among them Marcel Gotlib and Alexis, with their Super Dupont).
On the screens, no one has taken this demolition enterprise as far as Eric Kripke, who seized graphic novels by Garth Ennis and Darick Robertson, firebrands launched against the armadas of Marvel or DC Comics. The first two seasons of The Boys threw down all the constituent ingredients of superhero mythology to conclude with a striking rapprochement between the figure of the solitary vigilante, invested by chance or fate (the superpowers) with a mandate as the providential savior of a humanity of inferior essence, and that of the supreme leader, as it has manifested itself in the true history of humanity, since the emergence of Benito Mussolini.
With plenty of hemoglobin and eye gags sure to make adolescent males sneer, Kripke seemed to have completed this task. What could the third season hold (readers of Ennis and Robertson’s comics of course have their own idea)? The story is based on the opposition between superheroes, led by Homelander (Antony Starr), a monstrous caricature of Superman, and The Boys, a small group of very ordinary guys who all have reason to resent “supes”. » (a pejorative term used for superheroes) gathered around William Butcher (Karl Urban), himself a caricatural offspring of the action movie heroes of the Stallone-Schwarzenegger generation.
The first five episodes of the third season offer a kind of reverse shot. After winning what they believed to be decisive victories, the boys’ paths diverged. When they realize that superheroes still have resources (in this case, those, inexhaustible, of the multinational Vought which created and cultivated them), The Boys reform and decide to resort to the weapons their enemies. The advantage, for the creators of the series, is twofold: it makes it possible to wonder about the end and the means while outbidding in violence and the grotesque.
The premature and obscene end of a very secondary character, at the start of the first episode, signifies to neophytes that The Boys is not made for delicate palates. To the point that one sometimes wonders if the very elaborate speech of the series is not a simple pretext to satisfy the impulses of the public whose designation is confused with the title of the series.
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