“The Boys: Season Four” Review

The satire of The Boys continues to make it one of the most engrossing superhero shows by a wide margin. While other shows stoop themselves in the escapism of its adaptations, this adaptation of Garth Ennis’s comic book dives into the deep end of modern reflections. Season four arrives as fresh with its biting commentary, even if some subplots have meandered more than usual and a few problematic issues arise.

The source of terror continues to be the egotistical hero-turned-villain Homelander (Anthony Starr). Having killed a protester to fascistic applause, he’s feeling on top of the world. His superpowered son, Ryan, is joining his dad as he continues to insert more of himself into politics. His only hope of turning away from the side of evil is his encounters with Butcher (Karl Urban), struggling to connect with his son as the tumor in his head has his days numbered. With Homelander now working alongside Vice Presidential candidate Victoria Neuman (Claudia Doumit), armed with the head-exploding superpower she keeps hidden, the clock is ticking for how long The Boys have to prevent armageddon from being elected.

Problems within the anti-hero group further complicate the mission at hand. Hughie (Jack Quaid) is conflicted about his romantic feelings for Annie “Starlight” January (Erin Moriarty), while Annie herself feels uncertain of her identity. MM (Laz Alonso) still has issues with being present for his family, but he may win them back with his extra efforts at protection. Frenchie (Tomer Capone) and Kimiko (Karen Fukuhara) try to face their pasts in messy ways that will push them closer together, albeit somewhat inexplicably, in their rushed denouement. And then there’s the question of how much the group can trust A-Train (Jessie T. Usher), the hero growing irritated with Vought as an organization bowing to the whims of Homelander.

The biggest problem with this season is that it often stumbles with its wilder developments. This is especially concerning with Hughie for how he is unwittingly forced into two rapes. One encounter is played for laughs, and the other is a component of deception. This seems especially cruel, and Hughie feels little comfort from these traumatizing moments, glazing over his violations as just a rocky part of the job.

Despite that highly problematic perception, the bulk of the season is still strong for the new developments. Some new heroes/villains join Vought with different goals. Susan Heyward is intriguing as Sage, the most intelligent woman on Earth willing to help Homelander for little more than the thrill of orchestrating a highly complex plan. Valorie Curry becomes the more overt right-wing talking head as the superpowered conspiracy theorist Firecracker. They make for unique additions in how they both find ways to appease Homelander, with Sage questioning his ego while Firecracker feeds it. As Homelander nears closer to asserting his rule, their involvement becomes more compelling than the actions of The Boys.

The humor also remains firm. I love how Firecracker is an amalgamation of nearly every right-wing conspiracy, including vaccines causing autism, which she clarifies is not the good kind of autism like Rain Man. Vought’s many productions of superhero media remain an absurd highlight, ranging from a ludicrous musical on ice to a puppet show for kids about turning in their parents if they support ANTIFA. I laughed the most at A-Train’s movie deal, portrayed as a superhero version of The Blind Side, complete with Will Ferrell playing himself as the white savior lead. The ultimate decision to shelve the film amid A-Train’s turn is the perfect punchline of Vought desiring a tax write-off.

One development that had a lot of heart was the inclusion of Hughie’s father facing death. Simon Pegg gives a highly emotional performance for someone who fears he is losing his mind, and Jack Quaid plays off him with earnest heart. Moments like that provide a brief break from the carnage, even if this tearful farewell still features some gore. There need to be reminders like that so that the stakes are not lost amid the visual of superpowered livestock on a farm ripping people to shreds with absurd violence. Adding to the touching nature is Butcher slowly trying to reconnect with his son. What starts as an attempt to kill Homelander’s protege soon turns into a chance for Butcher to do better as a dad and maybe convince this kid to stand up to the fascist who could murder us all. It’s not an easy progression, considering how conflicted Ryan becomes as a character starting to form his own code of ethics.

The Boys hasn’t lost its splendor as the most pointed show to stream. The reflection of the world’s decaying political landscape, division diversions, and the commodification of turmoil under capitalism still packs a punch. There are also still plenty of surprises throughout, including the grandest of nailbiters for this season with unexpected deaths and an escalation of authoritarian rule. The earnest nature amid all the blood, guts, and dark comedy is what keeps me watching, even when it stumbles with trying to find arcs for its many characters. At its core, however, is that relatable wink of how fucked up our world, but also how much more fucked it could be if the right-wing reactionaries had superpowers. There’s a lot of pressure on season five, but I’m hoping this vicious show can bring home a fantastic finale coated with witty jabs and gory stabs.