The Boys – Season 1 | Review


Published on Aug 01, 2019


There is such impeccable construction in the dialogues, in the assembly, structure, narrative, photography, tv series for Amazon Prime Video The Boys, the adaptation pedissequo but not too much of the eponymous comic book by Garth Ennis and Darick Robertson by Eric Kripke (Supernatural) and Seth Rogen & Evan Goldberg (Preacher).

A slightly watered-down compared to the wickedness of Ennis, but that balance very well the character generalist to Kripke, and the “cazzaro” by cable of Rogen & Goldberg. The series remains, however, without too many hairs on the tongue, not send her to say, and is constructed to the art in the present and those that will prove to be the two “souls” of the story – Hughie for Boys and Annie to the Seven. Are their two main points of view, which are going to collide and meet as we continue in the vision: those that are more “pure”, that represent the innocence before the awareness of how the world goes when you grow up, in spite of everything begins with a murder by him.

The two factions, but in reality two sides of the same coin, who mix continually with the roles and them reversed. The “boys” of the title from a part (the emblem of the simplicity and humanity of the species), who want to stop the “Super” by their thirst of power. Ennis first and Kripke then have unhinged the comics history: the supereoi are not necessarily good, they are indeed of the stars, full of self and own skills, eager to fame. The idea that this “gift” is anything but that come from God, but rather an idea of human life through a drug that makes them “doped” is what undermines any belief at the base, and that makes this story sci-fi so human. Perfectly updated to today, the series is a fierce critique of contemporary american society – as it was American Horror Story the first season. A criticism of our dependence on appearances, social media, and also by the surveys, as if we were in a constant political campaign. The Vought, the company at the centre of the story, behaves in fact as a continuous analysis of the market on superheroes, which eradicates the points believed to date still and it takes away all the magic by making it a mere matter of numbers and metadata, but this is precisely the beauty and the strength of the show.

The casting done is excellent and is the perfect counterpart to the “live action” of the paper material starting, even in terms of shots and editing. A special mention goes to Antony Starr of the one part, almost unrecognizable from the days of the Banshee that offers an interpretation Emmy for his Patriot, and the other to Elizabeth Shue, cynical, “maîtresse en titre” of Vought. He is a parody of Captain America, even though in general the Seven models to the Justice League, and then to the new DC. A leader should be incorruptible and represent the highest form of the american hero (let's not forget the importance in the american ideal of the Hero). Instead, it is the perfect representation of the iprocrisia american, and how the charism to be used for the purposes of a little idealistic. She represents the “mother” putative superhero, a mother-lover for the Patriot in a relationship to the limits of the morbid, and a career woman who wants to be a biological mother at all costs. The report, “sick” between the two is one of the peaks reached by the series as a reversal of roles.

Also the technical aspect is extremely nice, which aims to recreate perfectly the atmosphere of punk and the bloody comic. Some sequences, like the fight between the Butcher and Translucent in the first episode, are a master stroke that demonstrates how you can still build something new and original, and “that looks real”, after other fights “in transparency” so far, even on the big screen. In general, it is made in the art, the whole narrative construction of the last member of the house of Amazon, which comes to the final climax and the revelation of the secret with a capital S. A secret that unites all the characters and all the dots and that promises to be a second season (already ordered) that will see a further reversal of roles, with Rebecca alive and well, and with a child Super.

The Boys constantly reminds us what it means to be Super in front of and behind the cameras, the hypocrisy of american society, libertine in the words, but at the same time prudish in fact.

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