Upon first digestion, Amazon Prime’s new series The Boys appears as a welcome and refreshing take on a market-saturated genre that has become stale especially over the last decade (bar a couple of notable exceptions). Eric Kripke’s televised adaptation of Garth Ennis’s comic book creation blends dark humour and superhero archetypes of the only too familiar franchises of both Marvel and DC, with the current political and popular-culture milieu in such an amplified way that makes it truly a self-aware series of the woke epoch.
In many ways, The Boys covers new ground because, unlike the PG-friendly genre it emerges from, where entire cities can be levelled and the only casualties are robots that have as much presence as the shadows of the people that fill the movie theatre auditoriums, The Boys is a blood fest. From imploding superheroes who get explosives inserted via the anal canal to sweet civilian girlfriends who are literally ran through by drug-addicted members of an elite group of superheroes known as ‘The Seven’. The Seven is ostensibly a satire on celebrity culture or more specifically Hollywood itself. Like the celebrities they caricature, the members of The Seven are public paragons of virtue supporting all the correct causes and feigning humility whilst in private they are narcissistic degenerates who hold the masses in contempt. The plot is one then where a group of vigilante warriors, called ‘The Boys’, set out to expose the Seven and bring them to justice. This pretty much sums-up the first season, and it does not seem to be particularly woke, other than being overtly anti-Christian. By the end of season two, however, the cowl is firmly off and it reveals an anti-White face that scowls at Trump.
At the beginning of the second season an additional fault line is clearly demarcated between the superheroes and superhero terrorists. Although a clear division already existed between The Boys and The Seven in terms of power and status, the boundaries were blurred because both groups depicted a collection of equally flawed individuals that mirrored each other in relation to their respective groups’ diverse make-up. Put another way, The Boys may mock Hollywood for its shallowness and hypocrisy but where does it stand on the culture war?
The answer to this becomes painfully clear in season 2 starting with an analogy made between the superhero terrorists and a leftist narrative about Trump’s campaign and subsequent election. Namely, the narrative that Trump’s rhetoric about radical Islam and Mexican immigration was an exploitation of the naive masses’ (White majority) fears and ignorance about outsiders. This narrative is played out in The Boys through the arrival of Kenji. This supposed superhero terrorist is a refugee from a war-torn village, who just so happens to also be a victim of American-corporate intervention in the shape of Vought, the multi-billion conglomerate that owns The Seven. Kenji’s presence is then exploited during a number of Trump-esque rallies delivered exclusively by the evilest members of The Seven who are both significantly White.
The problem that lies at the heart of The Boys, though, is how do you represent a group of basically social justice warriors fighting the system, when that very system itself is also woke. Yes, Trump is in power but the cult of celebrity that The Seven operate within is unequivocally woke. Here enters Stormfront into the fray. She is a media-savvy self-publicist, who knows how to manipulate public opinion (sound familiar?). All is not as it seems though – she is putting on a ‘front’ because, you see, Stormfront is literally a Nazi from Hitler’s inner-circle. It would be easy to dismiss this plot twist as merely ridiculous or banal to the extent that even your run-of-the-mill normie would not take it seriously, but, interestingly, its incongruous inclusion is indicative of what Morgoth might refer to as the ‘motte’. That is to say that in an era of political correctness, where apparently discrimination against any facet of identity including gender, sexuality, nationality and especially race is taboo, but the lived experience, for many, is one where the USA has never seemed so divided along these lines, The Boys finds solace in Nazism.
Furthermore, I think that it is fair to say for the progressive left, Nazi Germany is by far the most significant event throughout the history of civilisation. In fact, I would go as far as to say that the ideology and its subsequent mythos plays a greater role today on the Western-psyche than it did during the actual period of the 2nd World War in relation to popular culture. How many times a week do you encounter references to Nazism whether watching The Hunters on Netflix or playing Wolfenstein on the PlayStation? Note how the left never deconstruct it and always invoke it with impunity because it gives legitimacy to all opposition to White positivity. With Stormfront then in place, The Boys has its true politically-correct-sanitised evil identity to discriminate against.
Hence, in The Boys the real menace is not the establishment as such, although Vought operating from their Trump Tower do a good impression of Republican-backed corporatism. The real poison in the system stems from the alternative media, the internet, people like me (Duncast), who spread our web of misinformation to bring about social division. The mainstream media in contrast is incredulously portrayed as being neutral: it provides a platform for Vought’s dissemination of propaganda but also exposes their deception about the origins of the superheroes’ powers. The actual Government in the show are also given a favourable pass. They and the CIA are not on board with Vought but are too incompetent to do anything about it. Only The boys can bring about the woke change necessary, which is precisely how social justice warriors see their place in the world.
The second season even goes to the extremity of having a White male become psychotic with paranoia because the alternative media are bombarding him with lies. This neckbeard then goes into a convenience store and shoots a friendly, Asian shopkeeper in the face because he thought he was a superhero terrorist. There you have it: The Boys second season is a leftist’s wet dream. It is an America where people of colour are more likely to be victims of Whites than vice versa; where the mainstream media is neutral and, as flawed as the individual is, diversity is the path to social cohesion. It is enough to make a pig laugh.
Conversely, as all too depressing and predicable The Boys turns out to be, it does indicate a shift in the Overton window in our direction. Stormfront talks openly about the White race being under siege, even mentioning the phrase “White genocide”. Of course, this is only to disparage such claims as conspiratorial, presenting them without nuance or context, just the ramblings of a sadistic Nazi. But this is acknowledgement, nonetheless. The power of any ideology whether progressively identitarian or not is its invisibility. Put another way, if your ideas are treated as tacitly objective, as truth by default, then you are unlikely to be put on the back foot. However, The Boys is precisely a rear-guard response to the success of counter-culture. Everyone can use Woke now as a pejorative to attack the left. The Boys even draws attention to the mainstream’s obsession with diversity quotas, only not with any satirical force, that is firmly aimed at White collectivisation instead. In the final episode, there is even an Orwellian 2 minutes of hate, as Stormfront is kicked repeatedly on the ground, a quite cathartic moment in the show, where violence is entirely vindicated. The white pill for us though is how many times can the left keep retreating to the motte of “you’re a Nazi” without it becoming increasingly untenable.