The Boys, a review under doping

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The super heroes’ paradigm was a pretext to talk about many human torments. Impotence in the face of global problems, the torment of adolescent teenagers, the search for one’s identity outside of the bourgeois normality. But, in the case of The Boys, the super hero theme merges with a clear critique of a certain type of world.

A world of business, of entertainment, of the construction of an image, of social stars. That world made of big capital, manipulative manoeuvres of the gullibility of the spectators. This is not to say that super powers are bogus, rather, they are true and hugely dangerous, mainly because they are managed by a company that owns the rights.

Businesses, which this is, and the “Superman” becomes a cleverly administered business. The market has engulfed him and made it another means of ensnaring the masses and amplify capital.

The faces chosen to interpret the protagonists, then, are the most apt possible, better than those of the comic from which they are born.

Patriot, a mix of Superman, Captain America and Hannibal Lecter, stands out like a black beacon over the entire pantheon of super. His laugh gives chills to those who know what lies behind all his series of clichés and star moves.

A bad guy with all the trimmings and drunk with an almost total invincibility.

Crazy to the core and handsome as a Greek god.

The Boys, instead, a group of outcasts devoted to guerrilla warfare and survival at all costs, will have to contend with the worst splatter scenes and the most disparate subterfuges to be able to stay afloat between one disaster and another.

The second season, now on Prime Video, is administered with an eyedropper and fans are anxious about the fate of Butcher, Hughie, Milk and Frenchie.

Hunted by the 7, perhaps better to say 6, super powerful on earth.