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#the boys amazon prime
anundyingfidelity · 24 days
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soldier boy core
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the casual low level horror of every day life in The Boys though…
When MM was at his daughters bday party, and it was superhero themed… I was just watching like idk how he’s handling it tbh. his little girls birthday cake had the picture of a rapist on it. Or Hughie at the film premiere- he just wanted to support Annie, and then he has to interact with not only Homelander, but also A-train! He had to stand and smile for the cameras while his girlfriends murderer put his arm around him.
Just everywhere you look there’s super hero merchandise and corporate pandering to politics for the sake of money and reputation. In the background of every shot. On every tv, and radio, and advertisement. Living in that world even not knowing the truth must be insanity inducing, let alone those who know the truth about the supes
The level of world building in every aspect of The Boys, the little background details in every shot is one of my fav things about this show. There’s so much social commentary and real world parody and criticism i could write an essay on every episode
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artbyblastweave · 1 year
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I prompt you to elaborate on the idea of deliberately making something in a story boring, for I an always interested in your analysis.
In The Boys (Comic version, which I have complicated but more-positive-than-most feelings about) Garth Ennis very deliberately wrote most of the superhuman combat scenes as short, brutal affairs in which whoever was more powerful or better-equipped would just slaughter the other side in a matter of seconds; if the sides were more evenly matched it was then a matter of who swung first. To my memory, there were only a handful of fights blocked like fights instead of like curbstomps. This was in service to Ennis's artistic vision; violence as a swift, brutal thing, only glamourous in the sense of black-comedy dismemberments or the grim satisfaction of being alive when the other guy isn't, and with the majority of all conflicts playing out through via prep-work and intelligence-gathering done in advance of the first punch being thrown.
It was an aggressive refutation of how superhero fights go in more straightforward superhero fiction, with clever tricks, drawn-out dramatic brawls, violence as a palatable form of spectacle, something marketable after-the-fact. A lot of the fights the titular team got involved in consisted basically of jumping distracted supes; one of Homelander's jobs was to just unceremoniously decapitate any earnest upstart supervillain and then have the marketing team at Vought write a comic portraying the fight as something with genre-typical stakes. To this day, I feel like there was a level of honesty about violence in this portrayal. In real life, it's not fun!
But! It did introduce some problems. Namely, a series in which almost every single fight is something Nasty, Brutish and Short created, for me, a form of doublethink about how seriously we should even take the Vought capes as threats. A series in which every fight is deliberately uninteresting (if you aren't entertained by curbstomps) is a series in which every fight is deliberately uninteresting, and from there your enjoyment of the series rides or dies on how interesting you find the non-fight political intrigue, character dynamics, and so forth. The version of Garth Ennis who isn't writing capes is, in my opinion, pretty damn good at that other stuff, so I inched through.
The show patched the majority of my difficulties. It retained the broad thesis that cape fights would largely be curbstomps, and the other broad thesis that capes would largely be useless or counterproductive at their supposed role, but combined this with a number of actual fight scenes. It made Butchers team significantly less powerful, with a significantly greater focus on the sneaky bastardry necessary to flip assets and find weaknesses. It made killing any given supe much, much more of an endeavor, something genuinely very difficult and impressive, and it made every given supe death much more of a plot point or a character beat than it would have been in the comic. The supes being less interesting than typical for their genre, that was preserved- but the situations involving supes that we, the audience, are privy to? All very interesting still!
Now on the other side of the spectrum, you've got Worm, and you've got Jack Slash-as-an-examination-of-Joker. "Your philosophy is ill-considered and fake deep, and you aren't funny" is actually a fairly common clapback against The Joker within officially published DC comics properties, but it butts up against the fact that he's taken pretty seriously as a threat regardless of that fact! Jack Slash is an attempt to reconcile that, to figure out how someone as LOlrandom as Joker could last longer than three minutes as a serious contender, and the answer is "subtle secondary powers that puff up his win rate, in a way that his self-absorption prevents him from recognizing as anything but his own innate talent." He's blatantly shallow. Everyone talking to him is palpably rolling their eyes within the text, but he's got the brute-force necessary to undercut anyone trying to one-up him (Theo's interlude, Tattletale in the parking garage.) It's called out multiple times that's it's mysterious that he's doing so well when he's so mediocre. The candidate he picks for the 9 is a dud. He can't come up with anything more interesting for Cherish than having her do all the other tests over a second time. His big comeback is just Slaughterhouse 9! But More of them! Fuck Yeah!
But! Despite the text being aware of how shallow he is and how thin his ideas are, all of his ideas keep working. It doesn't matter that it's edgelord bullshit- it's edgelord bullshit that everyone else is forced to take seriously and respond to, which is where the actually-great character work in the S9 arc happens. And at this point I think there are basically two camps within the audience. Camp one consists of people who, despite Jacks clear shallowness, nonetheless are entertained and engrossed by the batshit combat scenarios he masterminds, even if he shouldn't be able to mastermind them. I am a counselor at Camp One. Camp Two consists of people who call bullshit on the ability for such a shallow guy to mastermind all that crap and bend everyone to his will, who don't really find anything redemptive in the eventual reveal that it was powers-enabled because they still had to sit through the implausible bullshit. This is a position I have no choice but to respect because it's the position of my cousin, who I adore and want to remain on good terms with at family gatherings. The things we do in service of family, amiright
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awkwardcourage · 4 months
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I find Hughie's list of his top three musicians incredibly fascinating. Also just the fact that he refers to them as musicians and not artists, like, it's just- why use that term? It's so outdated in todays vernacular and I don't get the feeling he's trying to be a certain type of way or annoying by saying musicians bc a) that's just not his personality at all and b) bc when he discusses it with butcher, he's incredibly stressed and using his top artists as a way to prove that he is incapable of infiltrating Vought.
But anyway, onto the actual list. 1. James Taylor. What the fuck. Whose top artist has ever been James Taylor, no offence to Mr Taylor but I don't feel like he's an artist who is many people's number one.
2. Simon and Garfunkel. I'm totally biased when I say that this is a bang up choice bc I think they slap, but again, still, an interesting choice.
3. Billy Joel. The most important and iconic choice in terms of Hughie's character and how associated with each other they become- and yet, he is third on Hughie's list. He's not even second, when he has a poster of him on his room (potentially on his ceiling if Robin's quip about "staring up at that dumb Billy Joel poster" is anything to go on). He listens to "You're Only Human" incessantly when he's in an extremely dark place mentally in season 2, Pressure, Only the Good Die Young and Uptown Girl are played in his scenes in the Season 2 opening, closing and Season three opening respectively.
So, why is Billy Joel number three, when clearly he is far more important to Hughie than James Taylor or Simon and Garfunkel, neither of whom we have seen him listen to or make reference to again (besides the t-shirts he wears and he doesn't even wear a Simon and Garfunkel t-shirt- and yes I know because I made a list and if it turns out that he actually did I am setting myself on fire)?
I think it all comes back to Hughie's mom. She is the reason he ever started listening to Billy Joel in the first place, his fondest memories (he doesn't say they're his fondest, but they seem to be pretty important to him) are of her and him dancing to Billy Joel. Not moments after telling Annie this does he follow it up by saying "I don’t wanna be like her."
Hughie can't help but love his mom. He can't help but love Billy Joel, even though the association with his mom is so strong; yet he tries to distance himself from both. He both clings and pushes them to him and away from him with equal measure. Perhaps him adding on two other artists before Billy Joel is his way of distancing himself from that association, even though he can't deny that he does greatly enjoy Billy Joel's music.
It's fascinating because it doesn't matter, at least not on the surface. Even when conversing with someone who, at that point, is a complete stranger to Hughie, he still has this need to distance himself from something so heavily associated with his mom. I think it's one of the many instances in the show that reveal just how deeply Hughie's mom abandoning him affected him. Even though he barely talks about her, even though she's only being introduced as an actual character in season four, her influence on him and the effects of what she did to him can be seen rippling throughout even the smallest aspects of Hughie's character.
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zalrb · 2 years
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I’ve been thinking about this moment a lot
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and why I like it so much because, yes, it’s soft, yes it’s sweet, and we’ve seen her reassure him in relation to wanting to stay with him in previous seasons
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but this is the first time that we’ve seen her comfort him and I think that’s what’s so interesting and great about their relationship this season because now that they can communicate, Frenchie is on the receiving end of what he’d been giving Kimiko in seasons 1 and 2.
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she can say what she couldn’t before
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which allows for a deeper intimacy on her part
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illbejuliet · 2 years
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is this not how it went down?
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queenxxxsupreme · 2 years
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The Boys Masterlist
(* indicates NSFW/smut)
Updated 8.25.2022 Add yourself to my taglist here! My The Witcher Masterlist is here! My Red Dead Redemption 2 Masterlist is here! My Henry Cavill Masterlist is here! BOLD IS NEW CONTENT
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Billy Butcher
Oneshots
-Late Night Visitor -Before the Sun Rises -To Be Scared
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I don't care what happens w anyone else but MY BABIES FRENCHIE AND KIMIKO SHOULD BE PROTECTED AT ALL COSTS
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femurthief-fen · 2 years
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Because a lot of my friends are supernatural nerds, do not watch The Boys s3 just for Jensen Ackles.
firstly it’s a really good show with an awesome story- if you wanna watch it start from episode 1 s1.
secondly, getting mad because the show is extremely vulgar and violent in the third season when you haven’t watched the previous two which set the tone and build up to that is really annoying lmao.
The boys is an extremely gross show that pushes the boundaries of what can be seen on tv but it’s characters and storyline are so incredible it’s hard not to keep watching, so please stop just going to season 3 for Jensen- please watch everything else first :”)
Also the romanticization of Jensen Ackle’s character when he’s actively supposed to be a pathetic misogynistic redneck is really weird and not cool 👉👉
I just imagine people going into the show and seeing the first ten minutes of episode 1 s3 and then the Timothy scene without any context of how funny and disturbing that is and it’s honestly kinda amazing to see people be so upset and confused lmao
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anundyingfidelity · 22 days
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A PLEASANT SURPRISE — Billy Butcher
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Summary: After a long time apart, Butcher breaks in your home on your birthday.
Pairing: Billy Butcher x female reader.
Word count: 1.1k.
Warnings: mentions of sex, suggestive, language, mentions of Becca and a dead fiancé.
If you'd like to be added, the taglist is here!
notes: this was a request part of my 400 followers drabbles but it was a cute idea and i loved it too much so it turned out longer! the request was made by @thatcharmingmushroom, happy birthday honey!!! i hope you like it!
☕ if you like my writing, support me with a ko-fi !
GEN MASTERLIST!
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With a long sigh, you made your way inside your apartment. Under the few illumination coming from the street lights on the windows, you placed on the countertop the bag of groceries you carried. First thing you looked for was the bottle of wine, in need to just forget the shitty week you had.
“Need help with that?”
That voice you knew too much caused you to jump slightly, your heart beating so hard against your chest as you turned on your heels to see the tall man standing against the wall. He turned on the light switch. Now you could see him better.
“Shit, you scared the hell out of me!” you breathed out.
You couldn’t get mad at him right now. If you weren’t too tired, then you probably would.
Butcher closed the distance between both of you and kissed your cheek softly, the burning feeling of his beard against your skin. “Sorry, luv. I was just passing by.”
You turned your head slightly, ghosting your lips against his own. “You could’ve just called before…”
“Yeah, but what’s the point in that?” he smirked before kissing you properly.
You hummed, feeling his lips after missing him for almost three weeks now. He always left for work. You knew he was into some dangerous shit, but you couldn't really blame him. The world was a disgusting place and you could only find some relief and a sense of safety when you were with him.
You had lost your fiancé to supes, he had lost his wife to supes as well. Twice. And you found each other in a moment where you couldn't lose anything else... But him. You were pretty sure he thought the same. That was why he just left for weeks without telling you, without a call. Nothing. That was his way of protecting you, even if you could bump into one of those fuckers anytime.
When you broke the kiss he started looking for something in your cabinets and once he found the corkscrew he opened the bottle. You took out two wine cups and poured the wine. Soon, you settled together in your living room, sitting on your couch. After taking a sip of your cup, you put it on your coffee table by the side of his own cup. You leaned your head on his shoulder lovingly.
"I missed you so much," you mumbled, taking his hand on yours.
"I know..."
"I wish you'd come more often," you said, looking up at him.
His gaze turned compassionate and he forced to look away from you, instead lowering his eyes. "Well, I'm here now, innit?"
You shifted and turned, making his eyes lock with yours, making it impossible to escape from your hurtful expression. He started to miss the warmth of your hand and your body against his own.
"William, you know what I mean."
"You know what I do," Butcher said. "I'm trying to protect you."
"Yes, but I-" you cut your words, now looking away. It felt so stupid to begin the night with something like this, knowing well you could not see each other that often. "I just wish things were different."
Butcher smiled sadly,. Seeing you like that was breaking his heart. You were the only person, besides Becca, who he could really rely and understand perfectly. He knew you were no replacement for her, and he was no substitute to your fiancé, not now, not never. But there was just something that had drawn him to you that day when you met at that seedy bar. Not just the way you kissed and fucked each other's brains out, but you. You didn't leave the next day, and he didn't want to leave. You didn't run away when he opened up his heart, and neither did he.
It was so silly how a one night stand had you right there, in front of him, after all those months. All of you. You were everything for him that night, and it was no different now.
"Y'know why I came here, right?" he asked, placing his hand on your thigh.
You beamed, trying to focus in the moment. "Thought you forgot."
"Can't believe you think so little of me, luv," Butcher smirked, leaning down to kiss you again, cupping your cheek with the palm of his hand. "Happy birthday."
A soft smile appeared on your lips. "Thank you."
He started looking for something inside his coat and took out a beautiful royal blue silk box, handing it to you with a smirk on his lips. "Got something for ya."
"You didn't steal this, did you?" you said, with a teasing voice, caressing the box with your fingers. It was pretty.
"Just traded a favor," he continued. Your brows lifted. "I'm being honest, sweetheart. Open it."
You giggled under your breath and did as he said. "Fine."
With a gasp, your eyes widened at the insides of the silk box. There was a pretty golden necklace, a small precious gemstone adorned the center. It left you speechless, just staring at it and blinking repeatedly. You knew it was fucking expensive and here you had it, because he thought you should.
"I uhm, I don't know what to say..."
"A kiss is enough."
You chuckled and pulled him for a sweet kiss. You felt his stupid, proud smile against your lips.
"Thank you so much. I love you," you mumbled. "You didn't really have to do this."
"But I wanted to. You fucking deserve it," the palm of his hand caressed your cheek, his thumb brushing on your skin lovingly as his eyes admired your beauty being so close to him. The usage of his words made you smile and he started teasing. "Ah, there it is."
His lips left kisses on your cheek, down your jawline until he kissed the skin on your neck, making you giggle a little and gasp out.
"Stop it, did you have dinner already?" you asked, pushing him away playfully. There was a lustful spark in his eyes and your body ached for him after being apart for so long.
Butcher crashed his lips against yours again, like a hungry man. Slowly, you were laying down on the couch with his help. His strong body over yours as he tasted the wine on your lips with a low moan. Your hands were on the back of his neck, and you let him press his hips against your own, spreading your legs.
"I rather have you as a my main dish," he growled once you pulled away from the kiss.
"Great. I can't wait."
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foxydivaxx · 7 months
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Happy birthday Antony Starr
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artbyblastweave · 2 years
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So a strength of The Boys TV show- or a happy cultural coincidence, whatever- is that one of the big weaknesses of the comic was that in terms of it’s target audience it was fundamentally shitting where it ate.
 In 2006, in order to understand the majority of the conventions and characters the comic was making fun of and insulting, you had to be deep enough into the comics scene that you were also the kind of person the comic was insulting. You needed to be familiar with the Avengers (when they were a d-list property) for Payback to be funny, you needed to be familiar with the history of the Teen titans for the gags about Teenage Kix or Team Titanic to land.
 At the time, I got the jokes because I read and enjoyed those properties, and it made me feel very much like I was the platonic-ideal overinvested fan the book was constantly taking swipes at. Reading The Boys felt like an exercise in masochism undertaken for posterity, because it was totally unwilling to meet me halfway on the whole superhero thing. It refused to acknowledge the strengths of the concept that so frequently get lost in execution, which is what I think a good superhero parody (or a good parody of anything!) needs to acknowledge.
The TV adaptation, however, isn’t ruthlessly mocking an extremely niche genre; it’s written in direct response to the MCU and to a lesser extent the DCEU. The cultural footprint of those are such that the parody is much more legible at a glance, even if you’ve never actually watched a modern cape film; the branding, the celebrity status of the two-faced actors, the omnipresent endorsements, the cheesy and formulaic storytelling, the creeping corporate control into all sectors, the corporations at pride. It’s very possible for a person in 2022 to have consumed no Marvel and still hate Marvel, just from all the downstream stuff like that. 
Even actual comics fans can get in on it; Lots of people love the characters in the source material but hate them as executed on the big-screen for a mass-market audience, and The Boys is primarily depicting and attacking that bastardized big-screen execution (even if it hated the source material even more vociferously, even if it’s already being more charitable to the movies than it was to the comics by virtue of having actually interesting fight scenes and superpowers.)
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awkwardcourage · 5 months
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bradleybradshawty · 2 years
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hughie campbell catboy icons 😸😸
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It’s mourning Black Noir hours
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