An episode of "The Boys" that initially strikes one as somewhat of a pacing detour ultimately proves to be a pivotal moment within the season's narrative tapestry. It becomes evident that Stormfront, the newest recruit to the Seven, is far from the forthright anti-heroine endearing herself to all with her unvarnished truths. Rather, she emerges as a formidable rival to Homelander for the mantle of the show's most sociopathic character. Her brutal slaying of Kimiko's brother, Kenji, laced with a racist slur, even seems to jog Homelander into acknowledging the arrival of a fresh madwoman in the throne room of his Justice League analogue. The question lingers in the episode's closing frames: is it Homelander at the event or Kimiko at home who harbors a deeper malice towards Stormfront? The odds seem stacked against our newest hero, hinting at a grim fate.
The transitional vibe of this episode stems partly from its singular narrative focus, intertwining disparate plot threads such as Annie and Hughie's mission to unveil the truth behind Compound V, the Deep's bid for a career resurgence, and the clandestine importation of Kimiko's formidable sibling, Kenji. The episode serves as a confluence of this season's setups, including Stormfront's introduction, tying up loose ends left dangling since the previous season and laying the groundwork for the forthcoming five episodes (slated for weekly premieres on Fridays henceforth).
The narrative kicks off with Hughie aboard a ship where the Boys conceal Kenji, plotting his handover in exchange for info on Becca and Ryan Butcher's whereabouts. Hughie grapples with existential contemplation, yearning for a second wind akin to the protagonist in a Billy Joel music video he's watching. Butcher attempts a half-hearted apology, which Hughie reciprocates with a punch—the physical interplay is impeccable, as Jack Quaid seemingly hurts himself more than Karl Urban, who responds with more bewilderment than anything else.
Meanwhile, Kimiko strives to persuade her brother into government protection, while the Seven are pitched an abhorrent new film project titled "Dawn of the Seven." Queen Maeve notices A-Train appearing on the brink of collapse, a recurring motif throughout the episode. Is it a relic of his recovery? Or something else precipitating what resembles panic attacks? Stormfront lambasts the screenwriter for reducing female roles to "inscrutable Hitchcock bitches or Michael Bay fuck-dolls," a line both scathing and memorable.
In the turmoil gripping Vought and the Seven, the revelation about Compound V casts a longer shadow than a mere script rewrite. The bombshell drops: superheroes aren't born of natural prowess but conjured in laboratories, with their unsuspecting parents often compensated to turn their children into pawns in scientific experiments. Panic ensues at Vought as stocks plummet and the specter of lawsuits looms large. Yet, amidst the chaos, Stan Edgar harbors a cunning strategy. It becomes eerily evident that Edgar orchestrated the smuggling of Kenji, a "super-terrorist" tailor-made to provide his superhero squad with an adversary worthy of their might. Edgar's orchestration of street chaos and literal violence, all to position himself as the sole savior, resonates uncannily with contemporary political discourse—draw your own parallels to the tempestuous campaigns of 2020.
Amidst this tumult, Homelander persists in his manipulative games with Becca and Ryan, pushing boundaries with reckless abandon. He literally tosses Ryan off a rooftop, goading him to harness his latent powers of flight. The maneuver fails, though Ryan rises unscathed. It's a far more poignant moment that ignites Ryan's latent abilities: when Homelander lays hands on his mother's wrist. Defending her honor, Ryan's eyes blaze red as he propels Captain Unamerica to the ground. This, precisely, is what Homelander had always intended. His malevolence knows no bounds.
Elsewhere, the Deep, haunted by visions of goldfish pleading for salvation and haunted by the prospect of dining at Red Lobster, is prodded to reclaim his spot among the Seven. Carol and Eagle the Archer urge him to seek audience with the Church of the Collective's leader and then "step into the limelight as a hero once more."
Butcher and his team's escape from an NYPD helicopter turns into a harrowing odyssey as they flee towards the shore, only to confront an unexpected foe: the Deep. This, his moment of redemption! How did he track them down? Could there be a clandestine link between Grace, Billy's contact, and the church? Such musings are interrupted abruptly as the Deep unleashes a barrage of aquatic creatures upon his quarry, planting a colossal whale as a formidable barrier between them and the storm drain sanctuary. Butcher, undeterred, pilots his boat straight through the whale in a scene defying the laws of physics (wouldn't such an impact at least scratch the hull?) yet delighting fans with its grotesquely captivating visuals. It results in Quaid sitting stunned within the whale's innards, prompting Urban to nickname him Pinocchio—an apt moniker, for doesn't Hughie too yearn to be a real boy in this harrowing world?
Just as the remainder of The Seven arrive on the scene, the gang ducks into the storm drain, vanishing into the darkness. Annie confronts the Deep, her voice imbued with an unforgiving sternness as she declares his actions unpardonable. He rambles on about "renewing his light," but Annie stands firm, vowing never to welcome him back into their fold. The encounter concludes with Homelander sneering at the Deep's gill, sparking questions about whether there's any room for this Aquaman wannabe to reclaim his place among them. Could he betray The Seven instead of rejoining them? Or could he side with Billy and The Boys?
The heart of the action shifts to the labyrinthine drain tunnels, where A-Train teeters on the brink of unconsciousness. Starlight chances upon Hughie, and with a swift blast, sends him reeling just as Homelander emerges from the shadows. Commanding Annie to dispatch Hughie, Homelander's cruel order is interrupted by Billy's timely intervention. It's a delightful convergence of key characters, usually segregated into their distinct narratives. This unprecedented gathering of Homelander, Annie, Hughie, and Billy so early in the season offers a refreshing twist. The scene concludes with Kenji rescuing Hughie, then escaping through a hole he tears open above them.
Enter Stormfront, stage left, finally unveiling her formidable powers. She hurls Kimiko and Kenji through apartments, collateral damage be damned, as their chase culminates on a rooftop. Initially, Kenji seems to have slipped away, but his protective instincts draw him back to rescue his sister. Stormfront responds with brutal force, literally tearing his hands in half before forcing him to witness his own demise, as she savagely kills him while he looks on in horror. Any lingering doubts about Stormfront's true nature—that she might be a benevolent force seeking to dismantle The Seven from within—are quashed.
Elsewhere, in a more sedate setting, Stan Edgar holds a press conference, denying any knowledge of Compound V and casting Stillwell as the scapegoat. With politician-like dexterity, he shifts the narrative focus to Kenji, the "super-terrorist," fostering fear before unveiling his new hero to restore order. And then, Stormfront takes center stage. She is the new face of The Seven. Our collective fate hangs in the balance.
