the herogasm of TheBoys It’s here and it hasn’t been as over-the-top, outlandish or controversial as its comic book version. The chapter dedicated to superhero orgy most famous in the world of comics, was long in coming. And Prime Video raised the bar with a promotional campaign that heralded a scandal in the making. As if that wasn’t enough, the chapter was the first to have a long list of recommendations on violence and explicit sex. They did not seem like precautions in vain. After all, Herogasm is a look at power from its darker side. A festival of absurdities and excesses destined to show the true limits of the world of superheroes imagined by Garth Ennis.
His version for television is, as one might expect, less brutal and raw than the original. However, despite losing much of its visual impact, it did something else. He demonstrated the need for the superhero genre to take the humanity of its characters seriously once and for all. And that includes, the excessive, vulgar, extravagant and sometimes disgusting of any of his characters. The Herogasm, with their sexual pirouettes, flying dildos, ice penises and different colors, poked fun at today’s pristine superhero world. At the same time, she made it clear that TheBoys, in his macabre vision of power, makes clear what the genre requires to be taken seriously. And no, it’s not just about frenzied sexual exploits, but it’s also about daring enough to convincingly ask questions about good and evil.
The third season of TheBoys recasts the idea of power and extraordinary abilities from another layer than usual. And if in the previous two installments he delved into evil without borders, this time he delves into the absurdity of the absence of morality. A vision of the hero as a hidden enemy, which challenges the great current franchises. At the same time, allows the series to travel unknown paths about what makes it interesting to analyze the behavior of characters with formidable gifts. Do they represent a collective idea about what is forbidden? A more complicated concept about the common good? TheBoys he does not pose simple questions and to answer he resorts to new narrative threads of enormous interest.
Sex, scandal and an octopus in The Boys
Last year, the premiere of eternal Chloe Zao’s brought Marvel her first sex scene. Of course, it was a short sequence, pristine and choreographed to the smallest detail without much interest in the plot. Neither did the controversial love story of Steve Trevor and Diana Prince in Wonder Woman 1984. In the film, the character played with Chris Pine returns in the body of another man, which opened the controversy over consent and arbitrariness.
but the series TheBoys has built in three seasons effective narrative arcs with sex involved. Not only by showing the sexuality of its characters — perversions, lust, dark secrets — but also how it impacts their abilities. From the twisted relationship between Madelyn Stillwell (Elisabeth Shue) and Homelander (Antony Starr) to the bestiality of Deep (Chace Crawford). The provocation in the field of sexuality has been a common currency in the series.
But not for free, or not as much as you might think. Actually, sexuality in all the characters in TheBoys it is a reflection of their impulses and terrors. In the same way that his most elaborate characters in cinema and literature, the superheroes of the series are shown through their relationship with their bodies. A more convoluted point than just defining them through their powers or their moral points. The exception enriches the story and gives it a considerable background of maturity that takes the series to places little traveled in similar narratives.
In its paper version, the Herogasm is a large-scale orgy in which all the sexual desires of the comic book heroes are indulged. In the series, it became a combination of mockery and accent to the main themes of the plot. From the loss of control to the notion of perversion as the absence of limits. TheBoys took all its premises to a new level and reconstructed the general idea about his characters as slaves to their primal impulses. A novelty in a genre that bets on superheroes as agents to maintain the status quo and not destroyers of the system.
Herogasm and a new frontier in the world of heroes
In chapter six of TheBoys there are tentacles shaped like monumental penises. Flaming penises, ice dildos. A surprising burst of semen on an insane and grotesque level. But under all the provocation, Eric Kripke managed to create a complicated analysis about the personality of his characters. Also, use it as a context for their motivations, pains and traumas. All while what seemed like the wildest scene imaginable became background noise for other versions of the limits of humanity.
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Did the advertised Herogasm disappoint? Probably, yes, to those who were waiting for a frame-by-frame adaptation of one of the most controversial points in the Ennis comic. But in the series, the scene had the ability to reconstruct the idea of the heroic and take it to its lowest points, the most unpleasant and complicated. Quite a merit in a time of superheroes without nuances, sweetened goodness and meaningless evil.