The Boys’ Sister Sage is the best thing the show’s done all season
As a survivor of sexual assault, I was deeply disturbed by the way The Boys handled Hughie’s experience in season 4. It felt like a gag, a throwaway moment that belittled the gravity of what had happened to him.
The Boys season-four finale spoilers follow.
Sister Sage (Susan Heyward) is the best thing The Boys has done all season. Period.
The fourth season of “The Boys” had a rough start that we can all acknowledge, but the second half put up an impressive fight, drawing us in just as effectively as a fierce battle between Butcher (Karl Urban) and Homelander (Antony Starr).
In the climax, the shocking and sad betrayal of The Butcher was revealed, as Homelander secured a pivotal victory against The Boys. However, our opinion remains unchanged.
As a devoted fan, I must admit that Sister Sage’s intricately developed storyline truly steals the show for me. It’s not just the scrumptious, forget-about-it cake from episode four, but the symbolic, multi-layered victory cake that leaves me in awe. The sweetest icing on the top? Her relentless dedication to orchestrating Homelander’s ultimate political triumph in the end.
In the second-to-last episode, there was a drastic change in Sage’s situation when she was unexpectedly let go for her mistake handling the A-Train scandal.
While she insisted it was all part of the plan, Homelander wasn’t buying it.
He warned her, “I could easily make you leave if I wanted to,” before she angrily closed her shimmering notepad and left.
It was unfortunately unsurprising to witness the brightest women being disregarded as insignificant pests by Homelander.
I’ve met plenty of restless children in my years as a teacher, but there was one little boy who stood out from the crowd. He had an insatiable hunger for quick victories, unable to grasp the concept of waiting for the fruits of his labor. It’s a shame, really, as the long game often holds the most significant rewards. But his impulsiveness and eagerness for instant gratification made it difficult for him to focus on the bigger picture.
Did she not anticipate this result by calculating Homelander’s HomeCountry traits, leading us to this situation? Surprisingly, it appears that she did make those calculations.
At the climax, Sister Sage kept her true involvement hidden and unveiled it with a surprise: she orchestrated the entire event with some unexpected twists.
The turning point for her arrived as she disrupted a dejected Homelander, who appeared to be wallowing in yet another apparent loss. The demise of his manipulated pawn, Victoria Neuman (Claudia Doumit), had thwarted an assassination plot against Robert Singer (Jim Beaver). To add to his misery, even Ryan (Cameron Crovetti) had deserted him.
As someone who has spent years working in law enforcement and investigative journalism, I can tell you that nothing prepares you for the unexpected twists and turns a case can take. The last thing I ever imagined was for Sage, a woman I had initially dismissed as a mere bystander, to suddenly declare that they had achieved their goal. Her calm demeanor and seemingly innocuous statements belied a complex web of deceit and manipulation.
An undisclosed recording of Robert Singer confessing to orchestrating a hit on Neuman through the Boys resulted in his arrest, creating an opportunity for Senator Calhoun to become the next president. Suddenly, it’s Senator Calhoun’s voice we hear over the phone, swearing loyalty – could that be Homelander calling?
According to Sage’s forecast, Calhoun has turned out to be the ideal scapegoat. The finale sees Homelander with unfettered control over a nationwide army of Supers, empowered by legal authority to carry out their will. No one, not even the new president, can impede them.
He’s grateful for Sage’s help and although it would be difficult for him to say so, there’s respect in his gaze.
Although her clandestine maneuvers are noteworthy, the most astonishing aspect of the Sister Sage saga is simply that it unfolds. Her presence in the story is itself the most remarkable part.
An accomplished Black woman in prime-time TV can be underestimated, appearing insignificant but far from it. She defies entrenched racial prejudices, which persistently label Black people as unintelligent. Simultaneously, she challenges deep-rooted misogynistic beliefs that relegate Black women to the bottom rung.
In a progressive TV show, Sister Sage is permitted to proudly display her intellect, which is particularly significant in workplaces where racial biases persist and women’s opinions are frequently silenced. This isn’t how things should be, but surprisingly, it’s portrayed in an advanced manner on screen.
I’m in awe of her mental prowess, which goes beyond just her remarkable brain cells. Amazingly, she manages to outsmart and even make the arrogant, racist, fascist narcissist Homelander, who once boasted about being my equal in intelligence, admit defeat.
As a big fan of “The Boys,” I’d say that how they honored Sage’s memory stands in stark contrast to how they developed Hughie’s narrative in the later seasons.
Instead of moving back from racial prejudice and sexism, the other person goes further in disregarding Hughie’s past sexual experiences, ignoring it on two separate occasions, rather than acknowledging and addressing the toxic masculinity surrounding this dismissal.
In an unexpected turn of events, I once found myself playing the role of Web Slinger in disguise, but ended up being the one dominated in a dominatrix situation. Known for being the brunt of jokes, this time around I was subjected to uncomfortable and unwanted sexual acts for the sake of black comedy.
Later in the show, he shared with Annie (Erin Moriarty) how deeply disturbing the experience was when he recounted it.
“As Colby Minifie’s character, Ashley, gently massaged my feet, Hughie voiced out, looking distressed, ‘She insulted me terribly.’ Instead of allowing him to process those hurtful words and deal with his emotions, the storyline shifted focus towards his sadness over his father’s passing.”
Hughie’s grief may have been raw but acknowledging one shouldn’t negate the validity of the other.
As a survivor of sexual abuse myself, I strongly object to the way “The Boys” handled a recent scene involving such sensitive subject matter. While it’s true that the show often delves into dark and disturbing themes, casually brushing off an upsetting moment with a seemingly insensitive joke felt entirely inappropriate and out of place. It trivialized the gravity of the issue and left a bitter taste in my mouth as a viewer. I believe that when dealing with topics like these, it’s crucial to approach them with care, respect, and sensitivity towards those who have experienced such traumas in real life.
In the final episode of the series, it was revealed that Hughie had been sleeping with a superhero disguised as Starlight, who possessed the abilities to read minds and transform shapes.
Annie was shocked and enraged upon discovering that not only had Hughie deceitfully proposed to her, but also that they had only slept together a handful of times during the ten-day span when she was away.
It’s understandable that Annie was extremely angry, but it’s insane to take out that anger on Hughie, who wasn’t aware of the situation.
Hughie found himself having to protect himself as yet another allegation of sexual assault against him remained undisputed.
Annie’s response to his entreaties for comprehension left him feeling degraded, as if he had been labeled a typical insensitive man.
She remarked, “As long as things were going well for you romantically, you didn’t scrutinize closely. That’s the Annie you’re attracted to.” She described her as, “Always ready and willing, a carefree girl without any baggage or complex issues.”
Although the show sensitively addressed her past traumas, it fell short in handling the implications of Hughie’s alleged rape with the same care and depth.
The action doesn’t just downplay the severity of sexual assault against men, but it also perpetuates a troubling belief that if a man is enjoying the experience, then there’s no cause for concern.
Annie begrudgingly came around after some grovelling on Hughie’s part but not before telling him:
Based on my personal experiences and the context given, it seems that the speaker is expressing a strong desire for their partner to undergo extensive medical tests due to concerns about sexually transmitted diseases, specifically syphilis. They use colloquial language and a sarcastic tone, implying that they themselves are not carrying this particular disease. This expression may come from a place of deep care and concern, or it could be rooted in anxiety or mistrust. Regardless, the speaker’s priority appears to be ensuring their own health and wellbeing, even if it means putting their partner through an extensive battery of tests.
After Hughie finished speaking about the courage required for forgiveness, Annie’s inappropriate joke emerged, seemingly showcasing her greater maturity and willingness to let go.
The show may unintentionally blame Hughie for his own victimization, and his grinning at her could be perceived as encouraging a more sympathetic audience response towards his abusive behavior.
Although the wise and insightful perspective of the sisters cannot excuse The Boy‘s shocking mistake called Hughie, it demonstrates that the show is capable of addressing social issues when it chooses to do so.
I hope we can gain valuable insights from this mistake and apply them to create a more careful and well-thought-out final season.
All season of The Boys are available to watch on Amazon Prime Video now.
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2024-07-18 15:12