[Editor’s note: The following contains spoilers for The Boys, Season 2, Episode 5, “We Gotta Go Now.”]
What you first think about when you consider this episode of The Boys probably says a lot about you as a person. Is it all the very on-point details about what it’s like to make a big-budget blockbuster? The first appearance of Terror, Billy Butcher’s faithful bulldog and a Very Good Boy? Or is it Stormfront telling Homelander to “laser my fucking tits”? Whatever it might be, no judgment. At least from me.
A fair amount of “We Gotta Go Now” takes place on the set of Dawn of the Seven, as production on the prequel film (of course it’s a prequel) is now in full swing. This means seeing how the writers (including the name-dropped Joss Whedon) have worked the real-life reveal of Maeve’s sexuality into the story, with her nearly kissing her cute punk love interest in the film — while, off the set, the Vought corporate drones are working to coordinate the perfect rollout of her and Elena as a couple. Elena hates it (especially when the PR team comes up with a menswear look for her, because two feminine women together is apparently too confusing for people) and wants to run. But Maeve asks her to wait, because she wants to take Homelander down, but needs more time.
Theoretically, Homelander is doing a pretty good job on his own of screwing up his public image, thanks to a new video of him ruthlessly slaughtering innocents while taking down a “super-terrorist.” It’s frustrating for him, especially when protesters start showing up (led by the increasingly pervasive congressperson Victoria Neuman), but in comes Stormfront, whose 21st century level of social media know-how means that she knows how to turn him into a meme — making him a whole new kind of hero, albeit for a very different audience.
Meanwhile, A-Train struggles with his role in the film as well as the knowledge that he’s out of the Seven, not wanting to cooperate with production and only agreeing to say his exposition dumping lines after his contracts get threatened. Oh, and The Deep got married! Good for The Deep and his carefully selected new bride Cassandra. The happy new couple gives Katie Couric a great image-repairing interview, as The Deep truly becomes the public face of the Church of the Collective, even appearing in ads alongside Chairman Alistair Adana. But his journey back to the Seven isn’t going to happen with some positive press and a new religion, which Maeve knows — which is why she comes to him asking for his help, promising her own support in exchange.
Also on set is Stormfront, whose pointed comments about “purity” are getting harder and harder to overlook. Starlight is doing her best to find information about what Stormfront might be up to, sneaking into her trailer and breaking into her email to see tons of messages about something called the Sage Grove Center. Stormfront catches her, and the two have it out — Stormfront revealing that she knows Starlight leaked the Compound V information, and Starlight revealing she knows that Stormfront used to be Liberty.
Far away from the movie set is Billy, who is not having a great time of it after his disastrous last conversation with Becca. First order of business: booze and barfights. But then, what’s next? Becca was of course his reason for doing… everything, and with the door closed between them he’s ready to say goodbye to everyone and everything, but before fleeing the country he has to do two things: pay a visit to his Aunt Judy in the suburbs and make a call to Hughie to basically say goodbye.
Hughie, tenacious that he is, won’t let that be goodbye, and he and Mother’s Milk use the clue of a squeaking dog toy to track Billy to Judy’s. Their reunion unfortunately gets interrupted by Black Noir, who started trying to hunt down Billy in the last episode and finally has his prey in his sights. On the plus side, Judy is pretty well-prepared for Boys-style ultra-violence (what with her taffy business being a cover for drug dealing) and while the ensuing battle leaves the house in shambles, Billy manages to successfully make contact with Mr. Edgar at Vought, threatening to expose Homelander as a rapist to Ronan Farrow (so you know he’s serious). Edgar calls off Black Noir
Billy bids goodbye to Terror (nooooooooo!) but leaves him with a parting gift — a new plushie shaped like Homelander. “Terror, fuck it,” Billy says, which happens to segue us nicely to Homelander’s apartment (I think, that is — all Vought apartments kinda look the same) where Stormfront and Homelander are getting it on. Of course, because this is The Boys, this isn’t exactly a tender moment of snuggling, with neither of them holding back as their passion literally threatens to tear the whole place down.
So, you know, another fun time, playing with The Boys. And things promise to get even more fucked up very soon.
- A huge round of applause to whoever came up with the idea to credit Greg Grunberg as “As Himself As Agent Pearson.”
- Mother’s Milk is an Outlander fan? Sure, I see it. (Both Outlander and The Boys are produced by Sony Pictures Television, if you’re wondering how they got the rights.)
- That casual mention of a “Joss rewrite” was clearly put into the script well before Ray Fisher started his campaign about what may or may not have happened on the Justice League set, but to be honest, even now it fits pretty well into this universe.
New episodes of The Boys debut weekly on Fridays.