He trusted Homelander.
The Boys: Soldier Boy Is One Of The Stupidest Heroes Ever
Soldier Boy was a hero... barely.screenrant.com
TV Show Discussion: The Boys by Garth Ennis on Amazon Prime (Fonz Approved!) Update: Season 5 FINAL SEASON!
- Thread starter playahaitian
- Start date
'The Boys' gives Erin Moriarty's Starlight a full-on music video for season 2 song
Erin Moriarty's Starlight gets an official 'The Boys' music video for her season 2 song 'Never Truly Vanish.'
The Boys gives Erin Moriarty's Starlight a full-on music video for season 2 song
Starlight's star is bright.
By Nick Romano
June 03, 2021 at 04:28 PM EDT
A Star(light) is born.
Erin Moriarty's ray of literal sunshine that is Annie, a.k.a. Starlight on The Boys, gets her own official music video for "Never Truly Vanish," the song from season 2 of the Amazon Prime Video superhero satire to commemorate Translucent (Alex Hassell).
Moriarty performed snippets of the song as seen in the season's premiere episode when the world came to publicly mourn the invisible member of the Seven, the globe's premier team of secretly corrupt superheroes. The musical number, written by series composer Chris Lennertz and Michael Saltzman, was later released on the show's soundtrack.
On Thursday, Amazon, through new Vought International social media accounts, dropped the video, which sees Starlight performing alongside a troupe of invisible Translucent dancers.
"Our heroes never die/ Your spirit fills the sky," Moriarty sings. "Your presence truly blessed us from the start/ You will never truly vanish from our hearts/ No you'll never truly vanish from our hearts." Classics Boys hijinks.
Moriarty returns as Starlight for season 3 of The Boys, which is currently filming in Canada with new star Jensen Ackles, playing the world's original superhero Soldier Boy. While we wait for a new look at what's sure to be a chaotic next run — and Ackles himself is teasing a first look at his character coming soon — we at least have some new Boys content.
Jensen Ackles gets supe-d up as Soldier Boy in first look at 'The Boys' season 3
Say hello to Soldier Boy! Jensen Ackles debuts as the new supe in 'The Boys' season 3's first photo.
Meet Soldier Boy: Everything we know about Jensen Ackles' addition to 'The Boys'
'The Boys' season 3 will introduce 'Supernatural' star as Soldier Boy. Here's what we know about him and his team called Payback.
'Arrow' vet Stephen Amell gives Jensen Ackles' 'The Boys' look his green supersuit seal of approval
From one green superhero to another, 'Arrow's Stephen Amell gave his blessing to Jensen Ackles' Soldier Boy on 'The Boys.'
The Boys' Twitter Account Just 'Spoiled' Season 3's Finale
Amazon Prime Video's The Boys continues to troll fans on social media by "spoiling" the Season 3 finale with the ultimate meta-reference.
www.cbr.com
Batwoman Promo Finally Welcomes Diggle to Gotham City
A promo for the next episode of Batwoman shows John Diggle's arrival in Gotham City, as well as Ryan's first meeting with Kate Kane.
www.cbr.com
The Boys: Jensen Ackles Looks Suitably Unhinged While Filming Season 3
Season 3 of The Boys is looking to be as intense as ever, if not more so. Newcomer Jensen Ackles drove that point home with some wild looking selfies.
gamerant.com
Exclusive: 'The Boys' debuts Vought News digital series to fill in story gaps ahead of season 3
Ahead of 'The Boys' season 3, Amazon launches a Vought News digital series to fill in story gaps.
That's pretty clever.Exclusive: 'The Boys' debuts Vought News digital series to fill in story gaps ahead of season 3
Ahead of 'The Boys' season 3, Amazon launches a Vought News digital series to fill in story gaps.ew.com
Jensen Ackles' Soldier Boy Is Front and Center in The Boys Season 3
The Boys showrunner Eric Kripke says season 3 delves into 'the history of how we got here' through the introduction of Jensen Ackles' Soldier Boy.
movieweb.com
How The Boys Became 2020’s Most Urgently Political Show
Showrunner Eric Kripke on his surprise Emmy nomination, the rise of genre TV, and his plans for Season 3.
BY JOANNA ROBINSON
AUGUST 13, 2021
Plenty of showrunners in Hollywood can claim that they’ve been in this business for a long time, but it’s hard to beat Eric Kripke’s track record of longevity on a single show. In 2005 Kripke created Supernatural, which recently wrapped its 15th season as the longest-running American sci-fi/fantasy television series.
It’s been more than a decade since Kripke stepped down as Supernatural’s showrunner, and now he’s making history again with The Boys, one of Amazon Prime Video’s biggest success stories. The raunchy, hyper-violent adaptation of Darick Robertson and Garth Ennis’s raunchy, hyper-violent comic book about superheroic powers run amok proved a surprise hit for the streamer in its first season. Its second season, which debuted September last year, switched from a binge model to week-to-week and became a bonafide, word-of-mouth juggernaut extending its reach far beyond comic book fans and netting Kripke his first Emmy nomination after nearly two decades of work.
A guide to Hollywood’s biggest races
If you’ve watched the show’s astonishingly topical second season, it’s not at all hard to see why the Television Academy decided to honor The Boys with five nominations, including a juicy spot in the best drama category. From the outside, the gleefully dark world of The Boys, which Robertson and Ennis created in response to the authoritarian abuses of George W. Bush, Dick Cheney, and the so-called war on terror, might seem too much of a guilty pleasure to be considered Emmy worthy. But beneath the candy-coating of violence and dark humor lies an urgent commentary on the intersection of capitalism and unchecked, authoritarian power. The fact that the second season debuted smack dab between last year’s summer of racial reckoning and the Trump/Biden election only underlined the clever and often chilling way The Boys found to comment on the way we live now.
The show features a cast of vain, greedy, and depraved superheroes who, even more than the characters in the original comics, bear a striking physical resemblance to the heroes who have raked in billions at the box office for Marvel and DC. The show’s central bad guy, Antony Starr’s Homelander, is a gleefully psychotic hybrid of Superman and Captain America. But the real villain of the piece might just be the corporation that created him in the first place. In the second season, Homelander gets a partner worthy of his depraved abuses of power in Aya Cash’s Stormfront—a seductive, sardonic white supremacist who just happens to be a whiz at social media.
Kripke likes to boil down the plot as: “Marvel’s real, they have real superheroes, and they’ve taken over the world. My mom, who doesn’t watch superhero movies, completely understands that superheroes are the top of every box office list, and they’re all over television and have completely hijacked pop culture. Our show is the real world in every single way, with the one difference that the superheroes that everyone is worshiping happened to be real.”
The second season of The Boys began with sequences that eerily presaged the January 6th attack on the capitol, an Alexandria Ocasio-Cortez-esque Congresswoman, and a darkly cynical exploration on how corporate America will turn a blind-eye to white supremacy if it benefits the bottom line. The season overall felt like genre television doing what it does best in easing an audience in with flashy, fun premises that ultimately hold up an unflinching mirror that expose ugly truths about our own world.
Kripke spoke to V.F. about the TV Academy’s increasing embrace of genre television and how his successes in the first two seasons have emboldened him to go even bigger for Season 3. Kripke also explained how next season’s reunion with his Supernatural star Jensen Ackles—who will take on the Captain America-inspired role of Soldier Boy—will help him dive into the role toxic masculinity played in creating some of the darker truths we’re living with today. You can hear this conversation with Kripke in full on the Little Gold Men podcast as well.
Vanity Fair: I was reading your instant reaction to the Emmy nominations, where you were calling yourself out for being cliché. And I was wondering if, with a little bit more time, if you felt like you had a non-cliché response?
Eric Kripke: It took about a full 24 hours for it to actually sink in. I was in my car, and the thought finally occurred to me: holy shit, I need a tuxedo.
If you look at the Emmys last year, we could say maybe that Watchmen loosened the lid a little on this idea of comic book television as Emmy worthy. But you’ve been doing genre television for so long, what does it mean to you for the Television Academy to be like, yes, we’re ready to talk about this?
I mean, look, nobody gets into genre for the awards. But the fact that we’re being recognized by our peers for the work we’re doing, is very nice. People have asked me: Is this a golden age of genre? And my response is: It’s always been this good. Always. From Rod Serling, through Gene Roddenberry, through Buffy The Vampire Slayer, X-Files, etc. Good genre comments on our world and holds a mirror up to it. Good genre is way more subversive, rebellious, and revolutionary than, I think, what mainstream entertainment can do. We rarely get recognized for it. Watchmen for sure. Also, it’s hard to forget Game of Thrones. So I mean, I think it’s been slow but steady. But it’s nice.
To your point, something that both Watchmen and The Boys—especially season two—do so well is that mirroring that you were talking about. There’s something to be said for holding up a mirror to some of the hardest truths of our current society through the lens of genre. It gives audiences some comfortable distance. But then what that means is that you’re making some of the most urgent political television that’s out there.
Thank you for saying that because we work really hard at it. The madness of the show is the spoonful of sugar. It’s also the thing that can be noisy and gets asses in the seats. The crazy, gonzo moments are just what’s on the front of the cereal box. What we’re really interested in is late-stage capitalism and white supremacy cloaked in social media and systemic racism. Also character and really understanding the humanity of people and how the real heroes are the last to stand in front of everyone and say: I’m going to save you. Real heroes just quietly get along, without any praise of getting the work done.
Also you should be extremely skeptical and suspicious of anyone who stands in front of you and says: I am your hero and I’m here to save you. That person is selling you something. So being able to discuss all of that, I think, is really important. The Boys comic has been around for well over a decade. But this world happens to explain the exact second we’re living in. Once we realized that, we said, well, let’s run with that as far as we can.
Ennis and Robertson made this comic in reaction to the Bush era and it’s also an Obama-era comic. But the show feels so Trump era to those of us watching at home. Also how can you not, when Season 2 premieres in September 2020, right after a summer of racial reckoning, feel like you really picked the right time to do the Stormfront season?
I think Garth Ennis is the best comic book writer out there, period. He was just incredibly prescient in terms of predicting this intersection of politics and celebrity. [With the show], we’re hitting certain things harder to reflect what’s happening in our world. He always had authoritarians pose as celebrities, that was the gimmick. We happen to live in a world where one of them was our president. The white supremacy thing, I mean, that character Stormfront, was in his books. It was about how corporations and capitalism will allow white supremacy into its ranks as long as it’s profitable. And all we did was say, well, what does white supremacy look like these days, versus 10 years ago? And it doesn’t take long to land at social media. It’s a very ugly, old idea, packaged in this, new bouncy way. None of it’s new. Things like systemic racism and white supremacy have been around since the country’s founding.
I want to talk to you about the release strategy for Season 2. You went from a binge model in Season 1, to a week-to-week in Season 2. Was that something you were advocating for? Were you pleased with the results?
I know some of the fans were unhappy, but it was completely producer driven. Season 1 got an amazing response. But, honestly, I think it’s dissatisfying to put that much effort and care into every detail and then have this two-week orgy of attention and love for the show. And then it’s just completely disposable. We just wanted to be a part of the conversation longer. We wanted to give the audience an opportunity to obsess over whatever happened in that particular episode’s madness. A lot of fans were really upset, and I get it. But I have to say, as the experiment, it was an incredibly successful one. We broke through in a way that other shows that are very good, but have a binge strategy, are not breaking through. We got into the conversation long enough that people started telling their friends and more articles were written. I have no doubt in my mind that we would not be nominated for best drama had we been in the binge model, rather than weekly.
Something that folks are looking forward to in Season 3 is that you tweeted out in January about “Herogasm” [an over-the-top raunchy premise from the comics] as an episode that you’re doing. I’m just wondering, you felt that emboldened in January. How much more emboldened do you feel after you’re nominated for best drama? What are you going to do to top “Herogasm?”
There will be no topping up “Herogasm.” Now that I’ve seen the dailies of this thing, I’m like, what have we done? It’s just so crazy. They’ve always let us do what we wanted to do but I think because of that it comes with a responsibility to moderate and modulate ourselves. You never want to fall on the side of just being gratuitous and just gross. I don’t want this show to be irresponsible. I want it to be shocking and outrageous, but of a moral universe.
It’s hard to call this last season one thing, but maybe we could call it “the Stormfront season.” Would you have a concise way to describe Season 3?
Season 3 delves a lot more into the history of how we got here through this character of Soldier Boy. We were able to dig into both the history of the country and also really look at toxic masculinity, and masculine roles, and what a shit-show that’s overall caused. This whole fucking, independent Marlboro man thing.
I know you’ve talked a bit already about working with [Supernatural star] Jensen Ackles again and what it’s like to put Jensen in this part. Did you decide you wanted to do Soldier Boy and then were like: aha, Jensen! Or Jensen’s suddenly free, and you’re like, now it’s time to do the Soldier Boy season?
We had written Soldier Boy long before I cast Jensen. The majority of the guys we were looking at for that part were actually quite older than Jensen. Because it’s a World War II hero. But it’s so funny how these things sometimes happen. Jensen called me and I’m not on the show anymore but we keep in touch and text every so often. But he happened to call me and we were just chatting and I’m like well I’m prepping Season 3 of the show, and I have this character Soldier Boy, and it was a real pain in the to cast, and I haven’t really found anyone. Hey, wait a minute, do you want to do it? I sent him the script, and he’s like, oh my God, I totally want to do this. Less than a week later, he was cast. He just happened to call that day, is one of the big reasons he got that part.
You’ve talked a little bit about a focus on your fictional Fox News analogue, the corporate-owned VNN, in Season 3. What are you looking to say about the media and its role in all of this?
I think misinformation is so dangerous and cynical. It’s so obvious that they’re willing to actively harm people. I mean, look at all this shit about the vaccine cynicism. These kind of networks are outrage machines that specifically slant information in an inaccurate way. Then there’s bigger ratings, and then they make more money. It’s so wildly irresponsible and destructive to civil discourse and it’s straight up propaganda. That’s another big issue of something that we thought richly demanded ridicule.
Showrunner Eric Kripke on his surprise Emmy nomination, the rise of genre TV, and his plans for Season 3.
BY JOANNA ROBINSON
AUGUST 13, 2021
Plenty of showrunners in Hollywood can claim that they’ve been in this business for a long time, but it’s hard to beat Eric Kripke’s track record of longevity on a single show. In 2005 Kripke created Supernatural, which recently wrapped its 15th season as the longest-running American sci-fi/fantasy television series.
It’s been more than a decade since Kripke stepped down as Supernatural’s showrunner, and now he’s making history again with The Boys, one of Amazon Prime Video’s biggest success stories. The raunchy, hyper-violent adaptation of Darick Robertson and Garth Ennis’s raunchy, hyper-violent comic book about superheroic powers run amok proved a surprise hit for the streamer in its first season. Its second season, which debuted September last year, switched from a binge model to week-to-week and became a bonafide, word-of-mouth juggernaut extending its reach far beyond comic book fans and netting Kripke his first Emmy nomination after nearly two decades of work.
A guide to Hollywood’s biggest races
If you’ve watched the show’s astonishingly topical second season, it’s not at all hard to see why the Television Academy decided to honor The Boys with five nominations, including a juicy spot in the best drama category. From the outside, the gleefully dark world of The Boys, which Robertson and Ennis created in response to the authoritarian abuses of George W. Bush, Dick Cheney, and the so-called war on terror, might seem too much of a guilty pleasure to be considered Emmy worthy. But beneath the candy-coating of violence and dark humor lies an urgent commentary on the intersection of capitalism and unchecked, authoritarian power. The fact that the second season debuted smack dab between last year’s summer of racial reckoning and the Trump/Biden election only underlined the clever and often chilling way The Boys found to comment on the way we live now.
The show features a cast of vain, greedy, and depraved superheroes who, even more than the characters in the original comics, bear a striking physical resemblance to the heroes who have raked in billions at the box office for Marvel and DC. The show’s central bad guy, Antony Starr’s Homelander, is a gleefully psychotic hybrid of Superman and Captain America. But the real villain of the piece might just be the corporation that created him in the first place. In the second season, Homelander gets a partner worthy of his depraved abuses of power in Aya Cash’s Stormfront—a seductive, sardonic white supremacist who just happens to be a whiz at social media.
Kripke likes to boil down the plot as: “Marvel’s real, they have real superheroes, and they’ve taken over the world. My mom, who doesn’t watch superhero movies, completely understands that superheroes are the top of every box office list, and they’re all over television and have completely hijacked pop culture. Our show is the real world in every single way, with the one difference that the superheroes that everyone is worshiping happened to be real.”
The second season of The Boys began with sequences that eerily presaged the January 6th attack on the capitol, an Alexandria Ocasio-Cortez-esque Congresswoman, and a darkly cynical exploration on how corporate America will turn a blind-eye to white supremacy if it benefits the bottom line. The season overall felt like genre television doing what it does best in easing an audience in with flashy, fun premises that ultimately hold up an unflinching mirror that expose ugly truths about our own world.
Kripke spoke to V.F. about the TV Academy’s increasing embrace of genre television and how his successes in the first two seasons have emboldened him to go even bigger for Season 3. Kripke also explained how next season’s reunion with his Supernatural star Jensen Ackles—who will take on the Captain America-inspired role of Soldier Boy—will help him dive into the role toxic masculinity played in creating some of the darker truths we’re living with today. You can hear this conversation with Kripke in full on the Little Gold Men podcast as well.
Vanity Fair: I was reading your instant reaction to the Emmy nominations, where you were calling yourself out for being cliché. And I was wondering if, with a little bit more time, if you felt like you had a non-cliché response?
Eric Kripke: It took about a full 24 hours for it to actually sink in. I was in my car, and the thought finally occurred to me: holy shit, I need a tuxedo.
If you look at the Emmys last year, we could say maybe that Watchmen loosened the lid a little on this idea of comic book television as Emmy worthy. But you’ve been doing genre television for so long, what does it mean to you for the Television Academy to be like, yes, we’re ready to talk about this?
I mean, look, nobody gets into genre for the awards. But the fact that we’re being recognized by our peers for the work we’re doing, is very nice. People have asked me: Is this a golden age of genre? And my response is: It’s always been this good. Always. From Rod Serling, through Gene Roddenberry, through Buffy The Vampire Slayer, X-Files, etc. Good genre comments on our world and holds a mirror up to it. Good genre is way more subversive, rebellious, and revolutionary than, I think, what mainstream entertainment can do. We rarely get recognized for it. Watchmen for sure. Also, it’s hard to forget Game of Thrones. So I mean, I think it’s been slow but steady. But it’s nice.
To your point, something that both Watchmen and The Boys—especially season two—do so well is that mirroring that you were talking about. There’s something to be said for holding up a mirror to some of the hardest truths of our current society through the lens of genre. It gives audiences some comfortable distance. But then what that means is that you’re making some of the most urgent political television that’s out there.
Thank you for saying that because we work really hard at it. The madness of the show is the spoonful of sugar. It’s also the thing that can be noisy and gets asses in the seats. The crazy, gonzo moments are just what’s on the front of the cereal box. What we’re really interested in is late-stage capitalism and white supremacy cloaked in social media and systemic racism. Also character and really understanding the humanity of people and how the real heroes are the last to stand in front of everyone and say: I’m going to save you. Real heroes just quietly get along, without any praise of getting the work done.
Also you should be extremely skeptical and suspicious of anyone who stands in front of you and says: I am your hero and I’m here to save you. That person is selling you something. So being able to discuss all of that, I think, is really important. The Boys comic has been around for well over a decade. But this world happens to explain the exact second we’re living in. Once we realized that, we said, well, let’s run with that as far as we can.
Ennis and Robertson made this comic in reaction to the Bush era and it’s also an Obama-era comic. But the show feels so Trump era to those of us watching at home. Also how can you not, when Season 2 premieres in September 2020, right after a summer of racial reckoning, feel like you really picked the right time to do the Stormfront season?
I think Garth Ennis is the best comic book writer out there, period. He was just incredibly prescient in terms of predicting this intersection of politics and celebrity. [With the show], we’re hitting certain things harder to reflect what’s happening in our world. He always had authoritarians pose as celebrities, that was the gimmick. We happen to live in a world where one of them was our president. The white supremacy thing, I mean, that character Stormfront, was in his books. It was about how corporations and capitalism will allow white supremacy into its ranks as long as it’s profitable. And all we did was say, well, what does white supremacy look like these days, versus 10 years ago? And it doesn’t take long to land at social media. It’s a very ugly, old idea, packaged in this, new bouncy way. None of it’s new. Things like systemic racism and white supremacy have been around since the country’s founding.
I want to talk to you about the release strategy for Season 2. You went from a binge model in Season 1, to a week-to-week in Season 2. Was that something you were advocating for? Were you pleased with the results?
I know some of the fans were unhappy, but it was completely producer driven. Season 1 got an amazing response. But, honestly, I think it’s dissatisfying to put that much effort and care into every detail and then have this two-week orgy of attention and love for the show. And then it’s just completely disposable. We just wanted to be a part of the conversation longer. We wanted to give the audience an opportunity to obsess over whatever happened in that particular episode’s madness. A lot of fans were really upset, and I get it. But I have to say, as the experiment, it was an incredibly successful one. We broke through in a way that other shows that are very good, but have a binge strategy, are not breaking through. We got into the conversation long enough that people started telling their friends and more articles were written. I have no doubt in my mind that we would not be nominated for best drama had we been in the binge model, rather than weekly.
Something that folks are looking forward to in Season 3 is that you tweeted out in January about “Herogasm” [an over-the-top raunchy premise from the comics] as an episode that you’re doing. I’m just wondering, you felt that emboldened in January. How much more emboldened do you feel after you’re nominated for best drama? What are you going to do to top “Herogasm?”
There will be no topping up “Herogasm.” Now that I’ve seen the dailies of this thing, I’m like, what have we done? It’s just so crazy. They’ve always let us do what we wanted to do but I think because of that it comes with a responsibility to moderate and modulate ourselves. You never want to fall on the side of just being gratuitous and just gross. I don’t want this show to be irresponsible. I want it to be shocking and outrageous, but of a moral universe.
It’s hard to call this last season one thing, but maybe we could call it “the Stormfront season.” Would you have a concise way to describe Season 3?
Season 3 delves a lot more into the history of how we got here through this character of Soldier Boy. We were able to dig into both the history of the country and also really look at toxic masculinity, and masculine roles, and what a shit-show that’s overall caused. This whole fucking, independent Marlboro man thing.
I know you’ve talked a bit already about working with [Supernatural star] Jensen Ackles again and what it’s like to put Jensen in this part. Did you decide you wanted to do Soldier Boy and then were like: aha, Jensen! Or Jensen’s suddenly free, and you’re like, now it’s time to do the Soldier Boy season?
We had written Soldier Boy long before I cast Jensen. The majority of the guys we were looking at for that part were actually quite older than Jensen. Because it’s a World War II hero. But it’s so funny how these things sometimes happen. Jensen called me and I’m not on the show anymore but we keep in touch and text every so often. But he happened to call me and we were just chatting and I’m like well I’m prepping Season 3 of the show, and I have this character Soldier Boy, and it was a real pain in the to cast, and I haven’t really found anyone. Hey, wait a minute, do you want to do it? I sent him the script, and he’s like, oh my God, I totally want to do this. Less than a week later, he was cast. He just happened to call that day, is one of the big reasons he got that part.
You’ve talked a little bit about a focus on your fictional Fox News analogue, the corporate-owned VNN, in Season 3. What are you looking to say about the media and its role in all of this?
I think misinformation is so dangerous and cynical. It’s so obvious that they’re willing to actively harm people. I mean, look at all this shit about the vaccine cynicism. These kind of networks are outrage machines that specifically slant information in an inaccurate way. Then there’s bigger ratings, and then they make more money. It’s so wildly irresponsible and destructive to civil discourse and it’s straight up propaganda. That’s another big issue of something that we thought richly demanded ridicule.
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The Boys: 10 Things Only Comic Book Fans Know About Starlight
Although Starlight's costume, powers, and relationship with Hughie in The Boys are all similar to the comics, there are a few key details left out.
screenrant.com
Jensen Ackles wraps 'The Boys' season 3 with a 'Supernatural' twist
'The Boys' is wrapping production on season 3, and the day falls on a special 'Supernatural' anniversary.
Jensen Ackles wraps The Boys season 3 on anniversary of Supernatural's last shoot day
This one gave us chills.
By Nick Romano
September 10, 2021 at 02:46 PM EDT
Call it uncanny. Jensen Ackles' last day of filming The Boys season 3 happens to fall on the anniversary of a major Supernatural moment.
Some of the principal cast members of the hit Amazon series have shared commemorations on social media to mark their wrap day. For his part, Ackles, who is introduced in season 3 as the supe known as Soldier Boy, revealed to his followers that the day coincides with the anniversary of his last day shooting his other big show.
"Alright, gang. Fun fact for yah," Ackles said in an Instagram video, donning a white tank top. "A year ago today, Sept. 10, 2020, was the last day on the set of Supernatural. Today, Sept. 10, 2021, is the last day on the set of The Boys. Coincidence?"
Supernatural, which skyrocketed Ackles and costar Jared Padalecki to stardom, came to an end in 2020 after a whopping 15 seasons.
Eric Kripke, a co-creator and executive producer on Supernatural who know helms The Boys, says he wasn't even thinking of Ackles to fill his new role for the show's third season. "My assumption was, he's just finished his 15 years. I can't imagine he wants to dive into another project," Kripke previously told EW. "But, as luck would have it, he called me for a completely other issue. He wanted to pick my brain about a project."
Jensen Ackles commemorated wrapping 'The Boys' season 3 on a 'Supernatural' anniversary.
| CREDIT: JENSEN ACKLES/INSTAGRAM ; AMAZON STUDIOS
Ackles will now debut as Soldier Boy, dubbed the original superhero. In the world of The Boys and the nefarious corporation Vought that markets superheroes to the masses for profit, Soldier Boy was the company's first supe unveiled to the public during World War II, when he fought against Nazis.
Season 3 will use the story of Soldier Boy and his supe team Payback to tell the story of how America arrived at its current fraught climate.
Jack Quaid, who stars on The Boys as Hughie, also marked the end of filming his scenes. The actor shared an image of himself giving a thumbs-up on a plane flying back from Toronto, where the show is shot.
"We f---in' did it, y'all!" Quaid wrote. "Congrats to everyone who worked on Season 3 of @theboystv. You all deserve a hug, and a drink… and a lot of therapy after what we just did. This thumb is for you! This season's our best yet! Can't wait for you guys to see it."
Erin Moriarty seems to have wrapped her work as Starlight a bit earlier. She posted an image of her move back to Los Angeles last week.
It took The Boys a lot longer to shoot season 3 than previous seasons given the COVID-19 pandemic, which required the cast and crew to adopt new safety measures.
A premiere date for the show has not yet been revealed, but since shooting has wrapped, it's safe to assume Amazon will premiere it sometime in 2022.
For now, we have The Boys' Emmys race to watch.
im looking forward to season 3
I don’t get why Amazon doesn’t put this much work on their other shows
‘The Boys’ Spinoff Series Greenlighted By Amazon With Michele Fazekas & Tara Butters As Showrunners
Amazon Studios has given a formal series greenlight to a YA spinoff from the Emmy-nominated superhero drama The Boys.
deadline.com
‘The Boys’ Spinoff Series Greenlighted By Amazon With Michele Fazekas & Tara Butters As Showrunners
Amazon Studios has given a formal series greenlight to a YA spinoff from the Emmy-nominated superhero drama The Boys.
Four Supermen. One Winner. This is a Superhero Battle Royale.
Which overpowered 'Superman' variant would win?
'The Boys' trolls Disney+ Day with its own Vought+ updates
During Disney+ Day, 'The Boys' star rolled out the virtual red carpet for Vought+ Day.