The episode peaks at Vought, where Lamplighter and Hughie have gone to break out Annie and her mom. Grace tried diplomacy Billy goes for righteous fury.
![aya mad father aya mad father](https://i.ytimg.com/vi/h3kyJvxQYtk/maxresdefault.jpg)
Billy takes the “bad cop” approach, basically telling Jonah that he’ll kill his daughter and the rest of his family if Jonah doesn’t do the right thing. Grace, accompanied by Mother’s Milk, takes the diplomatic route, learning that Jonah only lives for his daughter now-again, a connection to the episode’s themes about parents and children. While Homelander and Stormfront try to win over Ryan with stories of how his dad has not only been in movies but literally has a roller coaster named after him, Grace and Billy, separately, try to woo Jonah to a congressional hearing. Maeve’s has been ripped away from her, and she spirals out, appearing groggy and in bed with two naked dudes when Ashley comes to find her. How many other people has Maeve killed? With Elena gone now, what will Maeve have left to fight for? The Boys is very much about how people, even superpeople, need connections to fuel their passion and heroism. Relationships are fractured all over The Boys, including the one between Queen Maeve and Elena, who can’t look the love of her life in the eyes anymore after learning about the plane crash that she essentially let happen. Homelander’s visits were bad enough, but his new partner-in-hate amplifies the creep factor. Becca Butcher is, naturally, instantly uncomfortable.
![aya mad father aya mad father](http://fasrneat640.weebly.com/uploads/1/2/5/3/125339571/960032652.jpg)
The theme of the often-poisonous connection between parent and offspring segues nicely into the next scene, as Stormfront laments the decades it’s been since she had a baby, and Homelander decides to introduce his new gal pal to his son Ryan. They fight and swear until Billy nearly chokes the old man to death. It turns out Billy’s pop is a garbage person, someone who beat the shit out of both Billy and his brother Lenny. Everyone is struggling to find their role this week, with Billy confronting his father, Annie fighting with her mother, Lamplighter giving up on all of it, and Homelander and Stormfront deciding they need an heir for their hatred.Īnyway, Annie ends up in captivity while Hughie and Lamplighter bond over cuck porn based on the history of The Seven, and Billy goes to see his dad, played by the wonderful John Noble of Fringe fame. Mom is really just a tracking device to lead Vought to Annie, which results in a vicious attack/fight scene by Black Noir versus our sweet Starlight. She’s ready to give up on the entire concept of heroism when her mom tries to talk her back into the fold. Meanwhile, Annie is totally disillusioned by her place in the world, uncomfortable being a hero or a vigilante. They need more details about exactly what was happening at Sage Grove, which will lead Billy and Grace back to Jonah (John Doman), the man who helped build the Compound-V program and essentially raised Homelander. They’re going to try to use the former member of the Seven against Vought, but the congresswoman leading the charge isn’t convinced that testimony from Lamplighter is enough to get the job done.
![aya mad father aya mad father](https://img.wattpad.com/cover/48470422-256-k63889.jpg)
It turns out that the events of Sage Grove last week left Lamplighter back in the grasp of Grace, Billy, and the boys. The Boys generally goes for satire and comedy more than commentary, but especially in light of recent shootings and unrest in our current reality, this week’s open is legitimately depressing. He becomes convinced that the clerk at a convenience store is a supe in hiding, and he shoots him in the face as “What a Wonderful World” plays mournfully on the soundtrack. A loner is surrounded by Stormfront’s hate speech, spewing from TVs in his home and seemingly everywhere he goes. The episode opens with a scene of stark violence. Overall, “Butcher, Baker, Candlestick Maker” is one of the season’s stronger episodes, setting up a thematically resonant endgame about fathers and sons: Billy Butcher and Homelander are two men warped by bad fathers, and at least one of them could be preparing to continue that legacy. The opening segment this week is startling but inevitable, an example of how easily dangerous rhetoric and racism can persuade people to commit violent acts it has timely power that’s only slightly removed from the real world of 2020 by the inclusion of Frosted A-Trains cereal on a store shelf. The second season of The Boys is building toward a violent conclusion, anchored in commentary about how quickly heroism can turn to villainy, especially when lonely people are poisoned by people who should know better.