Drinker's Chasers - The Boys Finale Was A Disaster

Overview

This is a fan-led rant and breakdown of The Boys Season 4 (its “finale”) and why the ending felt like a disaster. The critique focuses less on “plot holes” and more on frustration with how the show handles power, character consistency, and prolonged toilet-humor.

Main critique / plot rundown of standout problems

The speakers argue that while earlier seasons had some direction, the final stretch basically sets up a hard-earned showdown with Homelander—then undermines it.

Repeated “nerfing” of the show’s logic on demand

A core complaint is that the show’s internal logic is repeatedly adjusted when needed:

• Homelander is framed as “Evil Superman,” inherently terrifying due to invincibility and near-everywhere presence.
• Yet the finale introduces a mechanism to take away powers, making Homelander’s defeat feel less like strategy and more like the writers turning off the problem.
• One example: Homelander is shown earlier with absurd speed/flight capabilities, but in the final fight he suddenly can’t operate at the same level—creating a major immersion break.

The “power removal” storyline (Kimiko / Sister Sage / Frenchie)

The rant highlights Soldier Boy’s anti-superpower beam idea as something that can strip superhuman abilities—and says the show repurposes that through Kimiko.

Kimiko’s ability and questionable logistics

The group mocks the practicalities and the “science” framing:

• Radiation/dose/Geiger counter moments are treated casually.
• A standout beat: Sister Sage gets blasted, and the team then repeatedly enters/handles her as if radiation rules don’t apply.
• The rant also portrays this as payoff being sacrificed for convenience.

Frenchie’s death as the “cost” of making it work

The fallout is tied to Frenchie’s death, which the speakers frame as a cost paid to get the plan functioning.

Sister Sage: “smart presentation, dumb behavior”

Sister Sage is criticized for being written “smart” on paper (books, a house full of them) but behaving dumbly and inconsistently once the plot requires it.

Tone knock: grief interrupted by jokes

Frenchie’s death is also used to attack the show’s sense of tone—specifically, how even grief is undercut by crude humor (described further below).

Tone problem: toilet humor instead of payoff

The speakers argue the finale leans heavily on base, repetitive gross-out humor:

• Certain “shock” gags (including explicit jokes) are stretched for too long and stop being funny—turning exhausting.
• Frenchie’s final situation is cited as an example of the show laboring a gag instead of allowing a genuine emotional moment.
• A recurring accusation: the writers don’t care about character stakes or emotional payoff, filtering everything through current-day tasteless humor that they say dates badly.

Character writing complaints (especially Butcher, The Deep, and others)

Butcher: flanderization instead of depth

Butcher is described as becoming a “flanderized” version of himself—still driven by vengeance, but reduced to a repeating caricature rather than the more interesting dynamics seen earlier.

The Deep: powerful setup, quick death, and repeated patterning

The Deep is singled out as a major disappointment:

• He’s portrayed as durable and powerful but dies quickly to an octopus.
• The speakers compare it to Translucent’s weakness, implying the show repeatedly uses the same “your shell matters” kill pattern.
• They also mock contradictions in what The Deep can do versus how he behaves (e.g., being able to move like an aquatic superbeing, yet swimming like a normal person).
• The rant leans into absurd biological joking (octopus vs. his insides) to emphasize “make-it-work” writing.

Homelander’s defeat: humiliation vs believable character logic

The video’s emotional center is how Homelander’s ending feels.

Not just “he loses”—it’s how the loss is framed

The speakers argue it isn’t merely that Homelander is defeated, but that the defeat is handled in a way that feels pathetic rather than earned.

They also criticize the humiliation method (power removed → begging/whimpering) as contradicting how they believe the character would behave if he understood he was about to die.

Anthony Starr’s performance vs inconsistent writing

Comments are included about Anthony Starr’s performance:

• Starr is praised for maintaining internal logic and motivation.
• The showrunner/writing team is accused of undermining that consistency—meaning the performance carries the character while the writing undercuts it.

Meta discussion: hype vs budget vs content drift

The rant claims there’s a mismatch between the series’ popularity (view counts) and what they consider perceived quality, with speculation that Amazon isn’t investing at the level it should compared to other franchises.

A writer-level argument is also made that:

• Season 1 had stronger structure and deconstruction,
• but later seasons became more politically on-the-nose and less coherent,
• leading to a finale that “doesn’t pay off” early setup.

Closing note / online reaction

The speakers mention backlash in online discourse and even celebrity commentary (they cite Elon Musk allegedly calling the ending “pathetic”).

The final emotional punch is contempt for what they see as the show’s goal: not clever storytelling, but trying to piss off the “right” people (described dismissively as “chuds”), which they call boring and shallow.

Highlights / jokes called out

• “Sister Sage is smart on paper (books), dumb in action.”
• Mockery of radiation handling as violating basic logic (entering radioactive spaces casually).
• Frenchie’s death as an example of grim tragedy undercut by extended toilet humor.
• Homelander’s defeat framed as writers “taking away powers” rather than earning victory through tactics.
• The Deep dying too easily—compared to Translucent’s earlier pattern—plus extra mockery about how he behaves versus what the show claims he can do.

Main personalities appearing

• Two main speakers / hosts (unnamed), debating and reacting throughout.
• Referenced individuals: Eric Kripke, Anthony Starr, Karl Urban, and Elon Musk.