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Fly Boys
New York magazine
|January 29 - February 11, 2024
Men at war, but not with themselves.

WHEN IT’S IN FLIGHT, Masters of the Air is sublime. At times, nothing but brilliant blue stretches for miles around the fleet of World War II bombers piloted by the American protagonists; in other moments, there’s no room for anything but fire, bullets, and wreckage falling in every direction. Even as it illustrates the horrors of war, the series maintains a schoolboy’s gaze at the skies. Unfortunately, when it turns that gaze to ground level, it gets a lot less interesting: Not even the juxtaposition of carnage and resplendence can cover for its treacly handling of men at war.
The show, which stars Austin Butler and Callum Turner with Nate Mann, Barry Keoghan, and Anthony Boyle, rounds out a triptych of TV megaprojects about American soldiers during the Second World War from executive producers Tom Hanks and Steven Spielberg. After the two collaborated on Saving Private Ryan in 1998, they made the HBO miniseries Band of Brothers, which expanded on that film’s brutal realism to meditate on the costs of service and the imperfect relationships forged along the way. Now a pillar of the Dad Show canon, Band of Brothers—which premiered two days before 9/11—walks the delicate line between dutiful paean to the 101st Airborne Division and something more complicated. Its style was old-fashioned even for the time, with a stoic patriotism contrasting the critical edge of the great Vietnam War movies, yet it managed a potent mix of maudlin and moving. Nearly a decade later,
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