<I>The Boys:</I> Inside the Emmy-nominated soundtrack
August 30, 2021

The Boys: Inside the Emmy-nominated soundtrack

Amazon Original’s The Boys is about a group of vigilantes who set out to take down corrupt superheroes that abuse their powers. The series is nominated for five Emmys, including outstanding “Drama Series”, “Writing For A Drama Series”, “Special Visual Effects In A Season Or A Movie”, “Sound Mixing For A Comedy Or Drama Series” and “Original Music And Lyrics”.

Wade Barnett is the show’s supervising sound editor and worked closely with showrunner/series creator Eric Kripke to create sonic fingerprints for characters such as Stormfront and Homelander.

Alexandra Fehrman and Rich Weingart, CAS, served as re-recording mixers on the show, with Thomas Hayek acting as production mixer.
“Out of the whole series, one scene Rich Weingart and I were most proud of was the showdown between all the women superheroes – Stormfront, Starlight, Queen Maeve and Kimiko,” says Fehrman (pictured below). “Just before the showdown, we had an intensely-emotional scene between Butcher and the love of his life, Becca. 

“Chris Lennertz scored this scene beautifully, and we in turn mixed it very delicately, with the atmosphere of the car driving over the remote terrain. From here we get shocked into a climactic battle we’d been building up to the whole season, and we had to make sure the mix lived up to those expectations, weaving the ultra powerful Peaches track – ‘Boys Wanna Be Her’ - with perspective shifts, exploding cars, lightning blasts, punches, kicks and efforts in one satisfying, emotional finale. 

“We’re always looking for ways to bring out details, so this scene provided a lot of opportunity for that. But the real challenge came after that battle, in one of the last scenes of the season. This was where we reveal Victoria Neuman’s secret, so the scene contained a lot of crucial information we needed to convey through dialogue. At the same time, we were cutting between an interior office and a busy street exterior, so we needed to make the shifts as smooth as possible so audiences wouldn’t be too distracted to catch what was going on before we made one final head explode.”