âWe did a lot of work on ‘The Boys’ because every sonic detail is heavily amplified on our stage,â reveals the re-recording mixer, sound designer and supervising sound editor. Alexandra Fehrman on her Emmy nomination for best sound mixing for a comedy or drama series (one hour), the first of her career, which she shares with her colleagues Richard weingart and Thomas hayek. âThat this project is the one that is recognized for our hard work is really great,â she said. Watch our exclusive video interview with Fehrman above.
TO SEE âThe Boys Emmyâ Interviews: Watch Our 10 In-Depth Talks With Aya Cash, Karl Urban, Jack Quaid & More
“The Boys” is writer / director Eric KripkeThe subversive and devilishly satirical take on the superhero genre and America’s corporate obsession with wealth and power. An uplifting tale of celebrity worship, materialism, fame and greed, the series explores what happens when revered superheroes abuse their limitless powers.
Its large set includes stars Karl Urban, Jack Quaid, Antoine Starr, ChacÃ© Crawford, Erin Moriarty, Dominique McElligott, Jessie T. Usher, Laz Alonso, Tomer Chapon and Karen Fukuhara, with Aya Cash and Claudie Doumit having joined the cast for season 2.
TO SEE Full list of 2021 Emmy nominations: all 73rd Emmy nominees
The eight-episode sophomore edition of “The Boys” garnered five Emmy nominations (up from just one last season), including Best Drama Series, Best Drama Writing, Best Special Visual Effects, Best music and lyrics (for the song “Never Really Go Away”). Love for the TV academy crowns a great year for the show, which was a huge hit with fans and critics when it first ended 2020, scoring an incredible 97% at Rotten Tomatoes and more than doubling its viewership from Season 1 to become Amazon’s Most Successful Show.
Fehrman recognizes that a show like “The Boys” is the perfect showcase for a sound designer, especially when the showrunner is as passionate about sound as she is. âHe brings everything to the table,â she says of her work with Kripke. âHe knows exactly what he’s looking for in sound mixing and he’s really pushed us to be the best mixers we can be on stage because the bar is constantly rising,â she says.
âWe’re always trying to find ways to be really extremely detail-oriented, to make sure everything is seen and heard at every point,â says Fehrman. âHe wants things to be felt, he wants things to be crass. He’s a huge fan of his, that’s why it’s also a lot of fun working with him, because he has such a specific vision.
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