Prime Video’s global hit series, THE BOYS, concluded its final and fifth season with an explosive final chapter. Season Five of the multi-Emmy Award-winning series premiered on April 8, culminating in the unforgettable series finale on May 20.
In the final season, it’s Homelander’s world, completely subject to his erratic, egomaniacal whims. Hughie, Mother’s Milk, and Frenchie are imprisoned in a “Freedom Camp.” Annie struggles to mount a resistance against the overwhelming Supe force. Kimiko is nowhere to be found. But when Butcher reappears, ready and willing to use a virus that will wipe all Supes off the map, he sets in motion a chain of events that will forever change the world and everyone in it. It’s the climax, people. Big stuff’s gonna happen.
THE BOYS reunites composer Christopher Lennertz with the series’ creator Eric Kripke, creator and producer of CW’s Supernatural, which Lennertz scored since the show’s inception in 2005, and for which he received an Emmy nomination. The duo also worked together on the NBC series Revolution.
The Emmy-winning composer and I have been having conversations about his various projects since 2014, starting with THINK LIKE A MAN, the TV show “Galavant” and in 2015 with THE WEDDING RINGER, RIDE ALONG 2 and the TV show “Marvel’s Agent Carter” and in 2019 when THE BOYS first came on the scene.
Prior to the airing of THE BOYS series finale, Lennertz and I discussed what’s been happening since we last spoke, the Emmy win, working in the Vought Cinematic Universe (VCU) world and his latest movie Tim Story’s latest comedy 72 HOURS (2026).
SPOILERS AHEAD – – – SPOILERS AHEAD
We Are Movie Geeks: We’ve spoken 3 times previously. One time you’re doing Agent Carter, and then you’re composing for Gallivant, and then you’re doing movies with Tim Story, and THE BOYS during this whole time.
I gotta say. I watched last night’s episode of THE BOYS. How cool was it that you got that brilliant shout-out in the episode?
Christopher Lennertz: That was awesome. I didn’t even know they were doing it until we first spotted the episode. I knew it last night, but when we first started working on the music, they didn’t tell me, and it came up, I was like, oh my god, so great, so fun. And to have Daveed Diggs say it was so fun and great.
We Are Movie Geeks: I know, right? And I had the closed captioning on, and there it is! And secondly, congratulations on that Emmy win last year for “Let’s Put the Christ Back in Christmas.”
Christopher Lennertz: Thank you. It was amazing. It was so fun and silly. It really was.
We Are Movie Geeks: It was great, and then they posted it on YouTube, which was even better. Did you immerse yourself in going to ice capade shows to really get a vibe going?
Christopher Lennertz: I didn’t go to them, but I watched a ton of them online, and yeah, I really did a lot of homework on that one. It was very funny to try to make it as legit, sort of like, Disney on Ice as we possibly could.
We Are Movie Geeks: That was great, that was great. So once again, you and Eric Kripke, you’re doing another series to the bitter end, and it’s been, like, what, 30 years?
Christopher Lennertz: More than 30 years. We met in 1995, no, 1992, and I think we did his first student film, that we did together, was in 1993, so 33 years since we started working together. Isn’t that insane?
We Are Movie Geeks: That’s amazing. I love that, because I was watching Deadline’s, Sight and Sounds, and you were talking about that, and it has been 30 years.
Christopher Lennertz: We both had hair back then.
We Are Movie Geeks: How crazy has it been working on THE BOYS from when it first started, and when you and I were first talking about it to where it is now, because when we were talking about Season 1, you were talking about wanting to use lots of drums, and metal, and trash and stuff, and broken symbols, and all this noise and feedback. So, where you started and where it is now, did you change anything?
Christopher Lennertz: I don’t think we changed anything, I think we added a lot of stuff, I think, and especially this last season, because, you know, I think you’ll still hear a lot of the broken instruments, and you’ll hear the trash, and you’ll hear feedback and things like that, especially to represent Butcher and our boys, our heroes. Homelander’s theme on this violin was gonna be such a big part of the show, and really represent his descent into just mania, and just insanity, and to have his, like, the inside of his brain be represented by that. But we also didn’t know we were gonna end up doing this thing where we, every year, we do, you know, a couple of original songs that are really fun satire and parody, and I was gonna get to work with you know, half the cast, to sing them, and to be able to write songs for the cast to sing. That was something that didn’t start until Season 2, and has been such an amazing surprise.
We Are Movie Geeks: I love how, over the five seasons, there’s been a lot more use of orchestra, and I think one of my favorites of this season, also, is, the song, “Faster”. Did that come from another season?
Christopher Lennertz: Yeah, so there was the rap version of Faster that Jesse actually did in Season 2, so that when we knew that A-Train was gonna die, Eric sent me a note, and we’re like, oh, we have to do a funeral gospel version of Faster. So yeah, it was really fun to be able to do that and take it in a very different direction.
We Are Movie Geeks: I’m hearing a lot of orchestra, but there’s a lot more of those non-conventional choices of instruments. Did you and co-composer, Matt Bowen, make a conscious decision? Was that something that Eric said he wanted? It works really well.
Christopher Lennertz: Yeah, thank you! I think it really was, you know, I think the show sort of told us what to do, and one of the things that we were surprised about, and we knew that things were gonna be big, because it was the last season, it was season 5, but what we really weren’t prepared for was how emotional a lot of it was gonna be. I knew that we’d probably see a lot of death, but, you know, but starting in episode 1 this year, we lost A-Train, and then we lost Firecracker, and Black Noir, and, every time you start to realize, oh my god, there’s a lot of emotion here, you know, and obviously last night, she died.
So to be able to go through that, you kind of need the orchestra to come in and tug on your heartstrings. The orchestra can do something with both emotion and scale to say we’re approaching the end, and you’re saying goodbye to characters you love, and this is getting big. You know, and that’s something that, you know, it’s harder to do that with a guitar or a bass. It’s easier to do that with, you know, the grandeur of an orchestra, and really do that kind of thing. As we got into this season, Matt and I really knew that, you know, we were going to do more orchestra than we normally do. But really, especially in the last two or three episodes, it’s become sort of much more orchestral than it ever was before. And I think it’s because the show warrants it, the story warrants it.
We Are Movie Geeks: it’s great. It’s impactful. I mean, I’m watching Frenchie Die last night, and I was like, oh no, oh no, and here comes the orchestra, and the strings, and everything else. It was really sad. It was, like, the worst part of all five seasons.
The first season, the first few seasons, you were the sole composer, and now you’re working alongside your co-composer, Matt Bowen. I mean, that cue for the last diabolical dance, which I was listening to yesterday, is perfect.
Christopher Lennertz: Thank you.
We Are Movie Geeks: What is that like?
Christopher Lennertz: Matt and I had been working on other things together. He’s worked on some movies with me, and he comes from the world of being a real record producer. He’s really great at playing lots of instruments, but also, you know, comes from more of a rock background, whereas I have more of an orchestral specialty. And so he was involved from the beginning, producing a lot of the rock stuff.and a lot of the punk vibe of the show. He was starting to come up with so many great things, and became so integral to the show that, when they greenlit Gen V, and we started working on Gen V, and we knew that it was gonna go into a situation where we were gonna just be doing episode after episode after episode, going from one show to the next.
And then now, obviously, going to Vought Rising coming up, we’re gonna do the same, we talked to Kripke, and I said, look, Matt’s been on this, you know, sort of from the beginning, and he’s really started writing with me on a lot of things and great music, so, so can we just, you know, bring him in on the team and have him make sure that we have, you know, because we’re doing so many shows, back-to-back. I was like, oh, this way we’ll be able to make sure that we, you know, that we’re here for whatever you need, and also, he’s brilliant, and he’s really good at some of the things that I’m not great at. He plays cello, and he plays, you know, he plays, you know, violin, and I don’t play violin at all, so, it’s really helpful to have both of us involved, and we’ve sort of gotten into the world of the VCU and the show with Eric that I think we just all get what it’s supposed to sound like, and we’re all sort of one big family now, which is really great.
We Are Movie Geeks: I love that it’s called the VCU now. I love that. When I was watching that interview on Deadline on YouTube, the sound and screen, it’s a lot of fun. It was really fun watching the two of you, you know, talk about the show and the music.
We Are Movie Geeks: Tell me about, then, the process of composing for not only THE BOYS, but GenV, which was its own thing, and now you’ve got VOUGHT RISING.
Christopher Lennertz: You know, they’re all in the same world, and so they needed to relate somewhat. It was a much younger cast in Gen V, they were in college, there was definitely a stronger female lead presence, which were really amazing, like Marie, and we knew that they needed more of that sound, and so we had more vocals involved, and it definitely had more electronics involved than the boys would have had. But it definitely also lived in the same world. There was, you know, dissonance and feedback and tension. And then it’s gonna be interesting to see what we do with Vought Rising, because we do have themes that carry over now, because we’ve got Soldier Boy, we’ve got Stormfront.
You know, so there are themes, and we actually introduced a new theme this season for Bombsite. Once we go back, you’ll hear the Bombsite theme as well, which is really cool. There is some cross-pollinization of themes, but also, it takes place in the 50s, we’re just starting it, so I’m not exactly sure how much of that period music sound will be in there. My guess is it’s still gonna live very much in the world of boys-related stuff, and it’s gonna have the same kind of shock and blood and violence and gore and stuff that THE BOYS has, I’m sure. So I’m sure there’ll be dissonance and there’ll be tension, like there always is, but I’d like to think there’s gonna also be an expansion into the 50s of that kind of thing to, you know, to hopefully, you know, give it its own voice, but yet feel like it belongs in the whole universe.
We Are Movie Geeks: What can fans of the boys and Gen V expect from VOUGHT RISING? It sounds like there’s going to be that kind of Flavor of the 50s, but not too far removed from what people have been listening to the last five seasons.
Christopher Lennertz: We haven’t finished any episodes yet, so I’m not sure how it’ll end up, but I do think when it comes to things that are in the same world, fans have an expectation that they want to feel like it belongs, and whether that’s like, James Bond, you want to hear that guitar, you want to hear the brass, and so I think with anything, when you’ve got a world that you’ve created that people love, you want to make sure you give the fans what they want, but also in a new way, and that’s probably what I think we’ll end up doing.
We Are Movie Geeks: Getting a little way from THE BOYS. You’re also working with Tim Story again.
Christopher Lennertz: I am, we actually just finished a little bit ago, we finished 72 Hours, which is a Netflix movie.
https://www.netflix.com/title/81715790
We Are Movie Geeks: What is this, your 9th, 10th collaboration with him?
Christopher Lennertz: That was my 9th movie with Tim. It’s awesome and he’s just the most lovely human. Both he and Eric are my two favorite, long-time collaborators, and, they love making really fun entertainment that people can get lost in. And Tim just knows how to make a fun, funny movie, and especially when he and Kevin get together, it’s just always gonna be fun. This one’s cool, because it’s got a bunch of the young, really great new Saturday Night Live stars in it, Marcelo and everybody else, so it’s gonna be really cool, sort of the next wave of big-time comic actors are in this movie, which is great.
We Are Movie Geeks: You and I, we spoke about Think Like a Man 2, we also talked about Ride Along, and the trailer for 72 hours, it’s actually really funny. I think it’s gonna be a lot of fun.
Christopher Lennertz: It comes out in July, so I hope everybody loves it.
We Are Movie Geeks: After that, what do you have on the horizon?
Christopher Lennertz: Nothing I could talk about specifically, necessarily, but, you know, I have been, because of THE BOYS’ songs and everything else, like, I’ve really gotten caught by the bug of songwriting, and especially musical theater songwriting, so I am working on a show for Broadway, which I can’t tell specifically about, but it’s really great.
I did the Rogers musical for Disneyland when it was out a couple years ago. I did all the new songs for that, and then writing songs for THE BOYS and having superheroes sing theatrical songs, it might be a world that I would like to be pigeonholed in. If I can be the superhero slash sci-fi Broadway songwriter, I would be happy to be that person. I’ve got something up my sleeve, which is fun, and the fact that we got to do a song with Daveed Diggs from Hamilton this season was a dream come true for me. Hamilton’s one of my absolute favorite shows, and Daveed is a legend. And to be able to write it with him was unbelievably fun. He’s brilliant, and as cool as you could imagine. And yeah, to be able to write that, and singing about Homelander being God is so ridiculous, and then having, like, angels twerking, and it’s so ridiculous.
We Are Movie Geeks: That was a crazy.
Christopher Lennertz: Yeah, but it’s so Kripke. After the Emmy last year, everyone knows that I love writing songs, and they’re more open to me writing more songs within the actual movies and the shows. I’d love to write something for one of Tim’s movies, I’d love to write a song for that, and, who knows, there just might be a song in Vought Rising, too, or two, maybe. So we’ll have to see and wait and see.
We Are Movie Geeks: I’ve been re-watching Supernatural, showing my husband, who didn’t see it on its initial run. I watched it from the start when it first began, so this is my third time watching it.
Christopher Lennertz: Good, right?
We Are Movie Geeks: Oh my gosh. That show, just perfect, still just amazing. And to have them show up in THE BOYS!
Jared Padalecki as Sam Winchester, Jensen Ackles as Dean Winchester, and Misha Collins as Castiel on Supernatural – Credit: Jack Rowand/The CW/Everett Collection
We Are Movie Geeks: So lastly, what can fans expect from the finale, from THE BOYS?
Christopher Lennertz: There’s a lot of orchestra in it, there’s a lot longer, big cues, which was really fun to write. Plus a huge buildup at one point in the show, and, normally queues on THE BOYS are a minute to two, three minutes long, and there was a queue that’s 9 minutes long. In the finale, there’s big, dramatic music that usually means that really important stuff is happening, so I will say that I think people are gonna be like. It doesn’t pull any punches, we’ll put it that way. I hope people like it. And I think, It’s got stuff that’s gonna move people, but it’s also got stuff that might put people’s jaws on the ground. I think they’ll be surprised.
We Are Movie Geeks: Chris, thank you again. Thank you, for sitting down and having this conversation.
Christopher Lennertz: You too. Thanks, Michelle, appreciate it.
