Sera Gamble joins the ‘TV’s Top 5’ podcast for an interview about the Penn Badgley stalker drama as hosts Lesley Goldberg and Daniel Fienberg also discuss Showtime’s franchise strategy and Disney’s restructuring.
YouWe have not really gotten started with these conversations within the guild; the first meetings are coming up. So, I will sit back and not jump to conclusions about whether there will be a strike or not. I’ve lived through one in my career, and I’m hoping that we will avert it. But as somebody who talks to a lot of writers at every level, everybody has something they’re concerned about.
This season is split into two parts, with the first now available and the second coming in March. How much of that decision was Netflix experimenting with the rollout strategy? Episode one of the season, we present you with a murder mystery, a whodunit, and we will tell you who the killer is at the end of the first half. This season was never built to just be a whodunit; they’re very hard to keep going over multiple episodes. The idea was always to search for this killer and then find them and have the conversation shift the show into something that can only be done if Joe knows who he’s talking to.
It’s always part of the conversation because we are not one of those shows that rests on a pile of money. The show was originally built on a budget for Lifetime [which aired season one], a basic cable outlet. So, these things do come into consideration. Whenever we talk about anything production related, it’s like any challenge that you think about making television, just multiply it by five to start the conversation in the era of COVID. And that changes from month to month to month.
When we left at the end of last season, it was Joe skulking around Paris looking for the most recent love of his life, so that, at least theoretically, could have opened the door to a Parisian season of the show. Was there any conversation about that? Or did you know London was where you want it to be?
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