As a fan of the gripping and twisted drama “Yellowjackets”, I eagerly await each new season to unravel the mysteries that shroud this haunting tale. The creators, Christina Lupo and Ashley Lyle, have masterfully crafted a narrative that delves deep into the human psyche, exploring themes of survival, friendship, and the primal instincts that lurk within us all.
The series titled “Yellowjackets” centers around a high school girls’ soccer team who find themselves in survival mode after a plane crash, even resorting to acts of cannibalism. While the show has displayed some gruesome instances of this behavior, such as the consumption of the character Jackie Taylor (Ella Purnell) in season two, it appears that the writers are setting boundaries on how extreme they’re comfortable depicting these acts, as discussed during a panel at this year’s Vulture Festival.
In an interview, showrunner and co-executive producer Jonathan Lisco recounted a grisly scene during filming for episode “Edible Complex” in season two: “A group of professionals were gathered, contemplating, ‘Perhaps we should consume Jackie’s eyes?'” The actors involved were reportedly curious to know who would be the first to vomit. However, producers decided that depicting her teammates consuming Jackie’s eyes might be too graphic for audiences.
During a one-hour discussion, Lisco, along with co-creator and co–executive producer Ashley Lyle, Amini Rozsa (another executive producer and writer), and others, delved into the motivations behind Natalie’s death at the end of season two. They also talked about managing fan reactions and subtly hinted at what lies ahead in season three. “Without revealing too much,” Rozsa mentioned, “everyone had a chance to be incredibly inventive, even our special-effects team that specializes in the gross and gory.
On a scale from 1 to 10, how gross will season three be?
“If 10 is eyeballs,” Lyle said, “I’d say we’re at, like, a 9.5.”
Ashley Lyle: The ending idea for the show wasn’t our initial thought, but as we began to shape the story, it gradually became more evident. As we discussed each character and their journey, the destination became increasingly clear. We wanted to be certain of our direction because this kind of plot can easily lead you astray if you don’t know where it’s headed.
In many TV series, it’s crucial that the narrative emphasizes the journey rather than solely focusing on the end result. I’m more lenient when shows don’t quite wrap up perfectly but offer captivating storylines throughout, as the experience is enjoyable in itself. However, a successful resolution is still important – it’s one of the most challenging aspects for any show or movie to achieve. But remember, you should always have a clear goal in mind that every plot development should lead towards.
Jonathan Lisco: Absolutely, we’re well aware of the various plotlines in Yellowjackets. We have a close-knit team that shares honest feedback, even when it’s tough, because that’s what makes our brainstorming sessions productive. It’s essential to be surrounded by professionals who aren’t afraid to share their ideas, good or bad, as sometimes the most innovative ideas emerge from these discussions. So yes, we’re all keeping track of the multiple threads in our show and working diligently to bring them together.
Amini Rozsa: One of the enjoyable aspects is that the story unfolds and reveals itself to you as you explore it, even for the author. Just because we know where we’re heading doesn’t mean we won’t take thrilling and unanticipated side trips and make fascinating discoveries about what the characters are doing. It’s like an engaging improvisational game.
J.L.: That’s really a good point. TV is a medium that’s a feedback loop. You get the dailies in, you get the episodes coming in, and then you see a palette come to life and you think, “Oh, I want to write more toward that.” You do pivot with some regularity.
As a cinephile, I recall the moment when the character of Jeff, Shauna’s husband, seemed like an appendage to her storyline. However, with the casting of Warren Kole, his performance gradually captivated us, revealing layers of humanity, complexity, and humor previously unseen. It was then that we realized, Wow, he’s not just a prop in this show, but a character deserving of his own storylines. That moment was truly enlightening.
Initially, the character Liv, who portrays young Van, wasn’t intended to survive for long in the storyline. However, Liv’s exceptional acting skills shone brightly even with limited screen time in the pilot episode. Due to unforeseen circumstances like COVID-19, we had a delay before starting the writers’ room and production. This pause allowed us to observe Liv’s abilities more closely. Our reaction was, “We can’t kill off Van! It’s impossible!” And here we are, now in season three!
Initially, Laura Lee was planned to perish in episode two, as her character, Jane Widdop, had become deeply beloved by the audience. Instead of ending her life early, we decided to let her live, as it would give viewers a chance to get to know her better. At first, our plan was for Laura Lee to serve as a sacrificial lamb, symbolizing Christ’s death, but we soon realized that her character was too compelling to be written off so quickly.
A.R.: I hasten to add that some characters have died who were also very good!
A.L.: Oh, 100 percent!
It was clear that Jackie’s fate was sealed upon entering, yet everyone felt incredibly sorrowful as Ella departed.
It was incredibly sad to see Ella go. From the start, we knew her character’s fate in the finale, and Ella would ask us, “Are you sure?” We’d reply, “No, we don’t want you to leave, but we must! We structured this entire season around this.” Therefore, ending a character is usually just good storytelling, but it can be incredibly heart-wrenching. It’s touching that the actors are now organizing funeral parties for each other as a way to cope with these difficult moments.
A.L.’s response: That sounds amusing! I’ve been to quite a few of those gatherings myself. They have a strong bond, especially among the younger members. Luciano Leroux had an especially enjoyable time this time around.
From another perspective, when you find yourself captivated by an actor’s portrayal of a character and yearn to write additional scenes for them, it’s important to remember that the same dynamic can work in reverse. If viewers become deeply attached to a specific character, this emotional connection might also serve as a narrative justification for the character’s departure from the storyline. [A chuckle echoes.]
In the early stages of my professional journey, I picked up a valuable insight from Julie Plec: “Audiences may appear to desire romantic pairings between characters, but once they’re together, it becomes monotonous.” Also, she taught me that, surprisingly, fans might seem disinterested in character deaths, but ultimately, they do enjoy such dramatic twists.
Could it be possible that we might see Ella again in the form of flashbacks or similar sequences, given the way you’re subtly hinting with your raised eyebrows?
A.L.: Maybe.
Let’s start with a scene from the season-one finale, the moment we discover the crazy shrine in Taissa’s basement, and she also realizes that she won her Senate race. When I talked to Tawny Cypress about it, she was unsure how to play that moment, that look right at the end. And then you came over to her. What did you tell her?
A.L.: Oh my goodness, I don’t know if I’m gonna remember it correctly! [Laughs.]
https://youtube.com/watch?v=1033225852
A.L.’s Response: In simpler terms, we asked for a more wicked portrayal in the scene, not labeling one character as good or evil but rather distinguishing between practicality and something ethereal, primal even. I repeated “More evil” to help the actor capture the desired mood, and when she did, I exclaimed, “Perfect! Let’s go on!
I recall the editing room experience when we stumbled upon that particular moment. Among countless hours of video content, we found it and instantly knew, “This is it“. Her victorious grin suggested pleasure from winning the election, but also hinted at a deeper revelation – possibly her conscious or subconscious id and ego. To me, her smile seemed to encapsulate all those complexities simultaneously.
Indeed, as we progress through Season One, there remains a certain enigma surrounding Taissa’s circumstances. Is it a matter of psychology, or could it be something eerily connected to the woods? We aim to explore this duality of character further in Season Three, delving into her relentless determination to achieve her goals.
A.L.: Our special-effects wizards captured an image of Biscuit and turned his head into digital form. We kept suggesting, “It might need to be more gooey,” which are some of the unusual discussions during our production process.
J.L.: The input from Jasmine Savoy-Brown and Tawny Cypress greatly influences the development of Taissa’s character. However, in our writers’ room, we often have a clear plan for the characters before the actors get involved. It’s important to note that our actors have unique approaches to their craft. For instance, one actor might prefer not knowing where her character is headed, while another may require this information. This requires us to collaborate with each actor individually. In essence, we are creating the entire sweater in the writers’ room, while the actors may only be handling a specific thread of that sweater at any given moment. Our role is to guide them towards what we believe will result in a better outcome, while also considering their feedback to ensure they deliver their performances perfectly and authentically. If they are not emotionally invested, they cannot give their best performance, so it’s a delicate balance between guiding and being open to their suggestions.
As a movie enthusiast, I can relate to the unique challenges faced by actors, especially when portraying characters across different stages of their lives. While older actors may have an advantage in understanding their younger selves’ experiences, it’s not something the younger cast members would know firsthand. However, for me, it hasn’t been a major hurdle, as each character represents a blend of strengths and weaknesses that reflect the human condition. It’s quite remarkable to witness these young talents embody their roles with such depth and authenticity, despite knowing, in some cases, how their lives may tragically unfold.
It’s true, some young actors might not be interested in learning about their future selves. They may choose to skim or even skip the sections that discuss this topic.
Sure you should!
A.L.: Samantha Hanratty does not read the adult parts. She doesn’t want to know.
As a movie critic, I must say, the climax of the first episode from season two left quite an impression on me. The use of “Cornflake Girl” by Tori Amos is one of my favorite musical choices in this series, and it perfectly underscores a chilling moment when young Shauna bites Jackie’s ear. This was the first instance where we witness one of the Yellowjackets consuming human flesh, and I couldn’t help but chuckle at the irony – “things are getting kind of gross,” indeed, right as Tori sings “you bet your life it is.” I’m curious to know if this song was part of the original script or suggested by your music supervisor. Either way, hearing it sent shivers down my spine.
https://youtube.com/watch?v=1033226032
How frequently do you incorporate existing songs into your work?
J.L.: Not very often, but it depends on the individual writer who’s drafting the script. However, when a song is included in the script, it serves as a reference rather than the actual song itself. We have an open creative process and we’re happy to use a great song from any source – our editors, writers, or post producers often suggest songs. In fact, for a challenging sequence, we might audition anywhere from 20 to 30 songs.
In the initial episode, we chose to incorporate several songs into the dialogue, which goes against the common advice of “never script a song.” However, we found ourselves defying these rules. In the pilot, we included tunes by Liz Phair and PJ Harvey. Similarly, during season one, Montel Jordan’s music was used. We felt compelled to utilize it, saying, “We simply have to use that.” The rest of our process is a mix of trial and error. It’s intriguing because a song you believe will fit flawlessly can end up being entirely wrong, while others you wouldn’t expect to work at all can turn out to be perfect. We were astonished when the Offspring’s music proved to be the ideal choice for the reunion scene.
Occasionally, you might find yourself longing for a particular tune, but unfortunately, the license fees are often exorbitant.
Bart penned a lovely note to Enya, but she declined our request, which isn’t something we’re accustomed to, leaving us unsure of our next steps. Afterwards, Enya simply responded with “okay.
Indeed, we experimented with numerous alternatives for the season-one finale, but nothing seemed quite right unless it was Enya. At times, we’ve even gone to great lengths. Some audiences might respond enthusiastically to cannibalism, saying, “Yes! Let’s do it!” Only to find out later that it wasn’t what we had planned. So, we often have to provide script details to clarify our intentions.
We decided not to prolong the revelation about cannibalism because that’s a significant aspect of our show, and it’s something people were already expecting. Instead of hinting at it for a longer period, we wanted to focus on who is involved, how they feel, and what motivates them. We found this approach more engaging, and it provided an intriguing glimpse into their friendship. [Laughs.]
I recall the moment when the idea struck me that I could narrate that story, and this happened when it transformed into a tale centered around Shauna’s perspective. It was a story where the events unfolded from Shauna’s viewpoint, and Shauna perceived Jackie’s consumption as an act of respect, honoring Jackie, but also asserting dominance over her. Once I could grasp that this was the narrative we were truly crafting – one of consumption, embodiment, hatred, and love all entwined – then the eating aspect took a secondary role. It was intriguing indeed, yet it wasn’t the central emotional component of the story. That’s how I remember its inception.
During the creation of the first season, it hadn’t been released until after we had completed it, so there was no fan feedback or social media influence at that time. However, things were quite different in season two. If I’m not mistaken, Ashley, you do take a look at social media. [Laughter.]
Balancing the input from viewers while maintaining creative integrity can be a challenging task. I’m often drawn to social media platforms like Reddit and Twitter, but it’s tricky because we put so much effort into our work, and we want to know how our audience is reacting. However, it’s essential not to let this feedback sway our creative thoughts excessively.
J.L.: I’m truly amazed by the feedback from fans, but I invite everyone to consider a brief mental exercise with me. I’m one of those writers who feels confined by the endless possibilities. It’s like being faced with a multitude of paths, each one shouting, “Here I am! Here I am!” There are countless ways to proceed. Each blank page is a challenge, and when you add in all the ideas from Reddit, tweets, and texts, it can be overwhelming. You have to rely on your own intuition, because that’s all you really can do. And you’ll hope that what emerges will still resonate with readers and be something they enjoy.
In our team, we place great trust in one another since everyone is deeply familiar with the show and passionate about it. We’ve poured so much of ourselves into it that constructive criticism becomes essential. As Jonathan mentioned earlier, we’re open and honest. We often express concerns using phrases like, “I’m not sure that will work,” which might seem critical at first, but is actually a protective measure – “Here’s the less effective approach.” However, more often than not, someone will then suggest, “Actually, I think this could be the better version.” So, we rely heavily on each other for constructive feedback and improvement.
When you brought up the ear-eating scene, I recalled the whole writing team laughing about it. It was a moment that left everyone exclaiming “Yes!” and I can’t quite recall who initiated the laughter.
Questioner: Jonathan, you were responsible for crafting the Jackie episode, which ends with her being consumed. When composing such scenes that entail cannibalism, do discussions take place regarding how far is too far, or what might be excessively gruesome? How do you determine where to draw the line?
In simpler terms, determining when something is excessively disturbing or crosses a line can be similar to recognizing obscenity – you know it when you see it. For example, a scene might be too graphic if it goes beyond what’s necessary and becomes gratuitously gross. To illustrate, consider the scene in ‘Jackie’ where the characters are eating, while they’re all dressed in robes, which was intended as a means for the characters to distance themselves from the disturbing act. The actual footage of this scene might be around 40 minutes long, but we only used about 50 seconds, carefully selecting just the right moments to make the scene feel intense without going overboard.
To put it simply, we set the standard quite high and it doesn’t often occur. However, there have been instances, particularly in season three, where we found ourselves questioning just how much further we could push it. [Laughter.]
Could you recall any instances from the “Jackie” episode where we found ourselves saying, “This has gone too far”? One possible memory is an eight-minute recording I have saved, possibly to be shared later, featuring Ben Semanoff, our director; myself; the production designers; and the young cast. We were all gathered around a model of roasted Jackie made from rice paper, molasses, and other materials, discussing the crevices where we were inserting her edible flesh for the scene.
A.L.: And jackfruit.
Sure thing!
A.L.: We did eat her face, though.
J.L.: We did eat her face, but her face and her eyeballs, I would argue, are two separate things.
A.L.: Yes, so our line is eyeballs.
Let’s discuss the final scene of season two, where they were playing Queens Gambit and Shauna drew the unfavorable card. Was it ever going to be someone else drawing that card?
https://youtube.com/watch?v=1033226154
Can you talk about why?
A.L.: [Hesitates.]
“Initially, we didn’t realize it, but over the first two seasons, Shauna has emerged as a unique blend of protagonist and antagonist for our characters. Her actions, such as the toxic bond with Jackie that leads to cannibalism, her betrayal that results in a friend’s death, and the ripples those events create among the other characters, make her instrumental in shaping their fates. It seems fitting now, looking at the present day storyline, that she is being singled out by the wilderness as if it were retribution for her actions.
Could there be additional interpretations derived from each card they drew? Is it possible that these cards are revealing something significant about their characters?
Yes, it wasn’t by chance that Natalie, who initially selected the queen, ends up perishing in this instance. That connection was indeed considered in my analysis as well.
https://youtube.com/watch?v=1033226319
As a big fan, reflecting on that unforgettable day of filming Natalie’s demise, I must admit it was quite a challenging ordeal. We filmed the card draw, the chase, and her death sequence in a single day, which was made bearable only because it was winter, allowing us extended night shooting hours. In contrast, summer days make night scenes tricky due to the late sunset, sometimes not setting until 11 p.m. I vividly recall that we had more stunts initially planned for the chase sequence, but we chose to eliminate them in favor of dedicating ample time to the poignant death scene. Frankly, I’m glad we cut those stunts; they didn’t seem essential to the storyline, especially since they involved the actresses grappling with Shauna.
It’s challenging when a character perishes in the storyline, as we all empathize with their fate. Juliette and Christina gave their utmost, aiming to truly experience these intense emotions and make their performances authentic. Karyn, an exceptional director, guided them to a profoundly moving place.
A.R.: I think it was raining too.
J.L.: It was freezing cold.
It was quite exciting. Watching Christina portray this mature role, where she doesn’t often show her emotions, breaking down and letting go was a spectacle. It was impactful to witness such a dramatic shift in an actor’s performance. And playing one’s own death on screen is undeniably challenging.
Option A.L.: Juliette’s unique choices sparked life in Natalie. It’d be fascinating to compile clips of Natalie entering and exiting beds, as the way Juliette did it often left us saying, “What a surprising choice! I never thought of that, but I absolutely adore it.
A.L.: It’s accurate. Typically, during a TV show, one tries to leap as it helps maintain the flow, but Juliette possesses an unusual way of moving through a space that is rarely seen in humans, and you’d often find yourself thinking, “That’s captivating, let’s make use of that.
A.L.: In the beginning of the season, we had planned for Natalie’s death. When we were filming the pilot and Natalie had a vision of Misty at the keg party, it wasn’t clear to director Karyn Kusama why this was happening since Misty wasn’t actually there. We explained that this moment would turn out to be significant for Natalie, like a premonition of her own demise. As we continued writing, we realized that the hunts provided the perfect timing. Ending her story arc early felt fitting because she was on a positive trajectory and seemed determined to improve. From a narrative standpoint, it made sense to interrupt this progress at its peak, creating a tragic end.
In simpler terms, it seems that the final episodes of season two provide explanations for Natalie’s damaged state as an adult. Throughout the series, she has carried a sense of undeservingness, living off others while even consuming them to survive. Her current predicament in the wrong place and the wrong life feels like a tragic yet unavoidable outcome, evoking both beauty and sadness.
What stands out to me is the statement, “We’ve been here for years.” To my understanding, this line suggests Natalie’s deep-rooted addiction to the past, her inability to move on from it. Although Shauna has often been the driving force behind various events, Natalie has always represented the ethical compass of the group. I believe that her decision to allow Javi to die was a choice that shattered her spirit beyond repair. She could never find forgiveness for herself.
A.L.: We usually don’t follow the standard procedure when informing someone about their character’s death in a series. Sometimes, actors are told the day before the script is released to prevent them from being affected while performing. However, we prefer to treat our colleagues with respect and inform them well in advance, even if it does cause some upset. In Juliette’s case, she seems to prefer film work over television, making her first ongoing series an exception. She had previously worked on limited series. As a nomadic artist, she was not too troubled by the news and was ready to move on. It turned out to be a good fit for her.
The essence and appeal of the show would lose its impact if there weren’t repercussions for their experiences in the woods. Their repeated actions, such as hunting, are due to the fact they can’t break free from the exhilarating freedom they felt in the woods, despite it being dangerous. They experienced a sort of endorphin rush where they felt primal and liberated, only to return to their mundane, middle-aged lives in confined domestic environments. This is an unhealthy but real aspect of their lives. Therefore, we must ensure that what they went through and continue to experience is rooted in the trauma they endured.
“The key line in that scene is ‘There is no ‘it.’ It has always been us.’ Lottie then asks, ‘Is there a distinction?’ This forms the basis of the series. Is there some external presence guiding them, or were they creating a religion to help them deal with their actions?” The central question here revolves around whether they were influenced by an outside force or if they invented a religion as a means to deal with their responsibilities.
A.L.: It’s tough for us to reveal too much, but I can give you a sneak peek at season three. We’ve been describing it as the “Yellowjackets” in full bloom. There will be plenty of excitement, yet also moments that delve into the darker aspects of what happens when they’re not struggling for survival, as things don’t necessarily improve in a straightforward sense. Instead, they face new challenges and dilemmas that explore the existential horror of their situation.
The presence of normalcy can be eerie in a sense. Once they are present, there’s no expectation of them leaving. How does this affect the dynamics within the group? How might it impact their minds?
This season, an exceptional job was done by everyone in our art department, as well as our customers. To keep things secret, creativity flourished everywhere, even among our team responsible for the gruesome special effects.
On a scale of 1 to 10, how gross is season three?
J.L.: It all depends on our threshold.
A.L.: Yeah. If 10 is eyeballs, I’d say we’re at like a 9.5. There are some moments.
As a huge fan who shares your love for unexpected encounters, I can’t help but share the exciting story behind the casting of Joel McHale. It all began at a concert when I spotted him in the crowd. After confirming his identity with some skeptical friends, we found ourselves face to face at the merch table. In an unforgettable turn of events, I was able to secure his role in our production, thanks to a bit of liquid courage!
Initially, we engaged in conversation, discovering he’s a fan of the series. He then surprised us by purchasing merchandise for everyone, which was delightful. It turned out he was intoxicated. [Laughs.] I jokingly suggested he should be on the show, to which he eagerly agreed and even expressed his desire to join the cast! Surprisingly, we had a role prepared just for him. Months passed before we contacted him again, and he was taken aback, thinking I was merely drunk and joking. When I confirmed our intentions, he was surprised to learn we were serious about having him on the show! It was an incredible experience, working with such a dedicated individual who is always busy in Hollywood. We had to adjust schedules to accommodate him, but he was more than willing, and it was a blast having him on set.
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2024-11-26 00:56