‘Yellowjackets’: Joel McHale and Director Jennifer Morrison on That ‘Frog Orgy’ Moment

⚠️ WARNING: The narrative ahead includes spoilers from the seventh episode of “Yellowjackets” Season 3, entitled “Croak”, currently available for streaming on Paramount+ and Showtime.

The Yellowjackets have welcomed new additions to the hive — as hostages.

In my latest review, I delve into the chilling and enlightening episode titled “Croak.” This installment takes us on a gripping journey back to the events that unfolded prior to the Yellowjackets’ first interaction with mysterious beings in the unforgiving wilderness. As it turns out, the spine-tingling sounds of the “screaming trees” the survivors have been hearing throughout the season are not otherworldly as previously thought – they are actually the mating calls of a peculiar species of frogs known as Arctic Banshee Frogs.

The audience encounters three fresh characters: scientists named Hannah (portrayed by Ashley Sutton) and Edwin (played by Nelson Franklin), who are keen on recording the noisy croaks of the amorous frogs, and their guide through the wilderness, Kodiak (depicted by Joel McHale, armed with a crossbow).

Or simply:

The audience meets three new characters – scientists Hannah, Edwin, and Kodiak – who are eager to record the sounds of croaking frogs in the wilderness. Hannah, Ashley Sutton’s character, is a scientist, as is Edwin, played by Nelson Franklin. Kodiak, portrayed by Joel McHale, is their guide and carries a crossbow.

Inside their tent during a thunderstorm, scientists try to connect with Kodiak, nicknamed after chewing tobacco rather than a bear, by sharing a flavored joint made from pine. Edwin humorously proposes they contact a psychic via their emergency satellite phone, but reconsiders when Hannah and Kodiak’s friendly conversation takes on a playful, flirtatious tone. Despite Edwin’s objections, they engage in a light-hearted wrestling match over the device, unintentionally breaking the antenna in half, thus disabling any means of communication.

The tension within the group persists as they traverse towards their upcoming stop. When Edwin notices a tag inside Kodiak’s backpack bearing the name “Erik Cheong”, his suspicion about our guide possibly misrepresenting himself arises. Hannah, however, brushes off these concerns, suggesting, “Perhaps he picked it up from a thrift store.

Eventually, they’re drawn away by the alluring aroma of barbecue. Edwin, tired of Kodiak, persuades them both to trust their senses and locate the others who are close by (even though Kodiak advises them against interacting with anyone so far removed from civilization).

A threesome unexpectedly discovers the Yellowjackets in a festive mood, emitting loud cheers and hollers while dancing around a fire and consuming what appears to be Coach Ben Scott’s (Steven Krueger) remains. As they draw near to the Yellowjackets’ temporary settlement, Hannah starts her DAT tape recorder covertly, documenting this encounter. The narrative resumes from where last week’s suspenseful ending occurred, with Edwin exclaiming, “What on earth is that?” upon witnessing Ben’s decapitated head.

“We’re going home,” says Van (Liv Hewson), as everyone stares in disbelief at the outsiders.

The fleeting spark of hope is swiftly snuffed out as Lottie (Courtney Eaton), in a chilling act, drives an axe into Edwin’s head. She then tells the group, “They don’t fit in.” Lottie implies that whatever ‘it’ refers to, doesn’t want them there.

Hannah and Kodiak scamper away from the group of teens, but not without Kodiak taking a shot first, striking Melissa (Jenna Burgess) directly in the shoulder using his crossbow. The Yellowjackets then disperse into different parties and pursue the last two strangers through the woods. Eventually, Hannah gives up and goes back to the village with Van, while Natalie (Sophie Thatcher), Shauna (Sophie Nélisse), Taissa (Jasmin Savoy Brown) also return. However, Kodiak, barely escaping a fall from a cliff, teams up with Travis (Kevin Alves) and Akilah (Nia Sondaya) for a questionable alliance.

In different conversations with EbMaster, guest star Joel McHale, director Jennifer Morrison (who is also a renowned actor), shared insights about introducing outsiders to the realm of “Yellowjackets”, the preparations for filming that thrilling chase scene, and the actual origin of the “screaming trees” sound.

How familiar were you with “Yellowjackets” before you were approached for this role?

Joel McHale: I recognized that the documentary focused on bees’ lives and their significance in our planet’s life cycle, but I wasn’t sure if they wanted me for it or not, as if they had run out of options. Anyways, I spoke with co-creator Ashley Lyle outside The Troubadour back in March last year, and they presented an offer to me. Initially, I thought I wouldn’t be able to participate due to a prior commitment called “Animal Control.” However, things worked out eventually. I consider the pilot episode one of the best ever produced, and the acting is superb.

What was your reaction to finding out the “screaming trees” were actually frogs?

As a devoted movie enthusiast, I found myself pondering if there’s some supernatural aspect behind the girls’ experiences in the wilderness, or if it’s simply a literal occurrence that creates an eerie feeling. My curiosity was certainly piqued when I discovered it was a case of a wild screaming frog! Frankly, I was unaware that these creatures could make such loud noises, and once I delved into the research, I was left speechless.

What goes into creating the audio for a sequence full of horny frogs?

Morrison: I didn’t make the actual decisions about the audio in the show, that was handled by the showrunners and sound designer. However, for Episode 7, I set up a temporary situation, which led me on quite an adventure on YouTube. I was watching every video of frogs you can imagine. I guess the algorithm thought I had a strange interest! I also searched extensively for “frog orgy,” a term I never expected to use in my searches. Additionally, I spent time exploring free sound design websites, as I was curious about where horror screams ended and frog noises began. I compared them, looking for similarities.

This show loves to include ’80s and ’90s references, and Kodiak reminded me of characters like Robert Muldoon in “Jurassic Park” or someone from “Predator.” Did you draw inspiration from any ’80s or ’90s characters, or try to emulate them?

As a discerning film critic, let me share my thoughts: That comedic touch was unexpectedly brilliant! The attention to detail in character costuming, particularly significant for me, added layers to the character’s persona. Once I saw the clothes, it was clear that this character spends most nights amidst the woods, their attire becoming an extension of their environment.

However, I hadn’t considered the “Predator” angle earlier. Let me revisit that point. Absolutely, it does bring to mind a similarity, as they seem to be fleeing from some threat, much like in the movie where the predators are hunting humans. Yes, I can see the connection now.

As a follower, I can attest that the 80’s serve as a significant inspiration for the show in many ways. During our discussions with the writers on set, we often drew parallels to characters like Indiana Jones, embodying that rugged, enigmatic, and invincible vibe for Kodi. However, there was also an unexpectedly witty side to him that added a unique twist. It was fascinating to watch Joel McHale navigate and strike the right balance between these two distinct aspects of Kodi’s character.

Joel, did you have a say in your character using a crossbow? Or was that always in the script?

As a thrilled fan: Now, I’ve got myself a crossbow! Be cautious, folks! I recently acquired one, quite similar to it, for some fun. However, let me clarify, when I say “fun,” I don’t mean to trivialize it. A crossbow is a serious weapon, after all. No, I didn’t have any input in the selection process, but I’m grateful because I believe he would have opted for something less noisy, wouldn’t he?

Aside from buying a crossbow, did you do any other preparation for Kodiak?

McHale: Just bearing down and growing my beard more.

And is that a spray tan?

McHale: Oh, it’s always a spritz. I wouldn’t fancy getting sunburned, you know, given he appears outdoorsy. He does wear a hat, but still, I’ve got Norwegian and Irish roots. I can’t help but wonder if he’d rather continue his woodland escapades than pop into a dermatologist for a check-up on that spot.

We get some background info about these characters before they encounter the Yellowjackets. What was important to establish about them and their dynamic during that brief period? And how was it filming those scenes with Ashley Sutton and Nelson Franklin?

McHale: Initially, we filmed inside the tent instead of outdoors as planned because it rained heavily. Interestingly, this indoor scene portrayed heavy rainfall. Thus, this tent scene was a suitable opening since it offered tight spaces, and we were close together, discussing while under the influence. For me, this setup helped to establish our dynamic, showing how we interact and influence each other.

Morrison: I aimed to establish the beginning as if it were the start of a horror movie, where the audience meets and grows attached to various characters while harboring a foreboding sense that something dreadful might transpire. My goal was for each character to have their own moment to reveal aspects of their personality, yet also expose the existing cracks within the group, so by the time they encounter the girls in the wilderness, we’re aware of their potential weaknesses.

What is Jennifer Morrison like as a director?

Jennifer Morrison is incredibly gifted; I would describe her as versatile, with exceptional skills not only as an actor but also as a director. She’s always on top of things, adjusting the camera angles, gathering necessary props, and moving the story forward at the same time. Even while preparing for another episode, she keeps everything organized like a pro. I often wonder when she last had a good night’s sleep, but she seems oblivious to fatigue. She just has that extra bit of talent that some people are blessed with by fate.

Jennifer, you previously also directed Episode 4, “12 Angry Girls and 1 Drunk Travis” from this season, which ends with the discovery that Lottie has been killed. Was there anything you learned working on that episode that you brought to Episode 7?

Morrison: Indeed, yes. Building relationships and understanding how to assist and back these performers was beneficial. I had developed a sort of code language with them, so in that aspect, my answer is affirmative. However, Episodes 4 and 7 were like completely distinct films. They demanded contrasting approaches as a director. It was a fresh challenge in an exhilarating manner, but having the familiarity with everyone involved – actors, writers, and crew – made it less intimidating.

How does your approach directing the present day timeline differ from directing the wilderness timeline?

Despite the physical differences between the “real world” and the wilderness, the emotional connections between the characters are so profound that it seems as if they’re somehow interacting on a deeper level. On an emotional and personal level for both the actors and viewers, this feels very consistent, while the visual differences are merely due to the practicalities of filming in a wilderness setting versus not being in one.

Joel, you shot those scenes with the Yellowjackets last for that episode. How did it feel getting to step into the village and assimilate yourself and your character into that wilderness universe?

McHale found the experience exhilarating and impressive. The intricacy of the village left him thinking about security measures, fearing it might become a tourist attraction. Upon entering that camp, he felt both awestruck and intimidated by its beauty. It was a mystery to him: Who were these people? Why hadn’t he heard about them before? And then, just as quickly, the ensuing violence was like a rollercoaster climbing slowly, only to swiftly plunge into action.

Jennifer, what’s the key to building and keeping tension in a chase sequence?

Morrison: When it comes to orchestrating action scenes, I make a point of adhering closely to my overall filmmaking philosophy, which emphasizes that visuals should reflect the character’s emotional state. While there can be excitement and spontaneity in using multiple cameras without a specific plan, that method wasn’t utilized here. Instead, I meticulously analyzed each scene, considering who’s in control of the sequence, their mental state, and what they’re capable of.

What was the staging and filming process like for those chase scenes and that cliff scene?

Morrison: Kodi’s actions are incredibly precise due to his training, which is reflected in the way he performs action scenes. I often created sequences that involved long dolly tracks through the woods with him, as the precision of the dolly track feels distinct compared to using a Steadicam or a drone. In one scene, there was about 100 feet of dolly track at an angle, and Kodi was running towards it at a 45-degree angle, creating the sensation of zooming in on a subject because you’re getting closer and closer, only to be interrupted by a gunshot that causes him to turn sharply for a tight close-up, much like pulling back on a bowstring.

McHale: What was constructed at the edge of the cliff was impressively built, and my stunt performer daringly leaped off that structure. I can’t fathom how his arm didn’t break – it’s this exact reason they do stunts, not me. I attempt to participate in as many as possible, but if I were even half the man Tom Cruise is, I would be long gone. On that particular occasion, I was clinging to the cliff, but there was a wire running through it, aiming to make it appear authentic. Consequently, the following day, my hand and entire body were painful.

In this thrilling cinematic adventure, I found myself dashing through an expansive private forest in British Columbia after dark. The roots crisscrossing the ground were a constant obstacle, but my agility as an actor allowed me to navigate them effortlessly. However, when the adrenaline surged, I had to be cautious lest my enthusiasm led me to missteps. One such instance involved a sudden burst of speed that left me tripping over nothing. All in all, it was an unforgettable night spent lost in the woods – truly exhilarating!

These interviews have been edited and condensed.

2025-03-21 16:19