Oh there are TONS and I can’t list them all lol, but here are some I really loved!
At the end of Season One production, Barry Sonnenfeld and Rose Lam (Executive Producer) went to Netflix and were like “listen you gotta renew is for two more seasons at once if you renew us at all or else the kids are gonna be all grown up” and Netflix was like “sounds legit” and gave them two seasons. [pg. 11]
Daniel Handler decided Neil Patrick Harris would be a good Count Olaf after watching his 2011 Tony Awards performance number (”It’s Not Just for Gays Anymore.”) Barry Sonnenfeld happened to run into NPH and his family at a Thanksgiving dinner and said, “Hey, there’s a show coming up that I haven’t been hired for yet, and I can’t tell you anything about it, but if I do get hired, I’d love for you to be the star.” And he just said, “Okay.” [pg. 19]
In Season One, Malina Weissman was “a godsend, because she would soothe Presley, all while getting ready to do her own acting.” Louis Hynes, meanwhile, was scared of Presley cause he was afraid he would drop her. [pg. 23]
The inspiration for the Lemony Snicket narration scenes came from on-screen narrators in 50s-60s specials, specifically Alfred Hitchcok and Rod Serling. [pg. 32]
NPH says that initially one of his influences for his performance as Olaf was Alan Rickman as Snape in Harry Potter. [pg. 51]
The writing for the show took place in Daniel Handler’s living room and he’d make them dinner. [pg. 57]
Handler would write the song lyrics, while Nick Urata (composer) would write the melody and switch around lyrics that didn’t work. [pg. 64]
There’s a portrait of Sonnenfeld in every episode because they put one in TBB and it became a running joke. [pg. 89]
Cynthia Summers (costumer) was inspired by Drew Barrymore’s ball dress in Ever After for Beatrice’s dragonfly costume. [pg. 111]
There is an entire fucking section just for the Sets and I can’t transcribe all the cool things but here’s some highlights:
The only set that wasn’t made in the studio was The Miserable Mill. [pg. 123]
The Miserable Mill had to be shot on a location because The Wide Window took up all the stage space, and everyone thinks the scene where the kids walk through the woods is funny because their “fake forests feel more like the show than the real ones.” [pg/ 141]
Nathan Fillion was crying during the “What I wouldn’t give to spend another day with my brother” scene in TAA2. [pg. 149]
Sonnenfeld didn’t know that Ms. Bass’s chalkboard would have spoilers/hints on it until he got to set, because the art department came up with it on their own, and he thought it was amazing. [pg. 150]
Absolutely everyone in The Ersatz Elevator is in some kind of pinstripes. [pg. 155]
The Vile Village bird statue was on hidden wheels so it could be at a good angle in every shot, communicating to non-book readers that it was important. [pg. 160]
Basically everyone hated working with the Taxi. [pg. 176]
Handler says they “drew a lot of terrible maps to figure out the layout of the Queequeg”, and joked that “when we remake the show again in twenty years, we’ll get a cartographer.” (sucks that they just lost Quigley one episode ago lol) [pg. 182]
Sonnenfeld specifically wanted Hotel Denouement to be green because it makes people’s flesh tones look good. Bo Welch said that the main facade of the hotel was made to resemble a library card catalog. [pg. 191] They also were going to have book wallpaper but felt that was too obvious so the wallpaper has tropical island design as a foreshadowing for The End. [pg. 192]
The End was designed to be more of an Epilogue than a Climax, and it has significantly less comedy and more character and theme-driven storytelling. They designed it to look and feel kind of like a hallucination. [pg. 196]
Also yes I solved the code and no I’m not telling any of you, it was such a thrill to figure it out y’all need to experience that.
me talking to my lesbian and bi women friends: i don’t believe that “attraction” is a well-defined concept and i generally lean social constructivist when it comes to sexual orientation—what i identify as my lesbianism arises in a certain social context and i don’t necessarily think it’s some kind of mystical and essential part of me. i think it’s ok to define your orientation that way if you want but i also think that, especially for women, many people find it more healing to define it sort of actively. you’re not beholden to an immutable Nature that you can’t challenge; you can define what you want and seek. as such there’s more of a gray space between lesbianism and bisexuality than many people would tell you, and sometimes choosing one label over the other is a matter of gut feeling and not the cold scientific distinction people may picture. of course it doesn’t make sense to call yourself a lesbian if you’re pursuing men, but in dealing with misogyny and compulsory heterosexuality a woman may make the choice of whether or not to include some kind of “potential” attraction to men in her orientation. basically, if you want to be a lesbian, you can be a lesbian, and if you want to be a bisexual woman, you can be a bisexual woman. sexuality should be something you actively participate in and that makes you feel happy and comfortable with yourself, not something preexisting that you just can’t escape from and are forced to accept.
me talking to men or straight people or people whose politics i don’t know and trust: i was born this way.
I saw the RWBY vol 6 trailer and I thought it was stupid that none of them had winter clothing, so I designed them with winter clothing.
I was going to draw some detailed notes about their outfits but I immediately gave up after Ruby cause I don’t care enough for all that nonsense.
Someone wanted to cosplay the winter outfit I did for Weiss so I whipped up some design details for it. If for some reason you want to cosplay designs, 1.) you have my permission so knock yourself out and 2.) feel free to ask me for design details cause I’ll whip some up real quick for ya
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