By: Jamie Steinberg
Q) Noah, what made you want to use the Peter Pan references in the series?
Noah Hawley: For me, it started with the fact that I’m raising kids, and I’m raising kids in this world in which the natural world is starting to turn on us and the technology we’ve created, the jury’s out on whether that’s going to turn on us. And when they asked me if I had any ideas for “Alien,” I thought, well, that’s what Alien is about. It’s about, this primordial monsters of our past that are trying to kill Sigourney [Weaver]. And then the AI future we realize is also trying to kill her. So, humanity is trapped between the AI future and the monsters of the past. Once I started with this idea of bringing children into this story—the human minds transferred into synthetic bodies – then the Peter Pan analogy came pretty quickly after that.
Q) Noah and David, “Alien: Earth” expands the mythology of the franchise with new elements such as hybrids and a co-operative controlled Earth. What were the creative challenges in building something that felt new and surprising, yet still respected the timeline and tone established by Alien?
Noah Hawley: Well, an Alien movie is a two-hour survival story, and a television show is long form in which you have to invest in a lot of characters who don’t die and explore these characters and the themes that were introduced in the Alien franchise. So, the challenges are, for me, let’s take the monsters out of it for a minute and think about what the show? Where’s the drama that we’re investing in week to week? I’m not worried about the monsters. When we put the monsters in, that’s the money-back guarantee, right? So, we had to create this human drama in which you have a lot of human monsters as well and explore a lot of issues about the world that we’re living in, just projected into the future.
David W. Zucker: I think just to add to that, that in watching the first two films after having completed the series, it was really striking to me how intimately related the two were—that Noah was able to take a lot of what was seated in those films, a lot of the thematic ideas that were in those films. But by literally bringing this story to Earth, and the way that many of those films referenced going to one day, it suddenly opened up the landscape, literally, and gave him an opportunity to really delve deeply into things one can’t accomplish in a two-hour film.
Q) For Sydney, how did you strike the balance of portraying a child’s consciousness in an adult body?
Sydney Chandler: Yeah. Wendy is very much a blank page. You can’t research a hybrid. I feel like Noah was able to create a very layered, grounded character. As far as balancing the two, it really depended on who I was acting with on the day and in what scene? You know, every actor would bring a different color to the work, which would kind of give me more information of who I am playing. It was kind of a collaboration of finding Wendy that way. But I would have this image of, you know, two magnets kind of pressing up against each other, and you just can’t get them to touch as far as the mind, which is known, and this body, which is unknown territory. It’s kind of like what’s in the middle – what’s that void? – is what she’s seeking. And a lot of that has to do with Alex Lawther over here. Great guy.
Q) Tim, this is another dark role for you. What draws you to these deeply intense roles and how do you shake them after filming?
Timothy Olyphant: What drew me to this one is that guy [points to Noah Hawley]. He called me in, and I was in. It’s pretty simple. So, was it dark? It’s funny, I never thought of it that way. I was really going for comedy.
Q) This is for all the cast. What was it like filming in Thailand? Did this influence your performances in any way? Did it bond you as a cast? Feel free to jump in, all of you.
Alex Lawther: Yeah, I feel like it did bond us as a cast. I think for most of us, it was our first time away from… it was our first time in Thailand. We were there for longer than six months in the end. Yeah. But it’s a country…Although we were far away from home, we were really welcomed. It was a quite extraordinary host country to be working in. In terms of performance, I mean, there’s a lot of sweat in this show. And that’s in part thanks to the makeup department. But I’m sure a good 50% of that has to do with the 90% humidity of Thailand’s climate. And then we had the quite extraordinary outdoor locations in Krabi and the jungle on the water, which lends itself to visually something quite dramatic.
Samuel Blenkin: I was just thinking about this thread that runs through the series that Noah, obviously, with the location in mind, this version of Earth is – we’re fighting humidity at every moment. So, you’ve got these fantastic figures who are kind of cleaning mold off the surface of the facility and that kind of thing. There’s this feeling that there’s a rot at the center of this that’s not really going to go away, which I feel like is a really interesting parallel to the themes of the series. And obviously the humidity in Thailand made that feel very real. There wasn’t much acting required.
Babou Ceesay: I mean, I love Thailand. It’s one of my favorite places on Earth. And I had the privilege of having my family there as well. But we did develop incredible bonds because you’re far away from home. You’re all together in one place. It’s not often that you enjoy yourself so much on set and working, but that you also have such a phenomenal group of people outside of it. It’s not common, and this was really special in that way.
Noah Hawley: It’s too bad I had to kill you all.
[Laughter]
Noah Hawley: No, I didn’t.
[Laughter continues]
Sydney Chandler: Noah Hawley, last man standing. [Laughter continues] Alex Lawther: That was quite dark.
[Laughter continues]
Sydney Chandler: I would really just echo what everyone else said so beautifully. As far as all of us bonding and coming into a new landscape, very similar to our characters, so the bonds forged very quickly and the culture was—I mean, everyone, every Thai crew member was, I’ve never seen such hard-working kind, funny, warm people.
Alex Lawther: So funny.
Sydney Chandler: Yeah, yeah! David, I think you were the one who said this to me. You said, in some Western society, we try and tick off the boxes of the day, and over there, there’s a feeling of trying to discover the day…
David W. Zucker: That’s beautiful.
Sydney Chandler: …and I really, I really felt that there. So, thank you for that.
Timothy Olyphant: It was a special one, special place. Good time on set. Good time off the set. Really. The people in front of the camera, the people behind the camera. This was a good one.
Q) For Samuel, did you decide to do the no-shoes thing, or was that written in the character? And how difficult was that, particularly when you had an iPad in your feet?
Samuel Blenkin: Oh, well, I don’t want to take full credit for the idea, but I think it was a result of a collaboration between me, Noah, and our amazing costume designer, Suttirat Larlarb, that did such amazing, collaborative work with all of us, you know, she really made us feel like we had an input and listened to our ideas and things. And I think the Peter Pan references were there, pretty strong. There was a moment when we were thinking about maybe this guy just wears pajamas and waltzes around. So, I think the bare feet kind of stayed on from that idea. I think I fought really hard for the bare feet, and we got to the end of the shoot, and I realized I hadn’t worn a pair of shoes for the whole shoot. [Laughter] And that was kind of… yeah, my feet became leather-hard.
[Laughter]
Babou Ceesay: Still are.
Samuel Blenkin: But yeah, it was great fun. It gave me a real sense of freedom I thought I think is inherent to the character.
Q) This question is for no one specifically. I was really curious to ask you. What sorts of ideas about capitalism and corporate overlords you really enjoyed exploring throughout the series?
Noah Hawley: I mean, so much of what defines Alien and Aliens, right, is this idea that there’s this nameless, faceless Weyland-Yutani corporation and these individuals—the space truckers or the soldiers—you know, they’re really at the mercy of this nameless, faceless corporation. In our day and age, our corporations have faces and the faces of these young technocrats, who are celebrity CEO billionaires. So, if I had done the 1970s version of capitalism, it wouldn’t have felt right for the world that we live in today. And so, once the Peter Pan analogy emerged in the storytelling, then it became clear that the CEO who invents this hybrid technology should be the Peter Pan character himself in Boy Kavalier. What you see is that it always felt to Yaphet Kotto and Harry Dean Stanton that they were at the whim of this larger corporation. But here, I think we really feel like it really is all about the whim of Boy Kavalier, how he feels from moment to moment. Yeah, let’s send these billion-dollar prototypes to a crash site. That sounds like a good idea, right? So, we’re in a different sort of state where the individual is at the mercy now, not just of this nameless, faceless corporation, but, you know, these sort of boy geniuses.
Q) I wanted to ask you, why do you think we are always so fascinated by stories like this?
Noah Hawley: As in monster stories or space stories, or which kind of stories?
Q) Sci-fi stories in general.
Noah Hawley: I think if you asked the people who have created the technology that we’re using now, they were all influenced by… they were all the sci-fi nerds of their high school. Right? So, it’s the job of the fiction writers and the sci-fi writers to project a future that we can then accomplish over time. I think, you know, we go through phases, right, where the stories are dystopian or they’re hopeful. You have, you know, 2001: A Space Odyssey, then you have Star Wars, right? And then you have Alien. And it’s like, I don’t know, Star Wars, things are looking up; Alien, things are looking down. So, my responsibility in bringing Alien to the small screen is really to try to create a vision of the future in a way that the characters in the show are working through this question of what does it mean to be human and can humanity survive its own sins that maybe brings some optimism to the world.
Q) Timothy, I wanted to turn to you. We’ve seen many prior iterations of cybernetic-adjacent characters in this franchise, whether it’s Ian Holm’s “Ash” or Lance Henriksen’s “Bishop.” I’d love to know what the conversations were like with Noah—and Noah, you can feel free to jump in as well—to find a way to have yours stand apart from others in this franchise.
Timothy Olyphant: I thought the hair was enough. I thought if we bleach the hair… there you go. He’s his own thing now. We can stop with the comparisons. I’m a huge fan of those gentlemen and their work. I’ve watched that performance by Ian Holm god knows how many times. It’s so beautiful and subtle. It was great the first time when he was hiding the ball was great. The second time when you knew the joke. If I thought of those guys at all, it was simply because I was inspired by them and their work. Mostly I just showed up to do a Noah Hawley project.
Noah Hawley: Yeah, we talked a little bit about the programing that goes into a Kirsh; and this idea that maybe, not only is he programmed not to harm his boss in any way, but disagreeing with the boss is also discouraged. And getting angry at the boss is verboten. And so, you know, potentially if you don’t seem to see eye-to-eye with him, maybe just give him a little smile and tell him, fuck you with your eyes.
Timothy Olyphant: It was always fun to play around with the idea that, I don’t know, maybe he started to develop some thoughts of his own, and we’ll see.
Q) Alex and Samuel, or anybody that I might want to join in, with there being a ton of mystery and tension in Alien: Earth, I’m curious about behind the scenes. Who was most likely to break character or crack a joke during a serious moment?
Noah Hawley: Do you want us to point?
[Laughter]
Sydney Chandler: It’s pretty unanimous right there.
Timothy Olyphant: Yeah, that’s… I don’t like where this is going.
[Laughter]
Timothy Olyphant: I am nothing if not a professional.
Alex Lawther: I think over like six months on a sci-fi, horror, but anything, you have to keep levity on set, otherwise you would go crazy.
Sydney Chandler: So kind.
Timothy Olyphant: Thank you.
[Laughter]
Timothy Olyphant: You know, I give and I give and I give. And then you know what I do? I give a little more.
Alex Lawther: Yeah!
Sydney Chandler: I know, exactly!
Timothy Olyphant: By the way, by the way, you’re right.
Babou Ceesay: [Laughter]
Samuel Blenkin: I remember working… Tim and I have quite a lot of great scenes in this show where there’s a little bit of that. You know, Tim gets to smile at me, and I know what’s going on underneath. I just remember meeting him for the first time and knowing that there was going to be a lightness and a playfulness there. And that’s what you want. Sometimes you don’t want to meet an actor who’s brought a huge amount of homework with them, they dump that down in front of them and go, here’s my preparation. You know, I got the sense very quickly from Tim that we were going to have fun. And actually, we didn’t know what was going to happen, and that’s the most exciting place you can be on set is when you don’t know where you might end up in a scene. Yeah, I was grateful every time we cracked up. Every time.
Babou Ceesay: I mean, Morrow’s a bit of a loner.
[Laughter]
Babou Ceesay: Unless the Xenomorph, lovely Cam[eron Rodger Brown] was… he was busy eating his hummus and carrot sticks, so…[Laughter]
Alex Lawther: He doesn’t crack many jokes.
Babou Ceesay: No, he doesn’t crack many jokes, no.
Samuel Blenkin: No, he’s far too polite.
Babou Ceesay: Yeah, indeed, indeed.
Noah Hawley: Nobody wants the funny Xenomorph.
[Laughter]
Q) I have two questions, and they’re both actually for Noah. The first one is that I was at the press screening that you guys did a few months ago, where we just saw the first episode, and now having seen more of the episodes, I wanted to know if you could elaborate more on how you did that cat so dirty. And also, I wanted to know a little bit, because you were so good at naming characters, and you’re coming into the situation where you’ve got to be in sync with a movie that is already out there, and you’re referencing a book that has already been out there. So how do you find any creativity in naming characters now?
Noah Hawley: Oh, well, I mean I’ve got enough leeway. I have enough characters that I get to name some of them. For the record, no cats were harmed in the filming of this show. There was no real cat to whom we did any damage, so it’s only virtual.
Timothy Olyphant: What about what you did to that sheep?
Sydney Chandler: We don’t talk about the sheep.
Noah Hawley: Well, the sheep itself was also not harmed.
[Laughter]
Noah Hawley: This vicious rumor spread by my opponent….
[Laughter]
Noah Hawley: The sheep was fine. There was an animatronic sheep. There’s a virtual sheep. So many sheep. Because I misheard. I heard always work with children and animals. And so that’s what I’ve been doing for the last several years.
Timothy Olyphant: That’s how I got killed.
Q) There was a child. And the child is your actual child. Is he okay?
Noah Hawley: Well, I mean, his therapist will ask him that in a few years. Yeah look, he asked me. You know, I encouraged my kids to learn the family business, and he wanted to play a role if there was something and he didn’t really fit any of the Lost Boys, but I thought if we did, a little Hermit-Wendy kind of flashback that that would be a fun place to put him. Because I’m always looking for the path to maximum efficiency. I thought, well, you know, if I hire a day player to come and improvise with my son, I’ll never get him to the place that I need him to be. And so, the easiest way was just to get down on the floor and be his dad in the show, as in real life, and that’s how I ended up in my own show.
Q) This question is for everyone. Do you have a core memory growing up of seeing Alien for the first time? And how did it influence you seeing the Xenomorph on set for the first time?
Babou Ceesay: When I saw it way too early, I was 9 or 10 in Africa watching it on a French TV channel, actually. My mom corrected me, actually, because I thought it was on VHS, but it was on a French TV channel.
Alex Lawther: Was it dubbed?
Babou Ceesay: No, it wasn’t dubbed. It was in English, but it had the subtitles, and it freaked me out a lot. The chest burster moment was the moment I think that was almost too real. And then meeting a real Xenomorph on set—a real Xenomorph, can you believe that?
Sydney Chandler: Yeah!
Noah Hawley: One day.
Babou Ceesay: One day. Noah, thank you.
Sydney Chandler: I saw this movie also at too young of an age, and the Xenomorph visited me in my nightmares many a time. So, it was a full circle moment to be chased by a real Xeno instead of just dreaming about it, so, you know. But Cam was so wonderful. Cameron Brown, our lovely Xeno. He should be here. Babou Ceesay: Indeed.
Sydney Chandler: Here in spirit.
Samuel Blenkin: I didn’t quite see it when I was nine years old, but I saw it when I was 13, and I can’t watch horror movies now. I’m terrified of horror. It’s much easier to act in it, you know, somehow that’s less scary. But, the part that I always remember from watching the original film is the part in the evolutionary cycle when the person who’s had the facehugger around them, they wake up. And there’s like 20 minutes or 30 minutes, so depending on the person, where “oh, actually, maybe I think I’m feeling okay and maybe I’ll go get some breakfast. Yeah, I’m actually feeling good.” And, you know, that’s the moment when the most horrible thing that can possibly happen to you happens. I think it’s kind of genius storytelling. Yeah.
Q) My question is for Noah and Timothy. What was the hardest part about making the show for you? And if anyone else feels compelled to answer, I would also love to hear.
Noah Hawley: I mean, for me, the answer is being away from my family for three months at a time. You know, there’s typically a tradeoff that you get from going to Bangkok and filming the show at that scale. But, you know, it’s hard to be away from home and the family. The job stuff is just fun, you know, and yeah, there’s a lot of challenge, but we have a great team, and I have a lot of people I can rely on, including the people in this room. And so, I just went home at the end of every day, excited for the next day.
Timothy Olyphant: Yeah. I don’t have those problems. My kids have all moved out, so, you know, the hardest thing to do is to pretend to be sad that they’re gone.
[Laughter]
Timothy Olyphant: That’s a Tom Papa’s joke, I think I stole that. Appropriated that a little bit. This job is, just like the last one I did with Noah, it was just a joy. It’s child’s play. It’s a ton of fun. The material is great. Usually, if you’re in a big, giant, epic sci-fi, you have to sacrifice the good material, and this one we ordered the combo platter. So that’s…
Noah Hawley: We did.
Timothy Olyphant: You know, you don’t get that that often and, like I said before, I like to work with these people on the set. I liked hanging out with them off the set. My wife was with me in Bangkok. This magical place. I didn’t get paid enough. [Group laughter] I guess that would be the hardest thing, if I really searched deep. If I searched deep, that would be the thing that hurt the most.
Noah Hawley: Well, I just thought I needed to pay some other people as well, but if you’d rather that I didn’t.
Timothy Olyphant: I like that you took responsibility for that. I like that.
Q) First, I just want to make a comment. I really was excited to see Alex and Samuel who were in two of my favorite “Black Mirror” episodes. I went back and revisited that those after watching that, and it’s just incredible to see not just the characters here but revisit the characters you played in “Black Mirror” is terrific. Noah, this is for you. I’ve seen six episodes, and I am totally invested in these new creatures that you’ve come up with. Because we know the Xenomorphs, we can follow it, we need that anchor. But what’s interesting about these new creatures that you’ve brought on is that they all seem of the same kind of, there’s a sameness to them, but we don’t know what their motives are. The eye has its own motives, for instance. We’re starting to learn what they’re capable of, and we’re starting to learn why they’re so dangerous. I can’t remember the exact quote—and I’m getting to my question—but the quote was something about, these aren’t specimens, these are these, you know, from their own worlds and whatnot. How did you decide on the types of creatures you were going to introduce, if you can answer that simply? And then also, if this continues into—and I hope it does—more and more and more seasons à la Fargo, do you envision possibly exploring the environments that these creatures came from at some point because I’m fascinated by them?
Noah Hawley: I could talk a little bit about the origin, which is, you know, if my job is to render the emotional experience of watching Alien into a new delivery system, which is this television show, then one of the critical feelings is the discovery of the life cycle of the Xenomorph. I mean, it’s really four monsters in one, and each step is worse than the last, right? And so, part of the horror—what scarred Babou so much, right—is first, it’s a facehugger, which is terrible, and then you think, “oh, that’s over,” and like Sam said, you go have a little lunch and then something bursts out of your chest. So, there’s this discovery process that after seven movies, we can’t get back. But if I introduce new creatures and you don’t know how they reproduce or what they eat, then you feel that dread every time they’re on screen; or they’re not visible but you know they’re out there because you’re not sure what’s going to happen next. And for me, it was really just function over form. What function do they need to provide in the story? And then I just tried to gross myself out as much as possible, you know, as I went through the process. And then the design process that we went through with Wētā and the creature design. What I’m sort of proudest of is that I was able to give the actors the real experience, you know, they knew what they were acting against. They knew what these creatures were. And I think for the audience, we’re really giving you that feeling that you got from watching Alien back.
Q) For Noah, this series has more than a going to Blade Runner universe, especially with the replicant situation. Can you tell us a little bit? For the cast, because this is a piece that the people who are maybe not so close to the Alien universe or creatures or monsters, tell us about the human factor, because there are a lot of scenes where you are connecting as human beings or machine-human, but the human factor is there.
Noah Hawley: It was Ridley who made Alien and then went to make Blade Runner, right? He introduced this idea of synthetic beings, and then he went on to explore that in more depth in Blade Runner. What I would say is, by exploring the synthetic beings in Alien, I’m certainly not trying to make Blade Runner, but I understand how the comparisons can be made, certainly aesthetically, you could look at Blade Runner and think, well, that must be what Earth looks like in Alien. It’s raining all the time, etc. But I would say to the department heads, if you find yourself making Blade Runner, you’re making the wrong Ridley Scott movie.
Q) Noah, this actually kind of follows on that question. With Ridley having been so formidably involved in the look and the feel of the original Alien and that kind of carrying through the entire franchise, what was the nature of your initial conversations with him about this project? And did that happen very early in the formulation of this for you?
Noah Hawley: Well, we’re in London, so I’m going to call him Sir Ridley. You know, I started talking to Sir Ridley early on in the process. I had done my due diligence in thinking through an idea that I wanted to explore within the show, but first I wanted to talk to Ridley and see, you know, both his experiences on the first film and then what was in his mind going into Prometheus and Covenant and start to let him in on some of the ideas that that I had for the show. And every time I spoke to him, he was storyboarding what felt like a different movie. I think in the course of our conversations, it was The Last Duel. It was [House of] Gucci. It was Napoleon, so in the course of making a single season of television, that 87-year-old man made three or four huge films.
Timothy Olyphant: In 30 years, you’ll get there.
Noah Hawley: Yeah, yeah. So, we were slacking and he was working. I think my job as a filmmaker is really to make decisions, right? And Ridley’s job is the same. I think once he realized that, you know, he did not have those responsibilities on this show, he wants to move on to the next thing. He’s got a real agenda. So, we would speak from time to time, but mostly after I was on the runway, he was on his own runway. David W. Zucker: Just further to that for a moment, I mean, Ridley is really someone who is only content when he’s prepping and posting at the same time. But that said, he really made the films in this world that were of interest to him, and all of the projects we’ve done at Scott Free, Ridley is really interested in supporting and informing. I mean, he loves the filmmaking process. He loves world building. But the last thing he’s interested in doing is getting in front of another filmmaker’s vision, so he wanted to avail himself. He certainly [is] interested, if not excited, to see what becomes of the project. But it’s something that is wholly from Noah’s mind, and it is wholly his filmmaker’s vision.
Q) So, this is for Noah. Can you talk about why you wanted one of the main POVs to be that of a child, so to speak, with “Wendy” in a story of this scale and what kind of leeway that gave you as a storyteller to bring emotional depth that maybe you wouldn’t have been able to otherwise?
Noah Hawley: Well, I think I spoke earlier about the idea at the heart of Alien is really humanity trapped between nature and technology, and they’re both trying to kill us. The question becomes, in an Alien movie, can these two or three human beings survive? In the show, it’s can humanity itself survive, which leads to the sort of natural follow up question is like, well, we do deserve to survive? Can we rise as a species? The best way to explore that is to look at the adult human world through the eyes of a child. Because children, of course, you know, they’re bad liars. They don’t know how to pretend they’re not scared. And when you’re driving around and they go, “daddy, why is that man living on the street?” And you go, “you’re just going to have to get used to that,” right? They go, well, “I don’t think we need to get used to that,” right? They don’t take for granted some of the things that adults take for granted. And so going in through Wendy’s point of view and the other Lost Boys really allowed her to have the sort of pure decency at the heart of her that could then confront the sort of complacency, you know, all the way up to the evils of the adult world.
Q) This for everyone, now that the series is almost here, what are you most excited for viewers to experience?
Alex Lawther: Sydney Chandler’s extraordinary work in it.
Sydney Chandler: Alex Lawther, hands down.
Alex Lawther: I had the pleasure of working with Sydney, for the most part of my time in Thailand and, she’s brilliant and led us with real kindness and really set a tone on set. I was surprised from such an early career actor like herself.
Samuel Blenkin: Let’s not gush about each other too much, but, I mean, the performances in this are incredible. The storytelling is incredible. I think what’s really exciting is how many different places the dread grows, and fear and horror grows in this series. I think it’s really, really exciting. It’s pretty wild and it’s going to get wilder, the more episodes come out. I am really excited for that.
David W. Zucker: I think what’s exciting is, for a franchise that’s been around for 46 years and those fans who are familiar with it have deep, passion, commitment, understanding and expectation, but to venture into an entirely new long-form narrative format coming through the mind of Noah Hawley, that this is really a trailblazing experience. I’m just excited for the audience’s response [and] reaction and hopefully blowing a lot of people’s minds.
Babou Ceesay: We’re all fans. I think I can say that safely. It’s like a bunch of fans making something for the fans. I’ve watched the first six episodes as well, and they’ve blown me away. I’m just excited for people to sink their teeth into it. It’s really, really good.
Timothy Olyphant: Yeah, I think any time I’ve ever worked on something that I’m truly proud of, proud to be a part of, it’s the echo coming back. That’s part of that special experience that you put on a little play that you’re proud of. It’s the audience that really tells you what the play was. I’m looking forward to hearing what this was, of course, because it was a kick to make it.
Sydney Chandler: To gush over all of you, this entire cast, I felt like I was able to go to the most exquisite acting class in the coolest rooms every day, and everyone was boots on the ground every day. We had 650 plus people on set every day. Everyone worked at 110% capacity and it’s a game of endurance. I just have so much pride and reverence for everyone involved in this. It was such a team effort.
Noah Hawley: I think what drew me to this and what I want the audience to take away from it really is my ambition for this genre to be bigger than just entertainment, for it to provide the entertainment, to be a fun show, with all the action and horror we have. But I think science fiction has a responsibility to really look at the issues that we’re wrestling with on this earth and try to envision a future in which we can solve them. And so, my hope is that people come away, you know, they ride the roller coaster episode to episode, but they come out of it still thinking about the show and talking about the show afterwards.
*PRESS CONFERENCE*