AtlantaFX's showrunner Hiro Murai and TV critic sepinwall go deep on the series finale, the show's evolution over four seasons, the creation of those greatest-hits moments, and a lot more in a long exit interview.
spoke with Murai — who first worked with Glover on a series of music videos — about how that very specifictone is created, as well as how Black Justin Bieber, invisible cars, and Teddy Perkins came to be, and a whole lot more.
Well, that leads us to tone, and how so many moments on the show can feel like two things at once. The racist scooter lady from this season’s premiere is ridiculous but also scary, and you can also do a scene like the lovely funeral for “Tupac” last season that suddenly shows us a man desperately fighting for his life while being smothered by a sheet.That’s always been the funnest part for us. People have talked about it a lot more post-.
When you were first developing the show, what did you two talk about in terms of how you wanted it to look and feel? I’ll be honest: When I first heard the Black Justin Bieber idea, I thought, “This might break the show. This might not sit well in this very grounded, naturalistic story about this Princeton dropout.” But then you look at the roomful of writers. They’ve all been there from the start, and part of Donald’s creative team from his music days. It’s not random. It’s all interconnected to the creative DNA of who Donald is.
Among the special things about that episode is that it takes this ridiculous idea, then makes you feel genuinely sad for the guy — then makes fun of him again at the end with the show of the Goofy shoes and glove. But beyond the personal connection, would you say there are things that distinguish a Donald-directed episode from one that you do?
When the show begins, Earn is our point of view character. And at some point in the second season, it’s clear that Al is now the main protagonist. Is that something you were conscious of as the show evolved? What was really exciting to us about that episode is that, if you’ve seen the first three seasons, that’s the last thing you would expect out of the show. I don’t think those characters have ever been that emotionally naked, especially Earn. It felt like something you couldn’t do unless you built this character for three seasons, as a guy who’s very protected and doesn’t want to be vulnerable. It would only feel earned and cathartic if you don’t see it coming.
Aw, man. That’s hard. There are so many episodes I absolutely adore. But if I were to show someone who had never seen the show, I would start with “Alligator Man” — Season two, Episode one. That episode kind of has a little bit of everything. At its core, it’s a family story. It has this out-of-nowhere, bonkers cold open that ends with a shootout in a chicken shop. It’s got this Katt Williams turn that’s really surprising and emotional.
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