I have an idea of what the second season is based on how we ended the first season. Jeff: Look, you go minute by minute with these things. Or that it's external, will you just stop the show or will you go anthology? What do you have a future planned out? If there comes a point where you determine that it's internal, will you just stop the show. So you mentioned that it's a haunted house story, what do you do versus whether it's internal. I guess there are sequels to horror things. What is this?'Īnd then it's like, 'What if a demon is actually writing your work?' And then it's like, 'How far will you go?' And the whole time, the whole trick in all these, one of my writers is a horror writer, and she always said the whole trick and why there's not a lot of sequels.

I'm like, 'I don't even know where that idea came from. And you never know when it's going to be cut off.' And especially for me, you get to a certain age and we play that, I don't know how far into it you've got into the show, but basically, that becomes a big thing.Īnd there's a lot of times Pat's like, 'I don't even remember writing this.' And there are so many times I write stuff. There are so many lines in this that are just like every writer relates to is like, 'Hey, you never know what your source is. Is that the same as your creative process? She tries to follow them, then cut them off.

She doesn't know if she's writing if the ideas are coming from her if they're coming from somewhere else, where she's getting them, why she's getting them. they're weird, aren't they? They come along fully formed and you don't really understand why, but thank God they do.Īnd didn't that kind of come out in the show? When Pat is writing, she has that same thing. And so, therefore, it does need sort of high stakes and that felt like the highest stakes you can get, to have a woman battling demons and to have an audience sort of not be entirely sure of what they should believe. And he was like, 'Is there something in that?'Īnd I kind of thought, well, I love the idea of a horror-comedy, but it has to be really scary as well as really funny. It started with, again, Aaron Kaplan saying that a friend of his had played this joke on him and had convinced him that a house that he had bought had had a murder-suicide take place. Sharon: Well, I write a lot about a lot of that stuff anyway, but the idea that you don't know if she has a mental illness or whether she's living in a house that has this spirit of a woman who killed her entire family. I think it's not just that it's The Shining as the comedy, but there are so many topics. Well, Sharon, what was the inspiration? How did you even choose to.

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