Published: Saturday, 21 October 2023 13:09 | Written by Jamie Ruby
***The following interview includes spoilers from the premiere episode of season two*** Recently, Wolf Like Me returned to Peacock with all-new episodes of season two. In the second season, Mary (Isla Fisher) and Gary (Josh Gad) deal with the next big challenge in their relationship: pregnancy. As much as they want it to be normal, the question looms of, will the child be human or a wolf, and how long can they keep their secret from their loved ones? Also, Mary’s former college professor, Anton (Edgar Ramírez), comes to visit, dredging up secrets of her past, and what happened last season in the outback may not be over.
Recently, creator, writer, and director Abe Forsythe spoke with SciFi Vision in an exclusive video interview about what fans can expect in season two, including the affect the pregnancy will have on Mary and Gary’s relationship, the arrival of Anton, balancing the horror and comedy (and filming the opening sequence and other visuals), if the events of the outback last season come back around, where the series is headed after season two, and more.
Watch the interview or read the full transcript below, and check out seasons two of the series, now streaming on Peacock.
SCIFI VISION: So, obviously, the main storyline in season two is the pregnancy…Obviously, there're a lot of fears involved in that and everything that could go wrong. So, can you just sort of tease about that issue and how it's affecting them?
ABE FORSYTHE:Yeah, well, look, one of the things with both seasons of this show that was really important to me was finding a way, an avenue, that the audience could see their own life, or versions of their life, reflected through what these characters are going through. Season one, the character of Mary, being a werewolf was a metaphor for a whole bunch of things, you know, baggage that we carry, the fear of hurting someone or hurting yourself, and, obviously, that was heightened by it being a werewolf. So, season two, the pregnancy and wanting to know what they were having - was it going to be a baby, or was it going to be a wolf? - seemed like a great way of being able to continue a similar metaphor. I've got a twelve year old son. I remember going through the pregnancy, and he was actually premature by five weeks as well, too, and just the fear and the shock of going through that, and then managing his health after that as well, too. It seems…Mary physically carrying this child, or this wolf, with her the whole time was a constant reminder of, of like, what is this going to be? How am I going to mother this, if it's a baby, or if it's a wolf? Then, also, Mary, having a baby forced her to go out into the world. This is something that, unlike in season one, where she could kind of keep herself contained and limit the amount of people she interacted with, this thing growing inside of her immediately exposes her to a whole bunch of situations and interactions that she's never had to deal with before. So, it was a great way of bringing in so much conflict and so many dramatic and comedic interactions that just let the story kind of evolve and go to where it goes to.
I want to ask you that, you talk about the comedic, can you talk sort of about balancing that tone, because obviously, this has a lot of seriousness, but it is also funny. I mean, I found myself laughing and crying throughout the course of the season at different times. Can you talk about that?
Yeah, [in] season two, there's a lot more comedy in it than season one. When I'm working on something, I've just kind of let the story unfold and tell me what it needs to be and where it needs to go. And I didn't predict that there would be as much comedy in season two as there is, and that was just by virtue of the fact that it's such a ridiculous thing. You know, the whole concept of the show is so ridiculous, that once you start sort of taking that out into reality, and I think by balancing the tone, the more straight that you play the ridiculousness, it becomes funnier, but in a way, it becomes more moving as well, too. Because, for me, this show wouldn't have worked if it was just a straight relationship drama. I needed the comedy to be a release for the characters, but also for the audience in terms of how they're viewing this show, and then a lot obviously the horror as well, which comes in and disrupts everything the way it does throughout. So, for me, it was actually just about, look, life is ridiculous as well, too. So, the situations that the characters find themselves in this season just heighten absolutely everything.
Now, you mentioned the horror, and I wanted to talk about, I believe it was the very opening - since I've watched them all together it's hard to remember - but the the dream sequence. Can you talk a bit about filming that? Because, obviously, that was more towards the horror, but yet it was also funny at the same time, but with a lot with all the blood and everything.
Yeah, that was a lot of fun. And actually, that came from an idea of Isla’s, interestingly, which we sort of took and ran with. But I wanted to misdirect the audience into feeling like, “Oh, this is where we want to see the characters. This makes sense,” and then having just the most horrific thing happen by that puppet sort of appearing. For me, I mean, it's hilarious, because of the way everyone plays it in the scene, but it's also Mary's worst fear of what could actually happen as well, too. But in a weird way, our prosthetic design team Odd Studio, made the best puppet. They brought it in - I mean, that's all prosthetics, that whole sequence, [and] it's kind of cute. Like, in a weird way, I find it kind of it kind of cute. But it's also, we get to see a baby at the beginning of the show; we get to see a baby at the beginning of episode one. Then, we get to see a different baby at the very end of the show as well, too. So, it was an important progression of understanding what is actually growing inside of Mary, and maybe it's not the thing that she fears it will be.
Can you tell us a bit about Anton and how that's going to affect everything, and just their relationship for that matter?
Coming up with that character was the thing that made me want to do season two. It seemed like a really interesting way of bringing in a disruptive character the way Anton is. And Edgar Ramírez played him better than I'd imagined when I was writing that character as well, too, because it's he's an antagonist, but he is an antagonist that, hopefully, you understand his point of view. And his point of view should be disruptive, because we should see [not just] what he maybe meant to Mary, but what he could potentially mean to Mary, if they were to continue that relationship as well, too. But also, Edgar played it in such a beautiful, multifaceted way. It's believable. It's hilarious, the way he plays it, too, because he plays it so straight, but his comic timing is amazing, because he doesn't ever play any of the comedy for laughs. He just plays it fruitfully. And he's obviously a real threat to Gary, not only because of what he potentially means, or meant to Mary, but also every other character in the show falls in love with Anton as a character as well, too, which is also what happened with all of us. We all just kind of fell in love with Edgar and didn't want him to leave, as well. So, yeah, it's much more interesting when you can understand the point of view of the antagonist, and hopefully, that's what Anton brings to the show.
Now, the other kind of thing, and obviously, we don't want to go too far into spoilers, but I did want to talk about [how] you did kind of bring back around what happens in the season finale. Can you tease a bit about sort of how that's going to still be a part of the show, and it wasn't just dropped, which I appreciate?
Yeah, that, to be honest, was something that came in very late actually, in pre production. I'd written the last two episodes, [and] they were completely different. There was still the sort of tension of what happens in the hospital, but there wasn't that added element that you're talking about. And it was something that, when it appeared, or when the thought came to me, I was like, “Oh, wow, this actually needs to happen. We need to address this.” And not only do we need to address it, by bringing it back in, it brings a whole lot of really great tension and conflict, which adds to the final episode. The thing that I wasn't planning on was the ending to end quite the way it does. I really did have to sit down and go, “Are we going to end the season like this?” Because it's not as open ended as - Well, I mean, season one, it could have ended there, and you could imagine what happens, and it would have been very satisfying to have season one end the way it does. I'm not sure if season two is going to be as satisfying for the audience. But unfortunately, it just was what the story told me it needed to be. So, we'll see what happens from this point on, but I know if I was watching the show, and I love this show, because it means a lot to me and the characters mean a lot to me, and it's exactly the type of show that I would love to watch, I think if I got to the end of the season and had that ending, I don't know how I would I would feel. So, yeah, hopefully we'll be able to continue.
Obviously you can't tell me [what it is], but do you have an idea where it's going?
Yeah, I always envisioned this series and these characters as a three season story. The characters meeting and cohabitating in season one was one version of it. How do you bring someone into your life and bring someone into your child's life? Season two was always about, how do you have a child with this particular situation? There is a whole other thing that I know I want to deal with. It's just a question of whether I'll be able to or not.
That's good. I just wonder, because I know you said how you sort of just write it how it goes. I know when I try to write something, if I do that, it never gets an ending.
No, I've always got - it was interesting. When I came up with the idea for the show and wrote season one, I did always have, there [was] a way I could foresee ending this and actually walking away. That's certainly not what happens in season two.
Well, I hope you get to season three. I want to see more and know what happens. I really enjoyed it. And I just want to say, I know we're out of time, but I just want to say, I really liked the imagery of the stained glass, even in the actual house, too. That was really pretty; I really liked that.
Oh, that's really lovely to hear, because you're the first person that's pointed that out to me, because, yeah, that was a really great discovery. When we were location scouting, we found this house that had these amazing stained glass windows, and we just ran with it. That's why all the opening titles have all that stained glass.