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But we got a little pearl gradient moment going on.
For press things, we like to be in the work zone.
How did this episode come together during quarantine?
The beginning of quarantine left me scrambling for things to keep myself occupied within the sudden isolation.
Id been curious about screenwriting for a bit and did a little studying on my own.
So he came into these episodes knowing how that worked.
It became a really beautiful opportunity to do these check-ins and character studies of Rue and Jules.
And we discovered that Rue is not always the most reliable narrator.
He offered, Would you be interested in writing this with me?
And, of course, I was like, Hell, yes.
That would be a dream.
With that, we had a first draft within a week.
It kept evolving from there.
She became a vehicle for working through things I was thinking about at her age and havent finished processing.
So it was therapeutic in that way.
Youve said before that you feel as if people sometimes conflate you and Jules.
But thats also changed.
[Starts whispering off-camera]Can I say … timeline things?
Shes still in high school.
And Im getting to know myself better and know where Im moving.
They diverge and intersect.
So I dont have much to compare it to, but no if anything, its gotten easier.
But thats due to the amount of time Ive spent with her.
By the end of the season, it was like [snaps fingers].
There are a lot of hyperspecific, intense themes threaded throughout the episode.
Everything in season one this girl has been through it.
It felt necessary to readdress some of those things.
We move very fast on the show; new things are constantly happening.
It felt cathartic to revisit the things we might have moved on from otherwise.
As Im someone who cares deeply about Jules, it makes me feel hopeful for her.
You cant just move on from those things right away.
Have you read it?Ooh, no.
[Writes down the title.]
Well, Torrey Peters, the writer, actually justwrote an essayabout you and this topic.
Did you see it?No, I didnt!
Can I read you a small section from it?Yes!
Its about how watching you changed her ideas about beauty.Oh, I did see this.
It was such a sweet article.
Yeah, the therapist uses that word.Yes, yes.
And then Jules says, Well, not everything, maybe just my blockers.
That being feminine can be whatever you want it to be as long as its true to you.
Thats something we were thinking a lot about for Jules.
And now, three years later, this is something youve written into Juless thought process.
I feel like a fraud.
I feel more resolved about these things at this point.
Not completely, that spiral never ends.
She doesnt know how else to find it yet.
Its hard to put into words sometimes.
Well, I found it incredibly profound.Thank you.
I know you worked on storyboarding the episode as well.
Youve long been a visual artist and have spoken about your love of fantasy.
Theyd be able to translate and use the storyboards as references for when we actually shot it.
She sees the ocean as representing this deep, strong, spiritual, feminine ideal for her.
It also speaks to her transness being a spiritual experience.
Are these touchpoints for you as well?
I hope the people it was made for identified with it.
Thats more important to me than anything else.
Can you talk to me about the genesis of the episodes title?Yes!
Fuck Anyone Whos Not a Sea Blob.
I love it, first of all.
Mine in particular is this little sea blob or sea angel.
Its this gelatinous, beautiful, transparent, glowing thing with wings.
Its basically saying, Fuck anyone whos not down for that.
But also, low key, everyone is down for that; everyone wants that.
So its not really fuck anyone.
Its more Fuck standards.
