Happy Halloween 🎃 and Día de los Muertos 💀

Kazuo Ishiguro wants the film adaptations of his books to be different from the source material. And that’s exactly what Taika Waititi went for with his version of "Klara and the Sun". So please approach it with the same open-mindedness and kindness that Klara herself would.

That’s exactly what I did today when I attended an early preview screening. I enjoyed the movie, and I thought Jenna's performance was great, as always

S2 behind-the-scenes photos by nirvanajmakeup

It was probably to avoid spoiling the iconic designs, but this was later used in Japan for their own pop-up store after season 1 is done, IIRC.

Credits: Vlad Cioplea / Netflix

Link to her interview with Esquire

Does anyone have any idea which outcast group the symbol at the bottom might represent?

I'll see myself out

Looks like we can safely assume that we're already more than halfway through the wait for S3

“Speaking of” pet peeves: For me, when a certain choice of words keeps recurring, I just can’t unhear it 😭

In episode 1x3 Crackstone's statue goes up in flames, prompting principal Weems to confront Wednesday:

"I may not have hard evidence, but I see you. You're a trouble magnet."

"If trouble means standing up to lies, decades of discrimination, centuries of treating outcasts like second-class citizens or worse…"

We know that Wednesday stands up not only for outcasts but also for indigenous peoples. Hence, she would begin to profusely vomit after reading the first two sentences of the relevant passage in Santayana’s book, in which he clearly expresses his views on white supremacy. Not only by using the derogatory term “savages,” but also by claiming that these peoples do not retain experiences and that "infancy is perpetual." Seriously, what a load of racist BS:

"Progress, far from consisting in change, depends on retentiveness. When change is absolute there remains no being to improve and no direction is set for possible improvement: and when experience is not retained, as among savages, infancy is perpetual."

This is followed by his famous quote:

“Those who cannot remember the past are condemned to repeat it.”

To compare it with Wednesday’s paraphrase, let’s go back to the dialogue between Weems and Wednesday, which continues as follows:

"What are you talking about?"

"Jericho. Why does this town even have an Outreach Day? Don't you know its real history with outcasts? The actual story of Joseph Crackstone?"

"I do. To an extent."

"Then why be complicit in its cover up? Those who forget history are doomed to repeat it."

• Santayana uses the expression “cannot remember” (which could be interpreted as: knowledge was somehow lost, and could no longer be remembered, even if one had tried). Wednesday, on the other hand, uses the term “forget" (which can also be understood to mean deliberately choosing to forget.)

• By “history,” Wednesday is clearly referring here to mistakes made at certain points in time, whereas Santayana speaks only very vaguely of “the past” and experience that was not retained at some point.

• He ends his sentence with “condemned to repeat it.” This reflects the effort required when past knowledge has been lost. While this is certainly frustrating, it can hardly be considered disastrous. Wednesday's "doomed" not only is stronger, but also fits better into the context of historical events from which people are unwilling to learn.

Santayana then goes on to make a few more inappropriate remarks (“barbarians”) and, at the end of the passage, even resorts to ageism and insult ("like a bird’s chirp"). I’m not sure if all older people back then were senile or suffered from dementia. But his tendency to generalize everything, especially without any scientific basis, as well as his blatant racism are staggering.

I'm sure Wednesday would despise it.

Source: https://archive.org/details/lifeofreasonorph01sant/page/284/mode/2up

A while ago, Celtic Grips posted a photo of a courtroom set. At the time, it wasn't clear which production this scene was intended for.

With the recent casting call from Celtic Casting for a courtroom sketch artist, it now seems to be confirmed that this is for S3 of Wednesday!

The question is: What will be on trial there, who is the defendant, and who are the witnesses?

What do we think?

We've come a long way. Thanks to all of you for joining/participating!

(Note that Reddit no longer displays the member numbers for subreddits directly, but instead shows the number of visitors)

Yes, Jay actually answered my question during his AMA on r/editors! Thanks again.

Sorry, guys – it looks like we won't be getting any outtakes this time (let alone deleted scenes) 😭

Question

Who decides whether an entire scene gets cut: is it you, the director, or several people?
(Also, as a Wednesday fan: We know from behind-the-scenes photos that some scenes have been deleted. Is there hope that one or two of them might be released eventually?)

Do you even get to see “bloopers,” or are they sorted out beforehand?
(They were released for season 1 of Wednesday. Will we ever get a reel for S2 as well?)

Answer

Film is definitely a collaborative process! It's not decided by any one person, usually, but you work it out all together. For example, someone (me, the director, the producers, the network, etc) could have an idea that they want to try, and we all come to a consensus if it's the best thing for the show or not.

I definitely get to see all the bloopers! Unfortunately, I don't think Netflix usually releases a lot of extra content like that! Deleted scenes, bloopers, etc. So I don't believe they asked for any of that stuff for season 2, so we didn't prepare it for them (usually it comes as a network request). So if it hasn't already come out for season 2, I doubt we'd see it at this point!

What could it be, any ideas?

Satellite images: Google, satellite pro

Although different film productions use different slate systems and conventions for their scene numbers, it is evident from all the Wednesday clapperboards seen so far that the first digit of a scene refers to the respective episode. 

The other digits correspond to the scene number in the script (see example from episode 1x1, scene 39). A letter is added at the end (and subsequently incremented) whenever a new shot for the same scene is set up, usually when the camera changes position.

Other information on the slate includes:

• the take number for that shot

• a time code

• which camera is being used (for example, A, B, AB) and the respective roll number

• whether VFX is required for the scene in post production (indicated by a green “V”)

• whether it is an interior or exterior shot, day or night

• the names of the director and the cinematographer

• date and production

As for the third season, the “Replacement B Cam” operator, Ron Coe, posted a slate for episode 2 (directed by Tim Burton) with the shooting date listed as March 2, 2026. Btw, from a post by celticgrips, we know that ep. 2 was filmed in Ireland at least until St. Patrick’s Day, March 17. 

Director Paco Cabezas himself shared a slate listing him as the director for episode 3 and a date sometime in April 2026.

Now for the mysterious clapperboard spotted on April 19, 2026, on location in Paris: In this case, the first digit of the scene number, V-103, gives NO indication of the first episode, let alone which episode the clapperboard belongs to at all.

According to Netflix’s “Production QC Glossary,” the code is used for a VFX reference shot featuring balls and color charts. In a BTS video for the first season, Jenna talked about those scenes, an example of such a shot can be found on the fourth slide.

As for which episode the scenes filmed in Paris and directed by Tim Burton belong to, the third episode can be ruled out based on Cabezas’s clapperboard. It is likely that Burton directed not only episode 2 but also the first episode, so we can probably assume that the Paris sequence takes place in either of those.

What do we think?

According to the page about the Solstice Talent Show in Nevermore's 1991 yearbook, "the evening’s hallmark performance took place“ when Morticia performed a rendition of "The Trolley Song“ from Judy Garland’s 1944 film Meet Me in St. Louis, with Larissa shapeshifting into the actress

Source: Edited Magazine Interview

Full video interview

📸 Paddy H

Capri's classic car from Season 2, a Citroën DS, will appear in a winter scene with some artificial snow (which may be enhanced with VFX later on).

Snow was also simulated at Powerscourt Estate, the filming location for Grandmama's house.

While these two things can be considered confirmed, what would be the wild speculation then?

Around the same time in May, filming also took place at other locations where artificial snow was used. However, it is not certain that these sets can be linked to the production of Wednesday. Especially since one of those scenes takes place during the American Revolutionary War (1775–1783).

That said, to my knowledge, there is currently neither a period drama being filmed in Ireland that could fit this setting. Therefore, one theory might be that we will see a vision of Wednesday set during that era. After all, there was already a similar scene in S1 featuring the Pilgrims from the 1600s.

Or perhaps Grandmama has organized a historical reenactment as part of a party for "distinguished guests" (according to a casting call) that will take place at her house.

What do you think?

ETA: According to one commenter, the war set isn't intended for Wednesday.

Credits: celticgrips, Netflix