Well, the series is just about over...

Got questions about the making of the show? Your favorite character? How about a question FOR a character?

Send them in here by October 31st for the Q&A Episode that will air after the finale.

Q&A Last Call

Closing the form and compiling questions on Monday. If you've got any last Breathing Space questions, throw 'em at us here.

Just a little longer to get in your Q&A Questions!

You've got until October 31 to get in your questions, so throw them at us here--

This may be the series end, but it’s also the /season/ end...

This may be the series end, but it’s also the /season/ end, and while I don’t have words big or expressive enough to talk about the whole show, I /do/ have words for the writers/editors who made this season happen.

So. A thread about the people behind S4

S4 was weird both b/c we came in with so much existing world/lore/etc & also b/c we knew it was the last, so wanted to get EVERYTHING on screen, b/c it was the last chance.

That put a /lot/ on the writers, in a bunch of ways. But damn did they deliver.

Ep1 was mine, but I'm going to yell about Erik at the end, so for the time being, I just want to say thanks to Thomas for letting me play with some of his toys. Putting the two couples together for a heist was a joy.

Jordan took on one of the most ambitious challenges of S4. His pitch was excellent, but too big to fit in 1 ep. I came to him late in the game & asked how he felt about writing A Miniseries, & for some unknown reason he was willing to do it for us, & I'm so glad.

The Spaces In Between isn't a story for me, which is why I'm so glad it's part of this season. B/c it IS a story for a lot of other people, & more than a few have told me how much it meant to them. Jordan did /so much/ work, & made something beautiful. Thank you.

Mel-- adf;l/;adfsladfs;l My adoration of Cee & Molly knows no bounds, & this storyyyyyyy. This was one that had to carry a lot- get all the necessary info from backstory across while still being stand alone, & it NAILED that. & is funny, & sweet, &....

if I remember correctly, I came to Mel & @interiority w/ a suggestion they do a little collaborative creation b/c one of Interiority's pitches had strong overlap with Mels, & seemed like they'd work well together. They humored me, & made a work of art.

SJ & Kasha Mika need to get yelled about in concert. THESE two eps were /logistically/ complicated on top of narratively. They independently pitched a jail break out & break in & once again humored me in attempting to connect them. & obviously succeeded.

I love that the stories on their own are so distinct. It's NOT just telling 2 povs of the same narrative. Gospel & This Thing are their own stories, they just run parallel & overlap. But each story is richer & fuller for the other existing.

Last season, SJ made my month by wanting to play in the Terminal Station sandbox. This time, Jack did by wanting to write about Diatoma, which is one of my pet setting elements.

Something I love about these eps is how firmly in-genre they both are.

This Thing is a mob story, done to perfection. Gospel is a Western, & knows it.

Watching the two of them puzzle out where & how the stories met, & split, what you would hear in one vs the other, what could be left out or implied... it was excellent /technical/ work.

Scott 's Fable of the Family was similarly ambitions structurally, on top of narratively. It would have been easy for the series to get confusing, w/ the shifting time periods, but between writing & editing it's instead this gorgeous, sweeping saga.

The Peregrination stories are also ones that are not generally for me, but I got very invested in more than a few of the FoF ones. & again, the /mechanics/ of telling 3 stories in 3 times concurrently are fascinating, & excellently done.

Kale wrote what might be the most powerful ep in S4 to me. The characters & their struggles are intensely, almost brutally real & the sheer /weight/ of what it means to exist... The episode tackles really rough shit that's often overlooked (deliberately or not)

and it does that while still having a sense of humor. Almost all of our eps give me Emotions, but this one especially hit hard. I think it covers a slice of human experience we hadn't yet, & I'm very glad they wrote it, & it's part of the show.

Hang on for Chasing a Ghost yelling, going to do that at the end too.

Interiority has what might be my favorite brand of humor of all the BSFF writers, & There's a Design is no exception. He pitched a few eps (& I think I might have encouraged them all to get written in one way or another? Can't remember) but this one was, to me, the funniest

Except, see, he's not content making something that's /just/ funny. At its heart, this ep is... sad? sweet? deeply resonant with human nature? I don't know. I do know that Interiority can blend dry humor, over-the-top humor, empathy, & hope all into the same scene. It rules.

Again skipping my ep, but I do want to thank Daisy for her portrayal of Clarity. You Can Hear the Whistle Blow is. A very personal story. For me. So much so I had serious second thoughts about making it & I struggle to re-listen. Thank you for being gentle with her.

I could yell about Amy pretty much all day. She is one of the kindest, most enthusiastic, most /observantly/ encouraging people I've had the joy of working with. But this is about eps, so, we'll do that instead.

Blue Noon is the PERFECT final ep for BSFF.

Reading it, I knew it would need to be either the 1st or the last ep, & will not lie, I felt really bad making it the last. It was /so good/ I didn't want to make the audience (or the cast!) wait to release it. But I'm glad I did, b/c it's the ideal end note.

Going out with a Western, pistols-at-dawn narrative that's ALSO a heist and ALSO a gay panic love story? Yes. Yes, please. I am /really/ looking forward to more Amy content in this setting, and others. : )

CHASING A GHOST. James just. Keymash forever. This and Delta Vee Dining remain my favorite content of the show. CaG is /exactly/ what it should be. It's the best of public radio, delightful characters, excellent writing, and THE MUSIC.

I am in awe of composers, lyricists, & arrangers, & there's so much beautiful work in the miniseries. I just...

Honestly, this is one I've yelled about so much I am kind of out of new and excited things to say. So I'll leave it at thank you /so much/

To the editors (Aaron, Kale, Scott, Amy, Erik, Jordan, Maddie, & Sam) are our not-nearly-shouted-about-enough heroes, but I especially want to thank Sam for handling MANY eps AND finale stuff on top of his busy life. You're wonderful.

And again, we come back to Erik I love you so much, & everything I get to make with you is a delight and a joy. Your raw /skill/ as a sound designer & editor is just astounding, but lately I've gotten to see your experimental creativity, & it /rules./

Quite frequently lately you've messaged me with basically "I'm trying a thing, what do you think?" & it's inevitably something interesting, technologically complex, & cool as hell. I love watching you grow into the /art/ element of sound design as an artist. Thank you. Always.

Alright. I have now spent over an hour drafting this (on Oct 17, so I don't have to try to do it day of release when I am In My Emotions) and while there's absolutely more to be said, this thread is very long.

Thank you, S4 people-- actors, editors, writers, fans.

-ash