The season two finale of The Afterparty, titled “Vivian and Zoë,” provided viewers with some major revelations about the characters and their intertwined relationships. One of the biggest surprises came in the form of Edgar, the groom, played by Zach Woods. Edgar had gone to great lengths to track down his bride-to-be Grace’s (Poppy Liu) globetrotting uncle, Ulysses, portrayed by John Cho. However, Ulysses wanted nothing to do with the wedding because his forbidden love, Vivian (Vivian Wu), the wife of his half-brother Feng (Ken Jeong), would also be in attendance. Despite Ulysses’ reservations, Edgar forced him to come to the wedding.
Unfortunately for Edgar, he learned the hard way that it’s best to respect people’s boundaries and that “no” means “no.” In a twist that shocked audiences, it was revealed that Ulysses was unintentionally responsible for Edgar’s death. Ulysses had attempted to poison his half-brother Feng but accidentally switched the drink with Edgar’s. As a result, Ulysses not only lost the opportunity to reconnect with his lost love Vivian but also lost Edgar in the process.
The Hollywood Reporter recently caught up with executive producers and showrunners Phil Lord, Chris Miller, and Anthony King to discuss the second season of The Afterparty. They delved into how they used comedy to structure the story of the killer and whether a third season is in the works. Lord and Miller, known for their work in both animation and live-action filmmaking, talked about their affinity for mixing different storytelling mediums. They compared the unique styles showcased in The Afterparty to the various animation styles in their film “Spider-Man: Into the Spider-Verse,” highlighting the desire to avoid settling into a single way of storytelling.
Anthony King, who was part of the show’s writing team, described the writers’ room as a mix of funny and mystery-loving individuals. He detailed the challenges they faced in developing the characters and intricately weaving their stories together. It often required debatable decisions to ensure the right pacing and timing, resulting in adjustments to multiple episodes. The writers relied heavily on strategic storyboarding, even incorporating spreadsheets into the writing process to maintain consistency and ensure cohesion.
When asked about their favorite episodes or genres, the showrunners revealed that they held a democratic process within their writing team. Each writer shared their top three episode choices anonymously, and the team assigned them accordingly. King particularly enjoyed how the Ulysses episode came together, as it pushed the boundaries of television storytelling by offering an epic, visually expansive narrative with a mix of comedy and heartfelt moments.
The showrunners admitted that they had known early on who the killer would be, but Lord humorously admitted that he often forgot who it was. They emphasized that the mystery always centered around the murder itself, and the goal was to construct an engaging cover-up while fooling the audience. As for the cast, the showrunners opted to keep them in the dark about their characters’ guilt or innocence. Each actor received all ten episodes and had the opportunity to uncover their character’s motives during the reading process. Only the true killer was informed of their culpability.
When asked about the challenges and smoother paths of creating a melodramatic comedy like The Afterparty, the showrunners reflected on the complexity of the show. King jokingly pleaded for any smoother paths, highlighting the show’s unique and delightful nature. Miller credited the casting of talented actors as the secret sauce of the series, as they brought the melodrama and comedy to life through their performances.
While the showrunners didn’t reveal their plans for a third season, the success of The Afterparty’s unique blend of comedy and mystery leaves fans eager for more. With its unconventional storytelling and talented cast, the show continues to surprise and entertain audiences with its genre-jumping narratives.