The webcomic-turned-series creator talks to The Hollywood Reporter about their approach to adaptation, representation and genre with the new Netflix horror-dramedy.
Beyond its cast stacked full of LGBTQ+ talent, the show is a byproduct of animation’s growing interest in the webcomics space, a free market where inclusion of all kinds has seen success.
One thing we realized really early on is that, what age range finds stuff scary doesn’t make any sense. Before we did a writers room, we went to a theme park during Halloween as research, and one thing we talked about was a family in front of us during one of those interactive horror escape rooms. There was a 6 or 7-year-old, and they were loving every second, laughing and clapping. Then there was a 12 or 13-year-old, and they were clinging to their parents.
This was also turned into a Cartoon Hangover short, with a different voice cast chosen before the industry had made it a more standard practice to ensure the identities of voice actors matched their characters. How were things different this time with Netflix? But when we cast Alex, who sings both in that kind of gravelly Beetlejuice voice and his normal singing voice, I was like: We need to do a duet between Pugsley and [demon king] Temeluchus. So that song was written in maybe two or three days. There was an orchestra recording that [Stump] conducted, and he directed all of the singing as well, which was funny because the actors were given the demos two weeks before they recorded, and I know for Zach, Fall Out Boy was his first concert.
That overtness tucked into genre feels a little unlike anything kids animation has done before with LGBTQ+ representation, especially trans rep.
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