Siddhartha Khosla

You guys obviously must have been in the writer's room multiple times. I remember going in, I went in once and they interviewed me and they wanted to talk to me about my story and we just talked. There were index cards everywhere or post-its everywhere of just the map of the whole series. The timeline, yeah. You're like, oh my gosh, is this a mystery? What is this?

There's clues everywhere and that's what the show in many ways was.

There's clues everywhere and that's what the show in many ways was.

There's clues everywhere and that's what the show in many ways was.

It's a mystery, which is the haunting part about the whole show. I remember in the pilot, Dan asking me to replace the Sufjan Stevens song. And he was like, we have this Sufjan Stevens song. Remember I told you, he was like, we're gonna use Sufjan Stevens, that song, Death With Dignity. And he's like, can you replace it? Can you write something there?

It's a mystery, which is the haunting part about the whole show. I remember in the pilot, Dan asking me to replace the Sufjan Stevens song. And he was like, we have this Sufjan Stevens song. Remember I told you, he was like, we're gonna use Sufjan Stevens, that song, Death With Dignity. And he's like, can you replace it? Can you write something there?

It's a mystery, which is the haunting part about the whole show. I remember in the pilot, Dan asking me to replace the Sufjan Stevens song. And he was like, we have this Sufjan Stevens song. Remember I told you, he was like, we're gonna use Sufjan Stevens, that song, Death With Dignity. And he's like, can you replace it? Can you write something there?

And I wrote like an eight minute piece of music, which is so long, like a long, because the song was like doubled up. It was a long sequence. And then Glen and John were like, oh, we're gonna stick to the song. And I was just like, oh, my gosh. Oh, man. And I was like, I just spent like two days, three days, whatever I wrote on it.

And I wrote like an eight minute piece of music, which is so long, like a long, because the song was like doubled up. It was a long sequence. And then Glen and John were like, oh, we're gonna stick to the song. And I was just like, oh, my gosh. Oh, man. And I was like, I just spent like two days, three days, whatever I wrote on it.

And I wrote like an eight minute piece of music, which is so long, like a long, because the song was like doubled up. It was a long sequence. And then Glen and John were like, oh, we're gonna stick to the song. And I was just like, oh, my gosh. Oh, man. And I was like, I just spent like two days, three days, whatever I wrote on it.

And then that ended up becoming the very final piece of music in series.

And then that ended up becoming the very final piece of music in series.

And then that ended up becoming the very final piece of music in series.

Over the very final sequence and the final episode.

Over the very final sequence and the final episode.

Over the very final sequence and the final episode.

And it was used just twice in series. It was used in Kevin's painting and then used again at the very end. That was it, the theme. But I had done the leg work back in the pilot days.

And it was used just twice in series. It was used in Kevin's painting and then used again at the very end. That was it, the theme. But I had done the leg work back in the pilot days.

And it was used just twice in series. It was used in Kevin's painting and then used again at the very end. That was it, the theme. But I had done the leg work back in the pilot days.

And then I remember watching the finale with Julie, our editor. We were working on it. And we both said at that moment, what if we brought the Kevin painting theme about how we're all connected back in for the ending of that. So that was the hardest piece I ever had to write because it was so long. And then it wasn't used. And I was like, oh, man. What am I going to do with this?