To be able to be there first, I love the pioneer thing. It's exciting to me. And they pay full rate, they're really nice, they support the work, and they said yes. What could be bad? It's the Wild West. You can do what you want.

We're also talking a lot in the room about planting seeds that can grow over the course of the season, knowing that people might be watching them in bulk. We'd like to bury some Easter eggs and let people find them, later on.

But, I like the challenge of, "How can we stretch this out? Where can we go with it?" It's an open road, especially at Netflix. You can take it anywhere you want.

It was enormously challenging because you want that all-American girl, but you also want the cool WASP, privileged white girl. Usually, women in that package aren't funny.

I think shows that are completely dramatic are a lie. People use humor to cope. That is how we deal with things. In the darkest situations, there's humor. And if you don't show that, you're not being true to real life.

Even during the casting process, the pools of talent are so deep when you have a call for Latin women or black women or a middle-aged woman because they never get their shot. There's so much talent there.

We fell in love with different people. Looking back, we might have done it in a different order, but we got invested. We really wanted to do the flashbacks because we wanted to explore who these women were on the outside versus the inside, and get a fuller picture of the masks we wear.