The sonic landscape of Wednesday is built on a paradox: to make the show funny, the music must be deadly serious. While the series thrives on the macabre wit and dry delivery of its titular character, the score avoids the temptation to lean into the comedy, opting instead for a grounded, heavy atmosphere that anchors the fantasy.
Composer Chris Bacon recently detailed the creative friction and specific mandates that shaped the show’s sound during a panel at Deadline’s Sound & Screen Television awards-season concert event. At the center of the musical direction was a strict directive from director and executive producer Tim Burton: “Don’t make this funny.”
For Bacon, this instruction was not about removing the spirit of the Addams Family, but about enhancing it through contrast. By treating the score with the same stoic gravity that Jenna Ortega brings to her performance, the absurdity of the situations becomes more pronounced. The result is a soundscape that feels less like a sitcom and more like a cinematic descent into a macabre fantasy world.
The Architecture of Deadpan Sound
The decision to avoid “funny music” is a strategic choice in comedic timing. In the world of Wednesday, the humor arises from the gap between the character’s intense, gothic seriousness and the chaotic world around her. If the music were to wink at the audience or signal a joke, that tension would vanish.
“The same way Jenna Ortega plays it,” Bacon explained during the panel. “That makes it funnier if it’s darker, heavier, more serious.” This approach ensures that the music doesn’t dictate the emotion to the viewer, but rather provides a stable, moody foundation upon which the comedy can land.
As the series progresses into its second season, Bacon has sought to refine this “musical language.” The goal was to create a sound that feels quirky without becoming a caricature, ensuring the score feels timeless. Because the Addams family exists in a state of perpetual Gothic isolation, Bacon noted that the music should not be tied to a specific era, reflecting a family that “doesn’t exist in time.”
Expanding the Palette for Season 2
The second season introduces a broader range of narrative stakes, requiring a more “unabashedly thematic” approach to the composition. The plot expands to include new conflicts, such as Wednesday’s clash with a corrupt principal—played by Steve Buscemi—and a complex exploration of her relationship with her mother, Morticia.
To match these heightened emotions, Bacon leaned into more sweeping, cinematic arrangements. One notable example is the use of French horns to accentuate the transformation of Enid (Emma Myers) into a werewolf. This shift toward a more orchestral, high-stakes sound allows the show to pivot between intimate character moments and larger-than-life supernatural battles without losing its identity.
However, the most challenging element for Bacon remains the harpsichord. A staple of the 1964 original series, the instrument is essential to the Addams brand but is one that Bacon jokingly admitted he had “hated [his] entire life.” Despite his personal distaste, he recognizes its necessity as a sonic anchor.
“It’s part of their sound and it’s part of what keeps the Addams Family timeless,” Bacon said. “It’s a great sound to throw in to remind us that we’re there.”
Production Shifts and New Horizons
The production of the series has undergone significant logistical changes. While the first season was filmed in Romania, the production moved to Ireland for the subsequent chapters. This change in scenery is mirrored by an expanding cast and a broadening geographic scope, with recent teasers suggesting that the action will eventually head to Paris.
| Production Element | Season 1 Approach | Season 2/Upcoming Approach |
|---|---|---|
| Filming Location | Romania | Ireland / Paris (Teased) |
| Musical Tone | Establishing Gothic identity | More “unabashedly thematic” |
| Key Instruments | Harpsichord, Cello | French horns, expanded cinematic score |
| Cast Focus | Nevermore Academy core | New additions (e.g., Steve Buscemi) |
The upcoming episodes promise to push the boundaries of Wednesday’s world, featuring plot points where the protagonist contends with a monstrous boyfriend and experiences a cycle of death and resurrection. These narrative swings provide Bacon with a wider emotional canvas to work with, allowing the score to move from the claustrophobic tension of a mystery to the grandeur of a fantasy epic.
When asked about the specific direction of the music for the newest production cycle, Bacon remained characteristically cryptic, offering only that “music is being made.”
Fans and critics alike will be watching to see how the balance of dark cinematic scoring and deadpan comedy evolves as the series expands its mythology. Official updates regarding the release date and soundtrack for the new season are expected to be released via Netflix’s official channels.
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