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Murder mystery shows are by nature morbid since there’s a new death every week. “Pushing Daisies” embraced this morbidity but mixed it with the lightness of a fairy tale; even the series’ name reflects this mix of the cheerful and the ghoulish. The dialogue was quirky but not smarmy; characters would speak in loops or colorful metaphors, and the narrator (Jim Dale) was the most verbose of all. Visually, the production design evoked the 1950s drenched in a rainbow color palette.
Fuller modeled this on Jean-Pierre Jeunet’s “Amélie,” his favorite movie. As he told The New York Times in 2007, “All the things I love are represented in that movie. It’s a movie that will make me cry based on kindness as opposed to sadness.” The influence didn’t go unnoticed.
However, Sonnenfeld feels the uniqueness of “Pushing Daisies” ultimately undermined it. Speaking to the Huffington Post in 2017, Sonnenfeld acknowledged the WGA strike as one cause, but felt the show’s writing was another.
“I blame our scripts, in that I think they were slightly too cute. I wish they’d had a little bit more plot.I remember saying to Bryan Fuller, who was the showrunner and the creator and a good friend of mine who I adore, ‘Hey, Bryan, shouldn’t we have better plots so we can lean forward in trying to figure out who did the murder, for instance?’ He was afraid if we had a little bit more of a procedural that we would lose the quirkiness.”
It’s clear Fuller cares more about telling his stories the proper way instead of making them broadly popular. He’s even left more than one series over creative disagreements.
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