QueerEye: Tan France and showrunner Jennifer Lane discuss the cop episode from Season 1 and moving the show to Philadelphia
: I really like to have the attitude of making sure we operate with integrity, but that we don’t manipulate things too much. I don’t know if that shows in the storytelling, but it really is a more documentary style of producing. Sometimes things happen that surprise you even as a producer. In that case, it was the officer’s idea to pull the Fab Five over. Karamo insisted on driving that morning, and it all kind of felt like a weird storm of possibility.
Talk about the new intro this season, why did you choose to do a play on Washington crossing the Delaware?: It is another example, I think, of how we embrace dialog. I had consulted with a professor of racism at the University of Pennsylvania, and he advised me to be careful that being too PC would perhaps have us remember history not the way it really was. Having our Fab Five play revolutionary heroes, when the world was so different back then, it makes your jaw drop a little bit.
There’s also a new moment near the end of each episode where the Fab Five dances with the hero, what do you feel that adds?: We shot all of them on the same day. Those new interstitials were a surprise for us that morning, and I actually thought it was a lovely addition. We were able to see all the heroes again — it had been a few weeks since we had seen them, so it was actually lovely to have them join us.: The most challenging was probably Lilly Yi.
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