Uploaded August 2026 | Updated September 2026, 2 weeks ago
San Diego, Convention center, Room 29CD, July 23 2026
One of the highlights of San Diego Comic-Con 2026 for soundtrack enthusiasts came during the 18th annual SUPERSONIC: Behind-the-Music panel, organized by Rhapsody PR in Room 29CD on July 23. Dedicated to the creative process behind music for television, film and video games, the session gathered an impressive roster of composers, including Jeff Russo (Alien: Earth), Chris Bacon (Wednesday), Joanne Higginbottom (Primal), Gavin Brivik (The Pitt), Leo Birenberg (Cobra Kai) and Stephen Lukach (Assassin's Creed Black Flag: Resynced), with actor Aaron LaPlante serving as moderator. The discussion illustrated how modern screen composers have become essential storytellers, shaping emotion as much as dialogue or cinematography.
Among the participants, Chris Bacon stood out as one of Hollywood's most versatile composers. While mainstream audiences may immediately associate him with Netflix's Wednesday, his career spans nearly two decades and an eclectic range of productions, from animated family adventures such as Alpha and Omega, Gnomeo & Juliet and Sherlock Gnomes to ambitious science-fiction thrillers including Source Code and 65, as well as blockbuster productions like Men in Black: International, co-composed with Danny Elfman. Television has been equally central to his career, with memorable work on Smash, Bates Motel, The Tick and, more recently, Wednesday. His work has earned multiple Primetime Emmy Award nominations across several series, confirming his reputation as one of the industry's most respected dramatic composers.
What makes Chris Bacon particularly fascinating is the consistency of his artistic journey. Growing up, he learned piano and saxophone and reportedly knew from childhood that writing film music not performing it was his ultimate ambition. After studying composition at Brigham Young University and completing the prestigious Scoring for Motion Pictures and Television program at the University of Southern California, he received perhaps the most formative education of all while working alongside acclaimed composer James Newton Howard. Bacon has often described that mentorship as his true professional training, explaining that observing one of Hollywood's leading composers at work provided lessons no classroom could replicate. That apprenticeship ultimately opened the door to projects that established his own identity rather than simply continuing in another composer's shadow.
Following the panel, our conversation with Chris Bacon reflected the same thoughtful and quietly enthusiastic personality audiences have come to recognize through his music. Rather than focusing on technical discussions of orchestration or software, he repeatedly returned to one central idea: music exists to serve the story. That philosophy has become especially evident on Wednesday, where the score avoids caricature despite the show's dark humor. Earlier this year, Bacon revealed that executive producer Tim Burton gave him one of the defining creative instructions for the series: never treat the music as a joke. Instead of emphasizing comedy, the score approaches every emotional moment with sincerity, allowing the gothic atmosphere to remain authentic and, paradoxically, making the humor land even more effectively. The result is a soundtrack that feels timeless rather than contemporary, blending orchestral grandeur with subtle references to the musical identity long associated with the Addams Family.
That philosophy also explains why the music of Wednesday continues to evolve alongside the series itself. As Chris Bacon has explained in previous interviews, he often begins composing before fully understanding where every storyline will ultimately lead. Rather than waiting for complete scripts, he develops thematic "seeds" that can later blossom as characters evolve. For Season 2, he expanded the show's musical vocabulary considerably, creating distinct themes for new characters while enriching established relationships through recurring melodic ideas. Instead of relying solely on larger orchestral passages, he frequently contrasts spectacular scenes with surprisingly intimate musical moments, allowing emotion rather than spectacle to dictate the score. This careful balance has become one of the defining characteristics of his work and illustrates why Wednesday continues to receive recognition during awards season.
Listening to Chris Bacon discuss his craft at Comic-Con made one aspect particularly clear: despite working on productions that span horror, comedy, animation, science fiction and family entertainment, he approaches every project with the same narrative discipline. Whether composing for psychological suspense in Bates Motel, kinetic action in Source Code, playful animation in Gnomeo & Juliet or the gothic world of Wednesday, his objective remains remarkably consistent—finding the emotional truth hidden beneath each scene.
San Diego, Convention center, Room 29CD, July 23 2026
One of the highlights of San Diego Comic-Con 2026 for soundtrack enthusiasts came during the 18th annual SUPERSONIC: Behind-the-Music panel, organized by Rhapsody PR in Room 29CD on July 23. Dedicated to the creative process behind music for television, film and video games, the session gathered an impressive roster of composers, including Jeff Russo (Alien: Earth), Chris Bacon (Wednesday), Joanne Higginbottom (Primal), Gavin Brivik (The Pitt), Leo Birenberg (Cobra Kai) and Stephen Lukach (Assassin's Creed Black Flag: Resynced), with actor Aaron LaPlante serving as moderator. The discussion illustrated how modern screen composers have become essential storytellers, shaping emotion as much as dialogue or cinematography.
Among the participants, Chris Bacon stood out as one of Hollywood's most versatile composers. While mainstream audiences may immediately associate him with Netflix's Wednesday, his career spans nearly two decades and an eclectic range of productions, from animated family adventures such as Alpha and Omega, Gnomeo & Juliet and Sherlock Gnomes to ambitious science-fiction thrillers including Source Code and 65, as well as blockbuster productions like Men in Black: International, co-composed with Danny Elfman. Television has been equally central to his career, with memorable work on Smash, Bates Motel, The Tick and, more recently, Wednesday. His work has earned multiple Primetime Emmy Award nominations across several series, confirming his reputation as one of the industry's most respected dramatic composers.
What makes Chris Bacon particularly fascinating is the consistency of his artistic journey. Growing up, he learned piano and saxophone and reportedly knew from childhood that writing film music not performing it was his ultimate ambition. After studying composition at Brigham Young University and completing the prestigious Scoring for Motion Pictures and Television program at the University of Southern California, he received perhaps the most formative education of all while working alongside acclaimed composer James Newton Howard. Bacon has often described that mentorship as his true professional training, explaining that observing one of Hollywood's leading composers at work provided lessons no classroom could replicate. That apprenticeship ultimately opened the door to projects that established his own identity rather than simply continuing in another composer's shadow.
Following the panel, our conversation with Chris Bacon reflected the same thoughtful and quietly enthusiastic personality audiences have come to recognize through his music. Rather than focusing on technical discussions of orchestration or software, he repeatedly returned to one central idea: music exists to serve the story. That philosophy has become especially evident on Wednesday, where the score avoids caricature despite the show's dark humor. Earlier this year, Bacon revealed that executive producer Tim Burton gave him one of the defining creative instructions for the series: never treat the music as a joke. Instead of emphasizing comedy, the score approaches every emotional moment with sincerity, allowing the gothic atmosphere to remain authentic and, paradoxically, making the humor land even more effectively. The result is a soundtrack that feels timeless rather than contemporary, blending orchestral grandeur with subtle references to the musical identity long associated with the Addams Family.
That philosophy also explains why the music of Wednesday continues to evolve alongside the series itself. As Chris Bacon has explained in previous interviews, he often begins composing before fully understanding where every storyline will ultimately lead. Rather than waiting for complete scripts, he develops thematic "seeds" that can later blossom as characters evolve. For Season 2, he expanded the show's musical vocabulary considerably, creating distinct themes for new characters while enriching established relationships through recurring melodic ideas. Instead of relying solely on larger orchestral passages, he frequently contrasts spectacular scenes with surprisingly intimate musical moments, allowing emotion rather than spectacle to dictate the score. This careful balance has become one of the defining characteristics of his work and illustrates why Wednesday continues to receive recognition during awards season.
Listening to Chris Bacon discuss his craft at Comic-Con made one aspect particularly clear: despite working on productions that span horror, comedy, animation, science fiction and family entertainment, he approaches every project with the same narrative discipline. Whether composing for psychological suspense in Bates Motel, kinetic action in Source Code, playful animation in Gnomeo & Juliet or the gothic world of Wednesday, his objective remains remarkably consistent—finding the emotional truth hidden beneath each scene.
