As Stephen King fans well know, Pennywise the Dancing Clown emerges every 27 years to feast on the people of Derry, especially the younger generation. That’s why It: Welcome to Derry takes place in 1962, 27 years before the 1989 events of Andy Muschietti’s 2017 It feature film, and 54 years before the 2016 setting of It Chapter Two.

The early ‘60s setting allows It: Welcome to Derry to tap into the broader cultural climate of the era, drawing on issues like the civil rights movement and Cold War dread. io9 recently participated in a press day for the new HBO show ahead of its arrival on October 26, speaking with Muschietti (a co-creator and executive producer on the series, in addition to being the director of multiple episodes) as well as writers, executive producers, and co-showrunners Brad Caleb Kane and Jason Fuchs.

“[1962] is part of the story because we are telling the story through Pennywise cycles. So it was unavoidable to go to ‘62; this is our first step into a bigger journey,” explained Muschietti. “Segregation was still around; racial problems [were] at the heart of every town in America, especially the South, but also in the North, as we see in Maine, in the story. And the Cold War [too].”

He continued. “It was actually exciting to talk about these things because it creates not only a look into history, but also dramatic opportunities [for] our characters … Also, ‘62 is very close to the original time [setting] of It, the book. When we did the movie adaptation, we transferred it to the ‘80s. And now we’re telling a prequel that happened in ‘62, but ‘62 is very close to 1958, which is [when the novel takes place]. So it’s a bit of going back to the original feeling of the book and trying to explore a little bit of that world with its own flavors and textures, and also the childhood of Stephen King.”

Kane elaborated on the setting in a separate interview with io9. “You can’t tell a story about an interdimensional being that exploits people’s fears in 1962 without addressing the great fears of the time and the great troubles of the time. We leaned into it,” he said.

“And 1962 is very much considered a time of Norman Rockwell’s America; it’s a time that’s idealized with great innocence. Obviously it wasn’t that way for everybody, but if you think of 1962 in America, before Kennedy was assassinated, as the last moment of innocence in this country, well, what happens when you scratch the surface of that innocence, that idealized time, and you find out what’s underneath? I think you’ll see something very different than the facade, and we tried to lean into that reality as well.”

While most of the show takes place in 1962, it also takes time to explore the deeper history of the Derry area. The local Native American population plays a major role in the new series, bringing in a perspective not represented in King’s original story or any of its previous adaptations.

“They’re the first people that met the monster, and they play a crucial role in the fight against it,” Muschietti teased. “There’s a part of the story that is not even in the book that is a crucial story point in this series, which tells us about the struggle of the Indigenous people against It, and that has tremendous ripple effects on generations to come.”

Kane expanded on why the Indigenous storyline was so important to include in It: Welcome to Derry. “We wanted to go back to the origins of the creature—and we wanted to talk about the stewards of the land. The Indigenous people have lived with this evil much longer than anybody else, having been here longer than anyone else, and they understand that evil is not something that you can necessarily defeat,” he said.

“It’s a constant; it’s a reality in life. It needs to be addressed; it needs to be confronted and understood, most importantly, and in lieu of destroying it, it needs to be contained properly. And that’s what the Indigenous people in Derry seek to do in the story. So we felt that was an important perspective. And obviously, if we’re thinking about Derry as a microcosm of America, you can’t tell America’s story without the Indigenous perspective. And I think that was an important reason for us to do it.”

While the Indigenous characters form a key part of It: Welcome to Derry, the show also aims for a microcosm feel—as Kane suggested, noting King originated the idea of looking at Derry through that lens. We spend time with the kids as they realize there’s a monster in their midst. But we also get to know their parents and other adults in town, as well as the soldiers stationed on the military base nearby. It’s a lot of cards to stack, but co-showrunners Kane and Fuchs didn’t see it as a challenge.

“I think we saw it much more as an opportunity,” Fuchs said. “TV is obviously long-form storytelling and so we had a chance to delve into different perspectives in a way that the two hours of a movie just doesn’t allow you to. We were really excited to get to see grown-up characters who were more aware of the entity than the grown-ups we meet in the context of the films. We were excited to go into different communities. We hadn’t really seen Derry or It through the perspective of the Indigenous community, and it was an opportunity to also get a group of characters at the center of this, the Hanlon family, who are new to Derry, to really provide a way in for new fans who maybe haven’t read the book or seen the films. We have a family at the core of this adventure who are being introduced to the world of Derry themselves for the first time. It was all by design and something we’re really excited about; it felt like this was an opportunity for something a little different.”

While the show draws on a fair amount of new material, the fact that it’s a prequel means viewers have a good idea of what happens next—including the fact that Pennywise has more cycles on the way. Crafting a satisfying ending for viewers who already know the monster won’t be defeated took a certain nuanced approach.

“The benefit of long-form storytelling is really that you can dive into character a lot more deeply. And we’re introducing a whole new set of characters in this than we saw in the movies,” Kane said. “But we try to rip the rug out from underneath people right away so you never know what’s going to happen. You never know what to expect; you never know who you can come to care for that’s not going to be wrenched away from you. We want to give the audience that feeling: to imbue you with love for these new characters and make you fear for their safety.”

“And really, that’s the ride we’re taking. It’s not necessarily, ‘Will It be defeated in the end or not?’ but ‘Will these characters survive? Will they learn lessons? Will they grow up? Will the parents see their children again? Will the evil plan that’s being hatched as the engine of this piece be enacted in some way, or will that snap back on the person enacting it?’”

Kane continued. “We wanted to tell a story about unity and about innocence lost, just like the main themes of the book. Growing up and realizing that fear and hatred and all that stuff can only be really defeated through community and through love and through growth. We try to do all that with the characters, and that kind of journey makes it a lot more expansive than just, ‘Will It be defeated or not?’ We’re trying to paint a story on a much larger canvas.”

It: Welcome to Derry expands what fans know about Pennywise’s history in quite a few aspects, but it’s careful not to shine too bright of a light on things. As Fuchs explained, revealing details but also keeping some of that mystery intact was a delicate task.

“It was a constant balancing act—how much to reveal, how much to keep hidden. I think that what’s great about the richness of Stephen King’s mythology is that the more answers to mysteries you reveal, the more new mysteries suggest themselves,” Fuchs said. “So yeah, Brad and I wanted to know more about It. We wanted to understand why a being like It remains in Derry when it’s a creature of light. It could travel anywhere. Why Derry? We wanted to understand why a shape-shifter who has a virtually infinite number of forms it could take continues to take the form of Pennywise the Dancing Clown.”

“So you’re going to get, I hope, really satisfying answers to some of those things in the context of the show. But the answers themselves suggest fresh mysteries and new questions. And that’s part of the fun of the genre and of Stephen King’s mythology. You can always go deeper and deeper.”

It: Welcome to Derry premieres October 26 on HBO.

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