It's the rock and hard place between which many showrunners find themselves: Plan your story in great detail so you’ll have an emotionally satisfying farewell? Or fly by the seat of your pants since few shows get much of a heads-up before cancellation?
When Dan Fogelman originally sat down with NBC executives to discuss what would become “This Is Us,” he came prepared. Walking them through the first few seasons of the show, he even suggested that a major character’s death could time out as a post-Super Bowl episode. And if you ask him today if he knows where his hit series is headed, his answer is a resounding yes. He’s even got 35 pages of the final episode — some three seasons away — written out.
For each show, it’s a different story, with decisions often bound up in a combination of genre, platform and vision. Or lack thereof: Chuck Lorre, creator and showrunner of “The Kominsky Method,” keeps planning as bare-bones as possible for his Netflix series, by design.“Absolutely that was some of the appeal for going to Netflix,” Lorre says. “To sit down in a room by myself and see what might happen. I know what the show’s about. Beyond that, the road is open.
“You need to leave yourself space to be nimble,” says “Killing Eve” executive producer Sally Woodward Gentle. “For Season 1 we knew the midpoint, and we knew vaguely where we wanted to take the women by the end. But you then color in as you go. Characters grow and mutate as you write them, and also as actors inhabit them.”The ability to be fluid is critical, says Jesse Armstrong, creator and showrunner of “Succession.
One series that has crafted an overall tension while still embedding season arcs in its planning is “The Blacklist.” Creator and co-showrunner Jon Bokenkamp says he’s always had “a 100% endgame plan from the beginning. I don’t know how to tell a story without knowing where the endpoint is.”
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