TV Drama Writers on Ending a Show, Plannning Ahead and Fan Reactions
Ending a show is a daunting task that every showrunner must face at some point. The recent drama series panel at the Variety A Night in the Writers’ Room event in Los Angeles shed light on the different approaches taken by showrunners when crafting their series finales.
Eric Kripke, showrunner of Prime Video’s “The Boys,” and Matthew B. Roberts, showrunner of Starz’ “Outlander” and “Outlander: Blood of My Blood,” shared their experiences in preparing for their upcoming series finales. Kripke expressed his nervousness about the impending finale, emphasizing the pressure of the super hero genre being judged based on how the series concludes. He admitted to agonizing over every detail, rewriting extensively, and focusing on evoking emotion in the audience to ensure a satisfying farewell to the characters.
Similarly, Roberts acknowledged the challenge of “landing a plane” without prior experience of flying one, as he navigated the expectations of delivering an emotionally resonant conclusion to “Outlander.” He emphasized the importance of making viewers care about the characters and their fates, as that is the hallmark of a successful show.
Creator of HBO’s “Euphoria,” Sam Levinson, approached Season 3 as if it were the final season, ensuring that the story arc would conclude in a way that he could be proud of. Despite not knowing if the show will continue beyond that, Levinson expressed satisfaction with how the season wraps up and the emotional journey it takes the audience on.
Bruce Miller, who transitioned from ending “The Handmaid’s Tale” to working on its spinoff, “The Testaments,” highlighted the impact of fan feedback on his storytelling decisions. He noted the shift from receiving physical letters to instant feedback, which provides valuable insights into how viewers perceive the show and guides future narrative directions.
Each showrunner has a unique process for approaching the end of their series. Geneva Robertson-Dworet, executive producer of “Fallout,” combines a planned trajectory with the flexibility to adapt to new ideas that may enhance the ending. Vince Gilligan, creator of Apple TV’s “Pluribus,” already has some ideas for the eventual finale but stresses the importance of being open to better ideas that may arise during the creative process.
In conclusion, crafting a series finale is a complex and emotional journey for showrunners, requiring a delicate balance of planning, flexibility, and an unwavering commitment to delivering a satisfying conclusion for both the characters and the audience.
