The creator of Peacock’s howdunit discusses the virtues of episodic structure and the challenges of keeping it satisfying week after week.
I love the sweeps-week reference. Yes, absolutely. Who’s going to die on this week’sOn the one hand, it was against what I had been adamantly pitching from the start, which was resisting the lure of serialized storytelling. On the other hand, though, not really. This goes back to the stuff I grew up watching as a kid. Even on, they’d tease that he’s going to figure it out and get back home or do the episode with his wife.
. At this point in the season, if you’re not onboard for that element’s place in the series, you’re probably not onboard for the series. And that’s what felt exciting about coming back to him and making him so central to. We’d lulled the viewer into the sense that he would just be an ongoing character who pops up now and then.
Totally. Lilla and Nora Zuckerman, our showrunners, pitched that twist. I’d wanted to do a more scary episode, and I grew up in Colorado and had been wanting to do something in the Rockies. Lilla came in and pitched this whole thing, and I was like,It lets us break the expectation without completely breaking the structure of the episode — which the finale does, too. We still do a version of the crime, the flashback. We shuffle it a little bit, but it still gives you the structure.
The penultimate episode is a great example of that because Charlie is stuck with someone she doesn’t actually like. That comes back to the challenge of a new setting for every episode and Charlie’s need to have a connection to it. You could imagine that being easier if it was her town and she felt like she needed to protect it.
It makes a lot of sense in terms of the character, but it’s all toward the goal of creating an ending that the audience will feel satisfied by. And by the way, when I was first telling my producer I wanted to do this, the genre I pitched him was not “mystery.” I pitched him “TV.” I said I wanted to do a great TV show!
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