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‘Yellowjackets’ creators on Season 3 finale and why they’re banking on another season

BBG News

This article contains spoilers for the Season 3 finale of “Yellowjackets.”

“I can hear you.”

In the final episode of Season 3 for “Yellowjackets” airing on Friday, four crucial words that have been elusive yet omnipresent since the plane crash incident were finally uttered by young Natalie (played by Sophie Thatcher). As Aerosmith’s “Livin’ on the Edge” played in the background, she managed to reach the world beyond their survival group, coinciding with the intensifying turmoil within their wilderness camp due to shifting alliances and power struggles.

From the snowy mountain summit, she shouts into her satellite phone, “We’re up here! Can anyone hear me?” The phone was previously used by the researchers exploring frogs and was fixed using a wire from the damaged transponder that Misty had broken after the crash. She received a faint, four-word reply over static noises.

Given that some yellowjackets are hesitant about going back to their usual lives, is it likely that their rescue will happen soon? Although no official confirmation has been made about a fourth season, creators Ashley Lyle and Bart Nickerson have previously mentioned they planned a five-season arc for the show.

Nickerson explains, “We’re hoping for another season, so I apologize if our show gets canceled prematurely, similar to ‘My So-Called Life.’ However, it’s not all bad if we end up being remembered like that classic series.

In this conversation, The Times interviewed Lyle and Nickerson regarding the thrilling ending of Season 3. Below is a summary of their discussion.

In this interview, The Times spoke with both Lyle and Nickerson about the climactic finale of Season 3. Here’s an abridged version of what they discussed.

1. Was Natalie always destined to make that victorious call, or could someone else have done so instead? And isn’t it possible that this isn’t actually a victorious moment, but just me being overly optimistic? (Informal and conversational)

2. Was it inevitable that Natalie would be the one to make the winning phone call, or was there another possibility? And could it be that I’m mistaken in thinking this is a triumphant occasion, rather than just getting carried away with excitement? (Formal but clear and easy to read)

Lyle: I don’t believe they are innocent or unaware. They are indeed reaching out officially to the world beyond, deliberately. It’s clear they had contact earlier, but things went terribly wrong then. There’s a remark early on, in Season 1, where one of the women says, “We wouldn’t be here if it wasn’t for Natalie.” This suggests that Natalie has always been key to their salvation, or rescue, if you will, although what follows might be subject to debate. In essence, we’ve always known that Natalie would lead them home.

As a dedicated fan, let me add some clarity: Although it’s not unreasonable to assume we might find out about the direct path leading to rescue since Season 4, I’m not sure if that will actually be the case.

Television

Approaching three years now since the conclusion of ‘Yellowjackets’ Season 2, here’s a summary of what you should anticipate in Season 3.

So far, the series has been set in two different timeframes – one in the wilderness representing the past, and another portraying their current struggle where the past continues to torment them. I wonder if there will be a third timeline that explores their adjustment after being rescued. What captivates you about this transition phase, and are those aspects something you’ve had in mind from the start to guide your work, or are they emerging as you progress? How do relationships evolve during this period?

Lyle: In our writers’ room discussions, Bart and I felt from the outset that this aspect was crucial to the narrative we wanted to develop. We often reflect on the film “Castaway” and find it intriguing that it skips over the readjustment period following rescue, which is a story we find captivating. Instead of immediately returning to normal life, we’re interested in exploring how these characters have transformed – for better or worse – during their isolation, especially considering their youth. They were quite adaptable at the start and have undergone significant changes. Witnessing these changed individuals re-entering a world that is now foreign to them, in a way we believe, would offer rich storytelling opportunities and allow us to delve deeper into their characters.

I’m pondering over how to express this without revealing any secrets, but it’s fascinating to work on the conclusion of a tale that turns out to be the start. Typically, you’re always in the midst of your own story, yet getting to work on what seems like the end of something that the audience realizes is just the beginning of another story they’ve already been part of is an exciting narrative puzzle.

Who is Antler Queen, also known as Sophie, and who is Pit Girl, or Mar, have been questions on everyone’s lips since the beginning. Can we assume that the Season 3 finale provides these answers?

Lyle: That’s safe to say, yes.

Nickerson: Well. It answers half of it. Ash, do you disagree?

Lyle: It’s safe to say we have definitively answered who Pit Girl is.

Apologies for the misunderstanding. You’re referring to the character known as the Antler Queen from the pilot episode, right? Yes, she was seated there. My oversight was interpreting it symbolically too quickly, which I realize now was incorrect.

It’s evident that the harshness of their wilderness existence has left its mark on them. Not everyone is keen on rescue; some prefer to remain where they are. I aimed to delve into the psychological reactions to trauma, and my exploration was shaped by understanding their feelings.

Lyle: The initial query in the pilot episode is: Can they manage to leave their past untouched? Initially, we see them as a band of women who have made an effort to disconnect from their past, but what the series reveals over time is that it might not be as simple as they thought. Each character has reacted uniquely to this revelation. As the narrative progresses in the present-day timeline, the breakdown of these coping mechanisms and the emergence of new ones will offer varying and hopefully compelling insights into their struggles.

Nickerson: We’ve long been intrigued by understanding how individuals, on both mental and physical levels, cope with high-risk, threatening scenarios. A significant aspect of post-traumatic stress is a survival response that has adaptive benefits. This resilience, the capacity to perceive a broader range of experiences and fearing to lose it, is one aspect we wanted to explore further. The idea of adjusting to a new normal, which can seem mundane compared to the excitement of extraordinary life, was also an element we wanted to subtly address in our show.

Television

In simple terms, the second-to-last episode of ‘Yellowjackets’ presents a unique perspective on the long-term consequences of trauma, which is not typically seen on television.

It’s intriguing to observe the responses from fans towards Shauna currently. At a certain point, Taissa suggests that the hardships they faced in the past and are experiencing now are largely driven by her.

Lyle: It seems people often overlook the fact that when we encounter Shauna, whether in the past or present, she is pursuing unconventionality. Previously, she was involved with her best friend’s boyfriend; currently, she’s found engaging in activities like masturbating in her daughter’s room and hunting rabbits in the garden. And Melanie Lynskey, who portrays older Shauna, is incredibly enthusiastic about it all. When we reached Episodes 8 and 9, she was eager to dive in. We’ve long admired “Breaking Bad.” It’s easy to forget that when “Breaking Bad” debuted, Bryan Cranston was known for his role as the dad on “Malcolm in the Middle”; he was funny, charming, sweet, and seemingly helpless. To transform this actor into a menacing character like The One Who Knocks is an exhilarating transformation. So it’s been quite rewarding to guide Melanie’s character, Shauna, through this journey that leaves us saying, “Oh no, wait a minute…

I found it fascinating to observe how various traits are inherited or learned by Callie, as demonstrated through her family. In the final episode, it’s revealed that Callie was responsible for Lottie’s death. What captivated you about the relationship between Shauna and Callie, and why did Jeff feel it necessary to separate himself and Callie from Shauna?

Lyle: A significant point of consideration for Callie is, to what extent are you influenced by your family? To what extent do genetics shape who you are? This question has become quite relevant for her. Are we our mothers? Are we our mother’s children? What does that signify?

Nickerson: [With Jeff], it primarily stemmed from our desire to narrate Shauna’s story and guide her towards a stage where the person who knows her best in the world, someone who has always been supportive, wouldn’t suddenly turn against her, but instead, could no longer extend that presumption of innocence. It was essentially an attempt to alienate Shauna. It felt like, “Oh why, God. Even you, Jeff?” He also couldn’t endorse this any longer.

By the end of the season, Shauna has misplaced something extremely significant to her, yet at the same time, she’s found a new sense of liberation. Initially in this season, we observe her trying hard to be a better spouse and parent, roles that seem more like costumes or disguises that don’t truly suit her. Although I believe the loss of her family is deeply painful, and she will experience it intensely, I think she is being released from, essentially, a part she was never well-equipped to play.

Awards

The performers acknowledge that they’re still grappling with the demanding physical and emotional challenges presented during the second season. As Sophie Nélisse, portraying young Shauna, puts it, “It’s been incredibly intense.

The body count is getting up there. How do you thread that needle? When does it become too much?

Lyle: The story has its own path, one we’ve anticipated since the beginning and where it seems destined to lead us. We’ve always been aware that there would be repercussions, which was a key aspect of our show’s structure. From the outset, we chose to start with a character’s death to immediately establish this series as one where death is an ever-present shadow.

Instead of constructing something new, I tend to view our approach as more like unearthing something that’s already there. The aim is to make the narrative feel like an authentic account we’ve discovered rather than one we’re gradually piecing together. This way, we avoid manipulating events for dramatic effect and instead focus on finding the entire story and sharing it honestly.

Hey Bart, as someone who’s been deeply moved by your work, I can’t help but wonder about the finale you masterfully directed. Not only that, but you were also at the helm for the premiere. I’m curious, what emotions did you aim to elicit with this climactic episode, and which scene gave you the most trouble during production? Your insights would be fascinating to hear.

I aimed for a resolution filled with chaos, yet still satisfying, providing dissonance with a hint of completion, almost like a mini-episode. The most challenging aspect for me was managing the limited snowy terrain for our high-speed pursuits. It required effort to make it appear vast, interconnected, and showcasing geographical transitions and unique settings. However, it’s also the enjoyable part, directing being an extraordinary experience that I am deeply grateful for.

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2025-04-11 10:31

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