This is going to seem like a really obvious observation, but it's something I've been thinking about a lot in terms of not events but character choices. If you really want to surprise people, don't telegraph that it's coming.
I did say it seemed really obvious. But I think it's worth mentioning from a broader perspective. There's so often when I'm working on a script or a character where I think to myself, I need to set up that later reveal, event or character choice early, so that when we get there I've established a runway for it. I don't want the audience to feel like I've cheated.
And there's truth to that. If Miranda Bailey starts murdering people on GREY'S ANATOMY—well, first of all I would be here for that, because I would follow Chandra Wilson doing anything. But I might very well say, Um, not sure that really tracks?
In the case of SUCCESSION, we've had plenty of set up over the last three seasons that Logan is not well. But probably they could have sold it anyway because he's just old. He comes with his own ticking clock built in.
But as I think of some the best character work I've seen, oftentimes it involves a certain refusal to signpost or pre-justify. I see it especially with great villains—instead of seeming good while secretly twirling their mustaches, we have the character play altogether good, and then in other moments simply be evil. Basically, they leave it up to us to put those pieces together.
Admittedly, this can go wrong. Te boy next door who turns out to be a creepy voyeur/serial killer is actually pretty tired at this point, not only because it's been done but because it can feel untrue. There has to be some deeper truth that justifies the surprise.
But the key truth is this: Story Gaps are great for audiences. It gives them a way to participate. It gives them something to sink their teeth into.
In the case of SUCCESSION Logan's own behavior is a great example of this. We never know what's going on in his head. All we have is the things he says and does, which in his case are so far from the fullness of what he's up to. And that gap not only keeps the kids spinning, it keeps us engaged.
But the choice to have him die without warning is kind of a version of this as well. Telegraphing and signposting are sometimes great, essential. But sometimes it's the gaps that we create between our signposts and story choices that create great story.
