Showrunner Dave Andron breaks down the character-focused series finale of the FX drama about the origins of the crack cocaine epidemic.
“For all of the show’s aspirations and its geopolitical reach, it started on the street with a kid who was full of potential in a neighborhood that was just a working-class neighborhood on a summer day,” showrunner Dave Andron tellsof ending the series on Franklin. “And we always knew that the story, as much as it was about a lot of things, was about the transformation of this neighborhood.
Andron, who wrote the final and penultimate episodes, explains why the series finale focused mostly on Franklin, why the lead character shut down after Teddy’s shocking murder and what the still-proud son has learned through his years in the drug game as well as what life looks like for Louie , Leon and Oso, some of whom get happier endings than others.
I’m sure that at some point early on. I mean obviously when you go in to pitch where you show is going, you want to have some sense of where it’s going to land. You know [a show like this is] not going to end well. And then again you only have so many options. And I’m sure at some point early on, somebody was like, “Well, he could always end up like his father.” We ended the pilot with him seeing his father out the window of a car.
I think, for me, to go through that, because I believe he’s still aware of the power of the CIA and I think once Teddy is murdered by her in public, first, I think he’s got to worry about himself. He could easily be arrested for this. Havemyer gives him one out. And Franklin doesn’t really have him in that moment to formulate a plan. I just think the betrayal of Cissy killing Teddy like that cannot be understated, what it would have done to him and how hard it would have been to recover.
You know you just put together a writers room of really smart people, and you try to keep track of it and get through it the best you can. Episode eight was where it felt the most daunting to me. Like here are all of the pieces on the board and we need to organically get everything to this reversal where you think Franklin’s cooked and then we flip it.
We wanted to communicate that she had had to kind of go to a distant place to get away to really try to escape and start over, to the extent that you’re able to, and also in short amount of time to communicate that this is not like she gets a happy ending, like “Oh she’s out on this ranch and she’s working with horses. These people there kind of look after her.” No, no, no, she’s wanted by the DEA. They have the picture. They’re always going to be after her.
It always felt like a story point that we wanted to find a way to come back to because it happened so suddenly and was so jarring to Franklin. There were so many questions around it and so when we started to think about how and when could that come back into Franklin’s life. It felt like to come back towards the very, very end of the finale would be a) so unexpected and b) there’s a real kind of hope to it.
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