Dan Fogelman’s ‘Paradise’: A Twisty End-of-the-World Thriller with a Three-Season Plan

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[This story contains major spoilers from the first three episodes of Paradise.]

It’s logical that Dan Fogelman and Sterling K. Brown would team up again for a White House-themed series, given that Fogelman subtly hinted at Randall Pearson’s potential presidency when he concluded the popular NBC family drama ‘This Is Us’ in 2022, a role played by Brown.

Fogelman’s latest series, titled “Paradise,” isn’t essentially a collection of “This Is Us” Easter eggs. In reality, the creator, executive producer of “Only Murders in the Building,” and showrunner conceived the concept for this political thriller well before the debut of “This Is Us” in 2016.

Before ‘This Is Us’ even graced our screens, an idea had been brewing in my mind – the foundation for a show I knew I wanted to develop someday. Caught up in the whirlwind of ‘This Is Us’ and ‘Only Murders in the Building’, I eventually found myself pondering what my next move would be. This concept kept resurfacing, nudging its way to the front of my thoughts. One day, I sat down and let the words flow freely. The connection between Sterling’s character in ‘This Is Us’ and this new idea was somewhat serendipitous.

The concept that Fogelman developed and later proposed to Brown – “If he declines, I think I won’t proceed with it,” he reminisces – was a plan that Brown quickly agreed to and even executive produced. On Tuesday, the first three out of eight episodes were launched, having unexpectedly dropped the premiere on Sunday. Deliberately, Fogelman didn’t wait long before unveiling the series’ major plot twist.

In the realm of Paradise, it’s like stepping into Pleasantville with a hint of Black Mirror atmosphere. I, as a gamer, play the role of Brown, a covert agent and possibly a single father of two, who starts his day with an invigorating pre-dawn run before securing the safety of a former president, portrayed by James Marsden. However, when Agent Xavier Collins discovers Cal Bradford, the president, dead in his bedroom, a series of peculiar occurrences that unfold after this shocking discovery hints at the fact that something about this idyllic suburban setting isn’t entirely as it seems.

Following this, the shocking revelation unfolds: the seemingly utopian society in Paradise is actually an underground city hidden within the Colorado mountains. This subterranean haven has been constructed to shield its inhabitants from a global catastrophe that occurred months prior, bringing about extinction on the earth’s surface. The episode concludes with a moment reminiscent of “The Truman Show,” as the true extent of the Paradise bunker is exposed, revealing Collins and all his acquaintances within it.

Without giving away too much, the following two episodes provide insight into how a billionaire named “Sinatra,” portrayed by Julianne Nicholson, constructed an enclave for the protection of the president. This makes them the last remaining hope for mankind, as 25,000 carefully chosen survivors reside there. The city’s therapist, played by Sarah Shahi, was responsible for this selection after Sinatra received a warning about an impending tsunami that would destroy civilization. Unfortunately, Collins’ wife did not make it onto the plane to this paradise city, an event he holds the president accountable for. Despite his ongoing grief, the third episode concludes with a romantic scene in the shower between Collins and Gabriela (Shahi), during which Gabriela passes on a message from the deceased president, cautioning Collins not to trust Agent Billy (Jon Beavers).

According to Fogelman, in all the thrillers where there’s a central hero, the overarching question is always: “Who can I rely on?” This is the sentiment he aimed to leave viewers pondering after the initial three episodes. As the series progresses (released weekly Tuesdays on Hulu), his grand design will unfold, aligning with the three-season plan he’s already outlined. (Please note that Paradise has not yet been officially renewed for additional seasons.) “Each season of the show is a unique tale,” Fogelman explains, “within the same narrative framework and featuring the same characters.

In a conversation with THR, Fogelman discusses how Paradise explores deep, existential fears and was released shortly after President Trump’s reelection. He also reveals his extensive multi-season plan for this gripping end-of-the-world thriller that might leave you needing tissues at the end.

In an interview with THR, Fogelman talks about how Paradise deals with profound fears and came out shortly after President Trump’s reelection. He shares his detailed multi-season plan for this tense apocalyptic drama that could make you cry in the end.)

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Did the conversation at the end of “This Is Us” between you and Sterling K. Brown about a potential White House-Randall spinoff spark the idea for the series “Paradise”?

As a gamer, it’s not something I ever pondered, even though I probably should have – the clues were right there in front of me. That is until my friend, who writes for This Is Us, sent me a text when the trailer dropped saying, “Sterling was possibly going to be President and now he’s a secret service agent.” It never crossed my mind before. I guess it just didn’t occur to me.

Did you write the role for Sterling? How did you approach him on this show?

This tale is quite amusing. The cast from “This Is Us” was incredibly endearing to me. Working with them felt like a one-of-a-kind journey, forming a connection that I don’t often experience with other projects. It ran for quite some time and we seemed to share the cultural moment, being in our late 30s and early 40s. Therefore, I have a soft spot for this cast and I’m always eager for opportunities to collaborate with each of them again.

In regards to the concept of this project, I had an idea that predated ‘This Is Us’, featuring a president and his secret service agent, along with the central twist in the plot and its aftermath. One day, I decided to put pen to paper and bring it to life. After finishing it, I consulted other writers for feedback and developed the world in which this story would unfold. Upon presenting it to the network and studio, they were intrigued and set up a TV series based on my work. The response I consistently received was, “Of course, Sterling must be involved, right?” To which I replied, “Actually, I haven’t shared this with Sterling yet. We haven’t discussed it.

Deep down, I hesitated before reaching out to Sterling about a new TV show. I didn’t want him to feel pressured or inconvenienced by my project, knowing his immense talent as an actor. But, as the days went by, I found myself constantly visualizing Sterling in this role. So, I gathered my courage and sent him the script.

As people encouraged me to proceed, I couldn’t help but imagine Sterling throughout the process. If he declined, which seemed plausible given his busy schedule, I was prepared to shelve the project. That was my mindset. But then, a miracle happened. Sterling called me that very night and agreed to be a part of it. And from there, we took things forward together.

The marketing portrayed Paradise as resembling a White House thriller, but the title suggests it might be something else. In the first episode, you unveil the major plot twist, and the following three episodes, released together, gradually uncover the enigma of Paradise. How expansive is your concept; do you envision this as another seven-season series?

In the revised version, I’ve aimed to keep the original meaning while making it more natural and easy to read. The structure remains similar, but I’ve adjusted some word choices for clarity and flow.

The original concept closely resembled the pilot’s essence. Upon completing the pilot script, I shared it with a few trusted friends who showed great interest and asked about future developments. However, I was unable to provide them with an answer as I hadn’t planned that far ahead. Before making it official, I collaborated with two potential writers and producers for the show, John Hoberg and Scott Weinger, along with my producing partner, over a three-week period. During these discussions, we consulted experts from various fields to help shape the direction of the series.

After about three weeks, I declared, “I’ve figured out my plan. The project will be a three-season series, and I have a general idea of where it’s headed. Each season has a distinct shape. I’ll tweak the pilot script to fit these new ideas, then I’ll find talented writers who can help develop the parts that I haven’t figured out yet.” Initially, I didn’t have everything planned when I wrote it, but by the time the first script was distributed, I had a clear direction for the series.

“The plotline I’ve created revolves around a catastrophic event that could wipe out humanity. A wealthy individual constructs an underground city to safeguard the president and 25,000 chosen survivors. The story unfolds as the world comes to an end and follows the lives of those in this utopia called Paradise. This concept delves into existential themes while drawing on contemporary anxieties. I didn’t plan for it to be released so soon after President Trump’s reelection or during a time when America is grappling with its future.”

(Chuckles) Unfortunately, our project has been held up by the 2023 writers’ strike and some other setbacks, making it over two years since we initially began [production]. Creating a television show from start to finish usually takes about a year. With the writers’ strike in between, an additional year was required for writing all the episodes and getting everything ready. It’s been quite a while since we first started working on it. With everything coming together now, I’m not sure what to make of it. However, there was no premeditated plan about anything, especially years ago. It just so happens that many things in the current climate resonate with our show.

Last time, we posed a question to the creators of TV shows about how they would handle storytelling during President Trump’s presidency. Despite the ominous circumstances, your programs seem to exude an unwavering sense of hope, which is quite remarkable. Is this an intentional escape from reality or a reflection of optimism hidden within adversity? Given that there is a blend of hope, trauma, and sadness in your weekly stories, what messages do you aim for viewers to carry with them after each episode?

Your question is thought-provoking and we’ve certainly discussed it extensively. I appreciate creating content that evokes emotions, and it’s important for me to ensure there’s a balance of positive and challenging themes. The current world and the show’s narrative are both complex and demanding. To address your query directly, the dance scene wasn’t intended to convey any specific message but rather serve as entertainment with potential resonance. Unlike shows like This Is Us, which often discuss its messages openly through monologues or dialogues, this dance scene is more about showing events unfold, particularly as we delve deeper into the first season and tackle heavier themes.

I’m drawn to the concept of a television series that offers suspenseful, engaging, and interactive storytelling. It would be ideal if you could enjoy it with the person you usually discuss TV shows with, as we often find ourselves immersed in different media. It seems that today’s entertainment is increasingly fragmented, with each showrunner striving to make their show stand out and attract a broader audience. It’s not uncommon for couples to lament the time they spend separately, engrossed in their phones during late nights or mornings. One often hears, “I watched that show without my partner. They were watching something else on their phone or in another room.

I aimed to create an engaging commercial production with a compelling narrative, featuring talented actors, and maintain suspense by leaving viewers wondering what will happen next without constant dialogue-based explanations. The mystery element is integral to the show, but we don’t dwell on it excessively, especially as the plot progresses.

At first glance, this series seems to share elements with both “The Truman Show” and “The Leftovers,” delving into themes of survivors’ remorse. The question arises: Is there any prospect for a world beyond Paradise? Will the storyline delve into what was abandoned?

I’ve designed a three-season structure for our show, with each season offering a unique twist while keeping the same characters and setting. The first season finale presents an unexpected development, followed by numerous plot twists throughout the season. The seventh episode is particularly special, serving as a self-contained story within the series. As we progress into the second season, we make a slight shift in direction, but one that I believe will keep viewers engaged. However, there are significant developments yet to come.

By the conclusion of the initial season, I find it aggravating when TV series tantalize viewers with unresolved mysteries and unexpected plot twists, only to leave those questions hanging at the end of each season. My aim is to serve a full-course meal within each episode for our invested audience – ensuring that any queries raised during the early episodes are addressed by the finale of the eighth episode. From there, we can introduce a fresh question and embark on a new journey to propel us into the next season.

After the conclusion of episode three, one major question arises: Who poses the greatest danger to Xavier? While there’s a growing bond with Sarah Shahi’s character, there was a foreboding hint about his friend Billy (Beavers). So, who should we trust?

Throughout these suspenseful stories, the central dilemma often revolves around: who among them can I truly rely on? Even connections that seem secure could potentially be dangerous. Is it safe to trust this new character introduced in episode three, who appears beneficial and supportive? Who is this Sinatra figure, and how does she connect with the president’s predicament? Can I depend on my team? My most trusted allies, are they trustworthy? These questions remain unanswered as the episode concludes.

In most gripping mystery series, there’s a shared trait: the protagonist must tread carefully and work solo, even if he seems to have partners. This is because he begins to suspect that everything and everyone around him might be false, including the characters on the screen. I believe this uncertainty adds to the enjoyment for viewers. During our initial screenings, we received numerous comments from the audience such as, “I’m not sure what I feel about their ending [Xavier and Gabriela]. Despite being captivated by the story, I can’t decide how I feel about them.” I think it’s fascinating to keep the audience guessing like this as we progress through the series.

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Heaven’s initial three episodes are now available for streaming, with fresh episodes premiering every Tuesday on Hulu. Additionally, the first episode will be aired on ABC on Wednesday at 10 p.m., and then on FX a week later, also at 10 p.m. on Feb. 1.

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2025-01-28 20:26