Yellowjackets Season 3: Shocking Deaths Set Up an Explosive Finale You Can’t Miss!

by

Warning: This account reveals crucial plot twists from nearly the final episode of the third season of Yellowjackets titled ‘The End of the Story.’

The third season of Yellowjackets has been quite intense and not for the weak-hearted. In this installment of the popular Showtime series, there’s been a rampage of violence both in the wilderness during the 1996 timeline and among the adult survivors who were stranded as teenagers due to a plane crash that occurred 19 months earlier.

Unexpected deaths occurred in episodes four and second to last, with Simone Kessell’s character, Adult Lottie, discovered deceased at the foot of a recognizable staircase (previously glimpsed in season one by Lottie), and Lauren Ambrose’s Van meeting her end in episode nine due to a fatal stab wound inflicted by Adult Melissa, portrayed by guest star Hilary Swank. The final episode, titled “Full Circle,” written by Ameni Rozsa and directed by co-creator Bart Nickerson, will finally reveal the identity of Lottie Matthews’ murderer and depict how the main adult characters cope with Van’s demise as they move forward.

In the penultimate episode, wilderness guide Kodiak (portrayed by guest star Joel McHale) met a gruesome end. In an unexpected twist, his companion Hanna (Ashley Sutton) stabbed him in the eye after he referred to her as a derogatory term for betraying him. Speaking about this shocking exit with The Hollywood Reporter, McHale commented, “Given that Kodiak isn’t the kindest individual, it’s fitting that he invites such retribution when he says things like that. That was my final scene, and I only needed to do it once. We considered other offensive remarks, but we thought, ‘What could truly make this character detestable?'” McHale also hinted at the future of his character’s body.

In a surprising turn of events, Grown-up Melissa not only manages to get through her encounter with her previous colleagues unscathed but also slips away following the act of taking down Van. During an interview with The Hollywood Reporter, Swank commented that she believes Melissa isn’t following any specific strategy. “I think she’s reacting moment by moment,” she explained, “as she hadn’t anticipated doing what she did [killing Van]. I don’t believe she has given much thought to what happens next.

Ben Semanoff, who oversaw episode nine titled “How the Story Ends,” re-entered the world of Yellowjackets to direct this crucial installment of the season, following his previous work on two significant episodes: “Edible Complex,” the renowned episode from season two that showcased the cannibalistic meal involving deceased teammate Jackie (Ella Purnell), and immediately after, “Two Truths and a Lie,” which marked Ambrose’s initial appearance as Van.

In an interview with THR, the director discusses his journey directing Ambrose as Old Van, highlighting numerous intricate details from the intense penultimate episode that viewers might have overlooked. These include insights into Van’s heartbreaking demise, the importance of the pit, and his interpretations of Hanna’s true motivations as the teenagers become increasingly wild and violent in the wilderness. He emphasizes that all these elements are building towards a climactic, enlightening finale, just as co-creators Nickerson and Ashley Lyle had hinted at from the beginning.

***

Van’s passing has deeply saddened us all. Notably, you have overseen several significant episodes of Yellowjackets, including “The Edible Complex” from last season – remember when they consumed Jackie? – as well as “Two Truths and a Lie,” and most recently this one.

Van is a cherished character by all, and it appears everyone shares the same feelings. Notably, “Two Truths and a Lie” marked the first time Lauren Ambrose truly portrayed Van. Although she made a brief appearance in the preceding episode, her true debut occurred in my episode. This was an exceptional moment for me as a guest director, allowing me to shape a character – what is Van like after two decades of life? It was an enjoyable experience. Lauren and I hit it off well. Upon returning for this episode, we discussed how it was intriguing that our relationship on the show had an alpha-omega dynamic.

It feels almost symbolic that you introduced Van initially, only to have her exit now. The premiere of her death episode began with a prophetic dream sequence, which was quite evident if one knew the storyline’s direction. How was it working alongside Lauren and Liv Hewson (the actress portraying Teen Van), and how subtly did you intend to hint at what lay ahead in the plot?

Bart Nickerson and Ashley Lyle, along with showrunner Jonathan Lisco, are fantastic individuals who have given me significant trust. I’ve been fortunate to encounter numerous instances where they’ve handed me something innovative for the show and said, “Take a crack at determining what this will look and feel like.” For instance, the Jackie feast was initially written in a specific manner, somewhat barbaric, but I suggested that they should be dressed in Grecian gowns. Another example is when one of the characters engaged in self-dialogue. Shauna often communicates with Jackie, but this was a new metaphysical realm for the show, so I proposed a creative approach to explore it.

Bart approached me, expressing his eagerness about what I would create for this project. He explained that’s why they chose me for this particular episode. However, this expectation brought on quite a challenge since I had to visualize a dialogue between myself in two different states – one close to death in a hospital and the other being me. Pondering over how such a conversation might unfold was an intriguing cinematic and narrative exploration.

In the scene, perhaps my consciousness might perceive my physical self but remain silent. Instead, we see Teen Van without any spoken words, yet she hears thoughts – a unique exploration of metaphysical dimensions. As for The Goonies references, it was a delightful touch in the script and an opportunity to delve into that theme. Movies from that era hold deep significance for my family, so incorporating some of its essence into this episode and turning Van’s journey into a treasure hunt felt truly special.

For some time now, Van has been given an unexpected second chance at life due to her survival after a deadly crash. This is also the case with actress Liv Hewson, as the writers initially intended to write off Van’s character but continued to develop her role because they adored the character so much. Can you share any insights from your discussions with the showrunners regarding why Van’s days were numbered?

It’s a thought-provoking query. It seems we haven’t delved into the specific reasons why this decision is being made now. Personally, I find it intriguing for Van’s character to grapple with this notion, which goes beyond the concept of borrowed time. After 40 years of life and a belief system shaped in the wilderness that suggests sacrificing another might save oneself, this moment presents an opportunity to witness Van rejecting that identity, whether or not it aligns with reality. In this episode, there’s a recurring motif of faith. Lottie [Courtney Eaton] appears to defy gravity, symbolically walking on water by avoiding the bear trap set by Travis [Kevin Alves]. During our discussions with the showrunners, I suggested that if I were in her position, I would have tested the situation further by throwing a branch onto the trap to verify whether magic was indeed at play.

Each one of them harbors a belief that spawned from faith: it’s worth sacrificing someone to save yourself. However, after living through life, Van has realized and declared, “I don’t wish to be that kind of person, not even if it means my own demise.” I find this statement incredibly admirable for the character.

In our conversation regarding their collaboration on the show and filming their deaths, Lauren and Liv expressed that they considered themselves as protectors of the character. Which aspects or scenes were they particularly keen on contributing to and discussing with you?

You embarked on this journey not for your own sake, but to save Tai’s life – that was the purpose.

During our interaction, there was an exchange of thoughts, a debate perhaps, and it seemed like we stumbled upon a topic that resonated deeply. This point permitted the expression of feelings, yet at the same time, left room for doubt about the authenticity of the dialogue between us.

A new thought has struck me, something never considered before: at the close of The Goonies, the characters fail to secure the ship, which was supposed to be their ultimate goal – it held the treasure. Yet, they discover the necessary funds for it hidden somewhere instead. This seems to suggest an intriguing parallel; the ship itself was insignificant. What truly mattered was their quest to save their community, and they succeeded. Similarly, Van’s life wasn’t about her personal journey, but rather about saving Taissa.

Previously, we’ve encountered that aircraft. Unfortunately, when Lottie passed away, we missed the chance to spot Simone and Courtney Eaton aboard a plane. Conversely, upon Natalie’s demise, we did catch sight of Juliette Lewis and Sophie Thatcher traveling together on an airplane.

The other day, I had a discussion centered around Lottie. Unfortunately, neither of us were present at her passing. From a spectator’s perspective, we didn’t witness it unfold. However, for Nat and Van, their experiences were immediate and real. Lottie perished, and then we, as viewers, accompanied them in that moment. Nevertheless, I do feel somewhat deprived as an audience member, having missed the chance to see [the Lotties on the plane].

It seems Van’s aircraft carried a projector with three colored lights, which in the ’80s, were common on such planes. The lights projected an image on the wall for passengers to see. This detail is crucial to set the period. Perhaps Nat didn’t need this visual experience since her plane isn’t real, but rather a figment of imagination guiding us from one reality to another. That’s my take at least. I don’t think Nat will remain on that plane forever. Instead, each person’s plane might be unique, reflecting their personalities. Given that everyone takes a plane, Van, being a pop culture and film enthusiast, I thought it vital to incorporate those elements into her journey.

After hearing the wisdom from her younger self, Van’s expression suggested awe. Could you enlighten us, please… What happens beyond the veil of death? For a brief moment, grant us a glimpse of your divine perspective.

(Laughs) Let me explain, I find the TV series “Yellowjackets” intriguing because it keeps you guessing about what’s going to happen next. That’s the essence of her final look for me – “Wow, alright, so what’s happening now? If there’s something more significant than just my survival, what is it?” Frankly, I have no clue what’s coming up next.

So basically, keep watching Yellowjackets and we’ll find out.

Yeah, exactly.

Prior to the plane, your actions portrayed Hilary Swank stabbing Lauren Ambrose’s heart with a knife. The return of Melissa’s character is thrilling, and her decision to kill Van occurs after she undergoes this transformation, following the significant life changes she has made. Can you share your experience filming that scene and explain how her trauma might have been reawakened?

I adore it when people generate unique thoughts. I’m drawn to narratives that leave room for interpretation rather than providing clear-cut solutions. The foundation and evolution of the storyline revolve around the character of Mature Melissa emerging from the wilderness, instinctively feeling the necessity to disassociate herself from that lifestyle. She feigns her death, leading to an unconventional life where she marries the daughter of Hannah [Ashley Sutton], who we understand did not make it through the wilderness ordeal.

It appears that Melissa keeps her feelings bottled up until she recognizes a significant emptiness in her life. The thrill and adventure of the wilderness seem absent, so she takes a risk to revive it, perhaps unaware of the consequences. She sends the tape and note to Shauna [Melanie Lynskey], essentially daring something to happen. I don’t believe there was a premeditated plan, but I think the characters of Melissa and Shauna share similarities; they are both mothers and nurturers within their families.

In episode eight, I joined in after they had already set up much of Melissa’s home, leaving me with fewer options to contribute. Among the limited possibilities, I chose to focus on Melissa’s minivan during her escape scene. This was intended to underscore the similarities between the two characters, both of whom were living rather mundane lives.

Melissa is on a quest to reclaim something, initially unsure of what that might be, and then she encounters a moment where she could have been killed. In such a life-threatening situation, when someone stands over you with a knife but doesn’t attack, you seize the chance to act. I don’t believe one would say, “I’m relieved we’re friends again.” Instead, in the wilderness, they learn to survive and play by their own set of rules.

I’m eagerly anticipating the developments in her character’s storyline as it unfolds after she escapes. Her escape intrigues me, and I can’t wait to discover what transpires next. Working with Hilary was a blast, similar to collaborating with Lauren, where we both tried to unravel the mysteries of these characters and understand their motivations.

Did a touching moment occur between Lauren and her fellow actors following the filming of the scene where she died, which happened to be aboard an airplane? After that scene was captured, I’m curious if there was any emotional aftermath.

Instead of stating that everyone gathered and wept, I should clarify that they were absent, leaving the scene. Following this, Shauna (played by Tawny Cypress) and Taissa re-entered, discovering Van’s lifeless body. However, we filmed their entrance and the discovery separately. In fact, Lauren’s final scene with Tawny was administering oxygen to her character. This moment was truly touching.

After the airplane scene, we had a heartwarming wrap party where everyone reminisced and shed tears. It was fitting for Liv and Lauren to embrace and bid farewell together.

Prior to Van rescuing Taissa, she experiences a dream battle with her alternate self, “Other Tai.” While all these grown-ups suppress their past traumas, only Taissa has this other persona that emerges when the burden becomes unmanageable. Can you describe that fight? Does Good Tai triumph when she wakes up? Has Bad Tai vanished forever now?

Before Van saves her, Taissa dreams of fighting with an alternate version of herself (Other Tai). Unlike the adults who suppress their past traumas, only Taissa has this other persona (alter ego) that appears when things get too tough. Can you explain what happened in that fight? Does Good Tai win when she wakes up? Is Bad Tai gone from now on?

In the whirlwind of gaming, they condensed that vivid dream scene quite a bit. Originally, Good Tai was supposed to be battling Bad Tai in that dream sequence. However, when I woke up with an oxygen mask on my face and murmured “She’s gone,” it meant I had defeated Bad Tai – the darker side of myself that had been controlling me throughout most of this season.

From the get-go, Bad Tai seemed to be lurking in the shadows. If that dream scene had unfolded a bit more, perhaps we would have caught a clearer glimpse of her presence. But I believe deep down, Bad Tai has always cared for Van. It’s not about their feelings towards Van, but rather how they express and act upon those feelings. Both Good and Bad Tai care for Van, but the methods they use to show that affection differ significantly.

In this episode, there was the Shauna-Melissa arm bite scene, and it had one of the most gruesome cannibalism sequences we’ve witnessed since the Jackie feast that you directed. Many cast members expressed feelings of nausea while filming. With such intense cannibalistic scenes under your direction, have you become the expert in Yellowjackets cannibalism?

(Laughing) Indeed, that’s an accurate assessment! I hadn’t given it much thought before, but the “Jackie-fruit” scene was quite intense. Honestly, nothing else has come close to matching that sequence’s intensity. In the real world, gagging – oh, those poor girls! They were truly resilient. Our time together, with Jonathan, Bart, Ashley, and the entire crew, was simply marvelous. I eagerly looked forward to returning for more this season, but unfortunately, my schedule didn’t allow it. Instead, I found myself engrossed in another project titled “Black Rabbit” for Netflix, which I’m quite thrilled about. When my availability began to dwindle, I believe they wanted to place me in a significant episode, as “Edible Complex” and “Where the Story Ends” are crucial episodes due to their complex storylines and the need to give each one the attention and thought they deserve.

Hilary Swank told me that she and Melanie Lynskey did their own stunts for their fight sequence.

In my view, they executed every stunt flawlessly, and I believe it was them performing most of the action sequences. However, for the scene involving the jar-throwing, we brought in an additional stunt person for a second take, as Melanie’s throw looked more convincing to me. My aim was to create a sense of authenticity in the fight scene, making it appear like two real women engaged in a fierce wrestling match, complete with hair-pulling, falls, and even jar-throwing. Their agreement to perform the majority of the stunts significantly enhanced the overall impact of the scenes.

Jonathan Lisco, the co-showrunner and director, could provide a neuroscientific explanation for the effects of consuming one’s own flesh on the brain. Is it possible that when Melissa is compelled by Shauna to eat her own skin, this act triggers a psychological response in her?

It’s fascinating that you mentioned this, as I found myself pondering the same topic just now. Was the instant when the piece was placed near her face the exact moment she recognized, “This is what I’ve been wanting all along”? Indeed, there seems to be a sense of contentment in her actions while consuming it, which initially seemed unusual but then appeared to turn into enjoyment. Hilary does an impressive job portraying that scene, as it genuinely looks like she’s savoring the piece! Therefore, it was quite surprising when she suddenly spit it out. However, it’s possible that she’s been a vegetarian all this time and the proteins triggered some response in her!

In this episode, another surprising event occurs when Hanna fatally stabs Kodiak, played by Joel McHale, by hurling a knife into his eye (you’ll find out what becomes of him in the finale). The enigmatic frog scientist, Hanna, is certainly full of mysteries. Is she genuinely intrigued by their activities, or is she merely using them for her own survival and to reunite with her child?

Through numerous discussions on this topic, it appears she initially seemed fragile and feeble, even before my occurrence. During the incident itself, she remained slightly frail. In the scene where Mari (Alexa Barajas) and Nat (Thatcher) guide her into the forest, she continues to feel apprehensive and weak. So, one might wonder if there’s a sudden change of heart? Could it be that she is infatuated by these teenagers?

There’s a moment where it seems like she might be expressing casual interest in observing Kodi and the girls, but I’m not convinced that’s her true intention. Instead, I believe she senses that Kodi isn’t their salvation, and he won’t bond well with these teenagers, which isn’t a viable escape route. If she hopes to have any chance of returning, she needs to win over these teenagers. And the best way to do that is by imitating the behavior of a leader – in this situation, she’s trying to act like one.

It seems this situation calls for a decision for her. With this man using vile language and revealing his true self towards her [by calling her a derogatory term], a teenage girl, who plays the role of a leader [Shauna, portrayed by Sophie Nélisse, armed with a gun], emerges. In this moment, she might internally ponder: As a mother, if I’m to ever return home safely, I must prove my worth within the tribe. And so, she turns and swiftly retaliates by striking him in the eye.

So you think she’s a lot smarter than we give her credit for.

Exactly. And I’m really excited to see what comes with the Hanna story.

The rift between those who yearn for rescue and those content in the wilderness widens even more. The character of Teen Nat (Thatcher) experiences the greatest turmoil when their plan falls apart, which is intriguing given her background – a home from where one might assume she’d eagerly escape. What impact has the wilderness had on Nat, and why do you end the narrative with her tears as snowflakes descend, hinting at the arrival of another cold season?

Indeed, she’s incredibly resilient. You see, she had a challenging upbringing marked by abuse. However, those who endure such hardships and find their way out, they do so because life holds a profound appeal for them. They yearn to live and break free from the shackles of abuse. I believe it’s this same determination that fuels her desire to return. She miraculously survived the abuse, only to be confronted with the possibility of death – being stranded in the wilderness when we had a chance to go home. It seems she feels powerless, trapped once more, but without the resources to escape. She knows what’s approaching – another harsh winter, a repeat of the terrifying one that preceded it.

As a gamer, I found it fascinating to watch Travis (Kevin Alves) constructing the pit during season three, which is an essential part of the “Pit Girl” scene’s origin story that kicked off the entire series. Figuring out how they made Lottie appear to walk on water in this scene was quite a challenge!

As a gamer, I appreciate the captivating blend of narrative, visuals, and audio in filmmaking – they’re all crucial elements that work harmoniously. This intricate dance between them really stands out to me. So, what moment did you realize this harmony was your ‘sweet spot’?

Didn’t I pause for a moment before realizing that was the hole where Mari tumbled at the start of the season, due to Coach Steven Krueger? Was it Travis who subsequently discovered this hole and rebuilt it?

In a forest, it can be challenging to identify specific landmarks that mark a precise location as being repeated. However, he is indeed adding more soil to the same pit. These instances are fascinating because they spark curiosity and discussions. Questions like, “How high are those spikes?” or “Was there a foot of snow at the bottom of the pit in the opening scene?” arise. It’s all about finding ways to unveil information and provide that sense of accomplishment for the audience.

We were curious about watching Travis construct something. Initially, you might not understand what’s happening. He seems to be creating a thicket or a trap, but it’s unclear. For me, capturing the moment of him arranging sticks is crucial and makes for an impactful scene. Peering into the pit doesn’t evoke much emotion — gazing up at this determined teenager who yearns to free Lottie from the wilderness and eliminate the false prophet does. Standing above it and unveiling the sharp spikes was a powerful and challenging shot to capture.

So Travis did really want to kill Lottie, and then fate had other plans?

Indeed, it appeared that was his sole exit strategy. I believe he might have found her actions a bit distressing. He attempted to distance himself from the discomfort by suggesting Akilah [Nia Sondaya] as an alternative. “Observe,” he said, “Akila is more knowledgeable about the wilderness than I am.” However, he soon recognized that the distraction was insufficient, for now Lottie was obstructing their flight. This charlatan was persuading everyone to remain in the woods. I suspect he harbored a strong desire to end her life. What prevented him might have been her apology and sincere effort to clarify her intentions, which were, as she explained, “I was merely trying to aid you in grieving for your brother and father, and assuring you they are still with us.

After my father’s passing, grief has been a heavy burden. The apology Travis received from Lottie seemed to be the moment that made him understand, “Ah, I don’t have to stick to this plan anymore.” However, things quickly spiraled out of control for him, and it seems like he may have rebuilt whatever it was too powerfully. I can’t say for certain what caused it, but it appears she won’t die as a result.

It’s unfortunate when multiple episodes need to be combined due to production constraints. The episodes are often rich with engaging plots and well-crafted scenes, such as Travis’s scene where he was contemplating whether to burn a log or give credence to superstition while sitting drunk.

In this example, I’ve replaced the more formal “consolidation” with the simpler phrase “combine multiple episodes,” and rephrased the specific scene description for clarity and flow.

In this series, the main query revolves around the mythical aspects of nature versus real-world traumas. This season has provided many answers, hinting more toward the latter. Following your role as director in a key episode, where do your thoughts stand on this matter?

The situation remains unexplained, but I believe that’s the essence of faith and conviction. Reflecting on my father’s passing, one is often seeking solace and a way to comprehend the incomprehensible, aren’t they? The teenagers in this wilderness scenario were searching for explanations as well. They felt compelled to rationalize the terrible actions taken to ensure survival.

So, instead of admitting, “We need to survive, so we’re going to eat each other,” they attributed their actions to something else. They said, “It made us do it. We survived and nourished it, so there must be an ‘it.’

However, no one has been able to definitively pinpoint or verify it. It persistently lingers, creating a mysterious undercurrent that accompanies them as they try to elucidate other aspects of their stories. To me, this enigmatic quality is what makes the show so captivating. While Jonathan, Ashley and Bart might be devising a way to clarify “it” by stating “it is this,” I believe leaving it unexplained adds to its charm. Whether the viewers share this sentiment or not is another matter.

In the past, I collaborated on “The Leftovers” alongside Damon Lindelof. He’s well-known for having worked on “Lost,” a series that left some questions unanswered, or at least tried to provide answers that weren’t met with universal approval. Despite frustrations about not knowing the answers, I believe we all need something to hold onto, as life can be challenging to navigate without it. Could there be a higher power watching over us? Is my actions justified?

As we approach the final episode, it’s clear that Misty (Christina Ricci) has uncovered who murdered Lottie by the end of the second-to-last episode. However, viewers are still left in the dark about this revelation. In other words, all the clues and events in this particular episode culminate in a thrilling, unexpected twist for season three’s conclusion.

In this particular episode, our aim was to wrap up certain narratives dramatically while also setting the stage for future episodes. Sometimes directors can become tense when they’re focusing on establishing that foundation. However, if I can keep you engaged during this process, it makes it all the more thrilling. I believe we manage to achieve that balance well by portraying the evolving relationships that will eventually face a climactic end [in the finale]. The finale was quite surprising and maintained an element of mystery until its conclusion. During the filming of this episode, there was a point where I had to lean over to someone, possibly Ashley, and express, “I think I need to know what happens next.” They shared the information with me, and my response was, “No!

***

Yellowjackets concludes its third season this Friday, but if you miss it, catch the replay at 8 p.m. on Sunday night on Showtime. Keep up with all of THR’s season coverage, interviews, and our post-episode discussion with Lauren Ambrose and Liv Hewson for a deeper analysis.

Read More

2025-04-10 21:28