In the Season 3 finale of The CW series Legends of Tomorrow, entitled “The Good, the Bad and the Cuddly,” the plan to vanquish Mallus by using the totems doesn’t go quite as planned, which finds the team regrouping in the Wild West with Jonah Hex (Johnathon Schaech). While Sara (Caity Lotz) and Amaya (Maisie Richardson-Sellers) are both trying to find a way to succeed with destroying the seemingly unstoppable demon, Ray (Brandon Routh) is left in charge of watching Damien Darhk (Neal McDonaugh), which can’t end well. And whatever the outcome, at least fans can rest assured that the Legends will live to fight another day, as Season 4 has already been picked up.
During this 1-on-1 phone interview with Collider, showrunner Phil Klemmer talked about how ideas evolve in the writers’ room, the way Grodd fighting Obama came about, what led to the creation of Beebo, whether there could ever be an actual Beebo toy, why they’re returning to the Wild West in the season finale, the always evolving team dynamic, what he’s most enjoyed about the father-daughter relationship between Damien Darhk and Nora (Courtney Ford), a possible new look for John Constantine (Matt Ryan) in Season 4, the challenge of spending too much time with any one Big Bad, and whether there could ever be a happy ending for Nate (Nick Zano) and Amaya.
Collider: I’ve absolutely been enjoying the show, this season. It’s been so much fun! I’m really curious if you could talk a little bit about the process you guys have in the writers’ room, as far as deciding something like having Grodd fight Obama. Do you throw out a ton of ideas before you get to that? How does that happen?
PHIL KLEMMER: Yeah, that was a funny one because, a lot of times, there’s just no limitations on what you can do on our show, and sometimes it can be a little overwhelming. For some reason, that pitch just became the keystone of the episode. Once you have one thing that you’re in love with, your blood pressure drops and you can take a deep breath and be like, “Okay, no matter what else, if we come up with not a single other thing that I like in this episode, I at least have faith that this is gonna be so much fun!” So then, once you’re able to relax and not fret over every little thing, things tend to just fall into place. I know it would seem like the Obama thing is some ridiculous cherry that you put on top of something, but a lot of times, room pitches can become on screen pitches on our show, which is wonderfully liberating. The thing that really felt like a room pitch to me was going back and meeting John Noble. That’s one of those things where it’s right on the line and it’s a very small bullseye. It works when you’re all laughing about it in the room, but then you do have a moment where you’re going to camera and you’ve already hired John Noble, and you’re seeing wardrobe pictures of him in a wig, and you’re just like, “Oh, man, was this really meant to be on TV?” But so far, so good.
When you conceived the Beebo episode, could you ever have imagined just how talked about such a small stuffed animal would end up being?
KLEMMER: No! We used Beebo as a way of healing, as a room, from the crossover. The crossovers are so immensely complicated, and we killed poor Victor Garber. We were all broken from the process and mourning, creatively. I came into the room and could just see the writers were all smiling. Someone was like, “Pitch it to him. Go ahead, pitch it.” They knew it was gonna be a hit because it had Vikings, a young Martin Stein, and an 80s toy.
Are we ever going to get an actual Beebo toy, or will there ever be more of Mick Rory’s book released?
KLEMMER: That’s a fantastic question. Actually, one of our writers, Morgan Faust, was trying to recruit people to collaboratively write a romance novel with his pen name, and we almost made Beebos for our holiday gift, this year.