Steven Soderbergh’s ‘The Knick’ Season 3 Idea Will Make You Even More Angry It Was Cancelled

     July 7, 2017


The Knick still stands as one of the most impressive accomplishments on the small screen in the Second Golden Age of TV, and it’s a shame the series didn’t get more recognition. Filmmaker Steven Soderbergh spearheaded the 1900-set Cinemax drama series, directing every episode of its two seasons while also serving as the cinematographer and, for the most part, camera operator. Soderbergh’s use of natural light and single camera made for a dizzying, hypnotic viewing experience, and his work is so integral to the show that I still contend he deserved a notice for Best Supporting Actor.

Alas, the show was cancelled after the conclusion of its season season, but Soderbergh had big plans for reinventing the series should it move forward. After the shocking season two finale, Soderbergh revealed that the idea was to reboot the series every two years with a new setting and cast, and possibly a new filmmaker putting his or her own stamp on the material. He developed a pitch for Seasons 3 and 4 to Cinemax, but the network wasn’t buying it and has since moved back into genre territory for its original programming.


Image via Cinemax

But during a reddit AMA for his upcoming heist comedy Logan Lucky, Soderbergh revealed just what he had planned for Season 3. But fair warning, it’s gonna make you mad:

Season three of THE KNICK was set in 1947 and was going–at my absolute insistence–to be shot in anamorphic black-and-white. It’s POSSIBLE that may have contributed to its demise…

Told you! Doesn’t that sound incredible? Admittedly it’s not surprising that Cinemax didn’t spark to this idea for the low-rated series, but still, the mere possibility of that time period and aesthetic is tremendously exciting. Soderbergh answered another question, elaborating a bit on his time on The Knick and admitting his trepidation going in:

I miss everything about working on THE KNICK. I was terrified before we began because the schedule was so aggressive, but we found a rhythm very quickly and even though both seasons were shot in 73 days, the second season seemed to go REALLY fast. I think I wasn’t aware of how much psychic space was being taken up CREATING the universe in season one, so in season two i was able to put that extra brain space to work on thinking of different ways to lay out shots…

The full AMA is worth checking out, and while I’m thrilled that Soderbergh is back making movies, it’s a damn shame that The Knick is no more.