Season 3 has two traits:
- Point of No Return; Circumstantially
The events that take place in season 3 as a natural and direct result of the events that occurred in season 2.
You don’t just start all new material in season 3. Instead, you want to dig into the fallout, the repercussions, the effects of all that occurred in season 2. If you did season 2 right, then you did a lot of major stuff: your “meaningful death,” “dragonslay,” etc. The “fallout” of these events are played out in season 3.
At the end of Supernatural season 2, Azazel, aka Yellow-Eyes, succeeded in opening a Devil’s Gate right before Dean shot him. When the Devil’s Gate opened, a whole bunch of demons escaped. Season 3 is then spent trying to take out these newly escaped demons. The Winchesters spend season 3 trying to clean up the “fallout.”
But it doesn’t end there, the end of season 2 also saw Sam getting killed, and Dean made a deal with a crossroads demon to bring him back. Dean has one year until that debt is collected and the hellhounds come for him. Season 3 is spent trying to get Dean out of this deal. More “fallout.”
Breaking Bad has an interesting amount of fallout in season 3.
Season 2 culminates with the death of Jesse’s girlfriend, Jane. Her distraught father is an air traffic controller, and his grief causes him to crash two planes into each other. Season 3 plays out the aftermath of this plane crash as pieces of the wreckage literally fall out of the sky. We’ve got some literal, and metaphorical: “fallout.”
Jesse checks himself into rehab trying to deal with his grief and his part in her death. That’s more “fallout.” Walt deals with his part in what happened. He could have saved Jane, but deliberately chose not to. While he does seem to be struggling with that choice (fallout), he’s doesn’t feel any real guilt. Maybe just a debt to Jesse.
The biggest form of “fallout” we see is with the Salamancas. In season 2, Hank killed Tuco the crazy drug dealer. In season 3, Tuco’s cousins come looking for Hank, to settle the score. That’s some big time “fallout.”
You get the idea.
Season 3 is the end of the season 1, 2, 3 era. And at the end of an era, you’ll always see a “point of no return.”
The moment that closes out the era.
A way of defining what’s come before, from what comes next.
For season 3, this “point of no return” is specifically about “circumstance.”
The first 3 seasons have some kind of unifying circumstance. At the end of season 3 you need to close out this era by leaving that circumstance behind. Like graduating high school or quitting a job.
At the end of House season 3, Dr. House fires his diagnostic team: Foreman, Cameron, and Chase. Up until this point, it had been the four of them solving medical mysteries. Their partnership had defined the first era. But now that House has fired them, he’s changed everything. It’s a circumstantial “point of no return” for the show.
At the end of LOST season 3, we see a flash to the future, and learn that some of the survivors eventually make it off the island. This is a big deal for the story. The show’s narrative then transitions from the flashbacks of the first 3 seasons, to flashforwards that will be used for the next era. For the show, it’s a “point of no return” in not just the events of the plot, but also the storytelling narrative itself. Impressive work.
So when pacing your story, make sure season 3 deals with the “fallout” of what’s come before, and lands on a solid “point of no return; circumstantially” in the end.