“Ocean’s 75 Plus” Mike Schur Talks Season 2 of ‘Man On The Inside’

At then end of Season 1 of Netflix’s Man On The Inside, Charles Nieuwendyk (Ted Danson) had a new lease on life as he navigated the grief of losing his beloved wife Victoria and bonding with his daughter Emily (Mary Elizabeth Ellis). He’s now an official private investigator trainee after solving a case at Pacific View Retirement Community and finds hope and happiness in life again.

Showrunner Mike Schur spoke with Creative Screenwriting Magazine about what Season 2 holds for Charles. This time, he’s going undercover at Wheeler College to solve a new case. Schur describes him as somewhere in between Mr. Bean and James Bond. This dynamic makes Charles humurous in his detective work by constantly being thrown off his game.

Could you provide some insight into how many of the ideas that emerged for the second season were discussed during the development of the first season?

There weren’t a lot of ideas that we had solidified or planned out during Season 1 that made their way into Season 2. However, there was one idea that became a significant theme throughout the narrative — the concepts of love and loss.

Mike Schur

During the creation of the first season, we continuously focused on the story of a man in grief, who has lost someone he loved deeply. The narrative journey was centered around his struggle to process that loss and navigate the feelings of sadness and isolation. We wanted to explore how one could emerge from that emotional darkness and raise the question of whether he could open his heart again to new romantic possibilities. We kept this theme in the back of our minds while developing the first season.

I think the goal of the show when it talks about grief, is not to offer a cure, but to offer path through it.

It sounds like that theme really informed the overall direction of the series. How did you hint at these romantic developments in the finale of Season 1?

There was a point where we almost concluded Season 1 with a hint at Charles’ potential new romantic endeavors. We envisioned a brief scene where he might be set up on a date or receive an offer for an introduction to someone new. However, we ultimately decided against that. It felt too rushed and would have diminished the emotional weight we wanted to maintain throughout the first season.

We chose to allow the character’s journey of grief to play out fully, focusing on the nuances of his experience rather than introducing a romantic subplot too quickly.

Before the first season aired, we had conversations with Mary Steenburgen (who plays Ted’s love interest Mona in Season 2) regarding her joining the cast. We referred to Mona as the happy existentialist, where she just lived moment to moment. We were upfront about wanting her in the role of a woman who eventually helps Charles realize that there is still space in his heart for love, even though he’s a planner and lives his live by spreadsheet. He needs to become more spontaneous and Mona is a sort of rocket booster engine that lets people do, say, and experience things that they never would have otherwise.

Were there other ideas or concepts you spoke about in terms of future seasons?

Yes. While many of our ideas were still developing, there were definitely some vague concepts we had in mind. I recall we briefly discussed the possibility of Charles going undercover as a professor, which fits his background really well. This idea added an interesting layer of complexity; he has that history and it could provide compelling storytelling. However, the primary concrete idea we carried into Season 2 was our desire to infuse a more uplifting and cheerful tone into the narrative.

We wanted Season 2 to feel brighter, sunnier, and funnier while still retaining the emotional depth that characterizes the series. Structurally, this shift in tone made sense, especially when you consider where we left off in Season 1. By the last episode, Charles finds himself more stable, having secured a job again; he’s not simply drifting through life in retirement anymore.

This approach was very deliberate and is a fundamental aspect of storytelling in the series. The first season focuses heavily on Charles’s isolation and the profound loneliness he experiences — a day spent in silence away from everyone. The heart of this narrative lies in his gradual recovery and the rediscovery of community and companionship through this job he takes.

Mona (Mary Steenburgen) & Charles (Ted Danson). Photo courtesy of Netflix

As we look toward future seasons, including Season 2, it becomes increasingly important to understand that those characters he formed connections with in the previous season at Pacific View did not simply vanish from his life. It would seem almost heartbreaking to consider that he waves goodbye to everyone without any lasting significance.

I specifically remember pushing this idea in the writers’ room early on; we needed to show meaningful moments that reaffirm these friendships. For example, we had a strong desire to illustrate Charles and Calbert (Stephen McKinley Henderson) sharing a game of backgammon together. It’s a small yet significant scene that underscores their friendship, exhibiting how vital that connection has become in both their lives. Charles does not forget about Calbert or his other friends including Elliot (John Getz), Virginia (Sally Struthers) and Grant (Clyde Kusatsu); they matter to him, and we are determined to carry that emotional continuity forward.

We wanted these relationships to continue evolving and not simply be something Charles left behind. Though Calbert is perhaps the most prominent character, we knew we had to find creative ways to include the entire ensemble from Pacific View.

This is where our brainstorming led to the heist episode, set to take place at a college reunion. The setting offered the perfect opportunity for these beloved characters to return to the narrative. It allows for both comedic interactions and sentimental moments, creating a layered and dynamic story.

At one point, a writer jokingly suggested we should frame the episode like Ocean’s 11, and then another chimed in and proposed the title Ocean 75 Plus.

Describe the deeper parent/ daughter exploration between Charles and Emily and Vanessa and Julie.

It was a big revelation. When we started talking about themes and ideas from the first season that we could drag with us into Season 2, one of them that really mattered was Charles and Emily having a slightly fractured or tricky relationship. It’s a theme that matters to me a lot because I’m exactly in that sandwich generation where our parents are aging, but our kids are coming up from behind us. You’re sort of trapped between these two generations.

Chalrles (Ted Danson) and Emily (Mary Elizabeth Ellis) Photo courtesy of Colleen E. Hayes/ Netflix

We didn’t know anything about Julie’s (Lilah Richcreek Estrada) backstory, who she was, where she came from. So, we realized that one way to do this was to transfer the energy of the adult parent and adult child relationship. We can just shift it over and tell a different story with Julie and her estranged mom Vanessa (Constance Marie). What was really fun about that from a writing standpoint is that there are moments, especially in the Thanksgiving episode, where that relationship collides with Charles and Emily who lived through it last year. Charles and Emily are past that now. They’re in a different phase. Each gives their counterpart a little bit of advice or even just a pat on the back. It’s gonna work out.

What are your final thoughts on  the show?

This season, we plan to delve much deeper into the backstories and motivations of various characters. We aim to provide a richer context, allowing audiences to develop a holistic understanding of their identities and the factors that drive their actions. Many times, the humor we incorporate is a reflection of these backgrounds, and gaining insight into these arcs will enable audiences to connect with the characters on a more profound level.

I’m enthusiastic about exploring the theme of second chances, not only in romantic contexts, but also in friendships and family relationships. This theme resonates deeply with our characters, especially for Charles, who is learning to embrace new connections as well as working through his past.

As he opens himself up to potential new friendships and love interests, he must also confront the complexity of his existing familial relationships. This juxtaposition creates opportunities for growth and leads to meaningful character development. The interplay between these experiences will serve to highlight the reality that life is rife with possibilities for renewal, sometimes arising when you least expect them.

We are deeply committed to preserving the spirit of Season 1 while allowing our characters and storylines to grow organically. The foundation we established in the first season is solid.

Our goal is to provide a sense of continuity while also taking creative risks. We want to push the boundaries of our characters and explore different relationships, embracing change while remaining true to the heart of the series.

[More: Mike Schur on Season 1 of Man On The Inside]

by Staff Writer

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