SPOILER ALERT: This interview contains spoilers from Season 3 of “The Lincoln Lawyer,” now streaming on Netflix.

“The Lincoln Lawyer” amps up the action for the third season of the popular Netflix show, culminating in two dramatic episodes that might leave viewers in shock. Defense attorney Mickey Haller, played by Manuel Garcia-Rulfo, also finds time to dabble in romance with his courtroom opponent from Season 2, Andrea Freeman (Yaya DaCosta), attempt to work on his relationship with his daughter Hayley (Krista Warner) and ex-wife Maggie (Neve Campbell) and mentor newly-minted attorney Lorna, played by Becki Newton.

Season 3 follows the events of Michael Connelly’s Lincoln Lawyer mystery “The Gods of Guilt,” and it’s an apt title for a season that finds both Haller and Freeman wracked with regret over some of their fatal decisions. The season revolves around the murder of Haller’s client Glory Days, who he became close to when defending her in Season 1. As he attempts to figure out what happened, he ends up representing her accused killer and getting involved with a dangerous cartel.

Variety spoke to showrunners Dailyn Rodriguez and Ted Humphrey about Haller’s guilty conscience, the pivotal final courtroom scene and how the show organically incorporates Latino representation.

When Mickey’s new driver Eddie Rojas is killed, he’s wracked with guilt. How does that affect his life? And will he ever really quit like he keeps threatening?

Ted Humphrey: Quitting is a theme that runs through all the books. His whole job lives in a moral gray area — he helps people who sometimes are not particularly great people, and he uses every means at his disposal to do that. It is this constant struggle with Mickey — does he have it in him to keep doing this? This season, it gets amped up because of the personal guilt that he feels, and how hard is it for him to juggle being a good dad but also be a tough defense attorney.

What’s the state of his relationship with his daughter in this season? Since Eddie Rojas was her friend, is he struggling with guilt over his job even more?

Humphrey: I think he struggles with it very season, because she calls him on his bullshit. This season, she’s starting to realize the importance of what he does, and maybe even wanting to follow in his footsteps. There’s always going to be that struggle, that contradiction.

Dailyn Rodriguez: Just practically speaking, he’s a workaholic, so it’s always difficult to parent when your entire life is your job. And I think that’s probably a lot of what happened between him and Maggie too.

Do you think there’s another chance for Mickey and Andrea to get back together? It seems like there’s unfinished business there.

Rodriguez: Never say never, right? The most significant relationship in his life will always be Maggie. He will never 100% get over that relationship. Mickey is a complicated person, because he grew up with a very wacky mother that that was not the most stable, and his father was a womanizer. He has a little bit of both his parents, which creates a problem when it comes to his relationships.

Humphrey: On a purely blunt storytelling level, stability in relationships doesn’t make for good drama.

What do you think of the fact that once again, he’s dating a fellow attorney?

Rodriguez: If I were Mickey, I would stop dating lawyers. I’m married now, but I didn’t really date writers before that for the same reason.

Speaking of ex-wives, in this season, we see Lorna becoming an even bigger part of the show. Can you talk a little bit about her trajectory?

Rodriguez: Lorna was always devised to be a combo of two characters in the Michael Connelly ‘verse: the Aronson character, whose name is Bullets, and Lorna, the ex-wife. So the idea was to combine those two characters into one.

Humphrey: She is coming into her own as a lawyer. It’s giving us opportunities to come up with different stories for the character that help us expand the world of the show, which is great.

Lorna has always been a flashy dresser! But now that she passed the bar, her outfits are even more eye-catching. How much of that was in the script?

Humphrey: It was dictated by the script that this was a very particular sort of person who dressed in a very particular way. But then I have to give credit to our costume designer in Season 1, Lindy (McMichael), and to Becki Newton, who plays Lorna, who between them came up with a look for this person which then just popped and worked. And then our current costume designer, Beth Morgan, took that and ran with it, and has even expanded it.

Rodriguez: They really found the sweet spot for her, so that she looks professional, but still has her personality.

The show incorporates so many L.A. restaurants, from Cole’s to Din Tai Fung to Nobu. Which of you is the big L.A. foodie?

Rodriguez: We both are, actually! Most of the writing staff is. Mickey’s a bit of a foodie in the book, so we’ve sort of taken it and moved the dial to 11. It’s one of my favorite things about the show, that the show really can shine a light on how great the food scene is in L.A., how diverse it is, how people can get passionate about their likes and their dislikes.

Michael Connelly’s books have a great flavor of the city, of course, but how do you bring that to the series?

Humphrey: Season 1 was conceived and written and filmed during COVID. It was still back in the days when everybody was wearing masks and face shields, and you had Zone A and B, and it was all very draconian in terms of how the set operated. I remember one of our Netflix executives saying that the show felt to her like a love letter to the city of Los Angeles, and it was a city that needed some love at that moment. We were very adamant from the beginning that the show had to be shot in Los Angeles. This wasn’t something where you could shoot in Vancouver, and just fake it.

Rodriguez: I think also we’ve done a good job of shooting the stuff that you don’t normally see. When you think of L.A., you think of Beverly Hills. You think of Malibu, which we have shot, but we’ve also shot a lot of the Eastside: Echo Park, Silver Lake, Downtown, Eagle Rock, Pasadena. We’ve really tried to show different parts of Los Angeles that aren’t normally celebrated, because it’s such a great city and all of its neighborhoods are so unique.

“Lincoln Lawyer” follows in a great tradition of L.A. shows like “The Rockford Files.” Did you look to any of those for inspiration?

Humphrey: I love all those shows, especially “The Rockford Files.” When those shows were shot in L.A., that’s what you did because it was cheaper and easier. Now it’s the opposite. Now you have to go out of your way and spend money to shoot in L.A., and yet, it’s just so worth it.

Mickey has been dealing with Glory Days and his guilt surrounding her for a while now. But this season, he’s really driven to solve her murder. Does that finally bring him closure?

Humphrey: He finds some closure, yes, at the end of the season. If you’ve seen the last episode, you know that, as is typical for our show, that closure is unfortunately pretty short-lived for him.

Rodriguez: He’s got so much guilt in the beginning because he thinks maybe had something to do with her death. By the end, he realizes it’s not his fault, but he still owes her, in his mind, the justice to put away the people that actually killed her, and not an innocent man.

How does Mickey deal with that guilt?

Humphrey: If you said to him, ‘Hey, is your job to find justice?’ He would laugh at you, and say, “No, my job is to get my client off. I don’t care what they did.” Typically, the people who have done something wrong get what they deserve in some way at the end the book, whether that’s at Mickey’s hands or not, or by some way that he’s put something in motion or not, right? It’s very meaningful to him that he’s uncovered some really bad people in positions where they’re supposed to be protecting people, and instead are doing the opposite, and has helped bring them to justice one way or another.

What keeps him going? Why does he keep coming back even after he says he’s leaving the job?

Rodriguez: I think part of it is his daughter saying, “You can’t quit.” He needs that person cheering him on. It was a big deal for his daughter to make that change. I think that was very effective for him. Ultimately the realization that Julian Lacoste needed somebody in his corner and needed retribution for what was done to him, that galvanized him to continue.

Near the end, we see the ghosts of some of the people close to Mickey who have died, which is a little different tone from the usual hard-boiled action. How do the ghosts guide him?

Humphrey: The book is called “The Gods of Guilt.” The final episode is also called “The Gods of Guilt,” although he sees the ghosts first in the episode before that, which is called “Ghosts.” The whole concept of the gods of guilt in the books is that they’re the jury. In this particular book, at the end, there’s this very philosophical passage where he talks about how his own personal gods of guilt are Maggie and Haley and his dad and Glory Days and the people who are in his own personal jury box that he makes his case in front of every day. And so we saw the ghosts as a way to dramatize that and bring it to life.

Let’s talk about the dramatic final episode. When the investigator, Bishop, stunned the viewers by having a second concealed gun and shooting himself in the courtroom, is that how it went down in the book as well?

Rodriguez: Out of the three seasons, I would say that this adaptation is the closest to one of Michael’s books. In my opinion, it’s the best of the series. I remember reading it and just being shocked by it when I read it. So I knew at that moment, that when we adapted this, it was going to have the same effect when we actually shot it.

Humphrey: We’ve been building to this moment. That’s not to say there there are not other great moments that will come after this, because there are, and we’re already plotting those for the next season. But there are certain things that had to be set in motion in Seasons 1 and 2 to make this moment work — the relationship with Glory Days for one, so there was a patience to building to that. I had the opportunity to direct that episode, and it was a challenge, but also kind of an honor to bring that moment to life.

What was it like shooting that scene?

I have to give so much credit to Holt McCallany, who plays Bishop — that was such a tour de force performance in that final episode that it was almost like, turn the camera on and get out of the way and just let this guy do what he’s doing.

That courtroom scene is the longest courtroom scene we’ve ever done. It took three days to shoot that scene, and we ran through it again and again and again, top to bottom, from every different angle. He had to do that 50 times, and every time brought tears to your eyes. Every time was heartbreaking.

It was Manuel Garcia-Rulfo’s first time starring in an English-language show, but his casting seems appropriate for an L.A. show. How does the cast reflect the city?

Rodriguez: One of my favorite things about the show is that I think our show represents the population of L.A. really well, and it’s very important for me as Latina to to make this show as diverse as Los Angeles is. We also have a really diverse crew, staff and actors.

Was that something you wanted to build in from the beginning?

Rodriguez: I think that the problem sometimes we have with shows that have Latino leads is that it becomes a Latino show, but we want this to be a legal show set in L.A. And the reality is that’s just what L.A. looks like. Manuel is so wonderful, and so effortless in this part, and he’s a bilingual Latin man who is an attorney in Los Angeles, and he feels real to me. Every interaction he has with other Latinos in the courthouse feels real, but it’s not just Latino. We’ve cast a lot of Black actors, Asian actors, we cast a lot of actors over 60 because we have a lot of judges. We have a disabled actor, we have LGBTQ characters. We really are trying to show L.A. for what L.A. is and the reality of living here.

Was it your idea was it to cast Elliot Gould as kind of the elder sage?

Humphrey: It was mine, but not just mine, it was probably a group decision at the time of Season 1. A big inspiration visually for the show is a lot of L.A. noir like “The Long Goodbye.” So we’ve kind of visually taken that as a template, and so it made sense to cast him. We love talking to him about “The Long Goodbye” on the set.

What are your other inspirations for the series?

Humphrey: “Chinatown.” Other great L.A. noirs.

Rodriguez: I think that we pull a little bit from Elmore Leonard, the humor that he uses. Sometimes I feel like “Oh, this is our ‘Out of Sight’ moment.”

At the end, there’s a real cliffhanger when Mickey’s finally getting out of town. We’re so happy for him that he’s taking a little break, and then the cops pull him over. Can we expect that the next season will take on Sam Scale’s murder?

Humphrey: The only way to up the stakes on this season was to make Mickey the client, which clearly was the idea Michael had in the books as well.

Rodriguez: Season 4 is based on “The Law of Innocence,” and it’s all about Mickey being accused for Sam Scales’ murder. So that’s the next book we’re adapting.

This interview has been edited and condensed.