LOS ANGELES >> Bill Lawrence has been around long enough to hear the comedy, the multicam sitcom — everything, really — declared dead. And for just as long, he’s kept his head down, making shows like “Spin City,” “Scrubs” and “Cougar Town.”

Over three decades and various Hollywood business models, he’s experienced good times and bad.

But these days, Lawrence is very squarely in an upturn.

“I didn’t expect to have a career renaissance at 55,” he says at his office on the Warner Bros. lot in Burbank.

Just summarizing his full plate leaves little doubt. There’s “Shrinking,” starring Jason Segel as a grieving widower and therapist who takes an unconventional approach with his client and those in his orbit, including his grumpy mentor, Paul, played by Harrison Ford. The Apple TV+ series, which Lawrence co-created with Segel and Brett Goldstein, recently concluded its second season and has been renewed for a third. There’s also “Bad Monkey,” an adaptation of Carl Hiaasen’s novel starring Vince Vaughn that launched on Apple TV+ earlier this year and was recently renewed for a second season, and a forthcoming campus-set HBO comedy starring Steve Carell, which revolves around an author’s complicated relationship with his daughter.

Then there are the shows many thought were over for good. After years of being asked about a reboot of “Scrubs,” his NBC medical comedy starring Zach Braff and Donald Faison that ran from 2001 to 2010, one is finally in development, with Lawrence attached as an executive producer.

Taking a break from the writers room of the Carell-led series, Lawrence sat down with The Times to discuss “Shrinking’s” season finale, what finally got him to revive “Scrubs,” and whether television can get back to its days of making stars.

Q: Season 1 ended with a cliffhanger, literally. This season’s finale feels like an emotional cliffhanger, with the start of some closure for Jimmy with Louis, the person responsible for his wife’s death.

A: We wanted to use the ending of the first season to set people up to think that something very bad was going to happen at the end of the second season. That’s why we had bad things happen to Brett Goldstein’s character, Louis — had him at the train station with Alice [Lukita Maxwell] talking about how he’d had bad thoughts being there before.

In a season about forgiveness, we wanted the finale to be a connection between how forgiveness can wipe away so many bad things. We knew from the start of the season that that’s how we were going to end the season.

Q: So, this opens the door for more Louis?

A: I think the audience would feel cheated if that were not the case. Obviously, Brett’s got tons of s— he’s working on, but he is so good in the show this year, so the idea of getting to show how he [Louis] moves forward interests us. Don’t forget, we pitched this show where the first year is about grief, second year is about forgiveness, [the] third year is about moving forward. It would be weird to not include his character as part of that.

Q: Are you still thinking in terms of three seasons? Can you see the show going beyond that?

A: Yes and no. I think that this story is over in three seasons because if we started the fourth season with Jason Segel going, “I’m still so sad about my wife dying and I really messed up with my daughter,” people would be like [contorts face into a look of agony]. One of the fun things that we’ve done, because we’re in the writers room already for Season 3, is we’re putting Easter eggs in it as to what the new story that starts Season 4 is about. One of the cool things about streaming, what you can do now, is do a three-season story that has a beginning, middle and end. If people love those characters, there’s plenty stories to tell.

Q: To expand more on Louis — so many people in similar situations have to achieve the closure without getting to know the person responsible for their loved one’s death. What led to the decision to incorporate his character into that process for Jimmy and Alice?

A: Not to divulge too many people’s personal stories and connections, but it was loosely connected to a true story of a family that had embraced a young person who was their Louis, [a person who had] gotten drunk and made a mistake. So knowing that existed in real life and how amazing it was to see somebody not only have to face that, but as storytellers, try and make them achieve forgiveness for something that on its surface seems impossible to do, I thought was a super cool challenge as writers. Even when people on the internet go, “I could never forgive.” Well, keep watching.