{"id":1838,"date":"2026-06-15T14:09:34","date_gmt":"2026-06-15T14:09:34","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1838"},"modified":"2026-06-15T14:09:34","modified_gmt":"2026-06-15T14:09:34","slug":"tvs-top-showrunners-are-reading-your-comments","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1838","title":{"rendered":"TV\u2019s Top Showrunners Are Reading Your Comments"},"content":{"rendered":"
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\n\tIt is a visible relief to everyone at THR<\/em>\u2018s TV Producers Roundtable when David E. Kelley, legend of the medium, insists that no one ever feels like they have this showrunning gig figured out. \u201cYou get the hang of a show or a character or a rhythm, and you think, \u2018OK, it\u2019s going to get easier,\u2019\u00a0\u201d he says on this late-May evening. \u201cBut it\u2019s not going to get easier \u2014 and if it does get easier, you\u2019re probably in trouble.\u201d<\/p>\n

Read more Stephanie Ruhle Talks \u2018Money, Power, Politics\u2019 and Her New MS NOW Morning Show<\/a><\/p>\n

\n\tStill, over the course of 90 minutes, the Margo\u2019s Got Money Troubles<\/em> boss and five more of TV\u2019s top writer-producers \u2014 Lucia Aniello (Hacks<\/em>), Erin Foster (Nobody Wants This<\/em>), Bill Lawrence (Rooster<\/em>, Scrubs<\/em>, Shrinking<\/em>), Lee Sung Jin (Beef<\/em>) and Dan Levy (Big Mistakes<\/em>) \u2014 make it clear that, despite their frustrations with streaming notes, withholding singers and awkward actor interactions, there\u2019s nothing they\u2019d rather do.<\/p>\n

\nWhat\u2019s one thing you wish someone had told you at the beginning of your career?<\/strong><\/p>\n

\nBILL LAWRENCE<\/strong> In comedy, your job is not to write what you think is funny. Your job is to write what the showrunner thinks is funny. I got fired off my first three jobs, then I learned that.<\/p>\n

\nDAN LEVY<\/strong> There is this quest for perfection. You want it to be exactly as you\u2019ve envisioned it. I wish I had known that some of the greatest moments come out of some of the most unexpected places. Let it flow a little more.<\/p>\n

\nLEE SUNG JIN<\/strong> Part of my career was so much copying and mimicking. Back then, it was required that you write a spec script [of an episode of another show]. You had to be good at copying. Sometimes that makes you contort a little too much. I feel like I\u2019m just now getting more comfortable being me. I wish I\u2019d heard that earlier.<\/p>\n

\nLAWRENCE<\/strong> He wrote a Scrubs<\/em> spec when he was 12.<\/p>\n

\nLEE<\/strong> I did!<\/p>\n

\nDAVID E. KELLEY<\/strong> I\u2019m probably glad no one did tell me that you never figure it out. It\u2019ll never get easy. [Dan and I] were just talking about this. You get the hang of a show or a character or a script and think, \u201cOK, you\u2019re a well-oiled machine. It\u2019s going to get easier.\u201d It\u2019s not going to get easier. And if it does get easier, you\u2019re probably in trouble.<\/p>\n

\nLUCIA ANIELLO<\/strong> I would have liked somebody to grab me by the shoulders and tell me to have more fun while I was doing it, even though I don\u2019t know if I would listen \u2014 then or now. I put a lot of pressure on myself to just make it really good. But I feel like \u2014 especially in comedy \u2014 if I had loosened up a bit more and had more fun, it would have been even better.<\/p>\n

\nKELLEY<\/strong> The most fun it ever was for me was my first job in a writers room. Once you are put in charge, it changes things. Doesn\u2019t take the fun totally out of it, but it\u2019s \u2014<\/p>\n

\nLAWRENCE<\/strong> Ninety-nine percent gone! (Laughter<\/em>.)<\/p>\n

\nERIN FOSTER<\/strong> Working on a deadline and working over the weekend when you\u2019re burnt out, you\u2019re not going to get the best work. I always felt like I was embarrassed to be the first one to want to go home. Now, our writers room goes from 10 to 3 every day. We get more done in that time frame than staying longer, being resentful and frustrated. Because no one is looking at their phone. Everyone\u2019s doctor\u2019s appointments are dealt with. People are happier. Now I\u2019m very comfortable saying, \u201cI want to take my daughter to school. I\u2019ll be 30 minutes late.\u201d But there [used to be] pride in having stripped your life of joy because you gave it all to your job.<\/p>\n

\nLucia, there\u2019s a Barbra Streisand song that plays over the last scene in the finale of <\/strong>Hacks<\/em><\/strong>. Did you have to write the obligatory long letter to Barbra asking for permission? And, for the rest of you, what\u2019s the hardest you\u2019ve ever fought to clear a song?<\/strong><\/p>\n

\nANIELLO<\/strong> No, and we probably should have. We\u2019d been writing toward that song at the end for years. So we cleared it in 2024 or something. We were like, \u201cIt must be this! If there are roadblocks, let\u2019s get ahead of them now so that we have time.\u201d<\/p>\n

\nLEE<\/strong> What would you like to say to Barbra in this moment?<\/p>\n

\nANIELLO<\/strong> It\u2019s funny, we do a Hacks<\/em> companion podcast, and we pretend that Barbra Streisand has never seen the show but loves the podcast.<\/p>\n

\nLAWRENCE<\/strong> It\u2019s always the finale. You get something stuck in your head. The eighth year of Scrubs<\/em>, it was a song called \u201cThe Book of Love.\u201d It was a cover version by Peter Gabriel. He doesn\u2019t generally clear that, but we were obsessed. We didn\u2019t get permission and doubled down. We shot it with the song playing, edited in time to the song. We got lucky at the last second. Someone had a connection and showed him. He let us do it. It was very cool. We\u2019re best friends now. (Laughs<\/em>.)<\/p>\n

\nFOSTER<\/strong> We had a song last year that we really fought for. We cut the episode to an unreleased song. It was this big pop artist. He pulled the song at the last second because his girlfriend didn\u2019t like how he wrote about her. It was about him suspecting that she cheated on him. She was like, \u201cThat\u2019s a no.\u201d So she made him pull the song, and then they broke up after the season aired.<\/p>\n

\nLEE<\/strong> Season one, I had to write a personal note to both Hoobastank and Limp Bizkit, which was a joy.<\/p>\n

\nFOSTER<\/strong> They hadn\u2019t heard from anyone in so long, they were probably thrilled.<\/p>\n

\nLEE<\/strong> I really wanted to use \u201cThe Reason.\u201d They only let you use the remastered version, where they rerecorded their vocals because they had a shit deal in their original recording. But the vocals just don\u2019t hit the same. You can feel time has passed. It just was not working. So I literally was like, \u201cDear Hoobastank, I was in an a cappella group in college, and we covered you and I\u2019ve been obsessed with you guys forever.\u201d I wrote a five-page letter, and they allowed us to use the original master.<\/p>\n

\nLEVY<\/strong> That\u2019s so nice.<\/p>\n

\nLEE<\/strong> Fred Durst, too. He was just like, \u201cAre you making fun of me?\u201d No. \u201cAnd this is for A24?\u201d Yeah. \u201cOK.\u201d (Laughter<\/em>.)<\/p>\n

\nKELLEY<\/strong> This may have been a clearance issue because I\u2019m not sure the artist quite knew what he was signing on to. When we were doing Ally McBeal<\/em>, one of our characters was obsessed with Barry White and would dance in the mirror to one of his songs [\u201cYou\u2019re the First, the Last, My Everything\u201d]. The character he was dating decided to surprise him and have Barry show up and sing that song. So, we reached out to Barry\u2019s people, and we were met with some confusion \u2014 some from his handlers and then, ultimately, from him as well. He agreed to do it, but to this day, I don\u2019t think he ever knew what he was signing on to. The scene was scripted for Barry to be singing his iconic song, and our character, played by Peter MacNicol, was to be so overtaken that he goes up onto the stage and starts dancing. The white limo pulled up to the soundstage about 10 minutes before action. Barry\u2019s got his gold outfit on. He goes up on the stage. The song starts on playback. He\u2019s doing his thing, and when he sees Peter get up on the stage \u2014 \u201cWhat the fuck is this?<\/em>\u201d He thought he was playing a real gig. But, to his credit, we did two or three more takes, Mr. White went back to the limo, and we got it done in the hour.<\/p>\n

\nLEVY<\/strong> What a strange day for him. The most significant for me was in Schitt\u2019s Creek<\/em>. We wrote a whole season around this Tina Turner song, \u201cThe Best,\u201d where it was sung to my character and then [in another episode] I had to lip-sync the song. We needed it twice. And the whole season, we were waiting on the clearance. I couldn\u2019t fathom another scenario. Fortunately, Ms. Turner said yes. Again, I think she probably didn\u2019t quite know. It was just some Canadian show.<\/p>\n

\nKELLEY<\/strong> I can\u2019t get Tracy Chapman to say yes to anything.<\/p>\n

\nLEVY<\/strong> I made the Lilith Fair documentary, and we tried and tried. We came so close. I tried a thousand different ways.<\/p>\n

\nLEE<\/strong> It\u2019d be crazy if Tracy Chapman and Barbra Streisand were [reading] this.<\/p>\n

\nDavid, you recently compared executives to diners at a restaurant. Back in the day, they would send the food back, maybe ask for a couple of tweaks. Now streaming executives follow you into the kitchen. Does that ring true for anyone else here?<\/strong><\/p>\n

\nKELLEY<\/strong> It\u2019s not that I harbor a grudge against the executives I\u2019m working with. They\u2019re very smart people, but not many of them are storytellers. They think they are. So that\u2019s the equivalent. I know if I like a hot dog or disapprove of a casserole. I can say I don\u2019t like it. But I would never presume to go into the kitchen and make it. The legacy companies, I think, still stick to the idea that the best path to success is to find creators, turn them loose and let them do what they do. In the tech companies, they think they can design a show and assign a writer to execute. Like we\u2019re contractors, picking out tiles for the kitchen.<\/p>\n

\nFOSTER<\/strong> There\u2019s this fear around being a showrunner who\u2019s not a team player. You have to have this strong will but then say yes to things you disagree with. My experience at Netflix has been that if it\u2019s really important to me, as the creator, they hear me out so that we can find common ground. But you have to talk it out.<\/p>\n

\nLEE<\/strong> Season one, there was a point where we had three scripts written and it was clear we were not on the same page. The notes were getting out of control and very prescriptive. We set a Zoom to talk it out. I was like, \u201cHave you guys heard of this concept called \u2018the beholder\u2019s share\u2019 in art history?\u201d No. Then I played a little TED Talk.<\/p>\n

\nFOSTER<\/strong> Can you tell us what it is?<\/p>\n

\nLEE<\/strong> Well, a great painting is great because it allows the eye of the beholder to share in the interpretation of it. A Bed Bath & Beyond painting is just like, \u201cThis is a beach.\u201d There\u2019s no share. That\u2019s why it\u2019s $7.99. But the Mona Lisa<\/em>, you interpret it differently every time you look at it. And so I was like, \u201cThis is why I am doing it this way. I can do the other thing, but then people are going to look at Beef<\/em> as a Bed Bath & Beyond painting. I can do it, but I don\u2019t think that\u2019s why you hired me.\u201d These days, it does seem like you have to explain the why behind it. Usually not all the time, but usually they\u2019ve been able to be supportive.<\/p>\n

\nHalf the people here are writing for and\/or directing their significant other. What are the pros and cons there?<\/strong><\/p>\n

\nLAWRENCE<\/strong> My wife was [Christa Miller] one of the leads of Scrubs<\/em>, Cougar Town<\/em> and now Shrinking<\/em>. I love it. I\u2019m always fascinated by the issue of nepotism out here in Hollywood. Look, it\u2019s in every industry. If you have a person that you love or that you\u2019re friends with that happens to be very talented and you enjoy working with them, I think you\u2019re crazy not to hire them again and again. And that doesn\u2019t just go for my spouse. Making a television show is like being at Thanksgiving with your family for six months at a time. If you can surround yourself with people that you would want to spend time with anyway, it\u2019s a massive gift.<\/p>\n

\nKELLEY<\/strong> My wife [Michelle Pfeiffer] and I had never worked together before. We were comfortable in our own professional creative lanes. Why mess with that formula? But with Margo\u2019s Got Money Troubles<\/em>, when I read the book, I could only see her as that character. The one thing I\u2019ve always tried to pride myself on as a showrunner is you put the show\u2019s best interest first. If you stick to that as your North Star, some of the decisions are easier. I could only see one actress playing Shyanne, and it was Michelle. We broke our rule, and it worked out. She\u2019s pretty good.<\/p>\n

Read more Curry Barker Got His Wish: Inside the \u2018Obsession\u2019 Director\u2019s Wild Month (Exclusive)<\/a><\/p>\n

\nANIELLO<\/strong> [Hacks<\/em> co-creator and star] Paul [W. Downs] and I met doing improv at UCB in New York. My first day ever doing comedy, to meet your partner is so crazy \u2014<\/p>\n

\nFOSTER<\/strong> Those classes are so awkward, too.<\/p>\n

\nANIELLO<\/strong> Right? But we come from the world of \u201cyes, and,\u201d which has been amazing for our relationship. We\u2019re kind of engineered to try to bring the best out of each other. In so many ways, that is what Hacks<\/em> is about: people you find that make you better as a person and as a writer and creative. It is very autobiographical in that way. We also just wouldn\u2019t be married anymore if we weren\u2019t together while we were making the show because it takes up so much of your time.<\/p>\n

\nWhat\u2019s the most difficult conversation you\u2019ve ever had to have with an actor?<\/strong>\n<\/p>\n

\nLAWRENCE<\/strong> As a trick, Harrison Ford showed up to the first day of Shrinking<\/em> wearing a big hat \u2014 like the guy from Curious George<\/em> \u2014 and he says, \u201cWhat do you think of my hat?\u201d What do you say if Harrison Ford says, \u201cWhat you think?\u201d You say that it\u2019s a great fucking hat, man. He goes, \u201cCool, I\u2019m going to wear it in every scene.\u201d I\u2019m like, \u201cYou can\u2019t wear that hat in all the scenes.\u201d You would think, in the end, he didn\u2019t wear the hat. But if anybody watches the show, the compromise was that he would do all these exterior scenes on a bench in the hat. Beware veteran actors and actresses who say, \u201cWhat do you think of this outfit?\u201d<\/p>\n

\nKELLEY<\/strong> To replace or discharge an actor, it never gets easy. With Chicago Hope<\/em>, I got a call from CBS. \u201cWe\u2019ll give you another year but at a fraction of the price. You make the choice to stay or go.\u201d We almost said, \u201cLet\u2019s close it down.\u201d Ultimately, we thought that the show had more creative life in it, but we had a cast of about 10 people. We could not afford them all. Five had to go. It was one meeting after another. All the actors understood, but, \u201cWhy me? Why my character?\u201d That was a brutal day.<\/p>\n

\nLAWRENCE<\/strong> We used to make pilots, and it was rare that everybody would survive even the read-through, much less shooting it.<\/p>\n

\nKELLEY<\/strong> Even though I\u2019m married to an actor, I cannot imagine it from their side of the fence.<\/p>\n

\nFOSTER<\/strong> I had an actress FaceTime me and say, \u201cWill you put me in more episodes, because [otherwise] I\u2019m not going to get my health insurance?\u201d That isn\u2019t really how we write. I don\u2019t know how to respond to that. This job is so much more than writing a script. And you don\u2019t know that until you\u2019re doing it \u2014 and probably doing it wrong.<\/p>\n

\nAmong this group, we\u2019re talking about the second seasons of wildly successful shows, a six-year wait for a follow-up and the final season of a beloved hit. When have all of you felt outsized pressure while working, and how did you cope with it?<\/strong><\/p>\n

\nLEE<\/strong> I don\u2019t know why, but I definitely love reading every single comment on the internet.<\/p>\n

\nLEVY<\/strong> That\u2019s healthy.<\/p>\n

\nLAWRENCE<\/strong> Do you ever respond?<\/p>\n

\nLEE<\/strong> No, never. But I screenshot and remember forever.<\/p>\n

\nFOSTER<\/strong> Bring them to your therapist\u2019s office.<\/p>\n

\nKELLEY<\/strong> I don\u2019t read anything, but sometimes you can\u2019t avoid it. During Ally McBeal<\/em>, we had good years and bad years. It was almost like sports. \u201cWhy is the team performing so poorly?\u201d One year, things were not at our highest creative level. It felt like we were getting blindsided by everybody. It got so bad at one point that we all got together and we went to Las Vegas for a day just to escape the bubble of contempt. We were sitting around the blackjack table and the croupier leaned over and said, \u201cYou really fucked up that shit.\u201d (Laughter<\/em>.)<\/p>\n

\nFOSTER<\/strong> It was a tough season one, and not everyone that was involved came back for season two. I was trying to understand how to do it with new people, how to do it without as much trauma. I was like eight months pregnant when we did season one, so I was in a survival mode that can only be understood by a woman who has been pregnant. You\u2019re like, \u201cJust pile it on! I can take more!\u201d Season two, I panicked that I didn\u2019t know how to do it again. I didn\u2019t know how to do it on purpose.<\/p>\n

\nLAWRENCE<\/strong> \u201cHow to do it on purpose.\u201d Stealing that line.<\/p>\n

\nFOSTER<\/strong> I also have a real addiction to seeing the comments. In season one, the comments were all really positive, and so I became addicted to positivity. In season two \u2014<\/p>\n

\nANIELLO<\/strong> \u201cThese are going to be great!\u201d<\/p>\n

\nFOSTER<\/strong> There was way more hate or disappointment. I had a hard time with that. There was a point in the writers room where I had a fight with one of my co-showrunners, who was like, \u201cStop bringing up the response to season two. You have to get over it.\u201d Well, I\u2019m not going to get over it anytime soon, so I keep looking.<\/p>\n

\nLEE<\/strong> The internet\u2019s also changed in that time.<\/p>\n

\nLEVY<\/strong> It\u2019s [either] \u201cThis is the worst piece of shit I\u2019ve ever seen\u201d or \u201cThis is the greatest contribution to television I have ever witnessed.\u201d I wonder now how much of it is actually real and how much of it is simply a reaction to the fact that \u2014<\/p>\n

\nFOSTER<\/strong> You have to be controversial.<\/p>\n

\nLAWRENCE<\/strong> To me, it\u2019s the extremes. The review in Time<\/em> was \u201cShrinking<\/em> Is an Insult to Comedy, Therapy and Harrison Ford.\u201d That was their headline. I would have been OK with \u201cI didn\u2019t love Shrinking<\/em>,\u201d or \u201cThis show\u2019s a swing and a miss.\u201d And it wasn\u2019t, Judy Berman!<\/p>\n

\nWhat\u2019s the professional call you still dream of getting?<\/strong><\/p>\n

\nANIELLO<\/strong> Julia Louis-Dreyfus.<\/p>\n

\nLEVY<\/strong> I\u2019ve been lucky enough to have both of them \u2014 Catherine O\u2019Hara and Laurie Metcalf.<\/p>\n

\nKELLEY<\/strong> \u201cCome pitch with the Dodgers.\u201d I can\u2019t pitch.<\/p>\n

\nLEE<\/strong> Director Bong Joon Ho showed up on set for season two of Beef<\/em> when we were shooting in Korea. That is going to be very tough to beat.<\/p>\n

\nUnannounced? <\/strong><\/p>\n

\nLEE<\/strong> Pretty much. It was because Song Kang-ho and Youn Yuh-jung were in their first scene together in Korean history. Everyone got real quiet, and he came up to the monitor and he elbowed me and he was like, \u201cAre you sure you want to frame it like that?\u201d (Laughter<\/em>.)<\/p>\n

\nKELLEY<\/strong> So you did get the call!<\/p>\n

\nLEE<\/strong> I would love more calls.<\/p>\n

\nFOSTER<\/strong> Getting a call to be here is cool for me. I think once you\u2019re in the conversation, of being with people you really admire, it feels like you\u2019re on the inside of something you felt on the outside of for a long time.<\/p>\n

\nLAWRENCE<\/strong> Every call is as exciting as the one before. I didn\u2019t expect to be involved in this part of Harrison Ford\u2019s career. It\u2019s a gift.<\/p>\n

\nIf you could join any writers room for a week, current or historic, which would you choose?<\/strong><\/p>\n

\nLAWRENCE <\/strong>By the way, I\u2019ll take that gig tomorrow on any show at this table. I\u2019d also like to write on M*A*S*H<\/em> because Larry Gelbart was my idol when I was a kid.<\/p>\n

\nFOSTER<\/strong> I was going to say Love Island<\/em>. A very different route.<\/p>\n

\nLEE<\/strong> I dream of writing for The Sopranos<\/em>. No question.<\/p>\n

\nFOSTER<\/strong> OK, but Love Island<\/em> is, like, better, right?<\/p>\n

\nLEVY<\/strong> Sex and the City<\/em>. I would\u2019ve crushed it. Funnily enough, I had an idea for what would have been And Just Like That<\/em>\u00a0\u2026 They didn\u2019t go in that direction.<\/p>\n

\nANIELLO<\/strong> You actually pitched it?<\/p>\n

\nLEVY<\/strong> God, no. I was nowhere near that room. Unfortunately.<\/p>\n

\nANIELLO<\/strong> Arrested Development<\/em>. I\u2019d like to just see how they got to some of those jokes. It\u2019s psychotically funny. Jessica Walter was somebody who I think has so much DNA in [Jean Smart\u2019s Hacks<\/em> character] Deborah Vance. She was really brilliant and so underrated.<\/p>\n

\nKELLEY<\/strong> I was in Steven Bochco\u2019s room, and I don\u2019t think anything could beat that. The standard that he set imprinted on me. The room I wish I was in was probably All in the Family<\/em>. Norman Lear changed television. I\u2019m in awe of anybody who\u2019s truly funny. Everyone here is a true comedy writer who\u2019s putting drama into their equations. I\u2019m sitting here a bit like the fraud that writes dramatic throughlines and something comes out wrong so people laugh.<\/p>\n

\nLEE<\/strong> The most insane sentence! (Laughter<\/em>.)<\/p>\n

\nThis story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.<\/em><\/p>\n

Read more \u2018Felt That: Boxing\u2019 Game Maker Signs With CAA (Exclusive)<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Lucia Aniello, Erin Foster, David E. 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