Topical-sketch writing were incredibly rational and well reasoned: don't do a joke if the subject doesn't deserve it. An ad hominem attack on someone might get you a cheap laugh, but it doesn't earn you any long-term trust. The biggest rule was: you attack whoever's in power. Don't bring your personal bias to the table.

A million years ago, when doing research about the world of municipal government, one thing that struck me is how often people's job titles changed - from one department to another, from the public to the private sector and back again. People move around a lot, everyone has her eye on some other, slightly better situation in some other corner of city hall. Plus governments are constantly shuffling and reorganizing and shuttering or condensing departments - they are often byzantine hodge-podges of fractured org charts lying atop a bed of shifting sand.

If the doors aren't open, just kick them in and keep walking.

Rule number one for the writers when we committed to the jump was: no hoverboards. No one is allowed to pitch that everyone is on hoverboards. It's going to be very very gently sci-fi.

It's all about media culture and people on television, and that feeling comfortable, friendly, or warm toward a candidate [in the elections] is a reason people would emotionally attach themselves to that candidate. I get the mechanics of it, I just hate that it's true.

In a weird way, it's not different from any other kind of joke-telling. You make those calculations about jokes about celebrities: is this a fair hit or not? The stakes were higher because the whole world was crumbling around us, but in terms of joke-telling, it's all about feel.

I am of the opinion that there is more high-quality television being produced than at any time in the history of television.