You never know exactly what pop cultural moment a show is going to step into.

There are definitely times when the outside eye can shine a light on something you weren't aware of. They're usually exposing a flaw or a problem. Sometimes they're saying, "Hey, this doesn't really work. Have you seen this?" And then, you go, "Oh, I didn't really see that. You're right, that doesn't work." If they're good, they shine a light on issues that you're blind to because you're too close to it.

Writing is like that. You have to have some basic creative spark, and then, if you have that, I feel like you can learn the production side of it. You can learn how to be a good producer. And I guess it does take a certain balance of those two skills in your head to be a successful showrunner.

As frustrating as it gets, at times, and as frustrating as it is, at times, I don't think I've ever considered doing something else, or not wanted to do it anymore. To me, it's just the greatest job. It's a good fit for who I am and what I want to be.

You never know exactly what pop cultural moment a show is going to step into.

It was difficult, and yet I was very eager to do it. It was a really odd thing. I really wanted to do that story. I really wanted to write the death of Captain Kirk. I really wanted to do it in the movie.

Romance classically has tragic underpinnings to it.