The payment for sins can be delayed. But they can't be avoided.
There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can.
Series finales have that responsibility to leave you feeling good about entire series. You want to feel like the viewer closes the book satisfied. And if you strike out on the finale it skews how you feel about the entire series.
The payment for certain sins can be delayed. But they can't be avoided.
I think the bar is higher these days in terms of audience expectations of authenticity.
You can make a good show, but you still need some magical alchemy to get people to watch.
I've worked in network and cable on and off for a number of years, and you just understand what your parameters are. A lot of times, I think the best work that my team has come up with comes from having to deal with certain boundaries.
I don't ever want to have a weak episode of television with my name on it.
I don't want my writing to be recognized.
I don't want my writing to be so unique that when you apply it to different genres, it seems like the previous show that people know you from.
I have no problem at all going back and forth between cable and network.
I still feel driven to try to make great shows and to make each episode great.
I would say on a creative level I put a lot of pressure on myself.
I'm very humble in terms of knowing that television is an extraordinary collaborative medium and that one person alone cannot make a great TV show.
I've spent a lot of time thinking about what the audience would want. That's my job, is to anticipate ahead of the audience.
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