Look, I adore Richard Linklater’s films, but man do I tire of these arguments.  Cinema is always evolving, and the one constant, are those who proclaim cinema dead or dying.  They said as much when talkies came in.  And color.  And widescreen.  And television.  And digital. Cinema evolved, and changed, but that’s what…

The Rolling Stone piece mentions that when Fallon jumped from Late Night to The Tonight Show, showrunner Mike Shoemaker (Mikey the Shoe!) declined to join him and instead stayed with Meyers. I think that tells you a lot about the dynamics of working for Fallon vs. Meyers. 

The fact that high-stress workplaces are often toxic does not mean that they HAVE to be.

He’ll be out just in time for That 10s Show.

It’s nice to have some fluffy feelgood news now and again

I love how people take “I’d like it if my bosses weren’t outright mean to me” to mean “I want everyone to be my bestie and I want everyone to praise me every time I do or say something I perceive as great.”

Your experience sounds shitty. I’ve never had one like that.  That’s not normal.

“Not new that this industry is high stress and high turnover.”

It took me a long time, but eventually I learned that talking like "the funny one" on a sitcom is not an appropriate way to behave in real life, and especially not in the workplace. 

Someone please tell me there’s no similar strife at Late Night with Seth Meyers. 

Cool, do you often tell depressed people maybe they should kill themselves?

Honestly, it’s not even that deep.  The easiest way to relieve the pressure in that kind of work environment is to hire more people.  But that cuts into profits, so instead we pretend that running that business is not for the weak, which is detrimental to everyone involved.

Perhaps a milquetoast late-night show should not even BE a high-stress environment

you should try to find better work environments then.

Hey, maybe you can give some serious consideration of fucking yourself.

I think the MOTW-Mytharc split is the ideal way to handle long-running shows with arcs - it breaks up the monotony, and, more importantly, adds depth to the show’s universe.

I love me a good monster-of-the-week show. But mostly I miss when shows had 24 episodes a season. I know it could be tough. I know some episodes fluctuated in quality, like The X-Files, but damn it, the number gave the crews so much room to breathe. It let them get weird & mess with the format...and yeah, lose the…

I think the adult-centered episodes are crucial. This is not just a show about teens, it’s about generations and community. The choices made (by adults), the choices in the air (for the kids), and the choices that still remain for everyone.

I don’t think Aaron Paul is out there picketing because he is personally poor. He was well paid for the later seasons of BrBa, made money in residuals from AMC reruns, and parlayed the Jesse role into a pretty successful career as a working actor. I don’t think he’s telling this story because he hates Netflix and…

Because it wasn’t a situation unique to his contract. He can’t change how residuals work for the whole industry.No other streamer was/is offering residuals. His choice was either to take a creatively fulfilling job with decent up front pay but no residuals for Netflix, or... any other job which also wouldn't have…