"Mr. And Mrs. Smith Meets The Office"
CB: Just to flip the question around, have you ever written anything that ended up being too subtle, where the audiences just didn't get it?
PK: I don't know. There are certain jokes that you realize are appealing to such a small percentage of your audience that they're probably not worth it, but you know, Rob always encouraged those, and if they made him laugh, they sure as hell were going on air. [laughs] And you know, Chuck is a much poppier show, but…if a joke feels too lofty or esoteric, it kind of makes me cringe, because I find absurd and quirky things funny, but I like making the room laugh, instead of like, a couple nerds in the corner. But I do like making Enbom laugh. He sort of is the nerd in the corner. [both laugh]
CB: Well, let's say, as we all hope will happen, the show is great, everyone loves it, and you have a multiple-season job. In that scenario, are there contractual benefits for you that are built in, or is it a matter of renegotiating every season?
PK: Yeah, most writers, I think, sign a three-year contract that has your pay-scale increase and title increase built into it. If you're a senior writer, you can get a one- or two-year thing. And that usually entails not developing new stuff, at least for a season. Basically, the only way you can get promoted in television is to be on a returning show.