TWoP: He didn't stay in the coma too too long.
Greg: No, he didn't stay too too long. It was really just -- you know what the deal with that was, is we went to the strike, we knew we had Alyssa Milano, we'd set up this relationship, and we kinda knew how we were going to end his relationship with her. I mean, it's no secret, especially to people on TWoP -- they're going to know that she has a pilot, you know, that she's not sticking with the series. So we knew how we were going to end that relationship. But the problem was, once the strike came, and our order was going to be cut back, I was worried that we were going to end that relationship and then we weren't going to have enough time to really gear up to the point where we feel like we had a season-ender. It felt like we would just be treading water a little bit. So I started thinking, "All right, how can we use the end of the Alyssa Milano relationship as our season-ender?" We need to kind of -- he just got hit by a car by her, we kinda need to figure out a way to get four or five, six episodes before we can get to them really being together, and that's when I thought, hell, why don't we just keep him in a coma? Yeah, it's kinda hacky. [laughs] It's kind of a hacky device, I get it, you know. As I pitched it to people, as I told the writers' room, "Listen, we're gonna keep him in a coma," I had to, like, wince as I said it. But then I said, "But our job is gonna be, how can we make it fun? How is it gonna make it different?" And with our show, with the flashbacks and stuff that we do, you know, we can do full episodes, which we did, while he was in the coma, which were pretty much just all flashbacks, with him and his father, and also with him and Randy stealing a motorcycle. And so, I was pleased with the stuff that came out of it. And then you have, sitting on the side, you're like, "OK, well, we have Alyssa Milano. I don't want her just to not be in a ton of episodes and then when he wakes up he finds her. So what do we do with her while he's in a coma?" And that's where the whole coma world came out of. It was, "You know, maybe we give her this." I don't want to explore her character too much, because what we do with her character, which you'll see is he starts to realize he's married to someone that he really doesn't know. And he doesn't like her as much as he thought he was going to, you know? And the problem was if I kept her in real life like she was up and around and we were just checking in with her in real life, I was going to start seeing those characteristics. Because this was a character we really hadn't seen that much. So I thought, well, the only place to see her is in his fantasy world. And we weren't even going to do sitcom fantasy world until I was just trying to think of, "Well, how is it something so it feels different?" So as soon as we were in fantasy world, we know we're in fantasy world. And that's where we came up with the sitcom. And I think, you know, I think some of it worked and some of it didn't, and uh, you take big swings and you try to have some fun.