A Q&A with 'Community' Writer Megan Ganz

Senior Pop Culture Editor
03.15.12 17 Comments

When I asked two comedy nerd friends of mine if they had any questions for Megan Ganz, a writer for “Community,” their responses were as follow: “She has an awesome job” and “How did she get the position?” To the former, I replied, “That’s not a question. What’s wrong with you?” To the latter, “I’ll ask.” In short, during season one of “Community,” she was a fan of the show; by season two, she was a writer (there were some steps in-between, too, but mostly, she’s super talented). Since getting the gig, Ganz, who previously worked as an editor of The Onion and a writer for “Important Things with Demetri Martin,” has penned three of the series best episodes, “Cooperative Calligraphy” (a.k.a. the Bottle Episode), “Intermediate Documentary Filmmaking,” and “Documentary Filmmaking: Redux.”

She’s also the scribe behind the upcoming “Law & Order” episode, which is just one of the many things we touched upon in a phone interview, including what the pitch process for the show is like, her favorite running gags, and how “Community” fans are the bestest fans in the entire world. Also, Alison Brie’s Santa dance may or may not have come up…

First off, congrats on the Comedy Central news.

Oh, thank you. Yeah, it was just announced today. That’s great.

Is this a good sign for the future of the show?

I think syndication’s always a good sign. It means that people are getting paid; it means it’s turning a profit. So, in just a very strict business sense, it’s a good sign, but I don’t know if it has anything to do with whether or not we’ll get renewed.

How sick are you of the renewal question, by the way?

I wish that I had more information. I totally understand people asking, and it’s hard because if I were watching the show as a fan, I would be the same way. Like, “When is it coming back? When will we know? We just wanna know.” But the closer you get to knowing that sort of stuff, the more you get to knowing it has to do with so many factors that it’s better not even to guess. It’s better to wait. Last year, I found out we got renewed right around St. Patrick’s Day, and Twitter knew like minutes after we knew, so it’ll just happen if it does. It’s like someone waving a magic wand.

It feels like “Community” is one of the first shows in TV history where the writers are nearly as active in the fan’s mind as the actors, or they at least have a very public persona. Do you think that comes from Dan Harmon? You’re all interacting with one another, everyone seems to know who you are.

Oh, is that true? Do you think so?

I think so.

I think we’re capturing a certain demographic, a very Internet savvy demographic, and that kind of demographic looks for things that the quote-unquote “average” viewer wouldn’t know about. So, you get a nerdy fanbase and they explore every avenue. They hound up on Twitter and they’re people who are really into the show. I don’t know. Do you feel it’s more than any other show?

Yeah, I think so. For instance, take the Daily Beast interview you did not that long ago with the ladies in the cast. I feel that with another, more traditional sitcom, they probably wouldn’t have asked one of the writers to participate.

Yeah, I was actually kind of surprised that they asked me, but it was kind of just a lady thing, so they were getting all different types of ladies. But that’s weird. I never thought about that before. I think we get a lot of feedback from the fans. We’re hearing a lot more about people’s impressions of the show than ever before. On other shows, it’s not like you can go to a website and search a hashtag, or you search for it in terms and you can literally see a timeline, moment by moment, of people reacting to the show. It’s like if you were sitting at a theater and overhearing people lean to the person next to them and saying something about it, which as a writer, I don’t like to be on stage, I don’t like to be reading my own jokes, because it makes me nervous, but I love to have them played for people and get to hear people’s reaction to them. That’s why you go into comedy. You want to make people laugh, you want to make people happy. So Twitter has been so amazing because we get to basically hear people talk about the show.

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Along the Twitter line, do you read recaps? One of them has over 30,000 comments. [Editor’s note: LET’S DESTROY THAT NUMBER, WG READERS. /runs out the door screaming //no one follows.]

I saw that! I don’t even know what people are talking about at that point.

I think I can probably guess, with that episode.

Alison Brie.


Annie Mebane and Steve Basilone wrote that episode [“Regional Holiday Music”], and Annie and I wrote the lyrics for Alison’s “Santa Baby”-type song. And I remember being like, it’s Christmas for the commenters. Alison was so funny. When they did the first take of it, Dan [Harmon] told me that she did it one take, and she was so great, she was so perfect at it immediately, that she was like, “Do you want me to do another one?” And they were like, “I guess. You could, but we’re basically gonna use that first take that you did.” And she did one more and that was it. She so nailed that. It was great.

On behalf of the Internet, I thank you. The way I read the scene was that you were turning the table on the creeps like me, who ogle Alison.

I think it was supposed to function in two ways. Every character in that episode is being lured into the glee club by another character, and they use that person’s weakness. So, Pierce’s baby boomer nostalgia, they use that, and they use Shirley’s religion. For Jeff, what Annie is appealing to is his attraction to her infantile sort of nature. But that’s the same thing that sort of repulses him in a way, her youth. But obviously we’re sort of satirizing TV shows that do use women singing and dancing in provocative ways to lure attention, so that’s a very basic story point. There are songs like “Santa Baby” that show that men are interested in this sort of infantilized woman that’s kind of baby doll and dumb. And in the song, she’s getting dumber and dumber and crawling on the ground and trying to eat mistletoe because she doesn’t understand what it is, so it’s just a parody of those types of songs and also playing at the dynamic between Jeff and Annie. But I remember thinking as we were writing that, I’m sure they’re going to have a big reaction to this, the commenters, but I think that it was mostly those other things.

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Do you think the hiatus helped you? Were you able to tinker with the scripts during it?

No, we actually had to stay on the same production schedule, regardless of the fact that we went off the air, so nothing changed on a day to day basis. We had to film all of the episodes at the same time we were supposed to, because obviously all the actors and writers and everyone had plans for us to be at work in February and March, and then we had this hiatus of three months to go do whatever. Probably movies for them and life for the rest of us. It only probably changed the tone. It was supposed to be a dark season, and now it’s this dark season that was written in a vacuum. We’ll see how it’s gonna come out, how people react to it.

How aware of the “30 Rock” ratings were you when they had the 8 p.m. time slot?

We were watching them. I felt bad. I have a friend that writes for “30 Rock,” Sam Means. He just started writing for them this year and he was texting me being like, “AHHH” and I was like, “Welcome to the time slot! It’s fu*ked.” Obviously I love “30 Rock,” I watch “30 Rock” every week religiously, we all talk about it all the time, so nobody wants it to do poorly. I mean, it doesn’t help the network at all for any of the shows to do poorly, so we were more worried that “30 Rock” would just do amazing and we’d be like, “No, it wasn’t the time slot. It was us.” But it’s clearly a really difficult time slot. I think that’s been established. There was a New York Times article a week ago that was talking about how most of our viewership is Internet viewership. People are not watching “Community” on TV unfortunately, and so hopefully it’ll help things, in the sense that we won’t be able to rely on the ratings of the show to determine whether or not the show is popular and doing well.

If you guys could get paid by the GIF, you’d be millionaires.

[We began to discuss “Remedial Chaos Theory,” specifically Troy’s timeline with the evil troll, when Megan mentioned that “there’s a joke that’s so great or so funny, that no matter what, this [episode] is gonna work, because it has this moment in it.” Which leads to…]

What do you think those moments were for you in your episodes?

I remember “Cooperative Calligraphy,” it was when we realized the ghost of the pen, that’s what they would agree on, and then that would allow them to leave the room. Once we came up with that, we were like, “Oh, this is great.” Up to that point, we knew that they were all going to stay in the room and they were going to go through a process of searching each other and everyone was going to be rolled in like 12 Angry Men style, rolled into the chaos of it. But we kept talking about who took the pen. Does Chang take the pen, or does Abed have it in his shoe? These are all big possibilities of where they would find it, and we kept realizing there’s no way for the characters to find it and have it be satisfying. So after talking about the emotional journey that they’re going on as group and what they need to settle on, once we came up with the idea that they would all rather believe in something paranormal than believe that one of them is so mean that they would do this to each other…They basically believe more in each other than they believe that there are ghosts. And once we realized that it was like, “Great.” That made me so satisfied, a nice heartwarming reason for them to leave the room. So it doesn’t matter as much what happens before or after that, although Dan came up with the idea of having the monkey take the pen. And having that is obviously awesome icing on the cake. But it feels good, before that moment when they’re walking out of the room, it feels good already, so you already know that was the moment when we’re breaking, we’re like this is going to be a fun episode. It tells a full story.

The first documentary episode, I think it was [producer/writer] Chris McKenna who came up with the idea that Pierce would show up as Jeff’s dad, and that Jeff would know and chase him down and pull him out of the car and start beating the crap out of him. I think that was the moment where we’re like the story was fun, and it established the Jeff and Jeff’s dad dynamic between Jeff and Pierce. As for the second, I’m trying to think. I think we just wanted to do a Heart of Darkness homage, and I think maybe it was when we realized that Abed’s documentary was the thing, or that Abed makes the commercial. I can’t remember for that one.

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