CV: Obviously we want to make it funny, but we also want it to be meaningful, and sometimes we do sacrifice the laughs for emotion, but I think ultimately you care about it more. And I think for Nickelodeon, it was a little bit of a learning curve, like, it's OK that we just get a little more thoughtful or sentimental here, and we don't necessarily have to undercut it with some big gag.

It ultimately comes down to you have to care about these kids and what they're doing. I think it was really being mindful of that, even if it is story about one of their friends who's never thrown up before in his entire life and trying to get him to throw up, you want to care about that kid.

WR: It reminds me a little bit of how with "Pete & Pete" we did 60-second shows at first, and we used to say, "Let's pack a whole half-hour into a minute." Here we have a couple of coming-of-age epics -- there's a great one where they're finally old enough to go on the big-kid rides and halfway through the experience they're, like, "Maybe I want to be a little kid a little longer." It captures that ambivalence you have about wanting to grow up but also wanting to be safe. And 11 minutes and it's over -- it's like, "I can't believe we did that in 11 minutes." It feels daring and exciting.

CV: I think we do collectively desire and strive to do something that's unexpected and surprising. Even though you're going down a familiar path other shows and stories have been down in the kid world, you do really look for ways to make it original and funny -- just enough of a left turn that you can still relate to it but go, "Whoa, I didn't see that coming."


'X-Files' at 20: A fan's notes

All hail our smart TV masters, but not just yet

'Arrested Development' reopens on Netflix, could build from there