Like everbody, I'm addicted to 'The Handmaid's Tale.'

I did, of course, do research about what the current state of affairs is in terms of the eating disorder community and who's being affected, and I was surprised to see that - something that was - way back when I was in the thick of it, it was typified as a fairly white, middle-class girl problem. And if it was, it really isn't anymore.

On 'Girlfriends' Guide to Divorce,' we have a mandate to hire as many women as possible, but particularly on a show that is about women and about progressive issues like that.

I spent some time in Vegas when I was doing some canvassing for Obama back in 2008.

When you're allowed to tell stories with ambiguity and darkness and things that are still unresolved, that's the dream scenario as opposed to having to fit into a more procedural mode or something a little more conventional. That's not what's working on TV right now.

The reason I fell in love with Buffy was because of the ambiguity, because she was a superhero and a hot mess. I hadn't seen anything like her on TV - ever.

It's funny: I've joked that 'Sharp Objects,' 'To the Bone,' and 'Dietland' are my self-harm trilogy, and each one is a different side of that triangle, with 'Dietland' really about fighting back.

One of the good things about consulting is that you leave the writers' room for a couple of days, things progress, you come back, and you might have a fresher take.

'What doesn't kill you makes you stronger' not only applies to the deeply personal subject matter of 'To the Bone' but to simply getting a film about people with eating disorders made. Without the brilliant Julie Lynn, Bonnie Curtis, and Karina Miller producing, there's no way this project would be coming to fruition.

There're been sort of a sea change in my work in general, in that the more personal, the universal it's become.

I think I've also grown a little bit in that I'm not so easily dissuaded if I really believe something.

I encourage people and their different points of view.

If you made a movie of 'Sharp Objects,' chances are that it would be a smaller film, but as a TV show, it can reach a lot of people.

My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.

The status quo is never happy when things become a meritocracy.

I'm so excited to be part of the environment that David Ellison, Dana Goldberg, and Marcy Ross have built at Skydance.

I've been looking for a versatile and writer-driven home that could help me bring more complex, exciting, and potentially murderous characters to television - and the team at Skydance is the ideal partner for that.

A show can be completely dead before you even get on the air. I've been privy to a couple of those.

In 'UnREAL', for me, just being so openly feminist, just being so overtly, like, 'This show is about women who are not necessarily likable, doing a job that is despicable, and we are not going to be afraid of that.'

It all starts with a very solid, well-executed script, where the story is very clear and everybody is rowing in the same direction. That's always good; that's a constant.

You should live hoping you are going to offend people, because then you're doing something.

You can't ever create defensively. You just have to create the next thing that really speaks to you.

When I was going to get ready to take 'Dietland' up, I have to say I was surprised to find that I felt like maybe we wouldn't find a home for it because it's unlike anything else that I've done.

It's humiliating, being told you're not responsible enough to make your own choices in life.