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A sweet and surreal look at the life-and-death stakes of dating, Man Seeking Woman follows naive twenty-something Josh Greenberg on his unrelenting quest for love. A young New Yorker walks away, seemingly calm from a freshly dead relationship, with some garbage bags, a terrarium, and his own personal raincloud overhead. Ia€™m the executive creative director of Digital Kitchen (DK) and DK Studios Chicago, where Ia€™ve been since 2003.
We connected over the phone with Spencer, Jonathan, and Simon Rich, the showa€™s creator-slash-writer. The first step, before diving into look or story, was to set production parameters to guide the process.
With that in mind, we started by developing some title concepts that attempted to capture the tone of the show, with a nod to all of the crazy stuff that Josh (Jay Baruchel) has to survive in his pursuit of love.
We talked with the client and we all agreed that the references should not be, in most cases, direct lifts from the show. We kept things pretty Josh-focused, and any similarity to any of our own lives is purely coincidental a€“ except for the chainsaw beheading. And more generally, what would you say are some of your favourites, in terms of title design?
An impressive creative force who’s as enviable as he is humble, Rich now has Man Seeking Woman, a surreal comedy about dating that premieres tonight on FXX. Talking with SPINOFF ONLINE, Rich goes into detail about the creation of the series, the journey of protagonist Josh (played by Jay Baruchel), and what his ambitions are for the character. Simon Rich: You know, I just feel incredibly lucky and grateful that I get to do this for a living in any capacity. What value does criticism have to you as an artist when you’re working in comedy, which is so subjective? Criticism and in particular, rejection, has been pretty intertwined with my writing career from the very beginning.
Obviously, doing a television show comes with the risk that someone is going to control whether you tell a full story. You have so many incredible weapons when making a television show, especially when you’re making it for a network like FXX. You also have access to incredible directors which heighten the material, and then you get to use music and monsters and special effects.


You get to control how many pages you want something to be and you get to go inside character’s minds and write about their thoughts. Is Josh’s struggle to pull away from his relationship with Maggie meant to be a lasting part of the show, or are we going to see that relationship evolve over time? Beyond just the first season — because I imagine that you want to make this for more than just one season — is there a way to pivot from a single guy seeking love to someone who is in a relationship down the road? I have the privilege of working with a diverse and talented team of creative folks here, making work for some great entertainment and brand clients.
Simon Rich, the writer, told us that, as far as genres, all were on the table a€“ from sci-fi, to horror, to fantasy a€“ because the show itself would eventually draw from nearly every genre imaginable.
We had been working with another artist through the majority of production when Jonathan Krisel and team sent along the Photay track. A former president of The Harvard Lampoon, the 30-year-old was the youngest writer ever hired at Saturday Night Live, where he worked for four seasons, and the author of four short story collections, two novels and countless magazine articles.
He also addresses how he deals with praise and criticism, his love of The Kids in the Hall, the show’s Japanese Penis Monster and practical effects, and writing Adolf Hitler with Bill Hader in mind.
By the time I started to sell stories to places like MAD Magazine and The New Yorker towards the end of college, I’d been rejected hundreds of times. So as a writer and as a producer, you just get to have so many extra tools in your tool box.
There’s obviously certain incredible advantages to writing prose, but writing for the screen is pretty amazing too in its own way. Or are you dedicated to keeping this about the pursuit of love rather than the realization of it?
Man Seeking Woman is based on Simon Rich's book of short stories, The Last Girlfriend on Earth. They had a general sense of what they wanted: something simple, iconic, and bold that spoke to the high stakes of dating, which in the show are life-and-death high! But from the beginning I was thinking it should be short and sweet a€“ something that youa€™d look forward to seeing each time and never want to fast-forward through. The show features hideous monsters, spaceships, and all sorts of other genre-spanning imagery, and does it with surprising realism. Our Creative Director, Elliot Lim, who is also a phenomenal illustrator, created the modular, grid-based concept that became the look of the titles.


We wanted to paint a picture of modern dating from Josha€™s perspective as an underdog of sorts.
The typeface has a lot of alternate characters, so it allowed us to keep things very clean and legible a€“ using alt character shapes sparingly to add character.
But I like them because they pushed the boundary of design and were client-approved, so that means anything is possible!
To say that he’s used his time on Earth more efficiently than most people his age is an understatement. I started off as a magazine writer and all through college I wrote short stories and comedy pieces for magazines.
So it really just helped me build some calluses and take it a little less personally and kind of not let it get me down. I haven’t had this much creative leeway in my entire life outside of the pages of a book or a magazine.
Season 1 is very much about trying to get over his ex and meet somebody new, and the character is kind of taking baby steps into the world of dating when we start. To take a single character, introduce him to a new character, and then actually see that relationship and play it out on screen. Thata€™s the absurdist, spastic humor of Simon Richa€™s Man Seeking Woman, a sitcom that makes literal what we all too often internalize in the emotional minefields of love.
We talked about having a sort of blunt, direct tone that was oddly humorous but not trying to be ha-ha funny. So, if we were going to be playing with these kinds of themes, it didna€™t make sense to try to compete with that.
Elliot did a great job of concepting and designing symbols that wove the two thematic threads together.
The opposite end of the spectrum is where we wanted to keep things: simple, bold, iconic a€“ without a ton of complexity. But my earliest memories of trying to be a professional writer are sending stories off to get rejected by magazines.



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