I wish more people asked about the crew. I wish more people asked about the designers, about the head of departments, about the cinematography, because when I think of the show, I think of you and those people. MYHA’LA: Yeah. LAWTEY: They’re entirely intrinsic to the show. Whatever people take in as an end product is built by them. We have the blessing and the curse of being the face of that, but it takes a village. We’ve been extraordinarily fortunate to have some pretty special villages over the last five years. Mirna was one of those. We spoke about the hair at the start. I want to make sure that my hair doesn’t take away from her work. She was very much on top of my hair, but I said, “Is it okay if I just do it before I come in?” Just because I think there are very few opportunities to feel autonomy as an actor.

The sense of control that you have over what you’re doing often feels quite disconnected and sparse. To have the chance to try to claim some of that can make a real difference to your level of confidence in your work. Because ultimately, you’re going to give everything you have and then it will be taken away from you and made into something that is beyond your control. I heard this quote from this interview with Donald Sutherland recently where he was talking about Marlon Brando, who he knew very well, and he said, “I think it must be very trying when you’re that good and that exquisite, you put your body, yourself, your soul, your ideas in the hands of someone else and allow them to take it, cut it into little pieces, and create a character different from the character that you thought you were giving them. And you have to accept that. And if you accept that, then it’s an adult vocation.”

Upon arriving at the facility, Bruce handed in his smartphone and passed through metal detectors. He was in awe of the semiconductor production line: Overhead rails carried wafers from one station to another while workers in white protective suits kept the machinery running. “It really just felt like I was touring some kind of living thing that was greater than humans; that was bigger than us,” Bruce recalled.

TSMC made attempts to bridge some of the cultural differences. After the American trainees asked to contact families and to listen to music at work, TSMC loosened the firewall on T phones to allow all staff access to Instagram, YouTube, and Spotify. Some Taiwanese workers attended a class on U.S. culture, where they learned that Americans responded better to encouragement rather than criticism, according to an engineer who attended the session.

Several former American employees said they were not against working longer hours, but only if the tasks were meaningful. “I’d ask my manager ‘What’s your top priority,’ he’d always say ‘Everything is a priority,’” said another ex-TSMC engineer. “So, so, so, many times I would work overtime getting stuff done only to find out it wasn’t needed.”

Training in Taiwan, which typically lasted one to two years, wasn’t all miserable, the Americans said. On the weekends, the trainees traveled across the island, marveling at the country’s highly efficient public transport network. Bruce spent his weekends hiking and frequenting nightclubs. He chatted with the families that run night-market food stalls, and entertained strangers who requested selfies with foreigners.

For the Taiwanese, many of whom planned for extended stays in Phoenix, that meant relocating entire families — toddlers and dogs included — to a foreign country. Many regarded it as a once-in-a-lifetime opportunity to explore the world, practice English, and send their children to American schools. Younger families planned pregnancies so they could give birth to American citizens. “If we are going to have children, of course we will have them here,” a Taiwanese engineer told Rest of World. “As an American citizen, they will have more options than others.”

Many experienced a culture shock. The bustling cities of Taiwan are densely packed and offer extensive public transport, ubiquitous street food, and 24-hour convenience stores every few blocks. In northern Phoenix, everyday life is impossible without a car, and East Asian faces are scarce

“Everything is so big in America,” said one engineer, recalling his first impression. He recounted his wife summarizing her impression of the U.S.: “Great mountains, great rivers, and great boredom.”

Having spent years under the company’s grueling management, they were used to long days, out-of-hours calls, and harsh treatment from their managers. In Taiwan, the pay and prestige were worth it, they told Rest of World — despite the challenges, many felt proud working for the island’s most prominent firm. It was the best job they could hope for.

Sometimes, the engineers said, staff would manipulate data from testing tools or wafers to please managers who had seemingly impossible expectations.

A former TSMC staffer who worked on the education program said managers were instructed not to yell at employees in public, or threaten to fire them without consulting human resources. “They would say, ‘Okay, okay, I get it. I’m not going to do that,’” the employee recalled to Rest of World. “But I think in the heat of the moment, they forgot, and they did do it.”

Chang-Tai Hsieh, an economics professor at the University of Chicago, told Rest of World that TSMC had found the U.S. a challenging environment to operate in because of the complicated regulatory process, strong construction unions, and a workforce less used to the long hours that are commonplace at TSMC in Taiwan.

Sitting in a room together, the engineers admitted that although they had made some progress in acclimating to life in the U.S., TSMC had yet to find a balance between the two work cultures. Some Taiwanese workers complained that management was being too accommodating in giving Americans less work, paying them high salaries, and letting them get off work early.

This sort of audience divide, not between those who love a show and those who hate it but between those who love it in very different ways, has become a familiar schism in the past fifteen years, during the rise of—oh, God, that phrase again—Golden Age television. This is particularly true of the much lauded stream of cable “dark dramas,” whose protagonists shimmer between the repulsive and the magnetic. As anyone who has ever read the comments on a recap can tell you, there has always been a less ambivalent way of regarding an antihero: as a hero

a subset of viewers cheered for Walter White on “Breaking Bad,” growling threats at anyone who nagged him to stop selling meth. In a blog post about that brilliant series, I labelled these viewers “bad fans,” and the responses I got made me feel as if I’d poured a bucket of oil onto a flame war from the parapets of my snobby critical castle. Truthfully, my haters had a point: who wants to hear that they’re watching something wrong?

While there were undoubtedly people who came in for the food, worked 3 hours a day, and enjoyed their early retirements, all the people I met were earnest, hard-working, and wanted to do great work. What beat them down were the gauntlet of reviews, the frequent re-orgs, the institutional scar tissue from past failures, and the complexity of doing even simple things on the world stage. Startups can afford to ignore many concerns, Googlers rarely can. What also got in the way were the people themselves - all the smart people who could argue against anything but not for something, all the leaders who lacked the courage to speak the uncomfortable truth, and all the people that were hired without a clear project to work on, but must still be retained through promotion-worthy made-up work.

Another blocker to progress that I saw up close was the imbalance of a top heavy team. A team with multiple successful co-founders and 10-20 year Google veterans might sound like a recipe for great things, but it’s also a recipe for gridlock. This structure might work if there are multiple areas to explore, clear goals, and strong autonomy to pursue those paths.

Good teams regularly pay down debt by cleaning things up on quieter days. Just as real is process debt. A review added because of a launch gone wrong. A new legal check to guard against possible litigation. A section added to a document template. Layers accumulate over the years until you end up unable to release a new feature for months after it's ready because it's stuck between reviews, with an unclear path out.

Much of the mockery towards Che came from the queer community, who were pretty easily able to see the difference between an authentic representation of a queer character, and a kind of walking diversity checkbox designed to bring a style of woke chaos to a story.

AJLT has clearly been engaged in the criticism of SATC - the three main characters all get a black friend who is given almost equal time and importance. And Che not only answers criticism of lack of representation of sexuality on SATC, but cuts off future criticism of AJLT.

In one scene, Che is watching a focus group give feedback on the pilot of their sitcom. A young, clearly queer member speaks up about how much they hate the “character” of Che in the sitcom. They clearly represent the fan and critical response to Che Diax in AJLT season 1, and it’s fascinating to see what the show thinks these kinds of people are - ie a minorly updated blue haired woke stereotype.

In the show, this brings Che to tears, and through this scene, our criticism of Che is emotionally rebuked. We can see that the tears of Che Diaz are the tears of the writers, appalled at our meanness.

fans are always going to be motivated by different things to the writer. A fan, especially ones with the kind of parasocial relationship to shows and characters that are big these days, are always going to want the best for the character, to see their favourites thrive and find love and get the magic sword, etc. A writer doesn’t and shouldn’t care about any of that - a writer should only be writing the best story, creating the most fulfilling narrative arc. Sometimes, when it comes to crafting a narrative, pain and suffering is important for the character, goals need to be unreached, swords remain in the stone.

Introduced as Carrie’s “modern” podcast partner, and then later Miranda’s queer sexual awakening, Che was a non-binary standup comedian who unfortunately had a lot of functions to fulfil in the story. They were a kind of stand-in to represent exactly everything that had changed in sex and dating and gender and sexuality in the years since the original Sex and The City had gracefully left our screens.

They were a truly baffling character, a kind of frankenstein’s monster cobbled together from hazy ideas of gender and queer theory, mashed into one character to be a comedic foil for the older (and somewhat startlingly conservative at times) original characters - but also as a way to try and seriously engage with ideas of representation and diversity. You never knew if you were meant to laugh at Che, or at the other character’s moments of less-than-wokeness around Che - or take them seriously.

And Just Like That - a show that can only be described as watching Sex and the City through the aged filter on TikTok while suffering a potentially fatal fever - is the greatest show on television. By that I mean it’s so bad. God I love it. It’s just inexplicably confusing, a show defined by big swings that almost never hit, but that doesn’t matter, there’s a kind of deranged joy in that. It’s almost perfect. But it’s also so weird.There seems to be a happy chaos to the show, a willingness to just put forward insane new developments for these beloved characters, and just run with it.

the reason that Che Diaz felt so out of place, a sore thumb, is  because their entire arc in the latest season is responding to fan and critical discourse.