How 'Running Point' Editor Kasey Myers Perfects Mindy Kaling's Comedic Timing

Picture courtesy of Kasey Myers and Netflix

Running Point is deceptively light on its feet. Yes, it is breezy, it is easy, and it is an extremely pleasant show – even when the Gordon family is stabbing each other in the back or facing champagne problems. The Mindy Kaling co-created series makes the art of the half-hour comedy look easy when it is anything but.

The charm is exceptionally well crafted in Running Point. The charismatic characters, their conflicts, always land thanks to clean storytelling. It is, in short, a robust comedy ultimately put together by one of the main editors on the show, Kasey Myers.

Myers began her career by working on another Kaling show, Never Have I Ever. Since then, she’s continued to collaborate with editor Mat Greenleaf, who she also assistant edits for. For season two of Running Point, Myers edited episodes two, six, and nine and recently spoke with What’s On Netflix about shaping character and comedy in those episodes.

When you’re working on Running Point season two, what are the final touches you’re making before it’s released?

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The final touches are dropping in VFX shots. VFX shots are a big part of it. We’re going to the final mixes, giving notes on the mix, and getting the final mixes in. We’re getting the final color in and going through the whole process of combining everything into the final piece.

But the final couple of weeks actually end up being a lot more about wrapping up the hard drives, making sure that everything is prepared for another season, that we have everything backed up. Also, getting the final files that have the final color and the final mix all in one. They’re called FTMs, and you store them for the next season. It’s a lot of little miscellaneous check-off list things that everyone has to do.

I do enjoy the process because you see everything come together and you get to organize everything. It’s also nice to take a project that you’ve been working on that might’ve gotten a little messy throughout the season and start to clean up some things to make it easier for next season and think about what you could use.

If you get another season, it’s always nice to have everything organized and ready to go. You want to know where all of those eggs are for when you come in again and have to bring everything. When someone comes in like, “Oh, we need this from season two or season one,” you know where everything is at.

Were there any ideas from season one that, in post, got discussed to expand on in season two?

A big thing that people were very receptive to was Isla and Ali’s relationship. When we got responses on initial cuts, that was a big thing. Everyone was like, “We want to see more of Isla and Ali.” They gave them a little bit of friction and whatnot to come back together this season and gave them a nice storyline.

I enjoy the fact that we got to explore more of Cam this season. We saw him in season one, but in season two, he became this really big character and this villainous character. There’s an episode that I worked on, episode nine, where the friction is there. Nothing’s happened yet, but it’s about to happen. I really enjoy Cam going head-to-head with Isla in these final moments of the season.

Cam is an antagonist and not a good guy, but he’s not a full-on villain. When you’re editing scenes with Cam, do you have to watch closely for any lines he can or can’t step over?

It was definitely a tonal balance with him. I mean, he has so many great deliveries. It’s in the other team’s episode, but there’s a delivery in episode 10 that just cracks me up every time. He’s being mean, but he delivers it in such a comedic way, and it just lands every time. Justin has a really good touch at landing a joke when he’s a bad guy in this season. He’s the one who’s causing all the problems behind the scenes.

It’s always great when the Gordon family is in an office together. Mindy Kaling always nails writing those scenes. How do you approach the Gordon family as well as Mindy’s comedic timing in those moments?

It’s trying to find the beats that help you tell the story and land the jokes the best that you can. Thankfully, our cast is so fun. They break all the time, which sometimes can be tough editing, but also it’s so fun to watch the dailies. You see that they’re excited to be there.

I’ve worked on a lot of Mindy Kaling shows with my editor; he’s given me a lot of opportunities to edit and get editing credits. The one thing that he always would tell me early on was “wait for him,” because we’re putting every line up against each other a lot of the time. As much as we speed through it, land the joke when you need to, but keep the pace going. And that’s something that’s always funny because when I was starting out, he’d be like, “Wait for him.” I’m like, “I thought I did.” And then you go through and you’re like, “Oh, I can suck out more air here and there too.”

RUNNING POINT SEASON 2. (L to R) Kate Hudson as Isla Gordon, Scott MacArthur as Ness Gordon, and Drew Tarver as Sandy Gordon in Episode 203 of Running Point Season 2. Cr. Katrina Marcinowski/Netflix © 2025

What’s usually the solution in those comedic scenes?

The reaction shots help with that, finding the right reaction that helps solve the joke. There was a scene in episode two when [the agent] Clint (Rob Huebel) comes in, he has COVID, and shakes hands. Everyone’s using hand sanitizer and spraying. Those scenes where you’re trying to find the specific things that sell the jokes more.

I remember hearing people laugh at those simple reactions where they’re just passing around the sanitizer or whatnot. They could have just been making a face, but the fact that they were interacting in that way, I think made it land that much more.

Anything about the main performances on Running Point that you really appreciate as you edit them?

How they play off of each other. When you are in the dailies and you see that, that brings out some of the great work and deliveries. I am a fan of so many of these people’s work, so it’s really weird to be pulling up dailies for Kate Hudson, who I grew up watching. Brenda Song I grew up watching on The Suite Life of Zack & Cody. The other weird one for me is seeing Max Greenfield, because of Schmidt [from New Girl].

Did you always want to cut comedy?

When I got into the industry, I didn’t intend to go on this path of comedy that I’ve kind of landed on. I wanted to work more in drama, to go the feature route. My first union gig as an assistant editor was Never Have I Ever. I just landed with this editor, we worked well together, and it’s been a great crew to continue on with.

I ended up going down this path, and it’s been really cool to land in a place where we’re on this show where there’s so many people that I appreciate. Like, New Girl was a big show for me when I was younger. Then going into this show and being like, oh, I’m working in the comedy world and now he’s part of the show. It’s cool moments like that when you’re working on something.

At a certain point, you go into work and you’re just like, oh, whatever. But then you get reminded of it when you go to the premiere and stuff, and they’re all sitting there and you’re like, oh wow, they’re here. But you get so used to looking at them behind the screen. The joke with editors is always that you know these people better than they know you, because they will never know who you are. You’re just a person behind a computer screen. You know all the little details and all the little tics that they have or the way that they restart a take, or you see all the ins and outs. So it’s always kind of funny because you do feel the sense of like, “Oh, I know this person.”