No modern media property captures the chaotic joy of life in New York City better than “SubwayTakes.” Kareem Rahma’s man-on-the-train interviews manage to celebrate the city’s eclectic characters and extensive public transit systems while providing a platform for the 21st century’s definitive art form, the hot take. With guests that range from Jennifer Lopez and Ethan Hawke to Rahma’s New Yorker friends who have yet to crack the mainstream, the show illustrates how strong opinions and a willingness to defend them are universal human traits.

“The show came out of my love of debate and discussion and, honestly… fun,” Rahma said during a recent conversation with IndieWire. “Really the show is about having fun, and about showing the world how much fun a conversation can be.”

That commitment to fun is reflected in the conversations, in which guests throw out silly opinions before Rahma replies with “100 percent agree” or “100 percent disagree,” creating an environment in which nuance and compromise are gleefully discarded in favor of arguing about life’s smallest topics.

“What’s happened is that the best takes are the most Larry David-ian,” he said. “They’re micro observations about the world around us and the way we move through life. And I think that’s what people like. It’s part of the bit that you can argue about something that doesn’t matter, but you’re just doing it for the sake of argument.

But while the casual nature of the conversations are part of the charm, producing “Subway Takes” is as elaborate of a process as you’ll find in the online media landscape. Filming a talk show on a moving train brings its own set of audio and visual problems, but making this show any other way would be sacrilege.

“The challenges of doing a talk show in public are plentiful,” he said with a laugh. “The biggest one is the fact that we have literally no control over our setting.”

Rahma explained that the show’s intimate production value is possible through the hard work of a dedicated team, all of whom go to great lengths to ensure that the finished product captures the feeling of riding a New York Subway while still delivering professional quality audio.

“It came out of a need for free studio space,” he said of the show’s origins. “I would rather invest in the quality of the content than invest in the physical location where the content is created. We invested in the team and making sure we had the best equipment possible. Because there is a version of this show that looks unprofessional, but my team is professional.”

A typical episode of “SubwayTakes” uses four cameras and five audio channels, with a talented post-production team ensuring that the final mix is easy to hear without losing its authenticity.

“The team does make the show that’s shot on a subway look incredibly professional and cinematic,” he said. “That’s why we can make a show that’s legible and has no sound problems in such a loud environment.”

And when the conversations conclude, the work of crafting an episode is just beginning. While Rahma has learned how to steer his subway debates towards viral moments, the editing process has required the team to hone a knack for finding the story within otherwise chaotic conversations.

“I’m definitely writing the episode while it’s happening,” he said. “We build a plane while we fly it. Almost every episode I’m sitting there saying ‘Oh shit, how I am I gonna land this plane?’ Because I don’t know what they’re going to say.”

All of the hard work that goes into “SubwayTakes,” much of it unseen by viewers, all serves the same goal: facilitating an environment that makes every guest feel free to express themselves and turning it into a show that keeps audiences laughing.

“It’s not a debate show in the sense you have to win the debate. It’s entertainment,” Rahma said. “I wanted to create an environment that was safe for discussion, for humor, for play, and for childlike wonder.”

This conversation is presented in partnership with YouTube.

EXCLUSIVE: Chuck Saftler, one of the biggest names in TV acquisitions and who helped build FX Networks, is leaving Disney after a 32-year tenure that dates to pre-Disney-merger FX, which he joined in December 1993 as director of scheduling, seven months prior to the network’s launch. His last day in the office will be October 16.

The well-liked executive is not retiring. In his heartfelt note to staff, which you can read below, he wrote: “I have made the decision to step down from my role as I consider a new professional chapter.”

Most recently, Saftler has been Head of Acquisitions for ABC, Disney Kids and Family, FX and Nat Geo in Disney’s Platform Distribution group led by President Jimmy Zasowski, who announced the departure internally.

After a transition period, Sean Cocchia, EVP Global Entertainment Networks, Research and Business Operations at Disney Entertainment Television, will add Saftler’s duties to his portfolio.

“Chuck has no doubt left an indelible mark on the business and his contributions have shaped the team in lasting ways,” Zasowski said.

In his memo, Saftler acknowledged Zasowski as well as his two previous bosses, John Landgraf, Chairman, FX and Debra OConnell, Chairman, Disney Entertainment Television.

At FX, where Saftler has been the longest-tenured employee, he was a member of the network’s launch team and also helped launch the Fox Movie Channel in its original incarnation as fXM in October of 1994. He was part of Landgraf’s core group of executives and rose through the ranks to President of Program Strategy and Chief Operating Officer of FX Networks.

From 2020-2023, Saftler served as Head of Business Operations and Acquisitions, ABC, FX and Freeform in Kareem Daniel’s ill-fated DMED division where he was OConnell’s top lieutenant.

“Chuck’s enduring commitment and countless contributions over the past three decades have had a profound impact on the company,” Landgraf and OConnell said in a joint statement. “Chuck was a part of FX from the very beginning and played a defining role in shaping and strengthening the network at every stage. His intelligence, humility, and remarkably good judgment have made him a trusted voice, and his influence will be felt for years to come.”

Always unassuming, sitting in the back of the room — but often the smartest person in the room — Saftler became known as the guy who can predict the future of television, constantly analyzing industry trends to figure out what would come next.

He was a pioneer of movie output deals in cable, making bets for tens of millions of dollars on films that were yet to come out. Most of them paid off, and, buoyed by theatrical accusations and savvy off-network syndication buys such as Two and a Half Men, FX’s viewership took off, providing solid baseline ratings for the original programming team to successfully launch their shows.

Saftler expanded the strategy for other FX-branded channels, which fueled a ratings resurgence at FXX in the early 2020s amid industry-wide cable declines.

In one of Saftler’s biggest gambles, in 2013 he made what was at the time the biggest off-network deal in TV history. In a five-network bidding war, he landed The Simpsons for estimated $750M-$1B. In addition to cable, the 10-year pact included digital rights to the venerable animated show, which, at the time, were largely hypothetical.

But that deal point allowed Disney+ to take over The Simpsons library, which became one of the platform’s biggest draws upon launch.

Saftler also created business models — when the cable syndication marketplace for network sitcoms got overheated, he launched FX’s own pipeline with a 10+90 episode template, starting with Charlie Sheen’s Anger Management.

And he was always up for a bargain, for instance landing Mike & Molly rights at a very modest price. The Melissa McCarthy-Billy Gardell sitcom overperformed, making the acquisition a great return on investment.

Here is Saftler’s note to staff:

Friends and colleagues,

After more than 32 years with Disney, I have made the decision to step down from my role as I consider a new professional chapter.

It’s hard to put into words what these three decades have meant to me. I had the extraordinary opportunity to help build FX from its earliest days and then to take on new leadership roles across Disney Entertainment Television. I’m incredibly proud of what we built, the stories we told and, most of all, the people I had the privilege of doing it with.

I’d like to especially thank John Landgraf, Debra OConnell and Jimmy Zasowski for their support, trust and partnership, and for the many experiences that have shaped my journey at this company.

While it’s never easy to say goodbye to a place that has been such a meaningful part of my life and career, I’m energized by what may come next and to apply the knowledge and experiences that have brought me this far.

Above all, I’m deeply grateful to the extraordinary colleagues, creative partners, and friends who have been part of this incredible journey. It has been a privilege to work alongside each and every one of you. And while I will miss being part of such an exceptional organization, I have immense pride in what we’ve accomplished together and I’m excited to embark on this next phase.

Chuck