The brains behind The Last Man on Earth

You almost certainly saw The Lego Movie. You almost certainly saw it because your kids dragged you to it. You almost certainly were completely surprised at how good it was. Well that was down to writer-director duo by Phil Lord and Chris Miller, the pair who were also behind the surprisingly good 21 Jump Street, 22 Jump Street and Cloudy With A Chance Of Meatballs.

The Last Man on Earth

We say 'surprising' because Hollywood comedies tend to forget to add jokes or any kind of humour more often than not. But these chaps are the real deal and helped create the show with Will Forte. The pair also served as executive producers and directed the pilot.

Which brings us to Will Forte. Because we don't get long-running US sketch comedy Saturday Night Live over here for some reason we've never truly understood, SNL alumni are usually unknown faces to us at first. Will served as a cast member for eight years, but you might recognise him from several guest-starring roles on hit TV comedies.

He's turned up on How I Met Your Mother, Parks and Recreation, Up All Night, Tim and Eric Awesome Show, Great Job!, Flight of the Conchords and his work on 30 Rock earned him a 2013 Primetime Emmy nomination in the Guest Actor category.

He also wrote and starred in SNL spin off film MacGruber in 2010 - the movie was a box office bomb but the box office was wrong - as box offices often are - and comedy aficionados now agree it's a cult classic.

The Last Man on Earth was a massive hit in the US and, if you need more convincing, here's some Americans gushing over it:

"Watching Fox's wonderfully creative and ridiculously entertaining new series you can't help but laugh (it's a comedy - duh), but also be truly and utterly impressed." The Hollywood Reporter

"There may even be a few cheers for the audacity, inventiveness and achievement of Will Forte, who created and stars in the show and has filled it with a warm, goofy spirit that always feels oddly appropriate to the subject matter." USA Today

"A charming and intelligent sendup of pop culture's obsession with the end of everything." The Washington Post

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