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Speaker 1: Welcome to the Therapy for Black Girls Podcast, a weekly

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Speaker 1: conversation about mental health, personal development, and all the small

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Speaker 1: decisions we can make to become the best possible versions

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Speaker 1: of ourselves. I'm your host, Dr Joy hard and Bradford,

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Speaker 1: a licensed psychologist in Atlanta, Georgia. For more information or

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Speaker 1: to find a therapist in your area, visit our website

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Speaker 1: at Therapy for Black Girls dot com. While I hope

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Speaker 1: you love listening to and learning from the podcast, it

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Speaker 1: is not meant to be a substitute for a relationship

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Speaker 1: with a licensed mental health professional. Hey, y'all, thanks so

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Speaker 1: much for joining me for Session to seventy four of

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Speaker 1: the Therapy for Black Girls Podcast. We'll get right into

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Speaker 1: our conversation after a word from our sponsors. Whether you're

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Speaker 1: watching your favorite series on your phone, computer, or TV,

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Speaker 1: the shows that we've grown to binge watch and our

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Speaker 1: critique were created by teams of people invested in the

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Speaker 1: power of storytelling. Whether it's a YouTube based comedy series

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Speaker 1: or an HBO original, the tales told on our screens

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Speaker 1: allow us to live vicariously through characters that remind us

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Speaker 1: of ourselves, the people we love, and even the people

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Speaker 1: we don't. Want to be like? But who are the

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Speaker 1: people behind these characters? Who are the talented individuals who

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Speaker 1: translate stories to reality. In this week's session, I'm speaking

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Speaker 1: with industry powerhouse and Triple Threat writer, director and showrunner

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Speaker 1: amy Onna Yobi. Amy is one of the incredible black

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Speaker 1: women behind iconic shows like A Media's Awkward Black Girl,

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Speaker 1: HBO's Two Dope Queens, and HBO's Insecure. Our conversation explores

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Speaker 1: the characteristics of working in film and television as a

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Speaker 1: black woman and the necessity of mentorship in the industry.

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Speaker 1: If something resonates with you while enjoying our conversation, please

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Speaker 1: share with us on social media using the hashtag tv

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Speaker 1: g in session or join us over in the Sister

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Speaker 1: Circle to talk more in depth about the episode. You

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Speaker 1: can join us at community that Therapy for Black Girls

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Speaker 1: dot com. Here's our conversation. Thank you so much for

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Speaker 1: joining me, Amy, Thanks Dr Joy. Nice to meet you.

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Speaker 1: Likewise Likewise, so, you have been in this entertainment game

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Speaker 1: for quite some time. We were aware of a lot

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Speaker 1: of your credits, but I want you to take us

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Speaker 1: all the way back to the beginning. What was your

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Speaker 1: very first credit on IMDb? Oh on IMDb. I thought

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Speaker 1: you were gonna be way way back, Like, when was

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Speaker 1: the first thing I ever read? I'll tell you right

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Speaker 1: now out I remember we Loved Me. Oh yeah, Well,

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Speaker 1: the first thing I ever wrote in the first time

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Speaker 1: anyone ever told me maybe you should be a writer

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Speaker 1: was actually when I was in kindergarten, I wrote we

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Speaker 1: all had to write stories, like just stories from our mind,

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Speaker 1: and I wrote a story and illustrated it to about

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Speaker 1: how I wanted to be a kangaroo. I think it

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Speaker 1: was called Why I Want to be a Kangaroo And

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Speaker 1: it got published in a Texas children's anthology of fiction,

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Speaker 1: and there's a big ceremony and I met Amy Tan,

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Speaker 1: like the writer of Joy lat Club. I didn't know

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Speaker 1: who she was. I was five. My parents didn't know

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Speaker 1: who she was. They're Nigeria and their immigrants. But was like,

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Speaker 1: take a picture with Amy Tan. And I remember going

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Speaker 1: to this thing and bringing my book that I drew

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Speaker 1: the drawings, and that was the first time Amy Tan,

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Speaker 1: I believe, was the one who told me you're a

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Speaker 1: very good writer. And I was like thanks, Yeah. I

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Speaker 1: think the seed was planted then, but my first credit

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Speaker 1: it on IMDb. Actually I haven't looked in a while,

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Speaker 1: so I'm not sure, but I'm gonna assume it's awkward

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Speaker 1: black Girl. Like I feel like it's got to be

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Speaker 1: awwerad black Girl because I started writing for that web

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Speaker 1: series Misadventures of Awera Black Girl, when I was still

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Speaker 1: in grad school. I was in my second year of

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Speaker 1: grad school when Eas's team reached out to me and

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Speaker 1: asked if I wanted to be a writer on the

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Speaker 1: web series. And I kind of knew Issa from college.

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Speaker 1: We weren't close, but Blackness we had met, and I

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Speaker 1: watched the first episode was like it was so like

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Speaker 1: it gave me chills because I was like, I've never

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Speaker 1: felt more seen in my life. I am an awkward

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Speaker 1: black girl. And so I wrote on it while I

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Speaker 1: was in grad school, and then after I graduated, when

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Speaker 1: I became a writer's assistant on Happy Endings, which was

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Speaker 1: a comedy on ABC. And while I was still an

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Speaker 1: assistant on that show, I'm moonlighted at night as a

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Speaker 1: realized writer. I love it. I love it. So her

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Speaker 1: team was familiar with you from you both being at Stanford. Yeah,

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Speaker 1: and even to explain that further by her team, I

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Speaker 1: mean Tracy Oliver her producer, Tracy Oliver, who is an

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Speaker 1: amazing writer in her own right who has a mega

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Speaker 1: deal at Apple and has the show Harlem on Amazon.

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Speaker 1: Tracy was my little sib at Stanford, which meant like

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Speaker 1: I was an upper class black woman who was like,

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Speaker 1: let me show you the ropes. Well, she was doing great.

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Speaker 1: She didn't need no rope show to her. So we

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Speaker 1: just became friends and stayed in touch even beyond graduation.

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Speaker 1: She had gone to USC for film school and the

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Speaker 1: producing program, and so when she started producing Isa's web sities,

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Speaker 1: she reached out to me so and I remember I

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Speaker 1: sent her an email because she was like, we're accepting writers.

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Speaker 1: Would you like to submit an application? And I believe

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Speaker 1: my email was do you know me? That's my application?

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Speaker 1: My writing sample is. I'm in grad school for writing,

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Speaker 1: so you let me know. And she sent me an

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Speaker 1: email back being like, you have been accepted. And then

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Speaker 1: that was when I watched the first episode. After she

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Speaker 1: emailed me being like we have shows in you or whatever,

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Speaker 1: I went back and watched the first episode Offer Black

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Speaker 1: because it had just come out, you know, and I

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Speaker 1: watched it and that was when I got the Childen

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Speaker 1: was like, holy this is a big opportunity. Like, so

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Speaker 1: that I emailed her again and I was like, thank

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Speaker 1: you so much for this opportunity. I'm so blessed, Like

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Speaker 1: anything you need, let me know. And so the Writer's

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Speaker 1: Room actually met in my living room, in my apartment

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Speaker 1: living room for the next year and a half two years. Wow.

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Speaker 1: So I think a lot of us had their feeling

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Speaker 1: when we initially found Aquad Black Girl, like, oh my gosh,

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Speaker 1: Like this is on screen right, and so it sounds

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Speaker 1: like very you knew it was going to be a

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Speaker 1: big thing, Like what were the signs for you that

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Speaker 1: let you know that it was going to be big?

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Speaker 1: It was raw, it was unfiltered, and it captured on

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Speaker 1: universal emotion, like not only from the very first like

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Speaker 1: thing where it says like two of the worst things

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Speaker 1: you can be is awkward and black, Like that was

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Speaker 1: something that as a self identified awkward black girl that

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Speaker 1: I had always felt like, not only are you at

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Speaker 1: the bottom of the social barrel because you're black, but

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Speaker 1: you're also in white spaces. Let's be honest, but you're

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Speaker 1: also at the bottom of the barrel because you're awkward

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Speaker 1: and you don't flow so easily in social scenarios and

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Speaker 1: I had always felt that and then like her wrapping

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Speaker 1: to herself, like as a kid, I had written songs

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Speaker 1: like my mom has walked in on me so many times,

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Speaker 1: like singing emphatically into the mirror and being like are

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Speaker 1: you okay? And I'm like I got emotions, And it

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Speaker 1: was like it was the same thing, Like I was

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Speaker 1: more like singing like Gloria Estevon, like B sides, but

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Speaker 1: character rapping. It just felt very familiar. And I have

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Speaker 1: so many journals filled with poetry from my youth and

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Speaker 1: songs and song layers and rap lyrics and spoken word

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Speaker 1: and all these corny things, and I'm like, so that

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Speaker 1: was all it. But then that universal feeling like the

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Speaker 1: first episode, I think, is the stop sign awkward moment?

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Speaker 1: What's the protocol for repeatedly running into someone and it

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Speaker 1: stop sign? I know, no, seriously, what is it? And

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Speaker 1: it's weird. She says like hey to a guy to

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Speaker 1: stop sign, and then they start driving and they keep

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Speaker 1: meeting at the next stop sign, at the next stop sign,

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Speaker 1: and I'm like, yeah, that's my nightmare. So it was

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Speaker 1: just universal themes of awkwardness and like realizing that by

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Speaker 1: identifying I understand what you're supposed to think about me

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Speaker 1: because I'm black and I'm awkward. By identifying it, it

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Speaker 1: almost reclaims it in its own way. So it also,

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Speaker 1: even though saying two of the worst things you can

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Speaker 1: be makes it sound like it's shifting on black awkward people,

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Speaker 1: you're also reclaiming it and saying like, hey, I'm going

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Speaker 1: to stand in my truth. It also comedically felt very

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Speaker 1: similar in tone with like Dirty Rock in the Office

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Speaker 1: and these awkward people comedies, like comedies where awkward people

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Speaker 1: were the star, and that of course was when it

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Speaker 1: came out, so it felt like finally one for us. MM.

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Speaker 1: Do you think that there's anything different in terms of

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Speaker 1: writing for a web series versus other mediums. I think

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Speaker 1: there can be something very different. But I'll say both

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Speaker 1: Awkward Black Girl and the web series I created while

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Speaker 1: I was an assistant on Happy Endings it was just

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Speaker 1: called The Slutty Years. We ran them like TV shows,

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Speaker 1: So like, you can't just be calling on your friends

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Speaker 1: and hob nobbing together and not having a formal script

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Speaker 1: writing it in word instead of using the correct software

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Speaker 1: and all the things. It can be nothing like it.

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Speaker 1: But to be honest, we ran ours like a show,

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Speaker 1: and by the time I got on Happy Endings and

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Speaker 1: I was creating The Slutty Years, Like I knew all

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Speaker 1: the prep meetings that went into making a TV show,

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Speaker 1: so I had those same prep meetings along my schedule.

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Speaker 1: And as a result, when I finally got to be

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Speaker 1: on set as a staff writer on the Michael J.

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Speaker 1: Fox Show, I was like, I've done this before, like

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Speaker 1: with a lot lower bludget, but I've done it before.

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Speaker 1: Like I had already had a props meeting, I had

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Speaker 1: had a tone meeting, I had had a production meeting,

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Speaker 1: I had done it all because I just copied what

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Speaker 1: I saw my boss is doing. Was like, let's do

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Speaker 1: it on our tiny scale with our five dollars. And

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Speaker 1: so there was I won't say a full comfort, but

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Speaker 1: there was sort of this like, Okay, the white people

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Speaker 1: got more money, but we can do this. So it

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Speaker 1: can be different. But I think it depends on what

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Speaker 1: your goal is. My goal was to be a TV writer,

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Speaker 1: so I ran my web series like a TV show. Mmm.

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Speaker 1: So it sounds like you have had quite a few

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Speaker 1: different positions, and I'd love to hear a little bit

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Speaker 1: more about that progression you were also the show runner

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Speaker 1: on HBO's Two Dope Queens. These queens everybody give it up?

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Speaker 1: Oh my god. Two Dope Queens also the nickname from

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Speaker 1: My Tiddy's Out. So what does the show runner do? Like,

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Speaker 1: it sounds like you are the head, be in charge.

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Speaker 1: So does the show runner do well? Dr? Joy? That

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Speaker 1: is actually correct. Show runner runs the show. So that

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Speaker 1: it's such an interesting job because I feel like you

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Speaker 1: get into TV because you like written word and you

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Speaker 1: like character and you like writing and you like being internal.

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Speaker 1: And a showrunner is externalizing everything in your brain because

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Speaker 1: no one can read your mind. So you might write

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Speaker 1: that a character is wearing a skirt, and then here

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Speaker 1: comes a wardrobe person who's going to say, okay, what

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Speaker 1: color skirt, what length of skirt? Is it short? Is

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Speaker 1: it long? Is it type? Is it loose? And you're like, uh, well,

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Speaker 1: in my head, I saw this, Or they're gonna say, hey,

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Speaker 1: you didn't specify, so here are nine examples that I

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Speaker 1: have and you're gonna go, yeah, that one, you know.

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Speaker 1: So it's like, as the showrunner, you're externalizing all the

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Speaker 1: things that are in your brain for this crew of

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Speaker 1: a hundred people to be able to execute them. And

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Speaker 1: some people have that built in to their mechanics of

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Speaker 1: how they process story, and some people have a learned talent,

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Speaker 1: and then some people it's just not for them. Like

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Speaker 1: not every writer and television sets out to be like

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Speaker 1: I'm going to be a showrunner, because it's a right

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Speaker 1: brain left brain mix that is not necessarily intrinsic to

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Speaker 1: all creatives. So sometimes a show creator, someone who writes

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Speaker 1: and develops a show, will hire a showrunner who's good

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Speaker 1: at that right brain left brain to do the translating

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Speaker 1: for the crew. I feel like I've been pretty lucky

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Speaker 1: to work for showrunners who are both like creators and showrunners.

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Speaker 1: And that's what I pride myself onto. I'm very Type

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Speaker 1: AI and like I'm a Virgo. I'm a child of

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Speaker 1: immigrants on Nigerian. I'm a double virgo actually, so I'm

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Speaker 1: like Type A two got Max. So I'm like, you

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Speaker 1: want something translated from my braind I got you because

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Speaker 1: I don't want you to get wrong. So I feel

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Speaker 1: like I was built to be a showrunner. And so

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Speaker 1: I will say being on Two Dog Queens was the

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Speaker 1: first time that I got to feel that feeling of

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Speaker 1: truly collaborating with the talent so closely and being in

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Speaker 1: charge at the same time with both Phoebe Robinson and

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Speaker 1: Jessica Williams, and it was like putting on a jacket

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Speaker 1: that was supposed to be mine forever, you know, that

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Speaker 1: was made specifically for me. I was like, this is

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Speaker 1: what I'm meant to do. It was so much fun,

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Speaker 1: and so that's what I run towards now, or the

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Speaker 1: opportunities that let me create and also lead. I also

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Speaker 1: think that part of being a leader for me in

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Speaker 1: RNs IT to the job is mentorship. So mentoring is

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Speaker 1: so important to me, and I think all of my

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Speaker 1: like bosses who I really love, work in the way

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Speaker 1: where it's like mentorship is part of the job. And

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Speaker 1: that has been really wonderful to know that there's a

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Speaker 1: place for me as a showing or as someone who

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Speaker 1: loves to mentor and bring up other voices and other

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Speaker 1: creators as well. Thank you for that, and I can

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Speaker 1: imagine that is, you know, really important. And you've talked

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Speaker 1: a lot about your identity as a Nigerian. Your identity

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Speaker 1: has a child of immigrants, and it seems like a

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Speaker 1: lot of your projects also have like this identity piece, right,

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Speaker 1: Can you talk a little bit about like why it's

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Speaker 1: important or why it has been important for you to

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Speaker 1: choose those kinds of projects. Yeah. I think the reason

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Speaker 1: why so much of the work that I create grapples

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Speaker 1: with identity is because it's something that I've grappled with

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Speaker 1: since birth. And I think storytelling and the medium of

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Speaker 1: storytelling is one of the few ways that society gets

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Speaker 1: to have a conversation with itself. Especially in comedy, you're

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Speaker 1: getting to have a conversation with with what you are

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Speaker 1: going through now. But so much of storytelling, and by

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Speaker 1: that like I mean artistry, music, sound design, like architecture,

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Speaker 1: they're all forms of storytelling. You are deciphering a piece

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Speaker 1: of you and everything you create if you're doing it well,

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Speaker 1: I think the best stories come from something real. And

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Speaker 1: as a black kid, a dark skinned black girl growing

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Speaker 1: up in North Texas in a super white town with

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Speaker 1: parents who had accents, I was always confronted with identity

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Speaker 1: and I think because I was awkward and dare I

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Speaker 1: say it, goofy As a kid, I also was constantly

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Speaker 1: leaning on comedy to help myself feel more comfortable in

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Speaker 1: other spaces, trying to be the funny one, trying to

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Speaker 1: make people laugh with me rather than at me kind

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Speaker 1: of thing. And so I think so much of what

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Speaker 1: I create will always grapple with identity because it's something

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Speaker 1: that I still grapple with to this day. They're all

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Speaker 1: ways days that I'm going to feel not black enough

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Speaker 1: by the standards that someone else has set, or not

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Speaker 1: feminine enough by the standards that someone else has set.

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Speaker 1: It's just like we're constantly being like checked, not only

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Speaker 1: as black people, as women, as Americans, as just whatever

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Speaker 1: identities we whole. We're constantly being checked by standards that

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Speaker 1: someone else is set. Those are all going to be

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Speaker 1: conversations about identity. So when I put it in my work,

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Speaker 1: it's because I'm trying to figure it out for myself too.

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Speaker 1: M m yeah. And I think that that is what

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Speaker 1: makes so many of your projects just incredibly relatable, right,

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Speaker 1: and you know, like we see ourselves in them. But

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Speaker 1: I can also imagine when it is like you, right,

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Speaker 1: So it's a you know, maybe a characterization of you,

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Speaker 1: but still in some ways you. It may be difficult

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Speaker 1: to deal with that being on the screen and like

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Speaker 1: have people pick it apart and critique. How do you

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Speaker 1: take care of yourself when it is kind of like

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Speaker 1: you in these stories. Yeah, and a lot of it

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Speaker 1: is the mute button. Is that helpful? Uh? Social media?

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Speaker 1: Someone once told me, like, if you read the good reviews,

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Speaker 1: you have to read the bad ones, Like you can't

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Speaker 1: just read one side and vice versa. Like you're not

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Speaker 1: allowed to just live in beating yourself up and you're

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Speaker 1: not allowed to just live in praising yourself. That was

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Speaker 1: just advice that someone told me, because both make you better,

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Speaker 1: you know, So I do kind of believe that, Like,

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Speaker 1: but I already in that there are certain review sources

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Speaker 1: that I trust, and the ones that are just like bloggers,

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Speaker 1: I kind of tend not to internalize what they're saying

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Speaker 1: because sometimes a lot of times it's coming from a

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Speaker 1: place of being a super fan or being a super critic.

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Speaker 1: And then in terms of like staying sane, Like honestly,

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Speaker 1: I find that I am just too busy to read

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Speaker 1: all the comments. So I will do my little scan

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Speaker 1: through like comments section, or like I'll tweet something about

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Speaker 1: a moment in the show, and I'll do my little

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Speaker 1: scan and then I gotta move on. I got a job,

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Speaker 1: so I'm just sort of like, at the end of

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Speaker 1: the day, I'm like, I find it a bad tweet

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Speaker 1: or someone critiquing my work does hurt my feelings. There's

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Speaker 1: no way around it. I don't know what it is

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Speaker 1: about social media, but a stranger saying something mean to

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Speaker 1: you almost hurts worse than a friend, and I don't

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Speaker 1: know why. So when i feel like I'm running up

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Speaker 1: against that, I'm like, mute, delete, block, move on. Like

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Speaker 1: I'm just like, I have to get away from that

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Speaker 1: feeling because I'm like, this person doesn't know me, so

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Speaker 1: I don't want to internalize that. Luckily and pretty busy,

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Speaker 1: so I can't dwell in the comments too long. But

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Speaker 1: other than that, I just try and move on quickly.

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Speaker 1: Mm hmmm. More from my conversation with Amy after the

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Speaker 1: break and you've talked about, you know, mentorship being really important,

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Speaker 1: and I know sometimes this can be a difficult feel

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Speaker 1: to be in as a black women, right, Like, they're

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Speaker 1: not a lot of us in you know, positions to

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Speaker 1: kind of bring other people up, and it sounds like

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Speaker 1: you are doing your plot to try to, you know,

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Speaker 1: open the doors for others. What has your experience been

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Speaker 1: with people doing that for you? Has that been difficult. No,

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Speaker 1: I don't find that people supporting me as I have

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Speaker 1: grown in this industry has been difficult. I think I

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Speaker 1: am someone who has worked hard from the very beginning

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Speaker 1: to say I need to make the person only other

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Speaker 1: side of the table looks stupid saying no to me.

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Speaker 1: So when I had my first job as an assistant,

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Speaker 1: I remember looking at the people that my boss like

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Speaker 1: the early level, like green writers that my boss read,

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Speaker 1: and I was like, Oh, they either have an Instagram presence,

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Speaker 1: they've come through a program, they've independently made something, they've

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Speaker 1: gone to grad school, or they have reps. And I

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Speaker 1: was like, okay, I got a year. I gotta do

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Speaker 1: all five of those. Because I'm a black woman, like,

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Speaker 1: I was like, I can't do one of those. Like

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Speaker 1: the idea of like I got unscript, somebody find me,

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Speaker 1: I got my one script. I'm like, what are you

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Speaker 1: white and straight and male? Like? Other than that, I

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Speaker 1: don't understand that. So I've always been like, if there

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Speaker 1: are five ways you can get in, I gotta do

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Speaker 1: all five. So once I committed to that because I

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Speaker 1: used to be that I got one script girl, and

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Speaker 1: then all through grad schools like my one script didn't

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Speaker 1: get me, staff didn't get me a deal when I

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Speaker 1: was nineteen what And so I realized I was like, oh,

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Speaker 1: I can't be that person. I'm a black woman who

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Speaker 1: came from outside of the industry. I got three strikes,

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Speaker 1: so I gotta work three times harder. And so I

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Speaker 1: believe in making yourself someone who is hard to say

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Speaker 1: no to, someone who is too qualified for people to ignore.

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Speaker 1: Now here's the thing. You might not have control over

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Speaker 1: their racism and their politics, but I do have control

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Speaker 1: over what I can produce as content. So once I

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Speaker 1: got into that mindset of like, oh, you gotta you

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Speaker 1: gotta put that gas on, you know, I'm like, you

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Speaker 1: gotta pedal down to the ground and literally go. Once

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Speaker 1: I got that in my head, I was like, yeah,

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Speaker 1: of course I'm going to be successful. Like I'm not

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Speaker 1: even kidding you know. I was like, I know it

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Speaker 1: hasn't happened yet, but it's gonna happen because it has

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Speaker 1: to happen because I've done all the things. They're got

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Speaker 1: to a point where I had a writer's group and

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Speaker 1: we used to get together and we would be like,

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Speaker 1: have you done all the things? And I was like,

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Speaker 1: I have done all the things. I'm in a program,

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Speaker 1: I'm working on a hit show. I'm an assisted I

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Speaker 1: helped write a web series. I'm creating my own web series.

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Speaker 1: I started a Twitter feed and I post jokes every day.

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Speaker 1: I have done all the things. Oh, and agents are

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Speaker 1: beating with me, you know. So I got to a

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Speaker 1: point where it's like I've done all the things where

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Speaker 1: I know what's going to happen, and then I just

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Speaker 1: had to be patient and keep doing all the things.

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Speaker 1: As a result, I think once things start to fall

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Speaker 1: in line, I feel that people want to help people

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Speaker 1: in their careers who are already helping themselves. I find

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Speaker 1: it frustrating, albeit understandable, when people who are not in

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Speaker 1: the ade street are asking can I get a job?

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Speaker 1: Or like can you give me this? Or I'm looking

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Speaker 1: for this, can you help? I understand it, but it

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Speaker 1: doesn't make sense when you actually do the work to

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Speaker 1: look at the bios of everyone who you admire and

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Speaker 1: see all the things that they did. You need to

401
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Speaker 1: get started doing all the things. And once you've done that,

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Speaker 1: it's so much easier for someone to say, Oh, we're

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Speaker 1: in a boat and I handed you an oar and

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Speaker 1: you're actually rowing, Like you're not depending on me to

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Speaker 1: row us up the river. You have an oar in

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Speaker 1: your hand and you're rowing too, so now we can

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Speaker 1: row together. All right, Yeah, let me help you. I

408
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Speaker 1: think there is this instinct of like, how am I

409
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Speaker 1: supposed to get there? If I don't have help? Google

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Speaker 1: is free, So what I did was google how do

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Speaker 1: you write a script? How do you do this? And

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Speaker 1: I just started doing the work myself. Formal education is

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Speaker 1: only part of it, and the rest has to come

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Speaker 1: from you. So when I finished grad school, I'm still

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Speaker 1: in school, like I still take classes in writing classes

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Speaker 1: and creativity like how to unlock your creativity and all

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Speaker 1: the things. And I started indeed, so I'm always going

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Speaker 1: to be someone who does all the things. Unfortunately, it's

419
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Speaker 1: hard because I'm like looking for that next level of

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Speaker 1: success for myself and I have to get back to

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Speaker 1: that place where I'm like, I know it will come

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Speaker 1: because I'm doing all the things. So that's where I

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Speaker 1: want to live. And I have trouble with it. But

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Speaker 1: I remember that girl who was an assistant on happy

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Speaker 1: Endings and doing all the things, and it's going to happen.

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Speaker 1: Let me just sit here and keep doing what I'm doing.

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Speaker 1: I think I answered your question. I'm not sure I

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Speaker 1: might have got on a tangent. I have a couple

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Speaker 1: of follow up questions for that. So you are doing

430
00:22:38,040 --> 00:22:40,320
Speaker 1: your part to try to like make that process easier

431
00:22:40,320 --> 00:22:43,199
Speaker 1: for people with your talent incubator drive. So you are

432
00:22:43,280 --> 00:22:45,280
Speaker 1: kind of putting some processes out there for people to

433
00:22:45,359 --> 00:22:49,280
Speaker 1: do the things that you're talking about. Yeah, and that's

434
00:22:49,400 --> 00:22:51,760
Speaker 1: so much of why I started Tribe, Like I started

435
00:22:51,800 --> 00:22:55,280
Speaker 1: it in the pandemic by myself, with thirty three writers

436
00:22:55,280 --> 00:22:57,000
Speaker 1: who I reached out to and said, Hey, are you

437
00:22:57,040 --> 00:22:59,080
Speaker 1: looking for community in this time when we're all on

438
00:22:59,160 --> 00:23:02,560
Speaker 1: zoom and America's on fire? Are you looking for community?

439
00:23:02,640 --> 00:23:05,720
Speaker 1: And I got a resounding yes, And so I started

440
00:23:05,760 --> 00:23:11,320
Speaker 1: out planning like monthly panels and talks and workshops about

441
00:23:11,400 --> 00:23:15,800
Speaker 1: hard skills versus soft skills and creativity. And I started

442
00:23:15,800 --> 00:23:19,520
Speaker 1: it during like production of the final season of Insecure,

443
00:23:20,320 --> 00:23:22,920
Speaker 1: during a global pandemic, when I was directing my first

444
00:23:22,960 --> 00:23:28,600
Speaker 1: episode of television. It was very stressful and the best

445
00:23:28,680 --> 00:23:31,439
Speaker 1: light plans turned into like kind of murky stuff. Like

446
00:23:31,480 --> 00:23:33,840
Speaker 1: I was like doing these panels but kept changing the

447
00:23:33,920 --> 00:23:36,720
Speaker 1: dates because my production schedule was changing and all these things,

448
00:23:37,200 --> 00:23:38,920
Speaker 1: and I was like, this is really hard to run

449
00:23:38,960 --> 00:23:43,320
Speaker 1: a program by yourself. And luckily, with the renewal of

450
00:23:43,359 --> 00:23:46,359
Speaker 1: my overall deal at HBO and HBO Max, I got

451
00:23:46,560 --> 00:23:48,800
Speaker 1: the chance to hire an executive who could help me

452
00:23:49,040 --> 00:23:52,600
Speaker 1: not only build my slate and help me with the

453
00:23:52,640 --> 00:23:55,080
Speaker 1: work that I want to make for myself, but also

454
00:23:55,160 --> 00:23:59,240
Speaker 1: investing in new work and investing time in building new talent.

455
00:23:59,760 --> 00:24:02,280
Speaker 1: That what tribe is for Tribe is about taking the

456
00:24:02,320 --> 00:24:05,080
Speaker 1: people who have just entered the boat and still have

457
00:24:05,280 --> 00:24:07,760
Speaker 1: that ore and are going to row with me and

458
00:24:07,840 --> 00:24:10,479
Speaker 1: say I want to go in the direction and the

459
00:24:10,520 --> 00:24:12,520
Speaker 1: speed and the pace at which it is to be

460
00:24:12,600 --> 00:24:15,600
Speaker 1: successful in this industry. And I said, good, great, let's go.

461
00:24:15,680 --> 00:24:18,560
Speaker 1: Let's get there together. I believe there's a myth that

462
00:24:18,640 --> 00:24:21,600
Speaker 1: being a creative is a lonely act, like a lonely

463
00:24:21,640 --> 00:24:23,760
Speaker 1: creative and you've got to write alone in your house,

464
00:24:23,840 --> 00:24:27,159
Speaker 1: and your best creativity is found in solitude. And I

465
00:24:27,160 --> 00:24:29,640
Speaker 1: don't believe that all my best opportunities have come from

466
00:24:29,640 --> 00:24:32,200
Speaker 1: people sitting right next to me, people who I networked

467
00:24:32,240 --> 00:24:35,679
Speaker 1: across with, rather than networking up. And I want to

468
00:24:35,680 --> 00:24:37,600
Speaker 1: build that. I think the only way you build a

469
00:24:37,640 --> 00:24:40,919
Speaker 1: new industry is by starting with compassionate creatives of color.

470
00:24:41,320 --> 00:24:44,640
Speaker 1: We've got all the ideas, We're kind, we care about

471
00:24:44,720 --> 00:24:47,000
Speaker 1: the people as much as the work, and that's what

472
00:24:47,040 --> 00:24:49,080
Speaker 1: I'm here to build, and that's what Tribe is all about.

473
00:24:49,400 --> 00:24:51,320
Speaker 1: So can you tell us more about the overall do

474
00:24:51,320 --> 00:24:52,600
Speaker 1: you know? I think a lot of us here and

475
00:24:52,840 --> 00:24:55,080
Speaker 1: I'm so excited for y'all when y'all, you know, announced

476
00:24:55,080 --> 00:24:57,919
Speaker 1: these overall deals, but I don't actually know what that means.

477
00:24:58,280 --> 00:24:59,920
Speaker 1: So what does it mean to have an overall do

478
00:25:00,040 --> 00:25:01,919
Speaker 1: only what kinds of projects have you been working on?

479
00:25:02,040 --> 00:25:05,119
Speaker 1: Is a point of it? Sure so in television, and

480
00:25:05,119 --> 00:25:08,640
Speaker 1: it happens in features too, and overall deals. Basically, you've

481
00:25:08,680 --> 00:25:11,320
Speaker 1: been in business in some sense, and it can be small,

482
00:25:11,400 --> 00:25:13,640
Speaker 1: like you have one project there, you've sold a couple

483
00:25:13,640 --> 00:25:17,080
Speaker 1: of pitches at a certain company and they recognize that

484
00:25:17,160 --> 00:25:20,280
Speaker 1: you have a voice or skill set that matches a

485
00:25:20,280 --> 00:25:22,760
Speaker 1: lot of the work that they do. So you get

486
00:25:22,800 --> 00:25:25,800
Speaker 1: an overall deal, which means you now kind of are

487
00:25:25,920 --> 00:25:29,680
Speaker 1: making projects specifically for that place, for that home company,

488
00:25:29,720 --> 00:25:32,920
Speaker 1: that home studio, that home network, and as a result,

489
00:25:33,200 --> 00:25:36,880
Speaker 1: you are on salary, so you're paid more regularly than

490
00:25:36,920 --> 00:25:39,080
Speaker 1: bouncing from show to show to show, so that you

491
00:25:39,119 --> 00:25:42,920
Speaker 1: can continue to hone projects for them. My first deal,

492
00:25:43,280 --> 00:25:46,359
Speaker 1: or both both my deals have been with HBO. To me,

493
00:25:46,760 --> 00:25:50,240
Speaker 1: HBO is like an artist's home, which makes me feel

494
00:25:50,280 --> 00:25:54,000
Speaker 1: really blessed and fortunate to have a deal there because

495
00:25:54,760 --> 00:25:58,840
Speaker 1: I sometimes, as an artist, like the things that you're

496
00:25:58,840 --> 00:26:01,439
Speaker 1: thinking of are very ceffic and you see them a

497
00:26:01,520 --> 00:26:05,520
Speaker 1: very specific way. And I find that HBO is a

498
00:26:05,560 --> 00:26:09,600
Speaker 1: place that really supports that and supports my creative process,

499
00:26:09,680 --> 00:26:12,440
Speaker 1: and so I'm really looking forward to continuing to build

500
00:26:12,440 --> 00:26:15,600
Speaker 1: with them. I have a few shows in development both

501
00:26:15,720 --> 00:26:18,600
Speaker 1: at HBO and at HBO Max that I'm just working

502
00:26:18,640 --> 00:26:21,800
Speaker 1: on and plugging away, and hopefully there will be something

503
00:26:21,840 --> 00:26:25,600
Speaker 1: that gets seen sooner rather than later. Unfortunately, all I

504
00:26:25,680 --> 00:26:29,360
Speaker 1: have control of is my ability to produce my content,

505
00:26:29,520 --> 00:26:32,720
Speaker 1: so I'm doing my best with that. I'm hopeful for

506
00:26:32,800 --> 00:26:35,800
Speaker 1: the future. I have a lot of stories to tell,

507
00:26:36,200 --> 00:26:38,080
Speaker 1: and I'm really hopeful for the opportunity to get to

508
00:26:38,080 --> 00:26:40,960
Speaker 1: tell them. An HBO and HBEL Max, we will be

509
00:26:41,040 --> 00:26:42,919
Speaker 1: tuned in to make sure we see all of this

510
00:26:43,040 --> 00:26:46,119
Speaker 1: glory unfood. So you know the other thing that I

511
00:26:46,160 --> 00:26:49,440
Speaker 1: have been curious about is like what actually happens in

512
00:26:49,480 --> 00:26:52,280
Speaker 1: a writing room. So you've been in lots of writers rooms.

513
00:26:52,359 --> 00:26:53,840
Speaker 1: I think probably the one you were in the longest

514
00:26:53,920 --> 00:26:56,440
Speaker 1: was the Insecure Writers Room? Was that your longest stant

515
00:26:56,440 --> 00:26:59,119
Speaker 1: as an interneting room? Show? So what actually happens in

516
00:26:59,160 --> 00:27:02,800
Speaker 1: the writing room? Anywhere from five to fifteen writers sit

517
00:27:02,840 --> 00:27:05,560
Speaker 1: around a conference table and talk all day and there's

518
00:27:05,560 --> 00:27:07,680
Speaker 1: not much writing that actually happens in the writer's rooms.

519
00:27:07,680 --> 00:27:10,000
Speaker 1: A lot of talking, and there's a writer assistant who

520
00:27:10,080 --> 00:27:13,240
Speaker 1: types everything that the writer says. We come up with story.

521
00:27:13,280 --> 00:27:15,520
Speaker 1: The showrunner formulates what we're going to be working on

522
00:27:15,560 --> 00:27:17,920
Speaker 1: that week and the things that we're trying to achieve

523
00:27:18,000 --> 00:27:21,000
Speaker 1: story wise, a story, B, story, C story, episode one

524
00:27:21,119 --> 00:27:23,639
Speaker 1: the season arts, character arts, all the things, and we

525
00:27:23,680 --> 00:27:25,840
Speaker 1: just talk all day and figure it out, and then

526
00:27:25,880 --> 00:27:27,960
Speaker 1: we start putting it up on a white board, putting

527
00:27:28,280 --> 00:27:31,119
Speaker 1: notes on the board like some rooms use in nets cards.

528
00:27:31,119 --> 00:27:34,040
Speaker 1: We use different colors per character, so we'll be Likes

529
00:27:34,080 --> 00:27:37,159
Speaker 1: the stories and red Molly stories and blue Lawrences and

530
00:27:37,200 --> 00:27:38,680
Speaker 1: green and we write them up on the board. We

531
00:27:38,720 --> 00:27:41,199
Speaker 1: figure them out together as a room, and then the

532
00:27:41,240 --> 00:27:43,920
Speaker 1: writer of a particular episode goes off and takes those

533
00:27:43,920 --> 00:27:45,920
Speaker 1: beats and turns them into an outline, and then that

534
00:27:45,960 --> 00:27:48,520
Speaker 1: outline comes back to the room. They get notes, the

535
00:27:48,600 --> 00:27:52,199
Speaker 1: room altogether rewrites that outline. Then in some rooms the

536
00:27:52,240 --> 00:27:54,880
Speaker 1: writer then goes off on their own to write the script.

537
00:27:54,920 --> 00:27:57,760
Speaker 1: But in some rooms, the episode gets the group written

538
00:27:57,880 --> 00:28:00,200
Speaker 1: and scenes are divided between the writers. They all write,

539
00:28:00,240 --> 00:28:02,440
Speaker 1: they assemble the script. It comes back to the writer's room.

540
00:28:02,720 --> 00:28:05,280
Speaker 1: We rewrite that as well, and then once we get

541
00:28:05,320 --> 00:28:07,960
Speaker 1: that in a place where we like Issa and or Apprentice,

542
00:28:08,000 --> 00:28:10,200
Speaker 1: will put like a little less like sprinkle of special

543
00:28:10,240 --> 00:28:12,360
Speaker 1: sauce on it the things that they want. The show

544
00:28:12,440 --> 00:28:15,399
Speaker 1: runner will do that, and then it goes to the

545
00:28:15,480 --> 00:28:17,960
Speaker 1: studio and or the network. At HBO, they're the same place,

546
00:28:17,960 --> 00:28:20,320
Speaker 1: so it just goes straight to HBO and then they

547
00:28:20,359 --> 00:28:22,200
Speaker 1: give notes, and then it goes back to the writer's room.

548
00:28:22,240 --> 00:28:25,240
Speaker 1: We rewrite that again, and then it goes to the

549
00:28:25,280 --> 00:28:27,040
Speaker 1: actors and we have a table read, and then after

550
00:28:27,040 --> 00:28:28,760
Speaker 1: the table we get more notes, and it goes back

551
00:28:28,800 --> 00:28:31,400
Speaker 1: to the writer's room and rewrite that again, and then

552
00:28:31,560 --> 00:28:34,159
Speaker 1: we start shooting it. And then on set sometimes there

553
00:28:34,160 --> 00:28:35,720
Speaker 1: are questions that come up, and then it goes back

554
00:28:35,720 --> 00:28:37,800
Speaker 1: to the writer's room. And we rewrite that again and

555
00:28:37,840 --> 00:28:40,239
Speaker 1: then we keep shooting it. So I don't know, like

556
00:28:40,360 --> 00:28:42,479
Speaker 1: what happens in a writer's room. Story gets created, Like

557
00:28:42,520 --> 00:28:44,120
Speaker 1: I mean, I think that's the long and short answer.

558
00:28:44,200 --> 00:28:47,040
Speaker 1: Story gets created. And like I'm having trouble sort of

559
00:28:47,040 --> 00:28:51,320
Speaker 1: like describing the process because it's like organized chaos, like

560
00:28:51,400 --> 00:28:54,960
Speaker 1: we just create. I don't know. That ain't a good answer, No,

561
00:28:55,160 --> 00:28:57,800
Speaker 1: I mean that that is helpful. So I think I

562
00:28:57,880 --> 00:29:00,240
Speaker 1: was only the impression that the writer's room read upped

563
00:29:00,600 --> 00:29:03,360
Speaker 1: before like the actor started shooting. But it sounds like

564
00:29:03,400 --> 00:29:05,320
Speaker 1: the writer's room can still be active even in the

565
00:29:05,360 --> 00:29:07,840
Speaker 1: midst of shooting if like something needs to be rewritten.

566
00:29:08,360 --> 00:29:11,640
Speaker 1: It depends on the show in network, the show is

567
00:29:11,680 --> 00:29:15,360
Speaker 1: getting shot like filmed shot at the same time that

568
00:29:15,440 --> 00:29:18,440
Speaker 1: the writer's room is breaking story, so they're still around

569
00:29:19,000 --> 00:29:21,680
Speaker 1: a lot of streaming and cable shows. The room wraps

570
00:29:21,720 --> 00:29:25,040
Speaker 1: before you start shooting. Got it? Okay? More from my

571
00:29:25,080 --> 00:29:37,200
Speaker 1: conversation with Amy after the break, So you did talk

572
00:29:37,240 --> 00:29:39,480
Speaker 1: about like Insecure kind of being your longest stint in

573
00:29:39,480 --> 00:29:42,160
Speaker 1: a writer's room. And it's been some time now since

574
00:29:42,200 --> 00:29:45,280
Speaker 1: we had to say goodbye to get Insecure, and I'm

575
00:29:45,280 --> 00:29:48,680
Speaker 1: wondering what has that been like for you? Emotionally? I know,

576
00:29:48,840 --> 00:29:50,560
Speaker 1: as you was in fans of the show, I think

577
00:29:50,560 --> 00:29:52,160
Speaker 1: a lot of us have to make peace with like

578
00:29:52,200 --> 00:29:55,000
Speaker 1: saying goodbye to this thing we loved. But you, of course,

579
00:29:55,040 --> 00:29:58,120
Speaker 1: we're much more intimately acquainted with the show. And so

580
00:29:58,160 --> 00:30:00,080
Speaker 1: what has it been like for you a couple a

581
00:30:00,120 --> 00:30:02,240
Speaker 1: month and later saying goodbye to this thing that was

582
00:30:02,480 --> 00:30:06,000
Speaker 1: so close to you? Well, I will say. The thing

583
00:30:06,040 --> 00:30:09,080
Speaker 1: I try and remind people is that our goodbyes as

584
00:30:09,120 --> 00:30:11,080
Speaker 1: the people who work on the show started so much

585
00:30:12,240 --> 00:30:16,640
Speaker 1: before fans goodbyes, because we as a room broke the episode.

586
00:30:16,640 --> 00:30:19,840
Speaker 1: We cried. Then, then we wrote the episode and reread it.

587
00:30:19,880 --> 00:30:23,240
Speaker 1: We cried. Then, then we table read the episode. We cried.

588
00:30:23,280 --> 00:30:26,080
Speaker 1: Then then we shot the episode. We cried then. And

589
00:30:26,120 --> 00:30:28,320
Speaker 1: then as an EP I was on post so I

590
00:30:28,360 --> 00:30:31,480
Speaker 1: saw every single cut of the episode and cried and

591
00:30:31,480 --> 00:30:33,560
Speaker 1: cried and crowed and cried, and then we did a

592
00:30:33,600 --> 00:30:36,600
Speaker 1: final mix of the episode with the final music and

593
00:30:36,640 --> 00:30:39,520
Speaker 1: we cried then. And then it went to air. So

594
00:30:39,560 --> 00:30:42,320
Speaker 1: by the time it aired, I had already shed all

595
00:30:42,400 --> 00:30:45,479
Speaker 1: the tears. In fact, what made me cry when I

596
00:30:45,520 --> 00:30:48,520
Speaker 1: watched the final airing was the documentary that aired right

597
00:30:48,520 --> 00:30:51,520
Speaker 1: after it. In getting to relive those goodbyes, that's what

598
00:30:51,560 --> 00:30:56,480
Speaker 1: made me emotional seeing the finale. I had already uh

599
00:30:56,680 --> 00:31:00,400
Speaker 1: absorbed all of the sad and bitter weak that I

600
00:31:00,440 --> 00:31:03,360
Speaker 1: could absorb off of that finale from all of the

601
00:31:03,400 --> 00:31:08,360
Speaker 1: months of creating it with the team, and so I

602
00:31:08,400 --> 00:31:11,600
Speaker 1: think post all of that and saying goodbye to it

603
00:31:12,080 --> 00:31:15,680
Speaker 1: in terms of like holistically saying goodbye to it, yeah,

604
00:31:15,840 --> 00:31:19,520
Speaker 1: it remains difficult, you know, especially as someone who I

605
00:31:19,600 --> 00:31:21,680
Speaker 1: love being on set. I love it so much. I

606
00:31:21,720 --> 00:31:25,720
Speaker 1: loved directing on Insecure and later directing on Rap Shit.

607
00:31:25,920 --> 00:31:29,080
Speaker 1: I love being in the room. I love breaking story

608
00:31:29,120 --> 00:31:33,800
Speaker 1: with writers, and development is not that. Development is more internal,

609
00:31:33,800 --> 00:31:36,880
Speaker 1: it's more conversations with producers. It's more like thinking how

610
00:31:36,880 --> 00:31:39,520
Speaker 1: it could go. And so I've been in development now

611
00:31:39,560 --> 00:31:41,480
Speaker 1: for almost a year and when we could call it

612
00:31:41,560 --> 00:31:44,200
Speaker 1: six months since Rap Shit because I directed on Rap

613
00:31:44,240 --> 00:31:49,720
Speaker 1: Shit in November December. But like, I miss that so much,

614
00:31:49,800 --> 00:31:52,520
Speaker 1: like being part of the machine that is moving, I

615
00:31:52,640 --> 00:31:58,280
Speaker 1: miss it so much. That's where I belong. I'm happier

616
00:31:58,360 --> 00:32:01,600
Speaker 1: when I am in the mix of the machine, so

617
00:32:02,040 --> 00:32:06,560
Speaker 1: that synergy, that energy making something together with people who

618
00:32:06,680 --> 00:32:10,880
Speaker 1: understand what you're making all at the same time. And

619
00:32:10,960 --> 00:32:14,280
Speaker 1: Insecure in particular was very special because like we had

620
00:32:14,320 --> 00:32:16,720
Speaker 1: so much of the same crew from as far back

621
00:32:16,720 --> 00:32:19,040
Speaker 1: as like season two, and a few people even from

622
00:32:19,080 --> 00:32:23,040
Speaker 1: season one who stayed through the whole series, and so

623
00:32:23,560 --> 00:32:26,520
Speaker 1: we were all saying goodbye, not just to the show

624
00:32:26,520 --> 00:32:29,480
Speaker 1: and the content the characters, but to each other. And

625
00:32:29,640 --> 00:32:32,720
Speaker 1: that is something I miss. Building something great with people

626
00:32:32,760 --> 00:32:36,160
Speaker 1: who understand you're building something great all at the same time.

627
00:32:36,480 --> 00:32:40,600
Speaker 1: It's a really, really beautiful feeling, and that only comes

628
00:32:40,680 --> 00:32:43,920
Speaker 1: through time, Like that only comes from making something that

629
00:32:44,040 --> 00:32:47,840
Speaker 1: lasts more than half a season, which, like let's unfortunately

630
00:32:47,840 --> 00:32:49,680
Speaker 1: lots of shows get canceled before they get that far.

631
00:32:50,000 --> 00:32:53,360
Speaker 1: Like when I watched like Quinta Brunson's stories and stuff

632
00:32:53,440 --> 00:32:55,560
Speaker 1: on Abbot Elementary, I'm like, they get it, you know.

633
00:32:55,600 --> 00:32:57,920
Speaker 1: I'm like, they are experienced to get now in their

634
00:32:57,920 --> 00:33:00,800
Speaker 1: first season, how special it is to be making something

635
00:33:00,840 --> 00:33:04,680
Speaker 1: special that everyone else recognizes as special. They're getting that now.

636
00:33:05,280 --> 00:33:07,280
Speaker 1: So many shows like that. You see that you're sort

637
00:33:07,320 --> 00:33:11,080
Speaker 1: of like, Okay, they get it, and I want that again.

638
00:33:11,320 --> 00:33:13,920
Speaker 1: I know it will never be exactly the same as Insecure,

639
00:33:14,000 --> 00:33:16,239
Speaker 1: because it really was the first of its kind in

640
00:33:16,280 --> 00:33:19,160
Speaker 1: so many ways, even though it was also continuing the

641
00:33:19,240 --> 00:33:21,480
Speaker 1: legacy of many black shows that came before it and

642
00:33:21,600 --> 00:33:24,600
Speaker 1: many adulting stories that have come before it in its

643
00:33:24,600 --> 00:33:26,600
Speaker 1: own way, in its own artistic way, thanks to the

644
00:33:26,600 --> 00:33:29,200
Speaker 1: eye of Momina Matzukas the original mind of Ray and

645
00:33:29,240 --> 00:33:32,200
Speaker 1: the leadership apprentice Penny. It was one of its kind.

646
00:33:32,520 --> 00:33:36,600
Speaker 1: So I'll never have that specifically again. But that ability

647
00:33:36,720 --> 00:33:39,760
Speaker 1: to be in the machine, Oh how deeply I want

648
00:33:39,760 --> 00:33:43,240
Speaker 1: it back, And I can only cross my fingers and

649
00:33:43,280 --> 00:33:46,800
Speaker 1: hope because I'm trying so so hard, but it just

650
00:33:46,840 --> 00:33:50,440
Speaker 1: takes time. Yeah, and I also love that so many

651
00:33:50,440 --> 00:33:53,000
Speaker 1: of you, it seems like, continue to do projects together. Right,

652
00:33:53,000 --> 00:33:55,200
Speaker 1: So it sounds like you were able to direct, and

653
00:33:55,200 --> 00:33:57,520
Speaker 1: I'm sure maybe some of those same people will be

654
00:33:57,520 --> 00:33:59,240
Speaker 1: working on some of the shows that you are coming

655
00:33:59,320 --> 00:34:02,480
Speaker 1: up with. Yeah, there's been a lot of insecure cross

656
00:34:02,520 --> 00:34:05,680
Speaker 1: pollination and lots of different shows, like shout out to

657
00:34:05,720 --> 00:34:08,839
Speaker 1: Phil Jackson who created Grand Crew, Kiins a young who

658
00:34:08,880 --> 00:34:11,279
Speaker 1: is an insecure writer who is writing for him, you know,

659
00:34:11,480 --> 00:34:15,000
Speaker 1: And obviously Serrita Singleton, who is a shower for Rapture

660
00:34:15,120 --> 00:34:18,120
Speaker 1: got her start on insecure. So there's been a lot

661
00:34:18,160 --> 00:34:20,880
Speaker 1: of insecure cross pollination and I'm very excited for that

662
00:34:20,920 --> 00:34:23,600
Speaker 1: to continue for years and years in decades to come.

663
00:34:25,200 --> 00:34:27,440
Speaker 1: So earlier, you mentioned that you feel like you are

664
00:34:27,480 --> 00:34:31,200
Speaker 1: trying to like unlock this next level of success for yourself.

665
00:34:31,520 --> 00:34:33,360
Speaker 1: What does that look like? Like? What are you hoping

666
00:34:33,400 --> 00:34:36,960
Speaker 1: to grow into doing? Dr Joy? This interview is making

667
00:34:36,960 --> 00:34:39,520
Speaker 1: me sweat. I'm just gonna be honest, like, I'm like,

668
00:34:40,480 --> 00:34:43,600
Speaker 1: is this therapy for me dealing with my weaknesses? I'm

669
00:34:43,640 --> 00:34:46,959
Speaker 1: just like a girl. What does it look like? I'd

670
00:34:47,000 --> 00:34:48,839
Speaker 1: love to know, Like, what do you want to do?

671
00:34:50,280 --> 00:34:52,719
Speaker 1: What do I want to do? Number one thing I

672
00:34:52,760 --> 00:34:54,759
Speaker 1: want to do is change this entire industry from the

673
00:34:54,760 --> 00:34:57,480
Speaker 1: ground up. And I do believe as I said when

674
00:34:57,480 --> 00:34:59,800
Speaker 1: I was speaking about Tribe, it starts with investment and

675
00:34:59,840 --> 00:35:02,239
Speaker 1: can passionate creators of color. And the reason I say

676
00:35:02,239 --> 00:35:05,360
Speaker 1: compassion is because everybody in this industry has passion for

677
00:35:05,480 --> 00:35:08,640
Speaker 1: their job or some people passion for power. But come

678
00:35:08,640 --> 00:35:10,640
Speaker 1: passionate means you care about the people as much as

679
00:35:10,680 --> 00:35:12,680
Speaker 1: the work. That's what I care about most. That's the

680
00:35:12,719 --> 00:35:14,640
Speaker 1: type of creator I am. Those are the creators I

681
00:35:14,640 --> 00:35:17,640
Speaker 1: want to pour into so I want to change this

682
00:35:17,719 --> 00:35:21,759
Speaker 1: industry and I want my voice on television, But the

683
00:35:21,880 --> 00:35:24,800
Speaker 1: more important thing to me is to change this industry.

684
00:35:24,840 --> 00:35:26,640
Speaker 1: I want more people who look like me in the

685
00:35:26,680 --> 00:35:28,800
Speaker 1: spaces that I get to be a part of. And beyond,

686
00:35:29,360 --> 00:35:33,000
Speaker 1: when I look at the writers, like there's like a

687
00:35:33,040 --> 00:35:35,120
Speaker 1: mid level writer problem where there are a lot of

688
00:35:35,160 --> 00:35:37,120
Speaker 1: lower level writers and a lot of upper level writers

689
00:35:37,120 --> 00:35:39,080
Speaker 1: of color and not a lot of mid level because

690
00:35:39,080 --> 00:35:42,600
Speaker 1: people aren't being encouraged to matriculate upwards. People aren't being

691
00:35:42,640 --> 00:35:45,600
Speaker 1: supported in their failures. And I think we have to

692
00:35:45,640 --> 00:35:47,960
Speaker 1: support people of color and their failures, just as we

693
00:35:48,000 --> 00:35:51,480
Speaker 1: support as the industry supports people who don't look like

694
00:35:51,600 --> 00:35:55,160
Speaker 1: us all the time, Like I have to be given

695
00:35:55,200 --> 00:35:57,440
Speaker 1: space to fail. And I think what's hard as a

696
00:35:57,480 --> 00:36:00,000
Speaker 1: creative of color is very often you don't get opportunities

697
00:36:00,040 --> 00:36:03,080
Speaker 1: until you've proven you've already deserved them, whereas lots of

698
00:36:03,080 --> 00:36:05,920
Speaker 1: people can bet on a straight white man's potential. And

699
00:36:06,000 --> 00:36:09,160
Speaker 1: I really hope that if I can keep moving up,

700
00:36:09,320 --> 00:36:13,240
Speaker 1: I can start betting on other people's potential on their behalf.

701
00:36:13,280 --> 00:36:17,359
Speaker 1: That's what I want. So beyond that, yes, I want

702
00:36:17,360 --> 00:36:20,480
Speaker 1: to be a showrunner again. I want to run my

703
00:36:20,520 --> 00:36:23,000
Speaker 1: own show. I want to run multiple shows. I have

704
00:36:23,120 --> 00:36:25,760
Speaker 1: it in me, like my brain just operates that way.

705
00:36:25,960 --> 00:36:28,719
Speaker 1: I can do it. So it excites me. When I

706
00:36:28,719 --> 00:36:30,560
Speaker 1: think of the idea of running two shows at once,

707
00:36:30,600 --> 00:36:32,839
Speaker 1: I think people will be like terrified. For me, I'm like, yes,

708
00:36:33,360 --> 00:36:35,919
Speaker 1: something for my head to do, because I just think

709
00:36:35,920 --> 00:36:38,640
Speaker 1: of myself. Or I'm like something for my head to

710
00:36:38,680 --> 00:36:41,160
Speaker 1: do instead of just the admired in doubt. I'm like,

711
00:36:41,400 --> 00:36:44,279
Speaker 1: the idea of like running multiple shows at once is

712
00:36:44,360 --> 00:36:47,439
Speaker 1: really exciting to me because not only am I like, yeah,

713
00:36:47,560 --> 00:36:50,520
Speaker 1: Amy gets to run two shows, but I'm also like, yeah,

714
00:36:50,640 --> 00:36:52,520
Speaker 1: I get to have two number two who are ready

715
00:36:52,520 --> 00:36:54,520
Speaker 1: to be show runners, and I get to build them,

716
00:36:54,760 --> 00:36:56,400
Speaker 1: and I get to mentor them, and I get to

717
00:36:56,400 --> 00:36:59,359
Speaker 1: pour into them and get them ready to run their

718
00:36:59,400 --> 00:37:02,480
Speaker 1: own show. That's how deep I believe in mentorship, is

719
00:37:02,520 --> 00:37:05,040
Speaker 1: that I want to run shows so I can create

720
00:37:05,040 --> 00:37:07,920
Speaker 1: more show runners. I believe that the reason people are

721
00:37:07,960 --> 00:37:11,680
Speaker 1: storytellers is because stories can last forever. So I'm in

722
00:37:11,719 --> 00:37:14,120
Speaker 1: this to be immortal. I want to be immortal, and

723
00:37:14,160 --> 00:37:17,080
Speaker 1: by doing that, it means that my ways, my methods

724
00:37:17,120 --> 00:37:19,440
Speaker 1: of telling story, my ways of training the things I

725
00:37:19,480 --> 00:37:21,680
Speaker 1: believe in the way I operate cannot die with me.

726
00:37:22,040 --> 00:37:24,880
Speaker 1: I must pour into the next generation to be immortal.

727
00:37:25,280 --> 00:37:28,279
Speaker 1: So for me, the reason I want multiple shows on

728
00:37:28,320 --> 00:37:30,280
Speaker 1: air is so that I can create multiple show runners,

729
00:37:30,280 --> 00:37:32,520
Speaker 1: that they can create multiple shows that are all being

730
00:37:32,560 --> 00:37:35,640
Speaker 1: led by compassionate people and we actually change this industry.

731
00:37:36,000 --> 00:37:38,080
Speaker 1: This is a marathon, not a sprint. I got sprint

732
00:37:38,160 --> 00:37:40,880
Speaker 1: energy and I really want to win now. But I

733
00:37:40,920 --> 00:37:42,839
Speaker 1: also have to remind myself all the time that this

734
00:37:42,880 --> 00:37:45,600
Speaker 1: is a marathon and I'm just getting started and secure

735
00:37:45,640 --> 00:37:47,920
Speaker 1: as the foundation to what I'm going to be tomorrow,

736
00:37:47,960 --> 00:37:50,200
Speaker 1: and I'm so excited to get there. I hope it

737
00:37:50,200 --> 00:37:53,840
Speaker 1: hapn't sooner rather than later, But I don't have control

738
00:37:53,880 --> 00:37:57,200
Speaker 1: over the timeline, just the dream, So I'm focused on

739
00:37:57,239 --> 00:37:59,920
Speaker 1: the dream. Yeah. Yeah, that that that does sound like

740
00:38:00,320 --> 00:38:03,160
Speaker 1: an industry that lots of people would love to be

741
00:38:03,200 --> 00:38:05,439
Speaker 1: a part of and that we as viewers would really

742
00:38:05,440 --> 00:38:10,760
Speaker 1: get to benefit from. Yeah, because by telling very specific stories,

743
00:38:10,800 --> 00:38:14,200
Speaker 1: you actually tell universal stories. I think it's easy to

744
00:38:14,280 --> 00:38:19,160
Speaker 1: believe that hitting the four quadrons like men, women, age

745
00:38:19,200 --> 00:38:22,879
Speaker 1: eighteen to forty four, children, that that's how you get

746
00:38:22,920 --> 00:38:26,799
Speaker 1: the most people. But I think by being really authentic

747
00:38:26,880 --> 00:38:29,879
Speaker 1: to you, you can actually capture more people than trying

748
00:38:29,920 --> 00:38:33,560
Speaker 1: to service like, quote unquote a mandate. So that's why

749
00:38:33,880 --> 00:38:36,279
Speaker 1: Awkward Black Girl hits so many people is because its

750
00:38:36,320 --> 00:38:40,880
Speaker 1: authentic too. It's key creator and then you find your tribe.

751
00:38:41,320 --> 00:38:43,880
Speaker 1: So that's what it's about. So one of your most

752
00:38:43,960 --> 00:38:47,120
Speaker 1: recent endeavors is podcasting. So you have kind of stepped

753
00:38:47,120 --> 00:38:50,000
Speaker 1: into the podcasting space with your co host Great Edwards.

754
00:38:50,239 --> 00:38:52,520
Speaker 1: You all host the podcast The Antidotes. Will tell me

755
00:38:52,600 --> 00:38:56,200
Speaker 1: about what it has been like trying out a new medium. Yeah,

756
00:38:56,440 --> 00:39:00,279
Speaker 1: co hosting The Antidote has been awesome. Grace, we were

757
00:39:00,360 --> 00:39:03,680
Speaker 1: friendly before Insecure, but we really became like work wives

758
00:39:03,719 --> 00:39:06,680
Speaker 1: on Insecure and had each other's backs and just like

759
00:39:07,160 --> 00:39:10,600
Speaker 1: we're really really close. And as Insecure was ending, you know,

760
00:39:10,680 --> 00:39:12,600
Speaker 1: we saw the light at the end of the tunnel

761
00:39:12,600 --> 00:39:15,040
Speaker 1: and we're like, ah, we won't get to work together again.

762
00:39:15,200 --> 00:39:17,600
Speaker 1: Like what happens now? Like how do we find a

763
00:39:17,640 --> 00:39:20,960
Speaker 1: way to stay connected in a professional sense? And we

764
00:39:21,080 --> 00:39:25,440
Speaker 1: landed on podcasting because we really wanted something that was regular,

765
00:39:25,560 --> 00:39:28,120
Speaker 1: that could keep us in contact kind of on a

766
00:39:28,120 --> 00:39:31,960
Speaker 1: weekly basis, and also because it just development of a

767
00:39:32,000 --> 00:39:35,319
Speaker 1: podcast moves faster than development of a TV show or

768
00:39:35,360 --> 00:39:38,200
Speaker 1: a movie. So we were like, we can actually control this,

769
00:39:38,320 --> 00:39:39,920
Speaker 1: Like we can like say we want to make it,

770
00:39:39,960 --> 00:39:43,759
Speaker 1: and we're making it tomorrow. So the idea for the

771
00:39:43,800 --> 00:39:47,239
Speaker 1: antidote even just came from Liga. Everything was going wrong

772
00:39:47,320 --> 00:39:49,600
Speaker 1: last year and we were like, what's our antidote for this? Like,

773
00:39:49,600 --> 00:39:51,960
Speaker 1: what's our antidote to this bad news that we're talking

774
00:39:51,960 --> 00:39:54,200
Speaker 1: about on the phone. Like we'd be like spiraling for

775
00:39:54,200 --> 00:39:55,840
Speaker 1: like twenty minutes on the phone and be like I

776
00:39:55,880 --> 00:39:57,600
Speaker 1: need answered doe to this, And then we were like,

777
00:39:57,760 --> 00:40:01,200
Speaker 1: is that the podcast? Like because the world just keeps

778
00:40:01,440 --> 00:40:04,360
Speaker 1: getting worse week to week to week, So is the

779
00:40:04,440 --> 00:40:07,759
Speaker 1: podcast finding ways to cope with that? And in so

780
00:40:07,800 --> 00:40:10,400
Speaker 1: many ways, Grace is my antidote, and I know I

781
00:40:10,440 --> 00:40:14,640
Speaker 1: am hers. So getting to collaborate on this podcast and

782
00:40:14,760 --> 00:40:18,040
Speaker 1: get to be each other's antidotes week to week while

783
00:40:18,160 --> 00:40:21,840
Speaker 1: also empowering people to discover their own has been really exciting.

784
00:40:21,960 --> 00:40:25,880
Speaker 1: We really just set out to be funny, to feel

785
00:40:25,920 --> 00:40:29,680
Speaker 1: connected and to help our guests feel healed and like

786
00:40:29,719 --> 00:40:32,279
Speaker 1: they're not alone, and I think we're achieving that. I'm

787
00:40:32,360 --> 00:40:35,280
Speaker 1: really excited about the guests we've had from Tracey Ellis

788
00:40:35,320 --> 00:40:38,520
Speaker 1: Ross Yes or Leicester to Robin Bede to a Looke

789
00:40:38,920 --> 00:40:41,920
Speaker 1: is coming up soon. And Tunday Oinen, who's one of

790
00:40:41,960 --> 00:40:47,080
Speaker 1: the best teleton instructors of all Fun Time and Nigerian shows.

791
00:40:47,120 --> 00:40:50,640
Speaker 1: He's fam like, our guests are popping and Grace and

792
00:40:50,680 --> 00:40:55,160
Speaker 1: I have such wonderful energy together that I I am

793
00:40:55,239 --> 00:40:58,080
Speaker 1: so happy about what we've created and I hope that

794
00:40:58,280 --> 00:41:01,799
Speaker 1: people are latching on in finding their antidotes right along

795
00:41:01,840 --> 00:41:04,239
Speaker 1: with us. I love it. So you all had the

796
00:41:04,280 --> 00:41:06,560
Speaker 1: idea floor a podcast and then the name of it

797
00:41:06,600 --> 00:41:08,960
Speaker 1: came to you. As you will continue to talk. It

798
00:41:09,080 --> 00:41:12,600
Speaker 1: was more like we had the idea of a show.

799
00:41:13,239 --> 00:41:16,600
Speaker 1: We were like, is there a show around having antidotes?

800
00:41:16,640 --> 00:41:18,480
Speaker 1: I think that was the order was like it was

801
00:41:18,520 --> 00:41:20,359
Speaker 1: their show, and we were like, how would we ever

802
00:41:20,400 --> 00:41:22,000
Speaker 1: get this made? And then we're like, let's make it

803
00:41:22,040 --> 00:41:26,200
Speaker 1: a podcast. So I think we had the idea. If

804
00:41:26,200 --> 00:41:29,440
Speaker 1: I'm not mistaken, we were coming up with show ideas

805
00:41:29,680 --> 00:41:32,680
Speaker 1: and then sort of like back channeled into podcast because

806
00:41:32,680 --> 00:41:35,560
Speaker 1: we were like, that's something that we can control, whereas TV,

807
00:41:36,080 --> 00:41:38,200
Speaker 1: you know, I'm always going back I'm a control for

808
00:41:38,360 --> 00:41:41,239
Speaker 1: freak and so I'm always going back to what can

809
00:41:41,280 --> 00:41:43,880
Speaker 1: I control? What can I control? What can I control?

810
00:41:44,440 --> 00:41:48,799
Speaker 1: And I can't control the script to screen pipeline, but

811
00:41:48,880 --> 00:41:52,120
Speaker 1: a podcast is a little easier to control. Mm hmmm.

812
00:41:52,560 --> 00:41:54,840
Speaker 1: Do you think you might ever toy with the idea

813
00:41:54,960 --> 00:41:58,600
Speaker 1: of a fictional kind of a podcast. There's such an

814
00:41:58,640 --> 00:42:00,759
Speaker 1: emphasis now in this indo ture you on I P

815
00:42:01,080 --> 00:42:04,000
Speaker 1: like having I P before, like selling a show or something.

816
00:42:04,560 --> 00:42:07,480
Speaker 1: And I love the idea of a podcast serving as

817
00:42:07,560 --> 00:42:11,480
Speaker 1: i P. I will say, because podcasts are really hard

818
00:42:11,600 --> 00:42:13,960
Speaker 1: to make, like there are a lot of work to make.

819
00:42:14,440 --> 00:42:15,759
Speaker 1: Part of me is like let me buy a short

820
00:42:15,800 --> 00:42:18,640
Speaker 1: story and make that my IP because it just be easier.

821
00:42:19,080 --> 00:42:22,480
Speaker 1: But I do love a scripted podcast. I really enjoyed Fruit,

822
00:42:22,600 --> 00:42:27,080
Speaker 1: which wass podcast that she produced, and obviously you know

823
00:42:27,360 --> 00:42:32,439
Speaker 1: Homecoming or Homegoing Homecoming that was on Amazon. Yeah, that

824
00:42:32,440 --> 00:42:35,319
Speaker 1: that was the scripted podcast first. So I think I'm

825
00:42:35,320 --> 00:42:37,759
Speaker 1: more in the market as a producer of looking for

826
00:42:37,840 --> 00:42:40,360
Speaker 1: scripted podcast that could be the i P that becomes

827
00:42:40,360 --> 00:42:43,600
Speaker 1: a show. I'm really interested in that right now as

828
00:42:43,600 --> 00:42:46,480
Speaker 1: opposed to creating my own. Well, where can we stay

829
00:42:46,480 --> 00:42:48,799
Speaker 1: connected with you, Amy? So we know when all of

830
00:42:48,800 --> 00:42:51,000
Speaker 1: these shows are coming out and what's your O T Next,

831
00:42:51,040 --> 00:42:53,840
Speaker 1: what's your website as well as any social media handles

832
00:42:53,840 --> 00:42:56,919
Speaker 1: you'd like to share? Sure? Yeah, everything is my name.

833
00:42:57,040 --> 00:43:00,080
Speaker 1: It's a M y A n I O b I

834
00:43:00,760 --> 00:43:05,439
Speaker 1: on Instagram, Twitter, and the web amyaniobi dot com and

835
00:43:05,680 --> 00:43:09,759
Speaker 1: at Amyanniobi on everything. And also my company is called

836
00:43:09,800 --> 00:43:13,120
Speaker 1: super Special. The idea of the name comes from it's

837
00:43:13,120 --> 00:43:16,120
Speaker 1: the opposite of superficial. Superficial is what people think of

838
00:43:16,160 --> 00:43:18,480
Speaker 1: Hollywood as. But we're the opposite of that. We're genuine as,

839
00:43:19,120 --> 00:43:22,880
Speaker 1: we are fully ourselves and it makes us special. So

840
00:43:23,400 --> 00:43:27,080
Speaker 1: you can find my company at super Special on Twitter

841
00:43:27,120 --> 00:43:31,160
Speaker 1: and Instagram, and the website is www dot b E

842
00:43:31,440 --> 00:43:34,960
Speaker 1: super special dot com. I'll just also add and if

843
00:43:35,000 --> 00:43:37,920
Speaker 1: you are interested in the tribe writing program, information that

844
00:43:38,000 --> 00:43:40,840
Speaker 1: can be found on our Instagram which is at super

845
00:43:40,880 --> 00:43:44,560
Speaker 1: special and also on the website www dot b super

846
00:43:44,560 --> 00:43:48,440
Speaker 1: special dot com. Backslash tribe t R I B E

847
00:43:48,880 --> 00:43:50,560
Speaker 1: will be should include all of that in the show

848
00:43:50,560 --> 00:43:53,040
Speaker 1: knows so that nobody misses any of those. Thank you.

849
00:43:53,640 --> 00:43:55,040
Speaker 1: So we do have a little game we want to

850
00:43:55,040 --> 00:43:58,600
Speaker 1: play if you have Yeah, yeah, let's do Yeah, let's

851
00:43:58,600 --> 00:44:01,080
Speaker 1: do it. I want to play. Okay, all right, So

852
00:44:01,440 --> 00:44:04,640
Speaker 1: this is a quick who said what now? Game from Insecure?

853
00:44:04,920 --> 00:44:07,480
Speaker 1: So from some of the famous lines from Insecure. So

854
00:44:07,520 --> 00:44:09,120
Speaker 1: we're gonna read it and then you tell us who

855
00:44:09,120 --> 00:44:11,880
Speaker 1: said it. Okay, I let's see how I do. I

856
00:44:11,880 --> 00:44:14,040
Speaker 1: think there's at the beginning, but it all brings together

857
00:44:14,080 --> 00:44:16,719
Speaker 1: after a while. So help me. I hope I do

858
00:44:16,760 --> 00:44:20,399
Speaker 1: a good job. Okay. So the first one is, oh,

859
00:44:20,440 --> 00:44:22,440
Speaker 1: so now y'all want to be woke when it's been

860
00:44:22,480 --> 00:44:26,160
Speaker 1: in the lawn clock since day one? Well, beat beats.

861
00:44:27,360 --> 00:44:33,400
Speaker 1: That was okay. I was like, that's gotta besa okay, okay.

862
00:44:33,560 --> 00:44:37,320
Speaker 1: The second one is, no, we've given white people enough time?

863
00:44:38,760 --> 00:44:44,120
Speaker 1: Frieda that lost Freda, look at you girl. I was

864
00:44:44,360 --> 00:44:46,759
Speaker 1: the writer's room. I gotta know this. If I miss one,

865
00:44:46,760 --> 00:44:51,680
Speaker 1: I'm gonna be bad. Okay. Number three Radio check ain't

866
00:44:51,719 --> 00:44:58,040
Speaker 1: even got a store no more Kelly. That was Kelly, Yes, okay.

867
00:44:58,080 --> 00:45:01,280
Speaker 1: And the final one, Yeah, it's like a pre son

868
00:45:01,640 --> 00:45:04,919
Speaker 1: you know my heart? Okay, Yeah, it's like a free

869
00:45:04,960 --> 00:45:09,880
Speaker 1: sign you Molly. That's all it was? Okay, good okay,

870
00:45:09,880 --> 00:45:17,680
Speaker 1: good god, good good good okay, A perfect one. Anything

871
00:45:17,719 --> 00:45:20,400
Speaker 1: I'd be like, where was I I was daydreaming in

872
00:45:20,400 --> 00:45:23,080
Speaker 1: the writer's room. No no, no, oh, I'm so happy.

873
00:45:24,800 --> 00:45:27,000
Speaker 1: Oh my gosh, what. Thank you so much, Amy, this

874
00:45:27,080 --> 00:45:29,440
Speaker 1: has been such a pleasure. I really appreciate you chatting

875
00:45:29,480 --> 00:45:33,480
Speaker 1: with us. Thank you, this is awesome. I so stand

876
00:45:33,640 --> 00:45:36,640
Speaker 1: everything that you are doing. I am such a supporter

877
00:45:36,680 --> 00:45:39,759
Speaker 1: of Therapy for Black Girls. I actually found my therapist

878
00:45:39,840 --> 00:45:42,920
Speaker 1: on the website. There are people black girls dot com.

879
00:45:43,040 --> 00:45:46,759
Speaker 1: So I I am such a supporter. We we all

880
00:45:46,800 --> 00:45:50,120
Speaker 1: deserve care, self care, mental health check in. So thank

881
00:45:50,160 --> 00:45:52,719
Speaker 1: you for everything you're doing to spread that, spread that

882
00:45:52,719 --> 00:45:59,320
Speaker 1: again across our community. I appreciate it. I'm so glad

883
00:45:59,360 --> 00:46:01,720
Speaker 1: Amy was able to share her expertise with us today.

884
00:46:02,160 --> 00:46:04,680
Speaker 1: To learn more about her and her work, visit the

885
00:46:04,680 --> 00:46:07,160
Speaker 1: show notes that Therapy for Black Girls dot Com slash

886
00:46:07,239 --> 00:46:10,399
Speaker 1: session to seventy four, and don't forget to text two

887
00:46:10,400 --> 00:46:12,279
Speaker 1: of your girls and tell them to check out the

888
00:46:12,280 --> 00:46:15,480
Speaker 1: episode right now. If you're looking for a therapist in

889
00:46:15,520 --> 00:46:18,719
Speaker 1: your area, check out our therapist directory at Therapy for

890
00:46:18,800 --> 00:46:21,879
Speaker 1: Black Girls dot Com slash directory. And if you want

891
00:46:21,880 --> 00:46:24,080
Speaker 1: to continue to get into this topic or just be

892
00:46:24,160 --> 00:46:26,960
Speaker 1: in community with other sisters, come on over and join

893
00:46:27,040 --> 00:46:29,719
Speaker 1: us in the sister circle. It's our cozy corner of

894
00:46:29,719 --> 00:46:32,759
Speaker 1: the Internet designed just for black women. You can join

895
00:46:32,840 --> 00:46:36,080
Speaker 1: us at Community Not Therapy for Black Girls dot com.

896
00:46:36,120 --> 00:46:39,600
Speaker 1: This episode was produced by Freda Lucas and Elise Ellis

897
00:46:39,640 --> 00:46:42,400
Speaker 1: and editing was done by Dennis and Bradford. Thank you

898
00:46:42,480 --> 00:46:44,680
Speaker 1: all so much for joining me again this week. I

899
00:46:44,800 --> 00:46:47,360
Speaker 1: look forward to continue in this conversation with you all

900
00:46:47,480 --> 00:46:49,239
Speaker 1: real soon. Take it care