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In the summer of 2022, a year before the WGA writers strike, a friend of mine attended a wedding and met a Hollywood TV producer. At the time, I was employing this friend as a part-time assistant, and she was excited to tell this producer — a white man, it must be said — about the work we were doing together. That year I had been in two writers rooms while simultaneously revising a feature, a pilot, and shopping two separate shows around town. “It’s a white woman getting all that work?” the producer asked her, incredulous. My friend corrected him: “No, she’s Black.” That seemed to clear something up for the guy. “Oh, that makes sense,” he told her. “They’re the only ones getting work these days.”
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