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“She was called a ‘baby creator,’” Bailey told me, smirking at Asghar. They came in being like, ‘This is dope and we want to protect you.We want to help you.’” The agreement they reached suggests a continuity of vision—their test-tube baby will walk, not inspire some slicker creation. But that January afternoon, they shared a bench outside Sony Studios in Los Angeles.For days, they’d felt a thrill new to those born black (Bailey) or Muslim (Asghar): affirmation. Emails from HBO, Comedy Central, and TBS started the day , the Latin site that drove a lot of their views and search traffic from the day their trailer beamed from it like a bat signal.Perhaps that’s why Asghar and Bailey heard warnings en route to Los Angeles. They’re just going to want to have you in the Rolodex. blah, blah, blah.”Instead, life actually worked out.“People told us all kinds of things,” Asghar told me. Their time in Hollywood reads as a dream of frictionless peace between people of color, who Asghar and Bailey say “rode hard” for the show. Nor was it the experience that reportedly met Issa Rae, in the early stages of developing , another wanted to cast a lighter-skinned actress, and a third rejected a list of dream writing hires—mostly people of color—due to their lack of formal experience.) Everyone in the room seemed to get where Asghar and Bailey were coming from.Miles from the gloom of Chicago, Asghar and Bailey were confused. Americans are preparing for different eventualities. The president is promising a border wall, even as the nation’s biggest networks pour cash into Telemundo and Univision.This year and last, moved the spotlight away from white characters and writers, and eyes and hearts and wallets moved, too.

The pair shot one of the show’s pivotal scenes here: Patricia meets her mom at the café, setting the audience up for the final act in the last episode of the season, when she asks her mom for financial help.Hollywood executives loved the world the two 20-somethings made, one where no one is white and everyone is “brown”—Spanish-speaking, black, South Asian, queer. Soon screenings materialized, in London, Spain, the Brooklyn Museum of Art—where brown girls in Hatecopy shirts partied with queer black boys in one of the largest temples to African art in the world.For those primed to get it, the series was “hard to miss,” said Aymar Jean Christian, an assistant professor at Northwestern University, which in part funds the series via the media incubator Open TV (Beta).Patricia lost her waitressing job and “doesn’t want to burden her mom, but she has to,” Bailey said.The scene contrasts with one from that other show about post-college women, a comic emblem of the Gen Y condition: when Hannah Horvath’s parents cut her off in the pilot episode of .

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