Tag Archives: E4

Mind the Gap

Five go travelling in E4’s globetrotting comedy-drama Gap Year. DQ chats to stars Anders Hayward and Tim Key, creator Tom Basden and Carrie Stein of producer Entertainment One.

When Andrew Davies spoke about writing BBC drama War & Peace, he would always joke that he’d read Leo Tolstoy’s epic saga so that the audience wouldn’t have to.

Tom Basden

The same sentiment could now apply to Gap Year, the E4 comedy-drama that gives viewers who missed out on backpacking around the world the chance to see the sights and sounds of Asia from the comfort of their own home.

The eight-part series – which will be shown in Cannes on April 2 as part of the MipDrama Screenings – follows five people as they first meet in Chinese capital Beijing and decide to team up on a tour that takes in ancient rainforests, full-moon beach parties, mega-cities and remote monasteries in Malaysia, Vietnam, Thailand and Nepal.

Dylan (Anders Hayward) and Sean (Ade Oyefeso) head to Beijing with plans to backpack across China. But once they cross paths with relentlessly upbeat Greg (Tim Key), Chinese-American May (Alice Lee), who wants to reconnect with her long-lost family, and party animal Ashley (Brittney Wilson), together they end up taking on the whole continent.

Co-stars include Janeane Garofolo as a jaded American travel writer, Aisling Bea and Trystan Gravelle as a pair of bickering honeymooners, Scott Adsit as the American owner of a Vietnamese orphanage and Rachel Redford as Dylan’s ex-girlfriend.

Gap Year, currently airing in the UK, marks the first acting job for model Hayward, who trained as a dancer and was subsequently spotted by two acting agents, leading to an audition for the role of Dylan and a four-and-a-half month shoot across Asia.

Gap year stars Anders Hayward (left) and Ade Oyefeso as best friends Dylan and Sean

“I was only signed in November 2015 and managed to get this last April. It was a very quick turnaround and I did not expect this,” he admits. “I thought I’d be auditioning for a while before I got anything but it just sort of happened out of the blue. It’s just mindblowing! It’s the most phenomenal experience I’ve ever had.”

When Dylan and Sean first arrive in Beijing, a ‘chance’ encounter with Dylan’s ex-girlfriend Lauren (Redford) reveals that he may not have been entirely truthful about his motives for the trip – a revelation that infuriates his best friend.

“He’s in his own world – he’s a romantic and he thinks he’s this Casanova, that he knows more of what’s happening in the world because he studies philosophy,” Hayward says of his character. “And then when he gets out there and actually experiences it, he quickly realises he actually is quite ignorant and a bit arrogant. But he’s a total hopeless romantic. He’s torn and lost, and there’s something quite endearing about this kid. That’s what keeps the audience on his side. That naivety is quite endearing and keeps him engaging.”

In contrast to Dylan is Greg, the oldest member of the gang who in one episode describes himself as the Fonzie of the group, comparing himself to Henry Winkler’s legendary Happy Days character considered to be a big brother to those around him.

“He feels genuinely young and anything where he’d be called out for being the old guy hanging with the young people would leave him feeling completely confused!” explains Key, who is best known for starring as Alan Partridge’s radio sidekick in Mid Morning Matters and the Alan Partridge: Alpha Papa movie. “He sees the group as five young people travelling around Asia and they see it as a guy who’s travelling with them.”

Comedy writer Key originally started out in the writers room as the show was pieced together, and was assigned to write episode six alongside Jonny Sweet. It was then that he was cast as Greg, meaning he wasn’t able to continue writing duties.

“In the writers room, the character was growing and was constantly called Greg, constantly 37 years old and there was a looming impression that he was being written with me in mind.” the actor says. “He starts off and maintains this status quo of being a guy who is loveable and hopelessly optimistic but has more problems lurking behind it all.”

Both Hayward and Key recall a strong bond between the five leading actors, which was boosted by the supportive crew as they made their way around multiple locations throughout Asia.

“There was a great support network between everyone and a really good rapport between us,” Hayward says. “We also had great chemistry off camera, which helped us massively in terms of getting through the process of seeing each other every day and travelling to all these different places and doing these new things. It could have spiralled out of control if we didn’t have this chemistry. It would have been a totally different show.

Comedian Tim Key started out in the writers room before taking on the role of Greg

“It was really exhilarating to go to these exotic locations. I found it quite weird at times pretending to be just among normal people going about their day. One moment I particularly remember was when we were in Ho Chi Minh City [in Vietnam] and we were just plugging away, walking and talking, and getting heckles and people wanting to be in the show – but none of them were locals. They were the people we were playing, it was hilarious! But it was really exciting and we were discovering new things every day. The biggest surprise for me was Beijing. It was so fascinating and I didn’t expect it to be what it was and how really bonkers it was.”

Key adds: “Most places had something about them but Beijing was really good. It was so Chinese! It was really good, really friendly. That’s when we were at our most cultural, we did a lot of sight-seeing. But Ho Chi Minh City was good. It came at a good time because we hadn’t been anywhere wild. Up until that point, we’d done an episode in Langkawi, an island in Malaysia, and then in Kuala Lumpur set in an orphanage and an episode in a jungle so I think we were ready to go somewhere mad, and Ho Chi Minh City delivered.”

Series creator Tom Basden (Fresh Meat) had been developing the series alongside producer Eleven’s Jamie Campbell and Joel Wilson since 2013, but reveals he had written a similar script 10 years ago, though then it was more sitcom than comedy-drama.

“It’s one of those ideas where you think, ‘I can’t believe this hasn’t been done as a TV show,’” he says. “It really lends itself to different episodes in different places and the gang making their way through a continent over a season. It’s been brewing for a long time.

“The dramatic side we wanted to hone in on comes from making sure it’s a story about coming of age and people changing and characters getting themselves into funny and amusing situations but also learning about themselves and each other. There’s not as much need to make the sitcom version of this – you know what that is. It would be a bit of a cliché. The comedy-drama version is one where you care about the characters a bit more and it feels a bit more truthful and it makes you really feel like you’re there.”

A Vietnamese orphanage features in the show

Key to the success of the series are the five central characters and the relationships they share on their travels, something on which Basden was particularly focused to ensure they each had a reason for travelling and something they wanted to get out of it.

“It’s really about a group of people who are going out of their way to get something. They’re searching for something and want some kind of breakthrough for themselves, and we’re giving it to them in ways they don’t expect at all,” he explains. “So from that point of view, we had to do a huge amount of work on the characters and make sure at every stage they have places to go and have things they hadn’t realised about themselves.”

It was also a deliberate move to open episode one with a focus on best friends Dylan and Sean, before introducing Greg, and then May and Ashley.

“It mimics what happens when you travel and the way friendships form,” Basden adds. “Although Dylan and Sean are our way into it, that was a decision we made to let the audience follow them and find the other characters.”

The series was produced in partnership with global studio Entertainment One (eOne), which also distributes it internationally. Carrie Stein, eOne Television’s exec VP of global productions, admits she loved the concept of Gap Year from the start and was instantly convinced it would have worldwide appeal.

“The thing about travelling is that it’s this great opportunity to just let down your guard and contemplate your life. What we love about the show is each character has a clear emotional journey,” Stein says. “They each have a story – why they’re there and what they left behind, where they think they’re headed, how they change over the course of travelling and how this group they hang out with impacts where they might be headed. Tom’s done an amazing job of really enriching each of these characters with a strong dramatic story.”

The series was filmed on location across Asia

Once on location, one of the many challenges the creative team faced was deciding when they would exert a level of control over their surroundings and when they would simply let the camera capture the actors naturally in the setting, as if making a documentary.

“That was the push and pull,” Basden says. “There were times when we had to say this location, like the orphanage in Vietnam, we’re just going to make ourselves and control every element of it. But when Greg goes to the full-moon party or Sean makes his way through Beijing, we decided just to shoot and see what happened.

“That was the thing that was the most exciting and the most difficult to judge because you’ve got to allow for the freedom to just be there and see what happens. But you can’t do that too much or you have no idea what you’re going to get.”

Stein picks up: “Certainly the production was ambitious but we had tremendous faith in Jamie, Joel and Tom. There were some scary moments, like receiving a phone call telling us we didn’t have permission to shoot in China. That was crazy.

“It was also a juggling act for Tom because he had certainly written a lot and had a writers room but, once you start location scouting, you find out about different things in particular places that you want to make part of the story. So then there’s rejigging. It’s one of those pieces that evolves as you’re in pre-production and then you’re playing catch-up on the script side.”

Basden continues: “That kind of makes it really fun as well. Although it didn’t feel like it at the time, one of the benefits of being on set and doing rewrites and changing things is you really can adapt to what you’re learning about the cast and the locations. That gives it a slightly organic chemistry when you’re doing it, even though I was shut up in a hotel room for most of it. I was hardly on the set at all, but I can’t complain. I got to hang out in some lovely cafes!”

While now enjoying a well-earned break, Basden says there’s definitely scope for a second season, which he imagines would see many of the same cast return for another trip along with a broader range of international characters.

“It’s so fucking hard – that’s what we’ve all learned from it,” he concludes. “It’s really difficult dramatically to make an exciting story about people travelling. That, from the script point of view, was the hardest thing – and then the logistics of it without faking it and doing some kind of backlot shoot, that is really tricky.

“Because you’re not using the same locations, it’s harder to build because every episode is a mini film. So it’s not like a sitcom where you reuse locations and characters. There’s not really a formula for this show but, for the viewer, that’s great because you don’t know where you’re going to be every episode. From a writing point of view, it means you start the next episode where anything could happen.”

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Networks and streamers look for laughs

The 2014 movie Dear White People
The 2014 movie Dear White People

This week there has been a lot of movement on the scripted comedy front. Netflix, for example, has given a series order to Dear White People, a 10-part adaptation of Justin Simien’s 2014 movie of the same name.

Due to air on the US streamer in 2017, it tells the story of a group of students of colour at a fictional Ivy League university dominated by white students. Like the film, the series will be produced for Netflix by Lionsgate.

Commenting on the deal, Chris Selak, executive VP of television at Lionsgate Television, said: “We’re proud to expand our partnership with our friends at Netflix on a comedy that tackles racial themes with a combination of intelligence, honesty, irreverence and wit. Our original film with Roadside Attractions catapulted Dear White People into the national conversation about race, and Justin and the rest of the creative team have an opportunity to expand this world and bring its timely and universal themes to a global television audience.”

Another comedy in the news this week is E4’s Foreign Bodies, which follows a motley gang of travellers on a three-month trip around Asia. The show, which is being produced by indie company Eleven and is backed by eOne, was first unveiled by E4 in January. But this week it was announced that US cable channel TNT is coming on board as a partner.

“Foreign Bodies is a terrific opportunity for TNT to work with eOne, Eleven and E4 on a series that will appeal to young adults not only in the US and the UK but also around the globe,” said Sarah Aubrey, exec VP of original programming for TNT. “It’s also a great chance to bring (the show’s creator) Tom Basden’s voice to our stateside viewers.”

The Mindy Project is getting a second season on Hulu, its fifth run overall
The Mindy Project is getting a second season on Hulu, its fifth run overall

Hulu, meanwhile, has announced that there will be a new season of The Mindy Project. The show aired on Fox in the US for three seasons before moving to Hulu for season four. The new run will take the total number of series to five (and the total number of episodes over 100).

A number of critics have been watching season four closely since it launched in September to see how the show has changed under new management. The general conclusion has been ‘not much’ – although the Hulu episodes are two to three minutes longer. This has led some observers to suggest that The Mindy Project has benefited as a result, because it can dwell a little longer on comic scenarios or character development.

Hulu’s announcement about Mindy was part of its Upfronts, which also included some news about its drama slate. It has, for example, ordered a pilot set in prehistoric times called Dawn. Created by Hank Steinberg (The Last Ship, Without a Trace) and Ken Nolan (Transformers 5, Black Hawk Down), the show centres on a tribe of Neanderthals and their battle for survival after meeting a group of Homo Sapiens.

The company also announced there will be a second season of The Path, which centres on a religious cult.

Michelle Monaghan and Aaron Paul in The Path
Michelle Monaghan and Aaron Paul in The Path

Among other major scripted stories this week is the news that FX in the US has ordered Feud – another anthology drama series from Ryan Murphy. The eight-episode show, which also involves Fox 21 Television Studios and Brad Pitt’s prodco Plan B Entertainment, will star Susan Sarandon and Jessica Lange. Based on a script by Jaff Coihen and Michael Zam, it explores the rivalry between iconic US actors Bette Davis and Joan Crawford.

This week also saw National Geographic in the US move forward with Killing Reagan, a TV adaptation of Bill O’Reilly and Martin Dugard’s book of the same name. Playing Reagan, the actor who became US president, will be Tim Matheson (The West Wing). His wife Nancy will be played by Cynthia Nixon (Sex in the City). The script for the adaptation is from Eric Simonson, a documentarian who is also a member of the Steppenwolf Theatre Company.

The Killing franchise has been a remarkable success for Nat Geo in recent years. Killing Lincoln, Killing Kennedy and Killing Jesus, which were also based on books by O’Reilly and Dugard, were the most watched shows in the channel’s history. Kennedy and Jesus were also Emmy-nominated. The new show is different from the other Killing productions in that it deals with an unsuccessful assassination attempt (by John Hinckley in 1981). The other three stories famously ended with the deaths of their protagonists.

The chaotic scene in the immediate aftermath of the attempted assassination of Ronal Reagan
The chaotic scene in the immediate aftermath of the attempted assassination of Ronald Reagan

There are also a couple of stories this week about planned book adaptations. Sonar Entertainment is developing a show about the contraceptive pill based on a book by Jonathan Eig. Called The Birth of the Pill, the show centres on the four people who were involved with the development of the birth control during a period of sweeping social change and rapid scientific advances. Eig has previously written three non-fiction books, two based around baseball players and one about the plot to capture gangster Al Capone. The TV adaptation is being written by Audrey Wells, who has penned a number of popular movies including The Game Plan, Shall We Dance and Under the Tuscan Sun.

In the UK, meanwhile, there are reports that production firm Rooks Nest is developing Joseph O’Neill’s acclaimed novel Netherland for TV. The project is Rooks Nest’s first move into TV drama after success with recent movies such as The Witch and Obvious Child. Netherland is set in post-9/11 New York and London and centres on Hans, a Dutch expat working on Wall Street who rediscovers his love of cricket when he joins the Staten Island cricket team. However, he soon falls under the spell of the team’s charismatic Trinidadian coach Chuck Ramkissoon.

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Strange bedfellows boost TV

E4 is adapting Turkey's Mesudarim (pictured) as Loaded
Channel 4 is adapting Keshet’s  Israeli series Mesudarim (pictured) as Loaded

This has been a fascinating week in terms of scripted shows that cut across traditional creative and commercial models.

In the UK, for example, Channel 4’s youth-oriented digital network E4 is to coproduce an online gaming-inspired series with SVoD platform Netflix. Called Kiss Me First, the show is a six-hour thriller from Skins creator Bryan Elsley and a team of new writers. In the UK, it will air on E4 then Netflix. Elsewhere it will be on Netflix.

It is the first time C4 has done a deal of this kind with Netflix, though it has moved more aggressively into the coproduction area recently with shows such as Humans (a copro with AMC) and Indian Summers (with PBS).

Interestingly, the last time C4 and Netflix were mentioned in the same story was when the latter ‘poached’ Charlie Brooker’s dystopian fantasy series Black Mirror (which first found its fanbase on Channel 4).

The underlying theme seems to be that C4 is looking for ways to get high-quality drama at an affordable price. This explains why it has also been showing interest in scripted formats recently. After the success of Humans (based on a Swedish show), it is now working on Loaded, an eight-part comedy drama that originated in Israel with Keshet Broadcasting. The UK version, to be written by Jon Brown (Fresh Meat, Peep Show, Misfits), follows four life-long friends who become multi-millionaires overnight. In Israel, the show was called Mesudarim and debuted in 2006.

The Shannara Chronicles will air on Channel 5 in the UK
MTV fantasy series The Shannara Chronicles will air on Channel 5 in the UK

E4 is also reportedly looking for a coproduction partner on Foreign Bodies, a backpacking comedy-drama from indie producer Eleven Film in which two British guys on a gap year go travelling with two American girls they meet in China.

Elsewhere, Televisa USA, a subsidiary of Mexican media giant Televisa, has partnered with Atalaya Productions to develop an English-language series called Aztecs, about the pre-Columbian civilisation. Michael Chernuchin (Marco Polo, Black Sails) has signed on as showrunner of the series, which is based on the Daniel Peters book The Luck of Huemac. Written in 1981, the book has virtually no profile on Amazon, so hopefully the show will encourage a few new copy sales.

Aztecs will feature a multi-ethnic cast and will follow a family living in the waning moments of the Aztec civilisation as the Spanish invasion looms. Televisa calls it the first TV project to tackle the subject of the pre-Columbian empire from its own vantage point rather than that of the Conquistadors.

“The team we assembled is perfect to bring this shockingly tragic cultural tale to TV in an authentic and respectful way,” said Chris Philip, head of production and distribution for Televisa USA. “Intrigue, betrayal and romance will be part of this great story and it all will be told from the eyes of the people that built and lost this civilisation.”

Cuba Gooding Jr will play OJ Simpson in a drama series following the ex-NFL star's murder trial
Cuba Gooding Jr plays OJ Simpson in a drama series about the ex-NFL star’s murder trial

Underlining the new battle lines being drawn in scripted content, Televisa USA has dramatically increased production over the past year. Other titles on its slate include Maleficio, being made with Starz; the Dougray Scott-fronted Duality; and Gran Hotel, adapted from the hit Spanish show and set in pre-Castro Havana. This comes in addition to Devious Maids, already airing on Lifetime.

It’s also been a busy week for acquisitions, with networks around the world stocking up on scripted shows for 2016. In the UK, Viacom-owned digital channel 5* has picked up fantasy drama The Shannara Chronicles following its premiere on MTV in the US (another Viacom channel).

It’s not the first time that Viacom has kept a high-profile drama in the family in this way. Earlier this year, ancient Egyptian drama Tut aired on Viacom’s Spike in the US and was then picked up by 5* sister Channel 5 in the UK.

Still in the UK, BBC2 has acquired American Crime Story, a 10-part US anthology drama that spends its first season looking at the OJ Simpson murder trial.

Prison Break is coming back
Prison Break is coming back

With Simpson played by Cuba Gooding Jr, the show is set to debut on FX in the US on February 2. A few years back, you probably wouldn’t have seen an FX show on BBC2 but BBC2 and BBC4 controller Kim Shillinglaw called it a “gripping, highly distinctive” series, adding: “With an outstanding cast and a top-rate creative team, it is the kind of grown-up, contemporary drama I want on the channel.”

Amazon has also been busy, picking up PBS drama Mercy Street and acquiring all nine seasons of classic sci-fi series The X-Files. The latter is a shrewd move designed to take advantage of the buzz around the new X-Files series, coming soon from Fox.

With the return of The X-Files causing so much excitement, it’s no real surprise to see that Fox has also decided to bring back Prison Break, another of its cult series – last seen in 2005. According to reports from the US, the network has given the show a straight-to-series order. Its creator, Paul T Scheuring, is writing a script and a bible for that is expected to be an eight- to 10-part production.

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BBC1 is adapting Apple Tree Yard

Another project in the news is Apple Tree Yard, based on the international bestselling thriller by Louise Doughy. The TV production is being made by Kudos for BBC1 in the UK and will be distributed internationally by FremantleMedia International.

Adapted by Amanda Coe, the four-part thriller “puts women’s lives at the heart of a gripping, insightful story about the values we live by and the choices we make.” It stars Emily Watson (A Song for Jenny, The Theory of Everything) as a married woman who embarks on an impulsive and passionate affair with a charismatic stranger (Ben Chaplin). “Despite all her careful plans to keep her home life and career safe and separate from her affair, fantasy and reality soon begin to overlap and everything she values is put at risk,” says the pre-production blurb.

Coe, whose credits include Filth: The Mary Whitehouse Story, Bloomsbury Set, Life in Squares and an adaptation of John Braine’s Room at the Top, said: “Apple Tree Yard is a perfectly executed page-turner that’s also a gripping exploration of the difficult moral choices we face in adult relationships.”

Jon Bernthal, best known for his role as Shane in The Walking Dead (pictured left) will star in The Punisher
Jon Bernthal (left), best known for his role as Shane in The Walking Dead, will star in The Punisher

Other new projects doing the rounds include American Playboy: The Hugh Hefner Story, a coproduction between SDE and Playboy-owned Alta Loma Entertainment. As yet, no network is attached to the project.

Also in the works is a new Marvel series based on its character The Punisher. Destined for Netflix, the series will star Jon Bernthal, known to fans of The Walking Dead as Shane Walsh – the Rick Grimes sidekick who loses the plot in season two. Anyone familiar with his terrific performance in that show will know he is perfect for Marvel’s morally dubious vigilante.

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Finding the right fit

Howard Overman
Howard Overman

Howard Overman is one of the UK’s leading screenwriters, with recent credits including BBC1’s Atlantis and E4 cult hit Misfits.

It has taken him around 10 years of perfecting his craft to reach the front rank of the profession, although his entry to the industry didn’t necessarily hint at his future success.

“I was doing a job I hated,” he recalls, “something in marketing. So I decided to go and do a course at college. I chose screenwriting, but I might just as easily have chosen cookery classes. I was just looking for a new direction and that’s what was on offer.”

Soon after, he entered an ITV screenwriting competition, which resulted in him being given the chance to write an episode of Clocking Off for Red Production Company’s Nicola Shindler.

“It wasn’t used because the show finished. But that episode was passed around and got me my first television writing jobs,” he says.

Starting in 2005, Overman has written for shows such as Hustle, New Tricks, Moving Wallpaper, Hotel Babylon and Spooks: Code 9. A major gearshift in his career came with BBC fantasy series Merlin, for which he wrote 11 episodes.

Misfits, the 'big turning point' in Overman's TV career
Misfits, the ‘big turning point’ in Overman’s TV career

“But the big turning point was definitely Misfits,” says Overman. “It won a Bafta in its first season and was well received in the US. I learnt so much about storyline, plotting – everything – as a result of running that show for five years.”

Apart from a few episodes, Overman wrote all of Misfits. He also created and co-wrote a pilot for a US version of the show. So does he prefer the European auteur approach to the US writers room model?

“They’re very different. In the US, they are working with bigger budgets and more episodes – whereas Misfits was only around six episodes per season. I’d probably give the writers room approach a try, but with Misfits I’m not sure it would have worked because it was such a genre mash-up, combining teen comedy, superheroes, horror, time travel and so on. Even with a traditional show, it’s tough to find other writers who can write your show in a way you are happy with. Everyone thinks they can write but it’s harder than you think.”

Alongside Misfits, Overman wrote comedy-drama police procedural Vexed (which didn’t do especially well) and Dirk Gently, a BBC4 adaptation of the novels by Douglas Adams.

Overman wrote 11 episodes of Merlin
Overman wrote 11 episodes of Merlin

However, the next big breakthrough came when he was handed the task of delivering a Saturday-evening hit for mainstream channel BBC1 (perhaps more of a reflection of his work on Merlin than Misfits). The result was Atlantis, a fantasy adventure created by Overman, Johnny Capps and Julian Murphy via their new production company Urban Myth Films.

The show ran for two seasons but was axed earlier this year having failed to really ignite the Saturday evening schedule. While some observers believe the BBC was premature in its decision to cancel the show, Overman is philosophical.

“Atlantis was a slightly troubled beast,” he explains. “We thought it would play in early evening but it went out at 21.30, where it didn’t really sit that comfortably. If we had known it was going into that slot we would have done it a bit differently.”

Post-Atlantis, Overman is currently developing a range of feature film and TV projects via Urban Myth. On the TV front, he says he is working on a dark comedy for ITV2 about a young man suffering from a terminal brain tumour. He is also writing a “Dickensian period piece” for the BBC about bare-knuckle boxing in the early 1800s.

BBC1's Atlantis
BBC1’s Atlantis

He says: “It’s set in Regency London and follows the experiences of a black fighter. It’s loosely based on a real-life fighter from the era called Tom Molineaux who was born into slavery in Virginia but came to Britain to fight successfully for years. Bare-knuckle fighting was hugely popular back then and could attract crowds of 15,000 or more.”

Looking back over his career, Overman believes his progression counters the notion that TV is an inherently nepotistic industry.

“I didn’t know anyone in the business when I started,” he adds. “I’ve always found it to be quite a pure industry in that respect. My experience is that producers don’t give a monkey’s where you’re from as long as your writing is good. This business is all about having the desire, ambition and drive to do it.”

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