“Writers' rooms are very difficult environments to work in, specifically comedy writers' rooms. However, they are also some of the most rewarding work environments that you can find yourself in. My first day in a TV writers' room was my first day in Hollywood working in any capacity. Not only was I the only Asian-American writer in the room, I was the only writer of color, period. And that's been the case in almost every room I've worked in. I think that has become less prevalent of an experience for younger writers today, but in the days that I was coming up, in the early 2010s and into the mid-2010s even, finding writers' rooms that were heavily diversified in terms of their ethnic and demographic makeup was a rare experience.”Ken Cheng is a writer/producer who has previously written for Wilfred, Betas, and Sin City Saints. Ken’s feature comedy Easter Sunday, which he co-wrote, and executive produced for Amblin Partners, Rideback, and Universal, is inspired by the life and comedy of standup comedian Jo Koy. Forthcoming projects include writing and executive producing the half-hour comedy series, House of Chow, for HBO, co-writing – along with his creative partners at Crab Club, Inc. - a feature film adaptation of the GQ Magazine article, “The Great Chinese Art Heist”, for Warner Bros., Conde Nast, and director Jon M. Chu, and writing/producing a feature adaptation of the New York Magazine article “Chateau Sucker” for Bound Entertainment.www.crabclubinc.comKen Cheng IMDBwww.creativeprocess.infowww.oneplanetpodcast.org