I feel like if you know any women who's an essayist or a writer or a public speaker or just a public person, and they have any presence at all in any kind of social media, or any place where men can voice at them, you have to be pretty amazed at the level of special provocation and sort of violent speech and misogyny that comes at them. Any woman that's really in the public sphere has experienced this. It's kind of shocking how universal it is.

What appeals to me in The Deuce is some of the same things that made me interested in The Wire, which is there seems to be a theme here around markets and capitalism and labour. This is a moment, 1971, of something that was under the counter: then brown paper bags suddenly became legal, pornography. And it was really the birth of an industry which is now a multi-billion dollar American standard. And these people were the pioneers at a moment where there really were no rules, then suddenly there was a legal industry that was allowed to exist.

Eventually, someone is going to pick up a brick.

You have the capacity to change the plotline of your life, even if you've been acting from the same script since before you can remember.

How that happened - how the money and the power arrayed itself and who got the share in that, who got cut out, who was exploited and who did the exploiting - that to me is a story of The Deuce that's more about almost the America that we inhabit today, more than just merely about pornography or prostitution.

I had a great editor, Rebecca Corbett, from the time I was a city reporter right through to the years I worked on the 'Sun's' enterprise reporting team.

Unless you loosen the hold that your past has on you, your future will unfold in much the same way . . . it is time to begin writing a new script that accurately reflects the beautiful, powerful, and worthy being you are.