COVER STORY: Inside 'Orange Is the New Black's' unlikely journey to become Netflix's most-watched original
in the early 2010s was testing out a hypothesis about the public’s appetite for premium-quality television shows on the internet.
Never mind that Netflix wasn’t a traditional TV network: In seeking a home for “Orange,” Kohan remembers loving the streamer’s “all-in” straight-to-series model that bypassed the fatigue of pilot development. “I can sniff a winning pony,” she says. “Even though they gave me a very slender audition piece, I understood immediately that Netflix was going to do something very bold, and that working in concert with, it was going to [create] an absolute horse race in terms of the true advent of the golden age of television.”
“We were intentional about wanting to change the perception of what internet content was,” says Holland. “At the time, it was mostly YouTube or Funny or Die, but there wasn’t really long-form premium content.”: My Year in a Women’s Prison,” the 2010 memoir from Piper Kerman. Kerman remembers Kohan being different from other industry folks who had pitched their visions to her.
making it, it was ‘Oh, we feel like we know something the rest of the world doesn’t. This is our little secret weapon.’” “It was something that, up until then, I didn’t actively pursue, because I had never seen a space for myself there existent in it,” she says of television. She auditioned after “Orange” casting director Jennifer Euston saw her in a play in New York.
Under Kohan’s wing, a cohort of actors, writers and producers have been magnified, amplified — and are making more originals for Netflix. Writer Lauren Morelli is showrunning the “Tales of the City” revival; Natasha Lyonne co-created critical darling “Russian Doll.” Kohan has started a pilot incubator with four “Orange” writers, the brainchild of exec producer Carolina Paiz, which will create four projects over four months.
Not long after it premiered, “Orange” became Netflix’s most-watched series — according to the streamer — finding an audience in international markets like Brazil and the Nordic countries. More than half the show’s viewers are outside the U.S., says Holland, with male and female fans alike.
“I remember going to Brazil for Pride and feeling like the Jackson 5, the way people were just hollering at us on that float,” says Danielle Brooks, who plays Taystee. “It was a whirlwind. And when we got off the float, we had to run, because people were chasing us to get a photo. It blew my mind.”
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