Jenji Kohan
Jenji Kohan
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Full Name and Common Aliases
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Jennifer Jean "Jenji" Kohan is a renowned American television producer, screenwriter, and director.
Birth and Death Dates
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Born on March 5, 1969, there is no record of Jenji Kohan's passing.
Nationality and Profession(s)
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Kohan is an American citizen, and her profession spans television production, writing, and directing.
Early Life and Background
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Jenji Kohan was born in New York City to a Jewish family. Her father, Stanley Kohan, was a theater critic for the New York Post, while her mother, Wendy, was an art dealer. Growing up, Kohan developed a passion for storytelling through film and television. She attended Barnard College, where she earned her Bachelor's degree in English.
Major Accomplishments
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Kohan began her career in television as a production assistant on the series The Larry Sanders Show. Her breakthrough came with the creation of the critically acclaimed HBO comedy-drama series Sex and the City, which won several awards during its six-season run. In 2004, Kohan created another hit show, Weeds, starring Mary-Louise Parker as a suburban mother-turned-pot-dealer. The series ran for eight seasons.
In recent years, Kohan has received widespread acclaim for her work on the Netflix series Orange is the New Black and its spin-off GLOW. Her productions often explore complex social issues, such as women's rights, identity, and justice.
Notable Works or Actions
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Some of Jenji Kohan's notable works include:
Sex and the City (1998-2004): A groundbreaking HBO series that redefined the television landscape with its frank portrayal of relationships, sex, and feminism.
Weeds (2005-2012): A dark comedy-drama that explores the complexities of suburban life and the consequences of crime.
Orange is the New Black (2013-2019) and GLOW (2017-present): Netflix series that examine issues of justice, identity, and female empowerment.Impact and Legacy
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Jenji Kohan's impact on television is undeniable. Her productions have sparked conversations about social issues, challenged traditional storytelling norms, and paved the way for more diverse representation on screen.
Kohan has been recognized with numerous awards and nominations throughout her career, including multiple Emmy Awards and a Golden Globe Award.
Why They Are Widely Quoted or Remembered
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Jenji Kohan's influence extends beyond her hit shows. She is widely quoted and remembered for:
Challenging social norms: Kohan's productions tackle complex issues like feminism, justice, and identity, inspiring discussions and fostering empathy.
Pioneering female representation: Her work often features strong, multidimensional female characters, paving the way for more diverse storytelling in television.
Innovative storytelling: Kohan's unique approach to narrative has influenced a new generation of writers and producers, pushing the boundaries of what is possible on screen.
Quotes by Jenji Kohan
You want everyone to be a full character. No one is just evil, or very few people are, hopefully. They’re characters, so you want to flush them out. You’ve got to show all sides of them. There is definitely an antagonistic relationship between guards and prisoners, and I do think it flares up.
I’m always looking for a nexus, where you can put all these diverse people together, see how they respond to one another, see what they learn about each other, and what they like and don’t like.
On the other hand, we worked a year on this and some people are going to watch it in a night and go, “We want more!” And there is something I miss about the longing and the anticipation for the next episode.
It was enormously challenging because you want that all-American girl, but you also want the cool WASP, privileged white girl. Usually, women in that package aren’t funny.
Even during the casting process, the pools of talent are so deep when you have a call for Latin women or black women or a middle-aged woman because they never get their shot. There’s so much talent there.
But, I like the challenge of, “How can we stretch this out? Where can we go with it?” It’s an open road, especially at Netflix. You can take it anywhere you want.
We’re also talking a lot in the room about planting seeds that can grow over the course of the season, knowing that people might be watching them in bulk. We’d like to bury some Easter eggs and let people find them, later on.
To be able to be there first, I love the pioneer thing. It’s exciting to me. And they pay full rate, they’re really nice, they support the work, and they said yes. What could be bad? It’s the Wild West. You can do what you want.
I don’t set out to write female lead shows, necessarily. I like deeply flawed characters. When they come to me, or when I’m introduced to them, I follow the stories and the people, rather than setting out to do a female lead thing.
As long as there are still interesting stories and still interesting people that we want to meet, I can keep it going. But, we all have to be invested. If the room starts getting bored or I start getting restless, then we’ll either have to change something in the show or maybe end it.