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.

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.

Also, this is our lives for a huge part of the year and we did not want to be in prison, 24/7. It was too oppressive. So, we were like, "How can we get out? Let's see their lives, a little bit." That was really fun.

If you go to a network and say, "I wanna do prison stories about black women and Latino women and old women," you're not gonna make a sale. But, if you've got this blonde girl going to prison, you can get in there, and then you can tell all the stories. I just thought it was a terrific gateway drug into all the things I wanted to get into.

I begged her to write a song and she said yes. I am a huge Regina Spektor fan. I think she's a genius and just a lovely soul, and I wanted her voice on it. And she agreed, which is just the coolest thing, ever. She knocked it out of the park.

The oppression of it, the sense of helplessness, and really being part of a system and a bureaucracy that is arbitrary. I never thought of the depth of losing your freedom and what that meant. And I was surprised and delighted by ways people maintain their humanity and try to survive.

I think shows that are completely dramatic are a lie. People use humor to cope. That is how we deal with things. In the darkest situations, there's humor. And if you don't show that, you're not being true to real life.