Lauren Morelli  Biography

Lauren Morelli is an American producer and author. She is best recognized for Orange Is the New Black 2013, on the Netflix original series. City Tales 2019, and Hum 2017.

Lauren Morelli Age

Lauren Morelli was born on July 22, 1982, in Pittsburgh, Pennsylvania, USA. Her zodiac birth sign is Leo. She celebrates her birthday in the month of July 22nd every year. She is of American nationality

Lauren Morelli Husband

Lauren Morelli  Married her husband Samira Wiley after dating for two and a half years. They wedded on  March 25, 2017. Following a 5-month-long engagement. This is her second marriage but the first lesbian.

The pair met on the OITNB set back in 2014. On October 4, 2016, Morelli announced her engagement to the actress with whom she had been in a relationship since publicly coming out.

They married in Palm Springs, California. They then went on what seemed like an absolutely perfect honeymoon in Disneyland and Italy. Samira Denise Wiley was born on April 15, 1987, is an American actress.

She is popular for her starring role as Poussey Washington in the Netflix comedy-drama series Orange Is the New Black (2013–17) and The Handmaid’s Tale (2017–present) where she played as Moira.

She won the Primetime Emmy Award for Outstanding Guest Actress in a Drama Series. Wiley also starred in films as The Sitter (2011), Nerve (2016), Detroit (2017), and Social Animals (2018).

Lauren Morelli Wedding

Samira Wiley and  Lauren Morelli succeeded in their wedding plans. With the beautiful backdrop of Palm Springs on March 25 and nothing but love and fun spread in the air. The duo made the day truly about kicking back and partying.

This could evidently be seen in their musical choices for walking down the aisle. Wich included exiting the ceremony to Montell Jordan’s classic “This Is How We Do It.”

When questioned about her ceremony music choices, which also included Justin Bieber’s “Baby,” Wiley said, “I honestly just felt like I wanted it to be mine, I wanted it to be something I wanted to dance to and luckily my wife was on the same page! I was like ‘You are supposed to be my wife!’ ”

Pertaining to the dresses, both were made by designer Christian Siriano. A mutual friend of the couple who also attended the wedding. Wiley said choosing his designs was a real “no brainer.”

Wiley wore a ball gown with a beautiful off-the-shoulder neckline and Morelli chose a sleek jumpsuit adorned with a cape and high, lacy neckline

Lauren Morelli Lesbian

Morelli came out in May 2014 as a gay through a touching essay for Identities. Mic. She clarified that writing about the relationship between protagonist Piper Chapman and ex-friend Alex Vause helped her embrace her own sexual orientation a few months after Basilone’s marriage.

It didn’t take long for Morelli to accept her truth. “I realized I was gay in fall 2012, one of my first days on the set,” the writer recalled. Five months after Lauren’s wedding;

she flew to New York to start production on her first episode of Orange, and from that moment on her life fell into a parallel rhythm with Piper’s story in a way that went from interesting to terrifying in a matter of months.

Lauren further said that her first step toward feeling accepted and quietly accepting herself. In Piper and Alex, she had found a mouthpiece for her own desires and a glimmer of what her future could look like.

After lugging around a basket full of shame and guilt for a year, there was a lightness that came with realizing that she could choose to replace her negative framing with honesty and grace.

Lauren Morelli And Steve Basilone

dating back to 2012 Lauren Morelli was married to  Stephen Basilone a producer and writer, best known for Community (2009), The Goldbergs(2013) and The Michael J.Fox Show (2013). the union spanned for only two years. The couple divorced on 12 Sept 2014.

Morelli and Basilone filed for divorce jointly and split amicably after she had come out to the public confirming her sexuality as a lesbian. following almost a 2-year-long separation.

Lauren Morelli Height

Lauren is a natural beauty, she possesses good looks beautiful, slim body, and medium height. She has a unique body structure.  has a height of 5 feet 4 inches. Her bodyweight 55kg. She has blonde hair and blue eyes. Additionally, her body measurements are 33-26-35 inches. Her bra size is 33B.

Lauren Morelli Net Worth

Lauren Morelli’s net worth is under review as per Wikipedia, over the years her net value has been increasing significantly her net worth is more than $1 million. She obtains her wealth from her tv personality and film making a career. Through her very active personality, we can equally say that she takes home a great deal of money.

Lauren Morelli tales Of The City

Tales of the City is an American drama web television miniseries that premiered on June 7, 2019, on Netflix. It’s based on Armistead Maupin’s Tales of the City novel series. Laura Linney, Paul Gross, Olympia Dukakis, and Barbara Garrick have taken over their roles from the previous miniseries based on the books of Maupin.

The series was written by Lauren Morelli, who serves as showrunner and executive producer. Other executive producers include Maupin, Alan Poul, Laura Linney, Andrew Stearn, Liza Chasin, Tim Bevan, and Eric Fellner.

Michael Cunningham served as a consulting producer and Poul directed. Production companies involved with the series include Working Title Television and NBCUniversal International.

The series got an approval of 82 percent on Rotten Tomatoes, and an average rating of 34 reviews of 7.29/10. The consensus of the critics says, “Like an enjoyable visit to a location you once lived.

Tales of the City offers ample nostalgic comfort and remains the mission of the series. to celebrate San Francisco’s diversity on its own terms. “Metacritic scored 63 out of 100 based on 13 critics, meaning” usually favorable reviews.

Lauren Morelli Orange Is The New Black

Lauren is the writer of the Orange is the new black tv series. It airs on Netflix tv. The series entails comedy-drama that takes place in a women’s jail.The tale is based on Piper Chapman, a woman whose past history with a drug dealer (Alex Vause) ultimately leads her to a 15-month jail sentence.

The show is loosely based on the New Black: My Year in a Women’s Prison, by Piper Kerman, autobiographical novel Orange. Weeds creator, Jenji Kohan, established the series.

Regina Spector writes, composes and performs the primary title theme song for the series “You’ve Got Time.”The series got four nominations from Emmy, including Outstanding Drama Series, and Uzo Aduba won a drama series for Outstanding Supporting Actress.

Orange Is the New Black is the first series in both comedy and drama categories to receive Emmy nominations. The series also got six nominations for the Golden Globe Award;

Six nominations for the Writers Guild of America Award an American Film Institute Award, a Producers Guild of America Award, and a Peabody Award. The series was released on June 7, 2019.

Lauren Morelli Orange Is The New Black Character

Lauren Morelli served as a writer in the OITNB series, her partner Samira Wiley starred as Poussey Washington, a character that gained a huge mass following.

Lauren Morelli Social Media

Lauren Morelli is active on Facebook, Instagram, and Twitter. She has 5k followers on Facebook, 268k followers on Instagram and 38.7k followers on Twitter.

Lauren Morelli Show Runner Interview

Lauren Morelli came to A-Camp this year to chat with Brittani Nichols, and she also hopped on the phone with me to talk about the rewarding and terrifying things about adding to a series as iconic as Tales.

How did you come to Tales of the City as a story consumer and how did you come to it as the showrunner?

I had actually never heard of Tales of the City, and I felt a lot of queer shame around that when I got involved with the project. There’s a generation where this series is a really important representation milestone for them, and then there’s a sort of generational drop-off.

When I went back and read the series, I was really struck by the fact that Armistead Maupin, in 1978, was writing about queer life and love in a way that wasn’t traumatic or over-sexualized, just queer people living their lives, and that’s something we still don’t see enough of today.

Obviously, San Francisco and the queer community particularly the dialogue in and around the community have changed so much since the original series began.

Can you talk a little bit about the intentionality behind marrying the original series with the cultural shifts that have happened since then? That was the hardest thing, certainly, to try and do.

How do I honor the fact that I get to tell these stories because of the work and activism people like Armistead have been doing for four decades before me.

while turning my head in the other direction and honoring the fact that there’s a generation of queer people coming up behind me whose interactions with their queer identities look and sound and feel very different than mine?

How do you expand the point of view in both directions so it includes all of those things?

No big deal, just having a conversation that includes all queer identities from all generations.[Laughs] Right! But I was lucky because a lot of those conversations were already inherently in place.

In terms of the executive producers, it was me, who had never heard of Tales before; Alan Poole, who directed three episodes and produced the original, and has been such an important voice in gay content for a long time; Armistead; and Laura Linney.

I started by listening to what it was like, in 1993, when the mini-series came out, about marching in the Pride parade in San Francisco as Congress debated whether or not the show could even air on PBS because of the federal funds that were directed to public television.

You had an all queer writer’s room, right?

Yes, and that’s when I started pushing the conversation in the other direction. I’m a 36-year-old white cis queer person. I knew if I was going to put six bodies in this room, they needed to represent six very different queer experiences from mine.

understanding, even then, I’m only getting a tiny fraction of the myriad experiences in our community. We are so desperate for representation that when we get even a tiny droplet, we’re like,

“Oh god, please just let me see myself in it.” And when you don’t, or when you see part of yourself but it doesn’t reflect the fullness of your intersecting experiences, it feels so disappointing.

 The conversation Ben has with Michael’s friends who lived through the AIDS crisis, I’ve rarely, if ever, seen something like that on TV. How does it feel to be doing that? 

It’s exciting and it’s an honor and it’s fucking terrifying.

[Laughs] Of course! My favorite thing about this series is your willingness to let these characters be messy, to do messy things and say messy things;

and yet you don’t shake them down to some lowest common denominator of “good” or “bad.” For nearly my entire career, the point of LGBT characters on TV has been to make them squeaky clean and lovable so straight people in real life will be nicer to us.

That’s exactly it. I think a lot about trying to get it “right,” and I’m putting “right” in air quotes, because I think that line can be very dangerous, and this is something I’ve evolved on as I’ve educated myself more and more about our community.

I do not want to see two characters with marginalized queer identities having a conversation on-screen just to educate straight people. And I’ll give Netflix a lot of credit.

In telling Jake and Margot’s story, for example, That relationship is something in my own personal community that’s happening all the time now. It feels important to talk about it.

And Netflix never gave us any notes that said, “Oooh, I don’t think straight people are going to get this.” They trusted us to trust the viewers.

A hallmark of the original series is there are ten thousand stories going on at any given moment. You really honored that. Every character is going on their own journey.

All the characters are going on relationship journeys with each other. And there’s this over-arching pulpy mystery. Did you have a like a murder board style story plotting wall in your house, all these headshots linked together with like a web of red thread?

Oh well, we for sure felt like it was going to kill us, in the writer’s room, keeping up with all of it. And trying to strike the right tone. The pulpy mystery is so important in Armistead’s original series.

I knew we had to maintain it. But when have we gone too far? When have we not gone far enough? Does this seem insane? Striking the balance between fun and ridiculous is surprisingly hard.

But more than that, knowing that the mystery centers a trans woman and is going to contain an entire flashback episode with trans characters and trans actors, making sure that the mystery isn’t going to be damaging to the community.

I do want to talk a little bit about that episode. Jen Richards is always transcendent.

Yes, I can’t get over how good she is. I knew to go in, that to address the tension between what Tales was and what it needed to be, Anna had to be played by a trans woman, and the way we were able to do that was to cast Jen in our flashbacks.

I had obviously just come off of five years on Orange Is the New Black, which is all small flashbacks all the time, but one of the other writers in the room said, “Let’s make it a whole episode” and so we made, essentially, a mini-movie inside the series.

Watching Jen and Daniela Vega work together was a gift. My favorite moment of the entire series was the day we did the table read for that episode, watching them together, and the trans women we’d cast as their friend group was so dynamic and wonderful.

You brought up Orange Is the New Black, which, in my opinion, completely changed the landscape of LGBT television.

How have you personally experienced the sort of tectonic shift of the last several years in terms of representation?

Queer people getting to tell queer stories still feels revolutionary. When that happens, things don’t feel approximated or generalized. One of the most important things I learned on Orange is that very specific stories still attract a really broad audience.

I also think there’s so much momentum around lots and lots of TV being made, so it feels like there’s a new kind of room for all of our stories. There are so many ways to love and be loved. Now we get to explore that.

I don’t know how the rest of the world will react to this but I love lesbian villains. My favorite joke on Tales is Michael saying, about the contractor, “She can’t be the bad guy.

She’s a lesbian. It’s to cliche.” And then having the bad guy be a whole different lesbian.

[Laughs] I was really worried about that for a long time. I’m glad you liked it.

The more queer characters you have, the more queer villains you can have! If you could adopt another book series for TV, what would it be?

I know everyone on earth is adapting Nancy Drew right now, and I don’t know why I’d trap myself into another mystery, but I’m starting at my collection of vintage Nancy Drew books right now, and that’s such a fun world!

Your wife, Samira Wiley, maybe you’ve heard of her—

I have heard of her.

Do you think you’ll work together again?

Definitely. We loved working together, but it’s also been good for us to find our professional footing without going into the same space together every day. With a few years behind Orange now, we talk about it all the time.

I want to thank you, on a personal note, because at last year’s GLAAD Awards, where Samira was getting the Vito Russo Award;

we were on the red carpet at the very end and they hurried y’all past all the smaller media after the big names got their interviews at the top of the carpet;

and as the handlers were rushing you by, I yelled out “Autostraddle!” and you both stopped and turned around and smiled waved. 

We love you guys.

And thank you for being in love on Instagram. It’s really important to balance out our “love is a lie” Vapid Fluff content. 

[Laughs] Well, that’s an honor!