StephanieKoenig is carving out a unique space in television as both an actor and a writer. English Teacher quickly made its mark when it debuted, striking a balance between sharp comedy and cultural commentary. Onthe show, she not only plays Gwen but has also scripted some of the show’s most memorable episodes. While she acknowledges that the show is resonating with people, she's also happy that so many are enjoying the show for the laughs.
“Most people are just coming for the comedy, which excites me the most,” she says
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Season 2 looks to build on that foundation while pushing the characters into new territory. The writers have experimented with unexpected pairings, more outlandish set-ups, and episodes that break the usual standard quo. “We knew the formula works, but we also wanted to see how far we could push different characters,” Koenig explains.
That led her to pen an episode this season focusing on a dinner party, bringing much of the main cast outside of the school and into the dining room. She wrote last year’s acclaimed Powder Puff episode and both gave her the chance to explore character dynamics in fresh ways while stretching the boundaries of what the show can do.
As English Teacher returns, Koenig sat down with Parade for an exclusive interview to discuss Season 2, Gwen’s journey and the talented women she's shared sets with.
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English Teacher resonated with audiences in a big way. Did you feel that response over the past year?Yeah, I mean, I felt it in a bunch of different ways, from different demographics. In the beginning, we knew it was very timely and dealing with hot-button issues, and we were curious how that would land. But I’m always approached by teachers who just enjoy it for being relatable, separate from the topical stuff. That was nice to see, especially since none of us were teachers prior. We didn’t have teachers in the writers’ room, but we had parents chiming in. Brian and Paul Sims really have a finger on the pulse of teens—what’s cool, what’s troublesome. And most people are just coming for the comedy, which excites me the most. Laughing every three seconds.
Heading into Season 2, what had to stay the same, and where did you want to grow?We’re still finding where it grows, trying new pairings with characters and pushing them further. But we knew the formula works. Not every episode, but often, there’s a big event structure. When we veer from it, it’s really funny — like the dinner party episode, which is just about characters, dynamics, and misunderstandings. We tried to stick to the formula but always with new topics, trying to be ahead, because we wrote it a year ago and so much shifts. It’s a fine balance between staying relevant and anticipating what’s next.
As you mentioned, you wrote the dinner party episode this season. Last year, you did Powder Puff, which was a standout. How did you approach both of these big event episoes?Powder Puff felt like a slam dunk, because it could go in so many directions and felt like a sports movie arc in 22 minutes. That excited me, especially coming from a dance background. I was terrified, though. It was my first writing job, and suddenly Brian was like, “Steph, you’ll write it.” I was excited and terrified, but it turned out well. With the dinner party, I didn’t have a preference at first, but when it came up, Brian asked if I wanted it. Again, I was nervous, but I thought it was so funny and unique. We hadn’t spent a whole episode inside someone’s house before. It’s farcical, and it was fun to bury myself in it, outline it, then script it. Shooting was amazing—getting all the characters together in one house, following them through private conversations.
When the show debuted, it felt fully formed. Even in limited seasons, you can place the characters anywhere, and it works.Like the finale was entirely in the bar...Exactly. The bar episode was a great example, and so was the convention episode. With only 8–10 episodes, if you pull them out of the school, it has to be worth it. People love the students, but it’s nice to see the characters still shine in other contexts. Sometimes I wish we had 22 episodes.
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Does the show have an intentional worldview, or is it just about what gets the laugh?It’s almost topic-specific. Overall, there isn’t a single thesis. It’s more about exploring what’s funny. We ask, “What’s the funniest thing we can say about this, especially something people are afraid to talk about?” And then shine a light on it in a non-homework way.
Did filming in a high school bring back personal memories?I expected that, especially during the pilot at a different high school. That felt weird. But the school we shoot in now feels smaller and doesn’t look like mine, so it doesn’t bring it back. Honestly, high school is a blur. Mine was huge—500 kids in my graduating class—and I was more focused on dance outside of school. High school is hard; you don’t realize until later how much you blur out.
Tell me about Gwen in Season 2, and what was exciting about returning to the character. We continue her story with Markie and Nick. It escalates. Individually, Gwen gets more comedic material. There’s an episode with Evan’s mom. She’s hilarious and lightly bullying Gwen. We even put Gwen into horror-movie-type situations where she’s terrified. It plays into her insecurities, like the hot teacher ranking. And I got to sneak in some dance moves I’m proud of.
You’ve also worked on some amazing shows the last few years—The Offer, Lessons in Chemistry—and now have an A24 project coming. What have you gotten from those roles?I’ve been lucky to work with incredible women. Just huge stars around my age who are so successful. Brie Larson set a great example, Juno Temple, Kaylee Cuoco—they take agency in their acting. Working with Miles Teller, too. Recently, I did an A24 movie directed by Jody Hill with Zac Efron and Nick Braun. It’s a dark comedy, and Zac is so funny, even when serious. I think it will show a new side of him. The script was one of the best I’ve ever read—so exciting from the first page.
You also wrote and directed a spy film, A Spy Movie, a few years ago. Is getting back behind the camera something you want to do again?So much. I love acting, but I feel the itch to direct again. On set, I often think, “I want to do this, be in every area.” I love giving actors freedom. On some sets, I’ve been scared to make the wrong choice, and that blocks good work. I’d love to create an environment where actors feel safe to play. Jonathan Kreisel is amazing at that. He encourages trying anything, messing up lines. That inspires me.
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