Stills from We Are Lady Parts season 2, coming May 30
A NOTE FROM NIDA MANZOOR (CREATOR/WRITER/DIRECTOR/EXECUTIVE PRODUCER) IN PEACOCK'S PRESS RELEASE:
Making season one of We Are Lady Parts was immense for me. It was a trial by fire, but I found my voice, my style and my confidence in creating this show. Most importantly, I found my tribe - from actors and crew to producers and studio execs. So, coming to season two, I was galvanised. The characters, the world, the tone - it was all there, established, and ready to go. Now it was time to turn things up to 11. I wanted to go bolder, sillier, darker and deeper and that is exactly what we strived to do.
In season two, we explore the interior lives of each of the women in more depth. Each of them facing new, existential challenges with all the silliness, pratfalls and banter of season one. The music is bigger too - more wild original tunes (penned by me and my siblings) and dare I say it, even better covers. The season overall asks the question of success. What is success? For a punk band - is fame, stadium shows and major record deals the answer? I wanted to explore the uncomfortable tension between art and commerce and ask how much compromise is too much. I'm really proud of what we achieved, and can't wait to share it with old fans and new.
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Bones and All (2022) dir. Luca Guadagnino
Hélène Cixous, The Love of the Wolf
Haruki Murakami, Norwegian Wood
Maud Ellmann, The Hunger Artists
Catherynne M. Valente, The Bread We Eat in Dreams, “The Red Girl”
Marty McConnell, The Best American Poetry (2014) ed. David Lehman & Terrance Hayes, “vivisection (you’re going to break my heart)”
Start Web Weaving Text & Image IDs:
[Image ID (1 out of 6): Maren is eating Lee; the shot is focused on Maren. The shot is in black and white. End ID]
Hélène Cixous, The Love of the Wolf
[Text ID: I beg you, eat me up. Want me down to the marrow. End ID]
[Image ID (2 out of 6): Maren is clutching her father's father's coat to her chest on her bed as she cries, shortly after he abandons her. End ID]
Haruki Murakami, Norwegian Wood
[Text ID: I was always hungry for love. Just once, I wanted to know what it was like to get my fill of it—to be fed so much love I couldn’t take any more. Just once. End ID]
[Image ID (3 out of 6): Maren and Lee sit across from each other in a diner; Maren is not looking at Lee and Lee is looking at her as he drinks coffee. End ID]
Maud Ellmann, The Hunger Artists
[Text ID: Since sexuality originates in seating, it is always haunted by the imagery of ingestion, having neither an object nor a territory proper to itself. Yet eating, in its turn, exceeds the biological demand for nourishment, for it expresses the desire to possess the object unconditionally. The infant sees his stomach as a safe in which he hoards his loot, thus learning his first lessons in private property. The genesis of secrecy may also be attributed to eating, for it is well known that the best way to keep a secret is to eat the evidence. {Highlighted} The stomach is a place almost as private as the grave. {End Highlight} End ID]
[Image ID (4 out of 6): In the dark of night outside of their blue pickup truck, Lee holds Maren's face in his hand. His face is bloody; he is shirtless. Maren's face is not visible to the camera. End ID]
Catherynne M. Valente, The Bread We Eat in Dreams, “The Red Girl”
[Text ID: I love you but there are things older and murkier than love. Things that live not in the heart but the entrails. I don’t want you to see me with the wolf. I don’t want you to see what he does to me. I don’t want you to see what I do to him. End ID]
[Image ID (5 out of 6): In daylight, Maren holds Lee; the viewer cannot see Lee's face. End ID]
Marty McConnell, The Best American Poetry (2014) ed. David Lehman & Terrance Hayes, “vivisection (you’re going to break my heart)”
[Text ID:When I say eat me I mean
suck the bones clean, leave nothing
for the waiting, nothing for the vultures
or the travelers to come. End ID]
[Image ID (6 out of 6): Maren is eating Lee; Maren's face is out of the shot but the viewer can see her hand on Lee's face as he screams. He is holding her hand to her face. The shot is in black and white. End ID]
End Web Weaving post Text & Image IDS.
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