Q&A with Lotte Beasley Mestriner, Executive Producer

What was it about Camilla's script that made you feel this was a story that really needed to be told?

When we started developing Series 2, Camilla was really interested in exploring the idea of healing. In Series 1, Maggie experiences lithium poisoning, and what felt really compelling was what comes afterwards — she’s now living in the shadow of that event and trying to rebuild a sense of stability. She’s on a journey to mend herself, to heal, and to redefine how she sees herself.  

Eddie, meanwhile, is on a very different path. She’s outsourcing her healing entirely so she doesn’t have to face anything. Neither of them is truly dealing with what’s happened - either in their own lives or in their friendship. So the series explores these very different approaches to healing — and asks whether either of them is actually doing it. It also asks can a friendship truly heal after a major falling out. It felt very honest, and very relevant. It feels like we’re living in a time where there’s a lot of discussion about the best ways to heal and not all of them are good choices, and that made it feel like a story worth telling.

Producing a series that deals with bipolar disorder carries a real sense of responsibility. How did you approach that?

 We worked closely with Bipolar UK, who read all of our scripts and gave us guidance on where the balance sits between responsibility and entertainment — something I feel very strongly about. In Series 1, we were dealing with more acute moments, including scenes involving self-harm, and I felt a real responsibility to handle those carefully. In Series 2, the focus shifts. It’s about stability and about living in the shadow of something that people have witnessed. It was really interesting was talking to Bipolar UK about that experience — about what it feels like when people have seen you at your most unwell, and how you live with that perception as you try to move forward. We’re very clear that this isn’t a universal portrayal of mental illness — it’s one specific story, and it’s a comedy - not a documentary. But it was incredibly important to us that it felt truthful and respectful. 

The first series resonated so strongly with audiences, particularly women at a certain stage of life. Did that response shape how you approached Series 2?

 We definitely felt a responsibility to the audience, because people connected so strongly with the show — with the world, with Maggie and Eddie, and with Nicola and Lydia’s performances. That support meant a great deal, and so we wanted to honour their support. But ultimately, it always comes back to the story Camilla wants to tell. Writing a series is such an intensive process, the writer has to feel completely compelled by it.

 The chemistry between Nicola and Lydia is so central to the show. How important was that dynamic when you were casting?

I came on board on Series 1 after Nicola and Lydia had already been cast, as that happened during early development. Lawrence Bowen and Chris Carey at Dancing Ledge had been working with Camilla, Camilla brought on Nicola as they were old friends, and then Nicola brought Lydia into the fold. What’s lovely is how naturally it all came together, because their chemistry is completely real. Nicola and Lydia genuinely like each other, and that warmth translates so clearly on screen. When the camera stops, that dynamic doesn’t disappear — they’re just as kind and affectionate with each other off screen. They’re both incredibly talented, professional and generous performers, and together they’re just magic. Even in development you find yourself thinking — we need more scenes with them.

The challenge in Series 2, of course, is that the story separates them, so a lot of the work became about finding ways to bring them back together on screen — and Camilla handled that beautifully.

 The show is written by a woman, directed by a woman, and centres women’s friendship. Did that feel important to protect creatively?

And it was produced by a woman – Nadia Jaynes, with Jacquie Glanville as our Head of Production and it was commissioned by Laura Riseam and Charlie Perkins. It really came down to working with the best people for the job. Rebecca Asher set the tone from day one — one of the first things she did was give everyone name badges so that everyone on set could address each other by name. It created a very open and respectful atmosphere straight away. It was a female-led production, but it didn’t feel like something that needed protecting. These were brilliant people doing their jobs incredibly well.

 Why do you think stories about female friendship are resonating so strongly with audiences right now?

Friendships — particularly female friendships — are often the longest relationships we have in our lives. If you’re lucky, they last a lifetime. At a time when the online world can feel quite difficult, particularly for women, there’s something really important about celebrating those relationships and putting them at the centre of a story. They’re complex, enduring, and hugely significant — and they deserve that kind of attention.

 What are you most excited for audiences to see in Series 2?

What’s exciting about this series is that every episode has its own distinct identity. The tone — the humour, the chaos, the emotional truth — is consistent, but each episode feels and looks completely different. I loved working with Rupert Everett — he arrived with the performance fully formed, every choice thought through, and he brought incredible energy to the set. Kyran Thrax and Marcus Collins are wonderful in episode two, which is such a joy, and Hannah Onslow is a real standout — she’s absolutely one to watch. Episode four is also very special — it explores Maggie’s relationship with her father, played by Robert Lindsay, and has a quieter, more emotional tone. And episode five is just… extraordinary — you really have to see it. Honestly, every episode brings something new and our entire cast are excellent —that’s what makes the series so exciting and so funny.