Is ‘We Are Lady Parts’: Too Woke Or Have We 'Finally Awaken 20 Years After 9/11?

Packaged in that irreverent Channel 4 style, has this genuinely stereotype-breaking sitcom, depicting a WOC Muslim punk rock group, demonstrated what audiences and critics have long been waiting for? t’s both a breath of fresh air and a contradiction, given the normal accepted media portrayals of young Muslim women, like the tabloid’s depiction of Shamima Begum and the delayed coverage of Sabina Nessa’s tragic murder.

The comedy times perfectly with the current urge to look consciously ‘woke’. Would a show like this have been supported by producers and critics, even five or ten years ago?

THE INDUSTRY

Insiders admit the UK TV and Film industry is behind the times in reflecting the diversity and inclusion it should. As it rushes to keep up with the US market (many actors of colour have for years called out how they have had no choice but to head across the pond for meaningful opportunities), is it just keeping up appearances to box-tick, whilst also jumping on the lucrative TV bandwagon? Recent reports state that streaming demand for UK shows will create 30,000 film and TV jobs, so there’s likely more space for shows like this.

Its sense of inclusion seems to have been well-considered behind the camera too, with a diverse crew and production, which provides space for Writer-Creator Nida Manzoor’s voice to showcase the many possible multiplicities and nuances of Muslim female identity. The intersections within this as well as commentary on casual Islamophobia - like that scene when band manager Momtaz (played by Lucie Shorthouse), always seen shrouded in niqab, tries to enter a music venue, with the white door staff assuming she can only be there because she needs help and is in danger - was both frustrating in its truth but refreshingly comic in making its point.

How do creators effectively take audiences with them, even when they are unfamiliar with those experiences?

AVERAGE AUDIENCES – ARE THEY READY FOR THIS?

This show highlights further the untapped, diverse story-telling potential exists in the UK. Whether the gatekeepers accepts or realises it, the nation is more than ready - they are willing to go into unfamiliar territory if the story and characters are compelling. So what is the industry so afraid of?

This show breaks with stereotypes and tokenistic representation to provide complex representation. It provides a story about Muslim women that is not about oppression but joy. This is what makes it authentic and real. In fact, it isn’t a fiction - the Muslim punk rock scene does exist but is often quietly overlooked – it’s just sad that it seems to be easier to digest as fiction. When will the mainstream media celebrate such artists and inspire underrepresented generations by showing them punk rock stars that look just like them really do exist?

Words: Reshma Madhi