You are listening to The Next Best Picture podcast, and these are Nadia Dalamonte's interviews with the director for Dying for Sex, Shannon Murphy, and the executive producers Liz Maryweather and Ken Rosenstein.

I joined dating out.

You're an immunocompromise. You can't just sleep with strangers.

This is about how I feel and I want to feel

things. This is your profile picks. Give me the eyes that say I love to do it and that's what I'm

about. The difference between being the fun friend and taking care of somebody and you have to be there

when she's in pain. Sorry, can you please see my friend? Of course.

All right, Shannon, well, it's lovely to meet you.

Thank you so, so much for being here.

I have to say that dying for sex is one of my new favorite shows of the year.

And I'd actually been revisiting it several times since its initial release, partly because it hits pretty close to home.

I lost my dad to cancer two years ago.

And the show has really become this kind of feel-good comfort watch, given the very grounded and fearless approach to death and cancer.

And I think navigating that as a loved one. And I love

that it's also a story about a woman who is exploring intimacy and figuring out what her desires are

and how she wants to be loved. And so there's a lot to dive into here. So I'm curious to know

what themes jumped out at you initially when you stepped into

this project as an EP and director. What drew you to Kim and Liz's writing? Well, I mean, firstly,

Kim and Liz are two of the wittiest, brilliant writers in television. So it was easy to be drawn to

the extraordinary writing writing for sure.

Dramatically, look, I mean, I made a film several years ago called Baby Teeth, which was,

you know, had some similar themes in terms of sort of living your life to the fullest

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