Its first season was terrific too, but for this sophomore effort, creator Nida Manzoor has achieved something so transcendent that the series is bound for membership in television’s hall of fame.

We Are Lady Parts has been self-assured since its premiere. Nothing makes that more apparent than how Season 2 examines fissures in the band without sacrificing the show’s remarkable warmth.

Manzoor created a unique voice for the show when it premiered in 2021, and it’s a delight to see that it’s just as loud and proud in Season 2, without any hint of the usual sophomore slump.

The season as a whole has some weirder, wilder passages than its more setup-heavy predecessor. .... The lack of a clear answer may account for the way We Are Lady Parts itself moves between ebullient semi-fantasy and hard truths within the space of 25-minute episodes. It’s fascinating to watch a show that seems to actually (at least occasionally) mistrust its own feel-great ambitions. Or maybe, like the band, Manzoor is finding a new way into the pop-punk form.

Series two doesn’t up the ante, but it does takes the show’s tried and tested comedy components and uses them to once again build towards an emotionally satisfying pay-off.

On another show, conversations about community or representation might come across as self-important or heavy-handed. Here, it’s just the organic output of characters who are curious enough to ask, bold enough to act, humble enough to listen and witty enough to make it fun for the rest of us watching as they figure it out.

It never quite catches light like series one. I think it’s because We Are Lady Parts was always Amina’s story, whereas now everyone gets a solo (and denizens of late-night jazz clubs know what that means). The result is a series that’s about so much – diversity, identity, ageing, friendship – that it’s no longer sure what it’s really about.