In a television studio located in North London, an atmosphere of spontaneity fills the air. A group of teenagers is energetically singing on set, while a dog wanders about. Meanwhile, down the hall in the cafeteria, Joanna Lumley pauses our conversation to graciously request a catering staff member not to box up her tangerine. “Darling, I truly appreciate it, but I don’t need it in a box today; it can travel freely,” she sweetly states. Despite appearing dressed for an arctic adventure in a large mustard-colored puffer jacket to fend off the December chill, she remains as composed as one might expect. “Apologies, I’ve digressed,” she adds with a smile.
Our discussion revolves around “Amandaland,” the most popular and humorous comedy series on British television. Created by a talented team including Sharon Horgan, Barunka O’Shaughnessy, Helen Serafinowicz, Laurence Rickard, and Holly Walsh, this spin-off from the acclaimed “Motherland” shifts its focus from the perpetually anxious Julia, portrayed by Anna Maxwell Martin, to the pretentious Amanda, played by Lucy Punch, and her mother Felicity, brought to life by Lumley. The show has achieved remarkable success, with its Christmas special, which features an “Absolutely Fabulous” reunion at Aunt Joan’s dilapidated country estate, becoming the highest-rated comedy during the festive season of 2025, attracting 7.4 million viewers.
For Punch, the dynamic between her character and Lumley’s mother figure is crucial to the show’s appeal. “Exploring the relationship with her mother and understanding her behaviors fosters empathy for a character who might otherwise be perceived as unlikable,” she explains. “However, I always insisted to the writers that I didn’t want to tone down her more obnoxious tendencies.” This is evident in the first season when Amanda attempts to rebrand her move from Chiswick to south Harlesden as “SoHa” and engages in a humorous struggle over a large metal horse at a car boot sale. Additionally, she tries to promote her sales role at a bathroom showroom as a “collaboration” that aligns with her aspiration to become a lifestyle influencer.
In the new season, scenes set in Amanda’s apartment have transitioned from a real location to a larger studio, allowing for a more accommodating filming environment without external noise. “I would love for the original homeowners to see how we’ve transformed it; they might feel envious… or it could be awkward,” Lumley comments.
Today, they are filming a scene featuring a group of girls preparing for their post-GCSE celebration in a chaotic, Urban Outfitters-inspired bedroom. As the girls attempt to salvage a botched makeup job, Amanda struggles to lift their spirits with a tray of mocktails.
The passage of time is evident as Amanda’s children, Manus and Georgie, who were once young children, are now firmly entrenched in adolescence, facing exams, unexpected situations, and the quintessential American high school prom. “The series delves into the trials of parenting teenagers and all that entails,” Punch states. “These experiences provide material for even more humorous and expansive stories.”
The second season not only brings changes for Amanda’s children but also for Amanda herself. Following the end of her brief relationship with businessman Johannes, she identifies as a “v-cel” (voluntary celibate). Felicity’s character has also evolved; she is now more dependent on Amanda, joining a dating app, and often intruding into her daughter’s social life, even taking a taxi to the children’s football games.
When asked if Lumley believes it is important to portray older women in the dating scene, she readily agrees, emphasizing the significance of showcasing such narratives.
