B.K. Cannon stars as Dee in the dark comedy, Why Women Kill. The show’s new season premiered with its first two episodes on June 3. The remaining episodes drop weekly on Thursdays on Paramount+. I got to ask Cannon about the time period of the second season, Dee’s storyline, what drew her to the character, the importance of the female lens, and so much more! Keep reading to find out what she shared.
From creator Marc Cherry, this season of Why Women Kill features a new ensemble cast and storylines set in 1949 that will explore what it means to be beautiful, the hidden truth behind the facades people present to the world, the effects of being ignored and overlooked by society, and finally, the lengths one woman will go in order to finally belong…
So this season of Why Women Kill features a new cast and storylines, how would you say it’s going to be similar or different from the previous season?
B.K. Cannon: The biggest difference is definitely the structure of the storylines. Last season followed three women from three different decades (the ’50s, ’80s, and 2000s) whereas the entirety of the second season takes place squarely in 1949.
Have you always wanted to do a period piece like this and what was the most fun thing about filming it?
This is my first period piece and it was everything I had hoped it would be! Stepping out of the trailer in full hair, makeup, and wardrobe (designed by the brilliant Janie Bryant) and onto our amazing sets felt like time travel every day. It’s such a thrill to be surrounded by the authentic cars, props, and styles of the times!
You portray Dee, what can you tease about her and her storyline for the season?
Dee’s arc is one of growing up and gaining the confidence to do what’s best for oneself, despite societal and familial pressures saying otherwise. While her romantic life presents some challenges for her, she’ll eventually be forced to confront the fallout from her parent’s secrets. The more I say, the more likely I am to slip a spoiler in, so I’ll leave it there.
Is there something specific that drew you to the character?
Dee is bold, wry, and a real go-getter. I felt a connection to her experience from my first read for the audition. As I received the scripts for each episode I was continually impressed by how she dealt with the obstacles in front of her. It was such a joy to be able to take the words on the page, along with Marc Cherry’s vision, and marry them with my own creative input.
If you had to create a tagline for Dee, what would you pick and why?
“Down the rabbit hole we go!” Dee isn’t the type of woman to sit back and take things as they come, especially if she senses there’s some deeper truths to be revealed.
Allison Tolman plays your mom on the show; what was it like building that mother-daughter dynamic?
Due to the pandemic, all of our encounters before we began filming were over Zoom. While we had some brief conversations discussing the nature of Dee and Alma’s relationship through the computer screen, it’s not quite the same as being with each other face to face. It was a little nerve-racking for me as I built up the pressure in my mind, but all my worries went right out the window that first day on set. Allison is kind, considerate, and just a pleasure to be around, it wasn’t hard to find our groove once we got going.
You recently wrapped the show; what did that moment feel like for you and what are you most excited for fans to see?
I was a hot mess the night I wrapped. I really cannot overemphasize how much FUN I had making this show, it really was a dream come true. So when it all came to an end, there definitely was a mourning period, saying goodbye to the little family that we created (cast & crew) and the character I loved so much. That being said, I can’t wait for fans to see the finale which will be, in true Marc Cherry fashion, explosive.
What does it mean to you to be part of a show putting all of these talented women, yourself included, front and center?
It’s a real honor to be counted as a talent beside actors like Allison Tollman, Lana Parrilla, and Veronica Falcon. We all play such different types of women, each layered and complex in their own ways. The show is telling very human stories that are universally relatable. I think it’s so important to have stories out there told from the female lens.
So episodes will drop weekly on Thursdays after the two-episode premiere. What do you think this will add to the viewing experience rather than just be able to watch it all in one sitting?
I love a good binge-watching session as much as the next gal, but the true art of a cliffhanger can’t fully be appreciated when the next episode is just a click away. Suspense and anticipation can only be built with time, and I think a weekly release is really the best way to showcase this brand of storytelling. There will be murder, as well as mystery, but what’s fun and unpredictable about this ride is that the victims and perpetrators might not be who you expect.
Did Dee as a character or the show as a whole teach you anything either acting-wise or as a life lesson?
Every day on set was a learning experience for me! From working with insightful and decisive directors (David Warren, Eva Longoria, Joanna Kerns), to blocking out and performing some of my own stunts, and so many new experiences in between! I did my best to be like a sponge and soak up as much information as possible. As an actor, there is nothing more valuable than time on set, so I really feel like I received a Harvard-level education in television making all wrapped into one season.
Did you take anything from set? If you didn’t, what would you have wanted to take?
The only memento I took from set is actually tied to a key plot point later in the season, so I’ll refrain from sharing it here. However, I would have loved to have taken Dee’s waitress uniform. I spent many blissful days in that getup and just love what Janie Bryant created.
Do you have a favorite aspect of the dark comedy genre?
I wholeheartedly believe that comedy can be found in the most unlikely places and this season of Why Women Kill truly finds humor in the gallows.