Marc Cherry, the creative mind behind the acclaimed series “Why Women Kill”, faced a unique challenge when crafting the show’s opening credits. For a series centered around infidelity and murder across three different timelines, starring the talented Ginnifer Goodwin, Lucy Liu, and Kirby Howell-Baptiste, the main title sequence needed to be both captivating and subtly suggestive, setting the stage without revealing the intricate plot twists. Cherry, in an interview with IndieWire, delves into the artistic choices and inspirations that shaped this iconic opening.
Initially conceived as a live-action montage of women committing murders across different eras, the idea quickly ran into budgetary constraints. “I had never done this before, but I wrote a main title sequence into the pilot. It was just a series of women killing men,” Cherry explained. “In my original conception, I had eight sequences. We were going to shoot it live action, but then we were presented with how big the budget would be to kill different men in different eras, and we were going over it.” This limitation, however, paved the way for a more stylized and conceptually rich approach.
Instead of live-action, Cherry envisioned an animated sequence that captured the essence of a “larger-than-life theatrical tone.” He drew inspiration from an unexpected source: comic books. Recalling his childhood influences, he stated, “When I was young I was reading all the superhero stuff and my sisters would read romance comics.” This blend of superhero dynamism and romance comic melodrama became the foundational aesthetic for the main titles.
The choice of romance comics, particularly the 1940s-1970s “Young Romance” series by Joe Simon and Jack Kirby, was particularly insightful. These comics, while celebrating passionate love, also explored the darker undercurrents of relationships – heartbreak, jealousy, betrayal, and ultimately, the dramatic dissolution of love. This thematic resonance perfectly mirrored the series’ exploration of marital discord and its deadly consequences. Cherry aimed to evoke the visual language of these “pulpy comics” and pop art, collaborating with Scatterlight Studios to bring this vision to life.
The opening sequence is a vibrant tapestry of retro animation, deliberately reminiscent of the 1960s comic book aesthetic. “I grew up in the ’60s, so what I was really trying was to get them to capture that particular era,” Cherry elaborated. The influence of Roy Lichtenstein, a prominent figure in pop art known for his works that mimicked comic book style using Ben-Day dots, is evident. Scatterlight Studios skillfully employed Ben Day dots to recreate this iconic comic book printing effect, lending the sequence a stylized, vintage feel that juxtaposes the comedic tone with the grim subject matter of murder.
Among the various methods of dispatch depicted – bathtub electrocution, a fatal push down the stairs, and being run down by a car – the sequence also incorporates more symbolic and darkly humorous scenarios. Cherry mentioned, “Circling the guy with fire, there was a different version of that at first,” and the impromptu creation of the iron scene, “a man giving his wife an iron on their anniversary,” highlighting the swift, impactful storytelling required within the limited timeframe of each vignette. These concise narratives effectively convey the simmering discontent and motivations behind the acts of “why women kill.”
Beyond the stylistic homage to 1960s comics, the “Why Women Kill” main title sequence distinguishes itself by its inclusive representation. Challenging the default of predominantly white characters, Cherry consciously broadened the visual landscape to reflect the show’s diverse cast. “It was something that was brought up early, which is, I think for a lot of people, white characters are the default. And I think we live in a time now where everyone takes a moment to remember, ‘Let’s broaden that horizon,’” he stated. This commitment to diversity underscores the show’s premise that marital strife and the potential for deadly outcomes transcend race and background – “Why should only white women be killing their husbands? I’m sure there’s women of many different creeds and colors who would love to take out the man they married. So I want to honor that.”
The auditory component of the main titles further enhances the sequence’s ironic and playful tone. Michael Feinstein’s upbeat rendition of Nat King Cole’s classic “L-O-V-E” provides a stark and humorous contrast to the violent imagery. Composed in the 1960s by Bert Kaempfert with lyrics by Milt Gabler, the original romantic ballad is subverted in this context. Cherry recounted the initial song choice being rejected due to fears of “tainting” the song with violent imagery, leading to the inspired selection of “L-O-V-E.” His friendship with Michael Feinstein sealed the deal, with Feinstein perfectly capturing the required irony: “So you’ve got to play it totally straight.’ I wanted the irony, and he got the joke immediately.”
Ultimately, the main title sequence of “Why Women Kill” functions as a sophisticated appetizer, setting the stage for the dark comedic exploration of marriage and murder that unfolds in the series. While visually arresting and thematically suggestive, it intentionally avoids providing specific plot clues. “Once I saw it all put together with the orchestration and everything, I was very proud of it because it really sets the mood and reminds everyone that this is a show about women giving men their just rewards,” Cherry concluded. The sequence successfully encapsulates the show’s complex blend of humor, suspense, and social commentary, inviting viewers into a world where appearances can be deceiving, and even love can have deadly consequences.
