Nick and Margaret with some of the "stars" of their BBC show. Photograph: BBC
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Laurie Penny on welfare: The BBC is colluding in the government’s attack on benefit claimants

The cruellest thing about the benefits cap is not that it could make thousands of people homeless or force more families to depend on food banks (three of these open every week). It’s that it’s not really about people on benefits at all.

The camera may not lie but sometimes it tells truths you weren’t expecting. As the government’s flagship benefits cap is rolled out across the nation, amid protests from homelessness charities, women’s rights groups and food banks already overwhelmed by demand, the BBC is devoting hours of its prime-time schedule to pitting the underpaid against the unemployed. The spectacle of one single mother telling another in the tin-can aisle at the supermarket that she’s greedy because she wants her kids to have a hot meal says a great deal about modern Britain. It tells us whose suffering matters and whose children will never have their dinner dissected for our scorn on national television.

The BBC1 programme Nick and Margaret: We All Pay Your Benefits (11 and 18 July, 9pm), echoing the rhetoric of the Department for Work and Pensions, pits “taxpayers” against “shirkers” and asks how we can “make work pay”. Of these gristly little semantic nuggets of state propaganda, “making work pay” is the most noxious – a mantra that’s incanted by every jobsworth Tory in every debate, in line with the logic that if one repeats a lie for long enough it will function as truth.

Taking away benefits will not “make work pay”. The reason why work doesn’t pay is not that benefits are too high. It is that wages are too low. The latest figures from the Office for National Statistics show that, with the rising cost of living, there have been 40 consecutive months of contraction in real wages in the UK. In many occupations, the basic pay is too low to cover rent, food and bills, especially in London and the south-east, where housing costs are out of control. This is why a large proportion of housing benefit is paid on behalf of those who are in work, straight into the pockets of private landlords.

Then there’s “the taxpayer”, a phrase that is deliberately misused to imply that only those in waged work pay taxes. Everybody who buys a warm Cornish pasty puts pennies into the Treasury. Drawing an arbitrary distinction between “taxpayers” and “people on benefits” implies that those who rely on state support are taking money directly out of the pockets of workers, when they are being supported by a system to which we all contribute, which is there to help all of us should we find ourselves ill or unemployed.

The anxiety to separate the interests of “taxpayers” from those of the unemployed falsely suggests that unemployment benefits are now the main drain on the state. Despite savage welfare cuts, state spending on unemployment remains high because unemployment remains high, for the simple reason that one cannot “incentivise” people into jobs that aren’t there. A far higher proportion of state spending goes on subsidising tax cuts for multinational corporations and arms dealers, maintaining our nuclear weapons programme and having a military presence abroad. “Taxpayers”, though, are not being invited into the homes of devastated Afghan families, taken on tours of the Trident base or shown around the mansions of offshore millionaires and asked to make judgements about how their taxes are being spent. The idea is preposterous. Poor people are supposed to make moral judgements about other poor people only. We can afford to offer Vodafone billions in tax breaks but God forbid some kids in Ipswich get a second-hand PlayStation.

That’s the judgement call that representatives of the working class are invited to make in We All Pay Your Benefits, deciding whether or not the unemployed are being indulged, as Nick and Margaret, a pair of well-spoken, pension-age presenters, ride around in a taxi prattling on like something out of a David Lynch film. For most of the show, the camera leers at the jobseekers but the truly fascinating characters are those who have been invited on to the show to judge.

Their anger that their hard slog has not raised them above the level of a family on Jobseekers’ Allowance is distressing to watch. Clearly they all work hard – for not enough money and with few prospects of improving their circumstances as rents rise and essential services are dismantled. It is hardly the fault of a disabled single father-ofthree that a care worker who runs her own business is still struggling to cover the bills. But that is the only conclusion that this programme and this government are permitting us to voice.

On any other channel, a programme such as this could be written off as a crass cash-in on public mistrust of the welfare system, treating the unemployed as a telegenic cross between criminals and animals in a zoo. That it was given the green light by the BBC, a publicly funded and supposedly impartial broadcaster, indicates something more. It suggests a culture shift: the wilful misdirection of public anger towards those who least deserve it.

The cruellest thing about the benefits cap is not that it could make thousands of people homeless or force more families to depend on food banks (three of these open every week). It’s that it’s not really about people on benefits at all. They aren’t the voters this government is interested in attracting. It’s about placating public rage and persuading people who would vote for a tin of beans if it had a Tory ribbon on it that this government is tough and in charge.

Like any pack of bullies, the Conservative Party likes to prove its strength by picking on the weakest people within reach. In this case, the targets include single mums and the mentally ill. That tens of thousands of children will spend their school years going to bed hungry because of this policy is incidental. The benefits cap is first and foremost a public relations exercise. With a former PR man for Prime Minister, what else would it be? Behind the relentless campaign of spin, though, is the truth – and the truth is that those on benefits have nothing, absolutely nothing, to be ashamed of.

Laurie Penny is the contributing editor of the New Statesman

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 22 July 2013 issue of the New Statesman, How to make a saint

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The Tories play Game of Thrones while the White Walkers from Brussels advance

The whole premise of the show is a pretty good metaphor for the current state of British politics.

If you’re a fan of asking “who’s that, then?” and “is that the one who killed the other one’s brother?”, I bring great news. Game of Thrones is back for a seventh series. Its vast assortment of characters was hard enough to keep track of before half of them got makeovers. But now the new Queen Cersei has reacted to the arrival of the long winter by investing heavily in the kind of leather ball gowns sold by goth shops in Camden, and Euron Greyjoy, once a fairly bland sailor, has come back as a Halloween costume version of Pacey from Dawson’s Creek, all eyeliner and epaulettes.

The show’s reliance on British character actors is the only thing keeping me vaguely on top of the cast list: what’s Diana Rigg up to these days in Highgarden? And what about that guy who was in Downton Abbey that time, who now has the scaly arms? (Luckily, the next thing I watched after the Game of Thrones series premiere was the first two episodes of the revived Twin Peaks, which put my confusion into perspective. There, Agent Cooper spent most of his time talking to a pulsating bladder attached to one of those fake trees you get from Ikea when your landlord won’t let you have real plants.)

The day-to-day business of Game of Thrones has always been power – answering the question of who will sit on the Iron Throne, forged by Aegon the Conqueror from the swords of his defeated enemies. But its backdrop is a far bigger threat: the arrival of a winter that will last many years, and the invasion of an army of the undead.

That might seem like an unkind way to think about Michel Barnier and his fellow Brexit negotiators – inexorably marching towards us, briefing papers in hand, while Liam Fox frantically rings a bell at the entrance to the Channel Tunnel – but nonetheless, the whole premise of Game of Thrones is a pretty good metaphor for the current state of British politics.

The current internal Conservative struggle for power might be vicious but it is at least familiar to its contestants; they know which weapons to deploy, which alliances are vital, who owes them a favour. Meanwhile, the true challenge facing every one of them is too frightening to contemplate.

In 2013, this magazine celebrated the early success of the show with a cover depicting one of our terrifying painted mash-ups: “The Tory Game of Thrones.” Our casting has been strangely vindicated. George Osborne was our Jaime Lannister – once the kind of uncomplicated bastard who would push a child out of a window but now largely the purveyor of waspish remarks about other, worse characters. Our Cersei was Theresa May, who spent the early seasons of The Cameron Era in a highly visible but underwritten role. Now, she has just seized power, only to discover herself beset by enemies on all sides. (Plus, Jeremy Corbyn as the High Sparrow would quite like her to walk penitently through the streets while onlookers cry “shame!”)

Michael Gove was our Tyrion Lannister, the kind of man who would shoot his own father while the guy was on the loo (or run a rival’s leadership campaign only to detonate it at the last minute). Jeremy Hunt was Jon Snow, slain by the brotherhood of the Night Shift at A&E, only in this case still waiting for resurrection.

The comparison falls down a bit at Boris Johnson as Daenerys Targaryen, as the former London mayor has not, to my knowledge, ever married a horse lord or hired an army of eunuchs, but it feels like the kind of thing he might do.

We didn’t have David Davis on there – hated by the old king, David Camareon, he was at the time banished to the back benches. Let’s retrospectively appoint him Euron Greyjoy, making a suspiciously seductive offer to Queen Cersei. (Philip Hammond is Gendry, in that most of the country can’t remember who he is but feel he might turn out to be important later.)

That lengthy list shows how Conservative infighting suffers from the same problem that the Game of Thrones screenwriters wrestle with: there are so many characters, and moving the pieces round the board takes up so much time and energy, that we’re in danger of forgetting why it matters who wins. In the books, there is more space to expound on the politics. George R R Martin once said that he came away from The Lord of The Rings asking: “What was Aragorn’s tax policy?” (The author added: “And what about all these orcs? By the end of the war, Sauron is gone but all of the orcs aren’t gone – they’re in the mountains. Did Aragorn pursue a policy of systematic genocide and kill them? Even the little baby orcs, in their little orc cradles?”)

Martin’s fantasy vision also feels relevant to the Tories because its power struggles aren’t about an “endless series of dark lords and their evil minions who are all very ugly and wear black clothes”. Instead, everyone is flawed. In Westeros, as in the Conservative Party, it can be difficult to decide who you want to triumph. Sure, Daenerys might seem enlightened, but she watched her brother have molten gold poured down his throat; plucky Arya Stark might tip over from adorable assassin into full-blown psychopath. Similarly, it’s hard to get worked up about the accusation that Philip Hammond said that driving a train was so easy “even a woman” could do it, when David Davis marked his last leadership campaign by posing alongside women in tight T-shirts reading “It’s DD for me”.

The only big difference from the show is that in real life I have sympathy for Barnier and the White Walkers of Brussels. Still, maybe it will turn out that the undead of Game of Thrones are tired of the Seven Kingdoms throwing their weight around and are only marching south to demand money before negotiating a trade deal? That’s the kind of plot twist we’re all waiting for.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 20 July 2017 issue of the New Statesman, The new world disorder