Five questions answered on new flat rate pension proposal

Who will benefit, and who will miss out?

The government plans simplify the pension’s system in what will be its biggest overhaul in decades. We answer five questions on the proposed changes.

What new flat rate are the government proposing?

Pensioners after the 6th of April 2017, when the new changes will likely to come into effect, will be paid a flat rate of £144, plus inflation rises between now and 2017. This effectively merges the state basic pension and the state second pension.

The current state pension is £107.45 a week. However, this can be increased up to £142.70 by applying for a pension credit and the state second pension.

Why has the government decided to make these changes now?

The coalition government believes the current system is too complicated and they say they want to simplify the system so people know what they will be paid when they reach pension age.

They government also believe that the one-and-a-half million pensioners who currently don’t claim pension credit they are entitled to will be paid what they are owed under this new system. 

Who sets to benefit the most from these changes?

Those who are self employed are set to benefit as they tend to get a lower state pension as they tend not to qualify for the state second pension. Women are also set to be better off.

As Chris Curry, from the charity the Pensions Policy Institute, explains to the BBC:

"So people who don't make enough contributions throughout their working life to, in particular, the state second pension, which includes people with intermittent work patterns, periods of low earnings and the self-employed," he said.

"So a lot of women will do better from this particular policy, as will people who are spending long periods of their career in self-employment."

Who might miss out on a full pension under the new system?

It is believed the government will announce that anyone who hasn’t paid National Insurance for at least 10 years will not get a pension. Also, those who have paid National Insurance for less than 35 years will have their pension reduced; a change from the 30-year threshold introduced a few years ago.

Also, the state pension age is rising to 66 for both men and women by 2020, with further plans for this to increase to 67 between 2026 and 2028.

What has the pension’s minister Steve Webb said about the proposed changes?

Webb told the BBC: "At the moment, nobody has a clue what the state is going to pay them," he told the BBC.

"We have a basic pension, a second state pension, a pension credit - it's fiendishly complicated. So we are proposing a simple system, not a more expensive one... that will help people plan for their retirements.

"Now, men and women will build up pensions in their own right. And women coming up to pension age who have got a damaged pension record, because they brought up children, will have that restored." 

"At the moment, nobody has a clue what the state is going to pay them" Photograph: Getty Images

Heidi Vella is a features writer for Nridigital.com

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Welcome to feminism's new gross out frontier

This new movement normalises women by focusing on their bodies, warts and all.

Vaginas are so hot right now. If that sentence shocks you, then you’ve been out of the cultural loop. Thanks to a new wave of television and autobiographies by some very funny women, female privates have moved to the front and centre of popular entertainment.

Male bits, once the only game in town, are now chiefly of interest only as a sidebar to hilarious female riffs on misfiring, awkward and unsatisfactory sex, thanks to recent work by the likes of Lena Dunham, Britain’s Phoebe Waller-Bridge (writer, actor and star of BBC series Fleabag), and now Amy Schumer, whose smash hit “femoir”, The Girl With the Lower Back Tattoo, recently hit stores.

This is all part of a new movement – what I like to call “gross-out feminism”. It is gleeful, honest to a fault, and practised exclusively by women who long ago kissed goodbye to the capacity to be embarrassed. Its goal – apart from to make people laugh – is to provide a kind of shock therapy to those still harbouring the notion that women don’t have bodily functions, trapped gas, or insubordinate periods. Or that women must either be thin or desperately wishing they were so.

Gross-out feminism works by normalising women through focusing on their bodies: traditionally, the first and final frontier of femininity. It violently pushes all remaining cats out of the bag. Women have smelly, sometimes even extremely malodorous vaginas – Schumer’s smells like “chicken ramen”; “baby diaper” morning breath; explosive diarrhoea; acne. They sometimes fart during sex.

You’d be right if you noticed that this type of feminism doesn’t look like the iconic polemics of Shulamith Firestone, Naomi Wolf or Germaine Greer. It does not fit the sociological paradigm of Natasha Walter, Ariel Levy or Laurie Penny, all of whom have tackled a classic 20th century feminist subject – objectification – with political panache. And no, it’s not related either to the brainy fiction of Erica Jong or Marilyn French.

But gross-out feminism owes much to these. The classic texts of feminism laid down the parameters of the various struggles women engage in on a daily basis. One of these was the battle to be taken as full humans, complete with an independent sexuality. As far back as the 1790s, Mary Wollestonecraft raged against the reductive construction of doll-like femininity.

The new feminism builds on all this, but its toolbox is drawn not from an intellectual arena but rather from a peculiarly modern fascination with personal and especially sexual transparency. Honesty shall set us free: as sociologist Richard Sennett lamented, we moderns trade first and foremost in intimacies. But wrapped tightly in gut-busting hilarity, the relentless personal honesty of Schumer et al loses its potential for hollow narcissism and instead becomes powerful, adding vim to the traditional message to women to be strong and confident.

Schumer in particular paints an honest, if troubling picture of the impact of what Naomi Wolf so famously addressed in The Beauty Myth. Money, pain, time: a bewildering amount of these are required in order for most women to feel presentable, let alone attractive. Schumer nails this, but also admits to her own “beauty myth” victimhood.

Before a date she too waxes, straightens her hair, fasts, and tries to squeeze into Spanx so tight that they threaten to splice her guts in two. Schumer, then, is taking one for the team. She’s performing her truth so that we can exorcise our demons. The intriguing implication is that she, like Dunham and Fey, is an everywoman as well as herself. “I am myself,” in her words. “And I am all of you.”

A new sisterhood

Might this signal a reinvigoration of the idea of a universal “sisterhood” that since the 1970s has buckled under the weight of concerns about racial, ethnic and class difference? Perhaps so.

In her hit sitcom Fleabag, Phoebe Waller-Bridge does similar work to Schumer, if less autobiographical. She doesn’t spend much time on her appearance, but when an attractive man calls in the middle of the night asking to come over, waking her up, she excruciatingly manufactures the appearance of having just come in from a night out. She throws off her pyjamas, pulls on her glad rags, a coat, and swigs some wine in preparation. She is soon speaking deadpan to the camera while being taken up the backside. Her sexual honesty is eminently relatable to by millennials, and tinged with sadness. Waller-Bridge’s genius is reading with jaded perfection the sexual proclivities of men half her intellect and beauty.

There are caveats, of course. Some might argue that bringing feminism back into the body merely reaffirms the idea that women are principally bodies rather than whole people. And putting sex front and centre emphasises a potentially one-dimensional representation of what it is to be human. Both of these objections are fair. But when it comes to mainstream, massively entertaining representations of women, gross-out feminism may finally be what has been missing all these years, showing once and for all that the “fair sex” is human in both body and spirit. Warts and all.

Zoe Strimpel is a doctoral researcher in history at the University of Sussex

This article was originally published on The Conversation. Read the original article.