Five questions answered on the latest development in the horsemeat scandal

Plot thickens with Findus lasagne.

As the plot thickens in the UK horsemeat food fiasco we answer five questions on the latest developments.

What’s happened now?

Due to more products being found to contain horsemeat – the latest is Findus’s lasagne containing up to 100 per cent horsemeat – The Food Standards agency has ordered all UK retailers to test processed beef products for horsemeat.

The agency has asked for test results by next Friday.

Findus had tested 18 of its beef lasagne products and found 11 meals containing between 60 per cent and 100 per cent horsemeat. The products were made by a third-party French supplier, Comigel, who alerted the company that they may not “confirm to specification”.

Why is this happening?

No one knows for sure, but there has been speculation that criminal activity may be responsible.

The Food Standards Agency (FSA) has already said it was "highly likely" criminal activity was to blame for the contamination.

It’s Chief executive Catherine Brown told the BBC: "I have to say that the two cases of gross contamination that we see here indicates that it is highly likely there has been criminal and fraudulent activity involved.”

The FSA added that police are involved in ongoing enquires in relation to the horsemeat scandal.

Is there any health risk from all this unauthorised meat that has found its ways into supermarkets’ frozen foods?

No. The FSA has said:

"There is no reason to suspect that there's any health issue with frozen food in general, and we wouldn't advise people to stop eating it."

Although, it has asked Findus to test its products for the veterinary drug phenylbutazone, or "bute, which is not allowed to the enter food system, but if it did it could be harmful to humans.

Is this food still on supermarket shelves?

On Monday Findus withdrew its beef lasagne in 320g, 360g and 500g sizes as a precaution

Earlier this week, Comigel had advised Findus and Aldi to withdraw Findus Beef Lasagne and Aldi's Today's Special Frozen Beef Lasagne and Today's Special Frozen Spaghetti Bolognese. An Aldi spokesperson confirmed they had been removed and it is conducting its own investigation.

Tesco also decided to withdraw Everyday Value Spaghetti Bolognese as it was produced at the same site, but there is no evidence it has been contaminated.

What’s going to happen next?

Most likely more revelations, these are expected as further testing is carried out.

Labour's Mary Creagh told the BBC:

"What we have had over the last four weeks is a constant drip, drip, drip of revelations from the food industry, from the Food Standards Agency, and what I am worried about is that the more they are testing for horse, the more they are finding," she said.

Adding: "It's simply not good enough for ministers to sit at their desks and pretend this isn't happening."

A statement from the British Meat Processors Association (BMPA) to the BBC said "deplores the latest reported incidents of gross contamination of some processed meat products".

"The BMPA has urged its members to be vigilant, and to review their raw material and ingredients-sourcing procedures in order to ensure that they meet their responsibilities to produce safe food and to describe and label their products accurately."

Photograph: Getty Images

Heidi Vella is a features writer for Nridigital.com

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Despite his “strong female leads”, Joss Whedon's feminism was never about real women

Many men in TV and film praised for their powerful women are still writing with the male gaze.

Kai Cole, the ex-wife of Joss Whedon, has written an essay alleging that the director isn’t quite the feminist he appears to be. Colour me unsurprised. There’s only so much good-guy posturing a feminist can take before she starts to become a little suspicious.

It’s not that I’ve any particular beef with Buffy the Vampire Slayer, nor that I think men shouldn’t speak out against sexism wherever possible. But I’ve long harboured a mistrust of male directors – Whedon, Woody Allen, Pedro Almodóvar – who gain a reputation of being “good at doing women”. Who are they, these magic woman-whisperers, who see through woman’s childlike, primitive exterior and coax out the inner complexity? How do they manage to present women, these blank, mysterious objects, as actual human beings?

True, these men are working against a backdrop of extreme sexism, in which film dialogue is dominated by males, while females become increasingly silent as they age. Perhaps one should be grateful to anyone who allows a female character to have some glimmer of an inner life, let alone exist beyond the age of 30.

All the same, I can’t help feeling this isn’t enough. We all know the joke about the male feminist who walks into a bar because it’s set so low. It’s all too easy to be “good at doing women” when all it takes is granting female characters the same desires and contradictions we’d grant to any other human being.

Women are not a specific type of puzzle for mankind to solve. The idea that it should take some noble, generous leap of imagination to empathise with us is an excuse men have been using to mistreat us for millennia. When responding to us as though we’re actual human beings – or at least, as though an interesting Real Woman subset of us are – becomes a USP, we should all be worried.

Whedon did go a little way to addressing this in his 2006 acceptance speech for an Equality Now award, in which he mocked the way in which he was constantly asked: “Why do you always write these strong women characters?”:

“Why aren't you asking a hundred other guys why they don't write strong women characters? I believe that what I'm doing should not be remarked upon, let alone honoured.”

If this sounds a little like a humblebrag, it can probably be excused. What’s harder to excuse is this idea that a man who boasts of surrounding himself with women like his mother – “an extraordinary, inspirational, tough, cool, sexy, funny woman” – is doing womankind a favour.

I’m glad you appreciate your mum, Joss, and that you apparently don’t feel threatened by other women like her. There’s a fine line, though, between valuing women and presenting them with a whole new list of impossible standards to live up to. This is why I could never quite buy into the liberatory potential of Buffy. There’s nothing impressive about a man failing to be intimidated by his own strong girl fantasy.

In E T A Hoffmann’s 1816 short story The Sandman, the hero Nathanael falls in love with Olimpia, a doll whom he believes to be a real woman. Once the truth is exposed, the men around him become concerned that they, too, may have unwittingly fallen for automata:

“Many lovers, to be quite convinced that they were not enamoured of wooden dolls, would request their mistresses to sing and dance a little out of time, to embroider and knit, and play with their lapdogs, while listening to reading, etc., and, above all, not merely to listen, but also sometimes to talk, in such a manner as presupposed actual thought and feeling.”

There’s something about the director who’s “good at doing women” that reminds me of this. There’s a recipe for dropping in just the right number of quirks, inconsistencies and imperfections to create a Real Woman Character, without making her so unsexy as to be instantly distinguishable from your Hollywood doll. It’s not that her actual thoughts and feelings matter; it’s all about where she’s positioned in relation to you.

As Sophia McDougall noted in her excellent essay on Strong Female Characters, male characters have complex personalities as a matter of course; female characters, meanwhile, are occasionally permitted to be strong, hence anomalous. The more nuance we see, the better. Even so, I’m tired of the veneration of men who fetishise Real Womanhood just as much as others fetishise the plastic variety.

According to Whedon’s ex-wife, the director’s declared feminist ideals never filtered through into real life. Whether this is true or not, this would be understandable. Real Women are not the same as real women. Equality isn’t a matter of men feeling “engaged and even attracted” to a more diverse range of females. It isn’t about the male gaze at all.

Whedon’s final response to the “why do you always write these strong women characters?” question – “because you’re still asking me that question” – has been seen by many as an explicitly feminist statement. But perhaps all it really meant was “because there’s still a gap in the market”. Because men will always find ways to benefit from other men’s sexism. If Real Women didn’t exist, some man out there would have to invent them. 

Glosswitch is a feminist mother of three who works in publishing.