Modern feminists can learn a lot from Suffragette sitcom "Up the Women"

Many of the questions faced by the women's movement today are played out in Jessica Hynes' new show. In a world where feminism still viewed by many women with distrust, wariness and even alarm, there's a lot we can learn from the ladies of the Banbury Int

As longtime fans of the television series Spaced (has a sitcom before or since so hilariously conveyed twentysomething experience?), we were extremely excited about Jessica Hynes’ new venture, a comedy called Up the Women focusing on a Banbury craft group’s sudden interest in the Suffragette movement. The first two episodes of the three-parter aired on BBC4 this month, and it has already been recommissioned for BBC2, news that is unsurprising for anyone who’s seen it. Its slightly stagey feel lends itself well to the razor sharp lines and its comic characters have been well rendered, particularly that of Helen, a Lady Bracknell-esque character and the craft circle’s chair (played by Rebecca Front), who disapproves of women’s suffrage, saying "the present system works perfectly well. My husband votes for whom I tell him to vote. What could be a better system than that?"

There are certainly elements of the series which recall The Importance of Being Earnest, not only because of the costumes and characterisation but also the wit of the writing. Helen’s mother Myrtle (played by Judy Parfitt) is a red haired bohemian with a sexy past who one suspects of having been a pre-Raphaelite. She is in constant conflict with her daughter, who claims that her mother has no understanding of the domestic duties of women. "I’m sure as I lie on my deathbed, I will cast my mind’s eye over all the table arrangements I never made," she says, sarcastically. Perhaps most reminiscent, however, is the farcical nature of the plot, which, rather than focusing on the central, founding members of the Suffragette movement, instead follows a group of parochial nobodies and their attempts to come to grips which the huge social changes of the last century, with predictably mixed results.

Hynes’ character Margaret returns from London having been caught up in a Suffragette rally, and suggests that the "Banbury Intricate Craft Circle" rename itself the "Banbury Intricate Craft Circle Frankly Demands Women’s Suffrage". It is in the group’s unwillingness to cause a stir that much of the farcical humour can be found, for what use is a radical protest group which is too frightened to do anything radical? Though the youngest member of the group, Emily, is keen on direct action ("Kill the king!") she’s somewhat compromised by her romantic attachment to resident "mansplainer" Thomas, who appropriately describes himself as "a spanner in the works of your oppression".

For a comedy set in the Edwardian era, Up the Women documents some very modern problems as far as feminism is concerned. In fact, if anything the series shows how these problems can be seen to have stemmed from the very outset of the movement and have endured. Simply becoming a cohesive group with shared aims is difficult enough, without the scaremongering that tyrant Helen uses to dissuade the others from joining and undermine enthusiast Margaret’s attempts at leadership. Helen demands to know whether Margaret’s husband is aware of her new feminist principles and that she is "cavorting with skirted anarchists" (he doesn’t as "he’s been very melancholic since Nietzsche’s death") and terrifies mother-of-fourteen Eva into joining her counter-movement by asking her to imagine her children orphaned and in the workhouse. This shitty kind of manipulation – the placing of equal rights in stark opposition to traditional female roles, such as motherhood – endures in the right-wing media today.

We see the Banbury Intricate Craft Group (Politely Demands Women’s Suffrage) face all this in the first two episodes, as well as some well-worn questions (Do we let men join? Should we change our tactics? What is an acceptable euphemism for vagina? Can’t somebody just DO something?) Up the Women is timely considering how we are seeing a new generation of feminists who don’t take themselves too seriously and seem more capable than their predecessors of laughing at themselves (though there’s still a long way to go, frankly), and it’s refreshing to see some well-written female-led comedy on prime-time telly. Though Up The Women draws on the past, it’s not so rooted in history and theory that it becomes alienating – a technique the feminist movement would do well to learn from. But perhaps most importantly this new comedy mirrors feminism’s reception in the outside world, where it is still viewed by many women with distrust, wariness and even alarm, and the idea that it is not something that women need persists. Just as the members of the craft group are unsure as to whether they need the Suffragettes at all, many women today remain unconvinced of feminism’s relevance to their lives, and those ensconced within their liberal bubbles would do well to remember that. 

Rebecca Front and Jessica Hynes in "Up the Women". Photograph: BBC

Rhiannon Lucy Cosslett and Holly Baxter are co-founders and editors of online magazine, The Vagenda.

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Why is Marine Le Pen getting more popular?

The latest French polls have people panicked. Here's what's going on. 

In my morning memo today, I wrote that Emmanuel Macron, who is campaigning in London today – the French émigré population makes it an electoral prize in of itself – was in a good position, but was vulnerable, as many of his voters were “on holiday” from the centre-left Socialist Party and the centre-right Republican Party, and he is a relatively new politician, meaning that his potential for dangerous gaffes should not be ruled out.

Now two polls show him slipping. Elabe puts him third, as does Opinionway. More worryingly, Marine Le Pen, the fascist Presidential candidate, is extending her first round lead with Elabe, by two points. Elabe has Le Pen top of the heap with 28 per cent, Republican candidate François Fillon second with 21 per cent, and Macron third with 18.5 per cent. Opinionway has Le Pen down one point to 26 per cent, and Macron and Fillon tied on 21 per cent.
(Under the rules of France’s electoral system, unless one candidate reaches more than half of the vote in the first round, the top two go through to a run-off. All the polls show that Marine Le Pen will top the first round, and have since 2013, before losing heavily in the second. That’s also been the pattern, for the most part, in regional and parliamentary elections.)

What’s going on? Two forces are at play. The first is the specific slippage in Macron’s numbers. Macron ended up in a row last week after becoming the first presidential candidate to describe France’s colonisation of Algeria as a “crime against humanity”, which has hurt him, resulting in a migration of voters back to the main centre-right candidate, François Fillon, which is why he is back in third place, behind Le Pen and Fillon.

Le Pen has been boosted by a bout of rioting following the brutal arrest of a 22-year-old black man who was sodomised with a police baton.

As I’ve written before, Le Pen’s best hope is that she faces a second round against the scandal-ridden Fillon, who is under fire for employing his wife and children in his parliamentary office, despite the fact there is no evidence of them doing any work at all. She would likely still lose – but an eruption of disorder on the streets or a terrorist attack could help her edge it, just about. (That’s also true if she faced Macron, so far the only other candidate who has come close to making it into the second round in the polling.)

For those hoping that Macron can make it in and prevent the French presidency swinging to the right, there is some good news: tomorrow is Wednesday. Why does that matter? Because Le Canard Enchaîné, the French equivalent of Private Eye which has been leading the investigation into Fillon is out. We’ve known throughout the election that what is good for Fillon is bad for Macron, and vice versa. Macron’s Algeria gaffe has helped Fillon – now Macron must hope that Fillon’s scandal-ridden past has more gifts to give him. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.