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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The 5 things the Tories aren't telling you about their manifesto

Turns out the NHS is something you really have to pay for after all. 

When Theresa May launched the Conservative 2017 manifesto, she borrowed the most popular policies from across the political spectrum. Some anti-immigrant rhetoric? Some strong action on rip-off energy firms? The message is clear - you can have it all if you vote Tory.

But can you? The respected thinktank the Institute for Fiscal Studies has now been through the manifesto with a fine tooth comb, and it turns out there are some things the Tory manifesto just doesn't mention...

1. How budgeting works

They say: "a balanced budget by the middle of the next decade"

What they don't say: The Conservatives don't talk very much about new taxes or spending commitments in the manifesto. But the IFS argues that balancing the budget "would likely require more spending cuts or tax rises even beyond the end of the next parliament."

2. How this isn't the end of austerity

They say: "We will always be guided by what matters to the ordinary, working families of this nation."

What they don't say: The manifesto does not backtrack on existing planned cuts to working-age welfare benefits. According to the IFS, these cuts will "reduce the incomes of the lowest income working age households significantly – and by more than the cuts seen since 2010".

3. Why some policies don't make a difference

They say: "The Triple Lock has worked: it is now time to set pensions on an even course."

What they don't say: The argument behind scrapping the "triple lock" on pensions is that it provides an unneccessarily generous subsidy to pensioners (including superbly wealthy ones) at the expense of the taxpayer.

However, the IFS found that the Conservatives' proposed solution - a "double lock" which rises with earnings or inflation - will cost the taxpayer just as much over the coming Parliament. After all, Brexit has caused a drop in the value of sterling, which is now causing price inflation...

4. That healthcare can't be done cheap

They say: "The next Conservative government will give the NHS the resources it needs."

What they don't say: The £8bn more promised for the NHS over the next five years is a continuation of underinvestment in the NHS. The IFS says: "Conservative plans for NHS spending look very tight indeed and may well be undeliverable."

5. Cutting immigration costs us

They say: "We will therefore establish an immigration policy that allows us to reduce and control the number of people who come to Britain from the European Union, while still allowing us to attract the skilled workers our economy needs." 

What they don't say: The Office for Budget Responsibility has already calculated that lower immigration as a result of the Brexit vote could reduce tax revenues by £6bn a year in four years' time. The IFS calculates that getting net immigration down to the tens of thousands, as the Tories pledge, could double that loss.

Julia Rampen is the digital news editor of the New Statesman (previously editor of The Staggers, The New Statesman's online rolling politics blog). She has also been deputy editor at Mirror Money Online and has worked as a financial journalist for several trade magazines. 

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