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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Here's something the political class has completely missed about Brexit

As Hillary Clinton could tell them, arguments about trade have a long, long afterlife. 

I frequently hear the same thing at Westminster, regardless of whether or not the person in question voted to leave the European Union or not: that, after March 2019, Brexit will be “over”.

It’s true that on 30 March 2019, the United Kingdom will leave the EU whether the government has reached a deal with the EU27 on its future relationship or not. But as a political issue, Brexit will never be over, regardless of whether it is seen as a success or a failure.

You don’t need to have a crystal ball to know this, you just need to have read a history book, or, failing that, paid any attention to current affairs. The Democratic primaries and presidential election of 2016 hinged, at least in part, on the consequences of the North American Free Trade Association (Nafta). Hillary Clinton defeated a primary opponent, Bernie Sanders, who opposed the deal, and lost to Donald Trump, who also opposed the measure.

Negotiations on Nafta began in 1990 and the agreement was fully ratified by 1993. Economists generally agree that it has, overall, benefited the nations that participate in it. Yet it was still contentious enough to move at least some votes in a presidential election 26 years later.

Even if Brexit turns out to be a tremendous success, which feels like a bold call at this point, not everyone will experience it as one. (A good example of this is the collapse in the value of the pound after Britain’s Leave vote. It has been great news for manufacturers, domestic tourist destinations and businesses who sell to the European Union. It has been bad news for domestic households and businesses who buy from the European Union.)

Bluntly, even a successful Brexit is going to create some losers and an unsuccessful one will create many more. The arguments over it, and the political fissure it creates, will not end on 30 March 2019 or anything like it. 

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