Middle England. They’re nicer than you think

Middle Englanders are insular, selfish and intolerant. Not so, argues Richard Reeves. Plus Stephen A

It is a place inhabited by "ordinary people with suburban dreams who worked hard to improve their homes and their lives; to get gradually better cars, washing machines and televisions; to go on holiday in Spain rather than Bournemouth", in the words of the new Labour strategist Philip Gould. It is where homes are anxiously owned, families are raised and crime is feared. The Daily Mail lies on the doorsteps. It is where contemporary British elections are won and lost. And it casts a powerful spell over marketeers, pollsters, journalists and - above all - politicians. It is, of course, "Middle England".

When Gordon Brown praises "hard-working families" or when David Cameron takes the axe to inheritance tax, they are assumed by headline-writers to have their eyes trained on this semi-mythical land. It represents, we are supposed to assume, the very heartland of the nation. As such, it acts as a kind of political bull's-eye: if parties can aim their policies directly at Middle England, the electoral match will be theirs.

Middle England is also frequently assumed to be insular, selfish, xeno phobic, homophobic, anti-welfare, anti-Europe and generally resentful. It is the place where Thatcher's children moved to when they grew up. But if Middle England means anything at all, then its inhabitants are in fact more numerous, more diverse and considerably more liberal than the stereotype. Middle England reads the Mail, but does not agree with it.

Ian Hislop, researching his BBC radio series Looking for Middle England, found Lord Salisbury using the term in 1882, but it did not seem to have caught on. The historian David Cannadine records in his Class in Britain that it was Mrs T herself who introduced the term into the modern political lexicon - apparently copying Richard Nixon's conjuring of "Middle America". Politically, Middle England denotes a set of voters, presumed to have mainstream attitudes, who are also disproportionately likely to be swing voters in marginal constituencies. Martin Jacques has complained that Middle England is a "metaphor for respectability, the nuclear family, conservatism, whiteness, middle age and the status quo".

One of the fears of liberal-left commentators, who unfailingly use the term disparagingly, is that national politics is being driven by the neuroses of an insular, unrepresentative group of a few hundred thousand people. It is certainly true that those in Brown's team are obsessively interested in the views of this group, and that Lord Ashcroft is pouring money into winning their votes, but they are not political freaks. Their views may not be those of New Statesman readers - but they are roughly representative of the nation. They voted Tory until 1997 and have voted Labour since, though with misgivings in 2005. They are non-graduate families in which both Dad and Mum work to pay the mortgage. They read the tabloids but get their news from television, and are utterly uninterested in party politics. They water their neighbours' plants when they are on holiday and keep an eye on the old lady over the road. The only manner in which they differ significantly from the norm is their unusually high, and largely irrational, fear of crime.

Ben Page, managing director of the MORI Social Research Institute, says that the label Middle England is used as "a convenient shorthand for the 25 per cent of the population who are not surgically wedded to one of the main parties - and who happen to live in marginal constituencies". For this group, party commitment is weak and the impression made by an individual leader is strong. Policies are generally weakly linked with voting intention - unless they push the right buttons.

The Conservative pincer movement to lower both stamp duty and inheritance tax played beautifully with them because of their powerful relationship with property: they are the first in their family to own a home, and fear that they will be the last. The rise in house prices threatens to price their children out of the market. This is also the group with the darkest memories of Black Wednesday, negative equity and repossessions. Even if they were not personally affected, they know somebody who was. It is true that inheritance tax is extremely unlikely to affect them - but it also offends one of their strongest instincts, which is to see their kids right.

Geographically, Middle England means suburbs - in the south and the Midlands. There are moments when "Middle Britain" is preferred by Labour politicians, but Scotland and Wales do not feature in any of the social, spatial or psepho logical categories that command the attention of the political classes. Middle England is Metroland - the areas traversed by the Metropolitan Line: Pinner, Ruislip, Hillingdon - writ large across the English nation. It is Essex Man, or Worcester Woman, but never Merthyr Man or Galloway Girl.

In terms of social status, Middle Englanders are what pollsters and marketing analysts call C1s and C2s, otherwise the lower middle class and skilled working class, though analysts at the purer end of the market don't like such labels. "Categorisations always carry the danger of being misleading," says Miranda Phillips from the National Centre for Social Research. "Middle England is a phrase used in the press and politics, rather than in social research. On balance, I think Middle England is likely to be a misleading categorisation. It is simply not that straightforward."

The university effect

It certainly is not. Class, status and attitudes relate to each other in complex and changing ways and there are many dangers in our apparently insatiable desire to put ourselves - and especially other people - into tidy boxes. Nonetheless, certain key trends are fairly clear. More people are middle class, and more people think of themselves that way; the relationship between social class and both political identification and social attitudes is weakening; and - most interesting of all - the group that can plausibly be defined as being in the "middle" is both more liberal than the stereotype suggests, and becoming more so with each passing year.

Forty per cent of the population now define themselves as "middle class", up from 30 per cent four decades ago. The final numerical triumph of the bourgeoisie is at hand: as Professor Anthony Heath has written: "In 1964, for every person who called themselves middle-class, there were 2.1 who said they were working-class. Now that ratio is just 1:1.5." Even John Prescott is middle-class now, remember. As the number of unskilled labourers has diminished, the proportion of the adult population classified as C1 or C2 or equivalent has reached 22 per cent, up from 18 per cent in 1983 - a significant expansion in socioeconomic terms.

Profound shifts are taking place in attitudes, too. The lazy stereotype is that Middle Englanders lack the lofty liberalism of their AB cousins, but the evidence often suggests otherwise. In a Populus survey this year, for example, 42 per cent of respondents in social classes AB agreed that "children brought up by a single parent are more likely to get into trouble than children brought up by married parents", compared to 37 per cent of C1s and 28 per cent of C2s.

Over time, Middle Englanders have become more tolerant and open-minded. According to data prepared by the National Centre for Social Research, the pro p ortions of C1s and C2s who think that "sexual relations between two adults of the same sex" are "always wrong" are 23 and 30 per cent, respectively - down from 38 and 56 per cent in 1983. The current figure among those from social class A is 17 per cent.

Widening access to higher education has played a part: one of the best predictors of socially liberal attitudes is level of edu cation. Universities have been opened to the masses, to the dismay of über-conservative commentators such as Digby Anderson, who asks in his pamphlet All Oiks Now: the Un noticed Surrender of Middle England: "In what ways do the middle-class students differ from the others? They certainly look the same. It is difficult to tell the daughter of a doctor from the daughter of an unemployed miner, indeed sometimes from the son of an unemployed miner." His Middle England, it should be noted, is entirely upper-middle-class.

In the 1960s, a fierce academic debate raged over the "em bourgeoisement thesis" - which stated that, as the working class became more affluent, they would detach from their proletarian peers, lose class consciousness and adopt the attitudes and values of the middle class, in particular with regard to party and trade union loyalty. (Anderson fears that the opposite process - de-embourgeoisement, perhaps? - is the actual result.) The famous sociologist John Goldthorpe, in his masterpiece The Affluent Worker, showed that, in terms of social networks, even well-off workers remained true to their roots, but that their political opinions did begin to alter. In particular, their support for the Labour Party became contingent, rather than given. In some ways, the politics of the rest of the century flow from this fact, and Labour's long failure to grasp it. Where it is clear that embourgeoisement does apply is in social attitudes; affluence has brought toleration in its wake.

Muddle England

One reason why commentators miss the rising liberalism of Middle England is that they make the mistake of looking at what they read, and assuming they agree with it. It is true that Daily Mail readers are more likely to vote Conservative - but to a lesser extent than Mirror readers are more likely to vote Labour. And while it is also true that 46 per cent of Mail readers think that immigration is one of the most important issues facing the country, 44 per cent of Financial Times readers do, too. On many social issues, the readers of the Middle England tabloids are more liberal than the population at large, especially the younger ones. The views of Mail readers are not facsimiles of the paper's editorials. There is no clone army of Paul Dacres roaming the suburbs.

What is stalking the land is anxiety and fear, especially about money. Middle Englanders are under huge financial pressure. Wages in the middle-income range have ticked up painfully slowly over the past decade - which may be one reason why Middle England supports moves to hit the unearned wealth of private equity barons and the untethered wealth of the "non-doms": again, a truth the Tories divined before phobic Labour ministers. Their concerns about immigration are primarily economic, rather than straightforwardly "racist".

The fears of Middle England are not always consistent, or rational. Ben Page has decided that the public is suffering from "cognitive polyphasia", a diagnosis that means "people are holding lots of conflicting ideas": more muddle England than Middle England. The majority think immigration is a big problem, but only a small minority say it is a problem affecting them. Middle England, he says, is also "a bit Pooterish - a bit Margo from The Good Life; they are conservative but with a small 'c'". They may well be fiscally conservative, but they are mostly socially liberal. Their high fear of crime may stem from their position as the first middle-class members of their family: now they have something to lose.

As with all sociopolitical categories, the edges of Middle England become more blurred as you approach them, the inhabitants as hard to pin down as those of Middle Earth. Middle Englanders certainly do not recognise the "long shadows" falling across county cricket grounds and the "old maids bicycling to Holy Communion" evoked by John Major; but nor did they make much of the tortured attempts of early new Labour to conjure a "Cool Britannia".

Middle England is sceptical of party politics, yes. Fearful about crime and immigration, certainly. Instinctively desiring to hold on to its own money rather than give it to the Treasury, you bet. Much of which is because Middle England is a more precarious place than the lands above, where professionals and the rich can insulate themselves against risk, and below, where there is less to be lost in any case. But Middle England is not nasty. Indeed, it is a broad-minded kind of place. And to the extent that it really is the soul of the nation, this can only be cause for celebration. For the liberalisation of Middle England might represent the final triumph of liberalism itself.

Illustration by A Richard Allen

This article first appeared in the 29 October 2007 issue of the New Statesman, Pakistan

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile