Dinnerladies (1998 – 2000) is a British sitcom created by Victoria Wood, based around a group of women working in a factory cafeteria. The characters of the programme discuss on topics such as weddings, holidays, politics, and mental health. The sarcastic humour heard throughout is what cultivates British television. Mixed with the feminine gossip, that would typically be heard by female co-workers in a team environment, is accurately represented. Following the dinner-ladies: Bren played by Victoria Wood, Dolly played by Thelma Barlow, Jean played by Anne Reid, Twinkle played by Maxine Peake, and Anita played by Shobna Gulati. These women are all different in personality and opinion but come together in the camaraderie of the workplace. Also, the character of Bren’s mother, Petula performed by Julie Walters is an unforgettable character of unpredictability. The aspect of feminism within the programme is unquestionable, the female characters think for themselves and discuss sexual topics comedically as men typically would. For example, on the topic of her being taken to hospital, Petula states, “Oh, might have a bit of sex. Though after Richard E Grant you don’t really want to bother with a load of shagged-out pensioners”.
Discussing theories on gender and television, the aim of this essay is to provide insight into the significance of Dinnerladies in the space for femininity in narrative and female audiences within British soap operas. The five pieces of literature for this assignment are on the topic of gender and television, specifically to be discussed against the case study of Dinnerladies. Analysing the theory behind both gender in audiences and on screen, this will provide knowledge on the topic and aid in relating it to the case study cited above.
In his 2013 book, titled Forgotten sisters: the British female ensemble drama, Ball discusses the notion of gender with dramas and how female creators can accurately present femininity for characters. This is important as a reading for this essay as the discussion of female heavy content is needed for this topic.
‘While the female ensemble drama is a significant form of gendered fiction that enables us to chart women’s creative contributions to television drama (many of them being written and or produced by women) it is also significant in the way it marks the dispersal of feminine identities across primetime television’. (Ball, 2013)
The above quote explains how these kinds of creative programming allow female writers to express their work without the comments of a higher male voice in the industry. Also, the quote identifies the significance of this for the female characters as these being presented by a female voice gives a definitive streak to the personalities. Also to be shown on daytime television is a success for the female audiences at home.
In Frames and Fictions on Television: The Politics of Identity within Drama (2000), Carson, B. and Llewellyn-jones write, ‘Despite the predominance of masculine narratives, the professional woman as doctor, pathologist or combined medical expert/investigative government agent has emerged as central protagonist’. Here, Carson, B. and Llewellyn-jones are discussing how female characters in narrative have become increasingly popular, profoundly so, that writers are creating narratives for female protagonists. This book is significant for its’ writing on the self-identities and representations of viewers from television dramas.
‘Having indicated the significance of the debate about strategies through which representations of women may both subvert the male gaze and disrupt classic narrative form, Nelson is concerned with a possible shift in the representation of professional women, which must challenge traditional notions of male and female gender identity through new tactics’. (Carson, B. and Llewellyn-jones, 2000)
In the above quote, the writers are explaining how the male gaze and the uprising of female protagonist characters is a central concern for writers on the subject. As this change could alter gender identity that has been seen on screen previously.
Geraghty and Weissmann in their 2016 book, Women, soap opera and new generations of feminists, discussed the idealistics of femininity within soap opera and how accurately the representation of women is shown through countless research.
‘More than legitimating TV as a whole, however, the research into soap opera needs to be understood as a political – a feminist – project. It was radical and subversive, precisely because it took women’s pleasures seriously and recognized that soap opera offered spaces of intersection into traditional discourses of gender’.
(Geraghty and Weissmann, 2016)
Above, the writers are recounting how the research was thought to be, how soap operas gave safe spaces, and allowed the representation of those not entirely heard from on daytime television before, the tools needed to create these pieces of content for other audiences.
Furthermore, for in depth understandings of female audiences, the book Private screenings : television and the female consumer (1992), Spigel and Mann stated, ‘Television has always had its eye on women. Since its arrival in the late 1940s, it has particularly tried to attract female viewers, who, the industry assumes, are the primary consumers for their households’. This quote shows the classic reality of female audiences, and how typically housewives would be the target audience of daytime programming. Yet, the content would struggle to allow for their engagement. This harsh reality for male programming directors coursed for new spaces of narrative from female writers, who understood their audience.
Within the article TV Sitcoms and Gender (2004), Stafford., R explains, ‘Dinnerladies, with usually just the one large set is an extreme example of the studio production’. Here, Stafford. R is stating how set production for soap operas was typically smaller, and Dinnerladies being an extreme case, with just one set, is a good identifier for the budget and trust given to the writer. Aswell as, the success rate for the writing and structure, due to the lack of budget for the sitcom and the positive outcome from viewers of the programme.
In Reading Between the Lines (no date), Wilcox states, ‘Wood weaves the plot from trivial gripes and petty disputes; serious subjects – loneliness, bullying, illness, and redundancy – are not exempt’. This quote suggests that writer, Victoria Wood used typically more feminine topics within her storylines. Loneliness, illness, and redundancy are subjects which narratives created for male audiences would shadow in their writing, leaving as a bitter taste that is unspoken of in the dialogue of characters. As male characters are representing male audiences, and toxic masculinity in our society allows not for expression of their emotions. Therefore, the subjects in this sitcom, even those of light disputes, are valid in the destruction of taboo topics and those seen as only a feminine nature. The male characters being portrayed as both sensitive and sexist allows for viewers to grasp an understanding for the struggle of the male characters. For example, main male character, Tony is often seen sexualising the women at work. Yet we find out later on that he was hiding his true feelings for his co-worker, Bren, the whole time.
In review, these texts all evaluate the uses of femininity within British television and soap operas. Thus, allowing further basis for analysis into the case study and discussion on its’ significance for the female audience of television. The case study being Dinnerladies and how it provides humour and drama for female viewers.
Firstly, a brief discussion into the significant history of the successful female-led soap operas prior to Dinnerladies. 1980’s television was a position of experimental effort as shown from Girls on Top (1985 – 1986) written by Dawn French and Jennifer Saunders. This youthful explosion of female characters was the very beginning for young female audiences of the working class. The four main characters: Jen (Jennifer Saunders), Amanda (Dawn French), Shelley (Ruby Wax) and Candice (Tracey Ullman). These four roommates living together quite like that of The Young Ones (1982 – 1984) written by Ben Elton, Rik Mayall and Lise Mayer, is a bright, enthusiastic, portrayal of the working youth. The unique characters, all differing in lifestyles, work brilliantly together. The compulsive lying of Candice, The loud and failed actress of Shelley, the political feminist of Amanda and shy, pushover of Jen. The aspect of femininity within this programme provided a realistic look into the lives of women rather than false presentations of lady-like behaviours. Those of the middle class had been represented by conservative sitcoms such as The Good life (1975 – 1978), written by John Esmonde and Bob Larbey. However, the likes of these programmes and its’ similars were less so based on careers of women and would identify more on the exaggerated drama and humour. Likewise, in Dinnerladies, Victoria Wood focuses her narrative on the work and lesser seen on screen subjects such as mental illness, whilst including gossip and sarcastic humour. Which accounts for a certain realism that other sitcoms hadn’t been able to achieve.
Spigel and Mann (1992) explain, ‘in the late 1960s, television discovered that it needed to revamp its model of femininity from its zany housewives and loving mothers to new, more independent working women’. Suggesting that the absence of professional women in television was the victim of femininity in contrast to masculinity, housewives and mother characters were created for female audiences early on. However, these gender politics caused disruption for realisms of women on screen. For this case study, the female characters are working a manual role of cooks and the younger female characters are seen as masculinised. This is shown by their lack of motivation for work, being late and/or underdressed, and finally talking about their mishaps from a ‘night-out’. As an example, the youngest character known as ‘Twinkle’, played by Maxine Peake, is often heard using offensive language towards her co-workers. This representation for younger women may not be feminine, but realistic for many, and plays a good part in the realism of the programme. With it being aimed at older women, the comedy of the younger characters is relatable enough that the target audience wouldn’t need to be specific.
Contextually, Dinnerladies includes a wide variety of characters of all ages, which provides more relatability for viewers. Also, whilst the basis of the sitcom being based on older women working in a canteen, there are many younger characters seen throughout the course of the show. The identity of this programme is feminine and resonates more with that of the female target audience. However, Dyer (1985) asks, ‘Who is in control of the representations in the programme – whose values are spoken?’. For this sitcom, the representation of the programme is controlled by Victoria Wood, which leads to a female perspective. The likelihood that male audiences would read the sitcom differently to female audiences is lesser than that of other sitcoms such as Girls on Top. The sitcom of Dinnerladies offers feminine discussions on topics such as bras, weddings, and pregnancy. Yet, the male characters are comedically witty and exclaim their misunderstanding and confusion within these topics. Thus, allowing leeway for male audiences to enjoy the humour of the programme.
Moreover, many of these female characters are presented as head-strong, single, and/or engaging themselves into conversations with men they’re attracted to. For example, the character, Dolly, played by Thelma Barlow, is seen hitting on the young boys that come in for their work experience day. This scene, again ungraceful, shows a realism of a woman beginning the romantic conversation with a man. Likewise, this development for femininity shown on screen is profound, as single women aren’t being represented as lonesome and whining throughout their working day. In fact, the main male character is single and shown as complaining about feeling alone instead. Thus, creating a space where female audiences can relate to the real world and not feel isolated by outdated, male-created, concepts of single women. Proven by main character, Brenda, played by Victoria Wood herself. Who rarely speaks of her private life but asks others of theirs, yet the lead male role of Tony, played by Andrew Dunn, is seen daily asking the girls to undress, and/or to have a ‘bunk up’ with him.
In summary, the programme Dinnerladies gave an explosive performance for women and was the ideal example of femininity within narrative television. Thus, allowing a female audience to engage with soap operas. Particularly ones unlikely to be using the female characters as another means for the male gaze. Furthermore, the representation of working-class women is an accurate portrayal that allows for female audiences to enjoy a safe space with familiar character roles and light comedy. This femininity is both real and present enough to engage female viewers. But, not enclosed enough to be specific to a generation or to prevent men from being entertained. In comparison to Girls on Top the programme Dinnerladies offers a wider perspective for women and allows a wider audience with the many differing aged characters of the series. Likewise, Girls on Top being a more feminist production with explicit language and topics, includes feminist characteristics such as non-shaven under arms, which is a taboo behaviour for women. However, this show mimics The Young Ones, a male created programme. Whereas Dinnerladies is its’ own production, written by women for women. Therefore, Dinnerladies, outweighs that of Girls on Top as a feminine setting and is a greatly executed production of femininity. Providing female audiences with a well-rounded sitcom for all ages. The characters discuss feminine topics yet still include realistic depictions of women. Male audiences, whilst having the majority of programmes created for them, would still be able to watch this case study. This being as there is no absence of a male presence, with characters Tony and Stan present and speaking in each episode.
Bibliography:
Ball, V. (2013) ‘Forgotten sisters: the British female ensemble drama’, Screen, 54(2), pp. 244–248. doi:10.1093/screen/hjt014.
Carson, B. and Llewellyn-jones, M. (2000) Frames and Fictions on Television: The Politics of Identity within Drama. Exeter, England: Intellect Books. Available at: https://search-ebscohost-com.edgehill.idm.oclc.org/login.aspx?direct=true&db=nlebk&AN=41364&site=ehost-live&scope= (Accessed: 6 January 2022).
Dyer, R. (1985) ‘Taking popular television seriously’ in Philip Drummond and David Lusted (eds) Television and Schooling, London: BFI
Geraghty, C. and Weissmann, E. (eds.) (2016): ‘Women, soap opera and new generations of feminists’. In: Critical Studies in Television: The International Journal of Television Studies, vol. 11 (3): 365-384.
Spigel, L. and Mann, D. (1992) Private screenings : television and the female consumer. Minneapolis: University of Minnesota Press (A Camera obscura book). Available at: https://ebookcentral.proquest.com/lib/edgehill/reader.action?docID=310216 (Accessed: January 10, 2022).
Stafford, R., 2004. TV Sitcoms and Gender. Media Education Magazine. Verfügbar unter.
Wilcox, D.J. (no date) ‘Reading Between the Lines’:, p. 40.
Filmography:
French, D., Saunders, J. and Wax, R. (1985) Girls on Top. Central Independent Television.
The Young Ones (TV Series 1982–1984) – IMDb (no date). Available at: https://www.imdb.com/title/tt0083505/?ref_=ttfc_fc_tt (Accessed: 9 January 2022).
The Good Life (TV Series 1975–1978) – IMDb (no date). Available at: https://www.imdb.com/title/tt0075511/ (Accessed: 9 January 2022).
Wood, V., Barlow, T. and Dunn, A. (1998) Dinnerladies. British Broadcasting Corporation (BBC), Good Fun, Pozzitive Productions.
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