International Women's Day: I’ve had my fill of glossy brands performing feminism

If International Women’s Day was a ‘how it started/how it’s going’ meme – it would have plenty of content to illustrate the vast gulf between its socialist start and what is an increasingly corporate present. What started with action has now, in too many cases, been diluted into a performance.

To be clear, International Women’s Day, the organisation, is as dynamic, thoughtful and dedicated as you’d expect from something which bloomed from socialist roots and was first marked on the 8 March, 1911. It is a “global day celebrating the social, economic, cultural and political achievements of women. The day also marks a call to action for accelerating gender parity”. 

The work they do furthers women in every conceivable way from better healthcare to women in tech. Take a look at the website and prepare to be in awe. 

I have no beef with IWD. But I have a huge problem with the vast majority of us – individuals and brands alike – who choose to celebrate by falling over ourselves to showcase feminist credentials with low risk, minimal efforts.  

I’m talking about T shirts emblazoned with excruciating slogans like “shero” or “on Wednesdays we smash the patriarchy” and vulva motif jewellery and the endless Instagram scroll of Michelle Obama quotes.

 There’s distinct sense of smugness: like, here we all are just being very feminist really with a spot of “she believed she could so she did” energy in a whimsy calligraphy-inspired font. 

But it’s the aesthetically-pleasing retro black and white images of women’s marches from decades past which grind my gears most when used today because they beg the question how much has really changed since then? And how much will change if the best we can do is post a picture to social media?

Mine is hardly a piping hot take and yet, it bears repeating if my inbox is anything to go by: teeming with press releases shamelessly coat-tailing onto IWD using astonishingly tenuous links to sell someone or something.

Meanwhile we are, in 2022, living in country where two women each week are killed due to domestic violence. Almost two thirds of UK mothers who return to their careers are forced to reduce their hours, change their jobs or quit due to unaffordable childcare.  Victim blaming and ‘acceptable victim’ narratives when women are raped and killed are rife. There is still significant gender pay gap: On average, working-age women in the UK earned 40% less a week and £3.10 less an hour than men in 2019. People still say “is dad babysitting?” when mums go on nights out, as if fathers aren’t de facto parents. 

Mothers in Afghanistan are literally selling their children because they are starving.

Misogyny – micro, macro or murderous – is an all day, every day issue. 

 And yet what we’re seeing on IWD is this reductive, disingenuous onslaught where the true scale of inequality is masked or diverted by slick branding. Meaning and reason are lost in a craven desire be seen as good, right and honourable.

Isn’t this worse than doing nothing? Or is bad faith publicity is truly considered better than nothing?

Personally, I’ve had my fill of glossy brands performing feminism. 

The discourse on IWD from so many brands feels at best big sisterly and at worse like a lecture. It feels robotic and scripted, a chorus of parroted aphorisms and you just think: Stop telling us how much you support women and show us instead. 

How many brands who flaunt their IWD endeavours can truly say they are about more than profiting - whether financially or via publicity? Companies should not make money from International Women’s Day. It should not be a marketing opportunity. 

Campaigning for women’s rights is exhausting. It can be demoralising. It’s rarely glamorous. 

I think we all need to pull focus from brands and performance and onto the people who work tirelessly year round for women. Those who run women’s refuges. Midwives. Aid workers. 

We need to see beyond the hashtags and the polished marketing and ask what we can do when no one is looking? 

CHAIN REACTION: Why we are so fixated on Connell's wee silver necklace

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My inboxes have never been fuller. 

But it’s not work – I think it’s fairly clear that being a freelance writer is hardly a road paved with gold right now. And it’s not because I have any major personal news. I’ve been housebound for what feels like 5,000 years. And it’s not because I’m n the midst of some kind of social or familial scandal. Again, I’ve been housebound for what feels like 5,000 years and regardless, my capacity for causing a scandal is small to say the least. 

I have however been whipped into a collective frenzy by friends baying to talk about Connell and specifically Connell’s silver necklace. 

If you know, you know. 

If you don’t know what I’m talking about this is probably isn’t going to be the most enriching read of your life but I’ll oblige you a tiny bit of context: Connell is a character in Sally Rooney’s bestselling novel Normal People which has been turned into a 12-part series for the BBC. He is played by Paul Mescal and everyone thinks he is, to quote the Irish, an absolute fecking ride, not least because he wears a thin silver chain around his neck which peeks out occasionally, but takes centre stage during full frontal sex scenes of which there are plenty. 

 “The necklace is so important,” enthused a pal over Zoom, with dewy skin and lust-dilated pupils. “I would feel at least 40 percent less attracted to him if he didn’t wear that chain.”

“God the chain is fit,” wrote someone else in a DM to me. 

 Another particularly enthusiastic pal left me a voice note singing “CHAIN CHAIN CHAIN, CHAIN CHAIN CHAIN”, also known as the intro to Aretha Franklin’s Chain of Fools.

Then of course, the chain got its own Instagram handle @connellschain which has over 15k followers many of whom furnish the comments sections with loads of water drop and aubergine emojis and comments like “HELP ME” and “I want him to ruin my life”. From this we can deduce that they are presumably not there to admire the craftsmanship of the jewellery. 

“That chain is key and core and fundamental to the plot,” another friend wrote in a long and impassioned email which discussed what jewellery can tell us about class and why it was basically the most essential piece of casting in the entire show. 

But hark and be ready to digest this bad news burger: Paul Mescal gave the chain to Daisy Edgar-Jones (who plays Marianne) after they finished filming NP and SHE HAS FUCKING LOST IT. 

This will come as a body blow for anyone obsessed by the show – because it just feels like another reason to feel bereft.

Loss is one of the main emotions cited among my friends – most of whom are in their mid 30s – when we talk about NP. It’s weird that something which made us feel empty and full at the same time has been so popular but it’s kind of like being smacked by nostalgia. I imagine this is in no small part to being literally incarcerated in our homes, with a whole heap of domestic shite to navigate as well as jobs and furloughs and phonics classes and money and miniature ice cream shops – all of this is so at odds with the freedom and possibility of Connell and Marianne, on the cusp of their adult lives, green with all that promise.

For most people teenage romances were the worst and the best – everything was heightened, dramatic and hormonal: we all just wrote song lyrics from all the tracks on the Romeo + Juliet soundtrack on A4 note pads trying to eke out as much meaning as possible from Lovefool. And that was before we’d even met any boys (all-girls school, in case it wasn’t entirely obvious).

So many of us found teenage love so painful and confusing and awkward and humiliating that it seems insane that some 20 years later we feel like we want to go back there, if not literally then just for a visit to take the temperature, (perhaps make a mixtape and post it to someone you fancy or smoke cigarettes in the pub wearing Buffalo boots and too much kohl, reeking of Aqua di Gio and waiting for boys to arrive). 

One pal said she cried throughout the series as it made her so sad that she’d never be a teenager again. She cried for the girl she was - and who she couldn’t be again: “The good and the bad, looking back there’s nothing like the excitement of being 17.”

Loads of women I have spoken to about Normal People have said that it makes them wish they could lose their virginities again. But why? The chain, that’s why. The chain gives them an alternative narrative to the likely horror stories of their own first times.

 Although that said, plenty of people have at least considered contacting their first love off the back of watching Marianne, Connell and Connell’s chain get it on repeatedly. 

A few have actually #reachedout to them. But one acquaintance who emailed her ex after 26 years to say she was thinking of him is now spiralling into a decline because he has not replied but is active on Twitter and she is now spending every waking minute looking into ways to digitally rescind the email (without much success). Another reason to want a time machine, then.

Meanwhile @connellsnecklace is now at 15.5k followers which is a growth of 500 in one hour.

One of my most obsessed-with-Connell friends just messaged me to ask if I was aware of it. 

“I am aware,” I replied snippily because I am basically the unofficial Chief Awareness Officer of the entire account. 

“I’ve been thinking about what I’d say to him if I actually met him,” she replied to me, having had word that he lives in London. “I haven’t worked it out yet, but I do need to sort this. Don’t want to waste the opportunity if it presents itself.”

“No, absolutely not,” I agreed. “But you do know that IRL Daisy Edgar-Jones lost the chain, don’t you?”

*Long pause*

“WTF.” 

Lifecycle of a freelance writing job

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Stellar idea for a story born while hoovering the stairs

Immediately condense what is crystallising as a brilliant, original, ground-breaking idea into a succinct tease of a pitch and send off to one very lucky editor at a deeply suitable publication 

A week later, no reply

Follow up, no reply

Send to another editor

No reply

Send pitch to any and all editors you can find the email addresses of at the same time

Anxiety that all editors will want the story

Anxiety that you don’t know correct protocol when it comes to fending off editors

Anxiety that editors who miss out on the story will blacklist you

Daydream about negotiating some kind of bidding war between desperate editors

Silence from all editors

More silence from all editors

Breezy follow up email to all editors asking if pitch has been received and if any thoughts were to be had

Silence from all editors

“Why does everyone hate me and my ideas?” sent to WhatApp group of long-suffering friends, one of whom takes the reins and feeds you some nourishing compliments

One editor replies describing pitch as “interesting” but “not for us at this time”. There is no suggestion that you should pitch to them at any other time

Consider a career as an estate agent in order to gain free car

Put gratuitous picture up on Instagram to shore up self esteem

Suspect everyone hates picture because you are a narcissist with an oily T zone 

Delete Instagram 

Another editor replies with apologies for late response. You identify them as someone who doesn’t hate you; they have in fact been on annual leave and what’s more, they want your brilliant idea. They have identified you as an accomplished pitch-writer, storyteller and journalist and would like your ground-breaking work


Feel extremely professional and valued 

 Realise that the pay is appalling

 Realise the deadline is q. tight

Realise that this is actually a hugely complex topic with lots of branches creeping off hither and thither

Put out a call for case studies on Insta Stories. Someone you used to get off with at university replies: “How r u?” 

You set up phone interview with actual case study

Five minutes before phone interview you establish your Dictaphone is at large

Find Dictaphone in bottom of handbag with tobacco clogged into some of the buttons. Fear it may not work so employ 15-year-old shorthand on the back of an envelope from British Gas as back up

Hope that the interviewee is a talker but not too much of a talker

The interviewee speaks ceaselessly for 8,000 words which takes you lightyears to transcribe 

Agreed word count is 1,000 words

Quickly nip to the fridge to see if there’s anything exciting in it

Having inhaled six Babybel and got rid of some 3,000 words you’re ready to roll up your sleeves 

 Write a terrible, hackneyed introduction: “There’s something magical about April…” 

 Consider going for a walk to clear head but just really quickly play Candy Crush for 45 minutes

Highlight all the important bits of the story but realise everything on page is important or else it wouldn’t be there in the first place, would it? 

Wrestle with a rat’s nest page of complete nonsense

Become obsessed with one paragraph which is not relevant to feature in any way at all but contains a rather pithy sentence you came up with

Remodel entire feature to ensure that genius paragraph is included

Realise this is not killing one’s darlings and cut the beautiful paragraph, putting it in another document for future shoehorning purposes. Prose like that doesn’t come around every day

Now you’re into the swing of things and it’s all going brilliantly. This is what you were made to do, this is easy, this is natural. Daydream about your English teacher giving you 54/54 in GCSE creative writing coursework and think “she knew… SHE. KNEW.”

Realise you’ve used the word “understood” 13 times and fire up the Thesaurus

Realise you are 1,000 words over word count and ruthlessly start slashing at quotes 

Hate the entire shit-arse story which now makes no sense whatsoever

Print it off and edit with a pen. Old school and precise because this is the level of professionalism and service editors can expect from you

Finally, it’s basically perfect. It is three words over word count and you are thrilled with your precision and professionalism

Perhaps this might make a cover story. Maybe this will go viral. Or lead to a book deal! Maybe the book will be the basis of a docu-series which you will present! You are basically the new Stacey Dooley. God, you’re on the cusp of fame – possibly on an international level

File smugly on the morning of the deadline and wait for instant praise

Silence from editor

A week later there is still silence from editor 

 A week after that you send a casual “hope all was ok with the story?”

 The editor responds. “Thanks. Just had a chance to edit – marks attached.”

 Marks? What marks? Why marks? 

Open file riddled with block capitals and question marks: “IS THERE A HOOK TO FEMINISM HERE? NEED MORE STATS! NOT SURE THIS MAKES SENSE? WHY IS THIS RELEVANT? CAN YOU TONE DOWN THE ‘SATIRE’ PLEASE? WHO IS JOHN?” 

Consider digging hole in garden and burying yourself alive because editor hates you and thinks your work is second rate bollocks. The book deal seems a long way away

Feel too afraid to make a start on the edits. The ship has sailed. You’re obviously useless

Go onto Instagram and look at the wedding of someone you have never met which appears to have taken place in an Italian castle. Follow the tag on her wedding dress and then browse all wedding dresses on the designer’s wall. Wonder if your own wedding dress having had such a high neckline is something you should regret

Reread editor’s email searching for a grain of optimism and realise it says “can you get this back to me by tomorrow am pls?” 

Make a start on the edits and thoroughly disagree with each and every one of them, except “WHO IS JOHN?”, because you introduced him late in the piece with no surname or context, which you must admit is poor by anyone’s standards

Send the edits back with nothing but a curt “thanks” in the body of the email. Nothing like giving a blast of cold shoulder to an editor who literally doesn’t know or care who you are 

Silence and nothing but silence

Weeks pass. Story is nowhere

Grow anxious about whereabouts of the story

Send a whisper of an email “checking in”

Email back from editor: “Can you rework this so it’s still timely and relevant please?”

Fantasise about sending the editor one of your cat’s turds in the post

Make the story timely and relevant which it was when you filed it to deadline FUCKING MONTHS AGO

Re-file and send a slightly terse email about how you can best invoice

Silence

Grow anxious about whereabouts of the story

YOU’VE BEEN PUBLISHED AND POTENTIALLY MILLIONS OF PEOPLE ARE READING YOUR WORDS RIGHT NOW AS THEY SIP OVERPRICED COFFEE

Spend actual hours creating an Instagram grid post about your story, working out how to say “headline is not what I would have chosen myself” without cheesing the editor off 

Realise editor does not follow you on Instagram anyway, freeing you up to be your authentic self

LINK IN BIO BITCHES! 

Feel irritated that not as many people are whinnying about your work on social media as you might have anticipated for what you would absolutely class as the turning point of your entire career and life

Read the story again and become mercurial with rage that one of your best lines was taken out

Ask your husband if he thinks you are an egomaniac. He says “why do you ask?”

Check emails for any form of spin off work

No work appears to have spun off 

Stellar idea for a story born while hoovering the stairs

 

 

From the questionable to the totally obnoxious, the worst lockdown behaviour unpacked

Although it feels like an eternity, we’ve only been locked down for a matter of weeks – asked to do absolutely nothing except stay away from other people. And yet, we’ve still managed to cultivate a whole host of brand new completely intolerable comportments. 

Celebrities making ham-fisted attempts to relate, parents baying to be crowned Most Accomplished Homeschooler or anyone wanting plaudits for their altruism, the goings-on since we all moved inside prove that as a species humans are the worst. 

Maria Von Trapp Syndrome

Lockdown was made for competitive parents. The timetables, the immaculate workspace, the no-TV pledges, the phonics cards, the playdough, the egg blowing, the times tables games, the sculpture, the virtual museum tours, the long division, the shadow puppets, the pipe cleaners, the (sugar free) cake baking, the book binding, the poetry recitals, the long division. 

The easy accomplishment of all of these are breathily transmitted onto Instagram by the type of parents who look like they were once part of The Kooples advertising campaign but now live in Stoke Newington where they just finished project managing the installation of a side return the size of Wookey Hole. 

“Now is not the time for perfect parenting,” they purr, as their children master joined up writing/coding/Mandarin/meringue mixture in the background. “It’s just about survival.”

Their ‘survival’ is a standard that most parents – wild of hair and foul of breath in fusty dressing gowns, serving three meals of beige matter per day and blithely handing the TV remote to their children at 7am so they can attempt to salvage what remains of their careers in relative peace – would consider a zenith. And they know it. 

 

Poor Houseparty Etiquette

It’s hard to believe that one can experience FOMO during a global crisis where there is a government mandate demanding that we all stay in our homes but Houseparty and other such apps ensure that you can still get a regular fix of acute social anxiety from the sagging mass of your own sofa. 

Who is in The House? Shall I wave? Why haven’t they waved at me if we’re both in The House? Who are they waving at? Why they in that locked room? Who else is in there? Shall I lock the door on my own room to add an air of mystery even though it’s just me in here?

Then, how to be available in The House but also invisible to all the people you have been avoiding for years? Also, why are we doing this? Why do we need to be talking heads with people more than before? And why can’t we just talk ear-to-ear? I hate seeing my egg-with-hair head and find I can’t look at anything else. Also, some people definitely do full make up and have erected a lighting rig so they look devastatingly beautiful for Houseparty. That’s irritating.

The pressure to Houseparty is relentless. 

“Can we just do ear?” I say to friends, on the normal phone.

“But it would be quite nice to have a bit of a party though?”

“Yes it would,” I say. “But absolutely nothing about 23 people bellowing over one another on a screen is the kind of party I need. Let’s not shoot our party load like this – let’s wait until we are free and have an actual human party.”

But no one is convinced and we continue to drink face to multiple face, everyone in slight crisis over who gets to hold and conch and for how long? How does one know when to speak, or when to stop speaking? At least one person has poor internet, someone else mutes themselves but doesn’t realise, the sound crackles. 

But the worst part of it is when people screenshot their house party – beaming faces, wine glasses, backdrops of plants and paintings and obscure ornaments and bookshelves – and then post it to Instagram. Because if you were involved in a thigh-slapping party with loads of super fun friends and you don’t broadcast it on every social media platform, did it even happen? 

 

Volunteering Mentionistis

If lockdown reinforced anything, it’s that seemly only a very, very rare beast can perform a totally altruistic, good and generous deed and simply not mention it to anyone. 

I’m not talking about fundraising efforts that rely on social media to gain traction and support. There are some brilliant initiatives such as the Artists Support Pledge or the Run 5 Donate 5 Nominate 5 Challenge - and there’s no better way to spread the word than online. 

I’m talking about the relentless referencing – verbal, pictorial, written – of everyone’s volunteering efforts. Giving - time, money or skills -  is a beautiful thing, but it is tarnished somewhat by the accompanying need so many of us have to be congratulated for it. 

From soup kitchen selfies to humblebrags about burst shopping bag fails while out delivering pasta to the elderly: we just cannot resist seeking attention and praise for doing what is essentially the only right thing to do. 

Is discreet humility too much to ask for? Seems so. 

 

Misery Volleyball

“I feel really, really alone right now,” says a single friend. 

“Huh – I’d love to feel alone. I’d love to feel anything at all but I can’t because I don’t have time. I am so stressed. I’m exhausted,” I say. 

“Well at least you don’t have the mental space to ruminate on stuff. Like, when am I going to hug another human being again?” says my pal.

“Careful what you wish for! This morning I couldn’t even take a shit without a child demanding to sit on my knee,” I huff. 

“Well I find it really hard when people post pictures of their families or other halves together during lockdown – at least you all have each other,” says my friend. 

“Well I find it really hard that you post midday selfies in £500 silk pyjamas and you’re reading a book a day and do your job uninterrupted and get paid for it and can make macaroons from scratch if you feel like it.”

“It’s just a long time to be on my own, that’s all,” says my friend in a small voice.

“Well it’s a long time to be without childcare,” I roar. “I’m staring down the barrel of six months of this horseshit.”

“It is your child…” snaps my friend.

“Yes but I feel like I am losing my identity… Am I a nanny? Am I Mary Poppins? Is it ok that I have been forced to feel like Miss Hannigan?”

“I know exactly what you mean, I think I am fixating on my identity and reducing it just to being single, you know?” 

And on it goes forever and ever and ever – this misery volleying, this unseemly competition about who is having a crapper time; both sides certain they are worse off and neither willing to accept that their trash is the other’s treasure. 

Right at the very end of 40 minutes of moaning and whining one of us will say “are you going out the cheer for the NHS at 8?” and shame will silence us – for a day or so. 

Exceptional Exceptionalism 

Nothing sums this up better than England footballer Kyle Walker who urged his Twitter followers to #stayhome “protect the NHS and save lives” having, not 24 hours prior, hosted a sex party at his Cheshire abode with two hookers whom he paid £2,200 before sending them packing. How’s that for social distancing? 

 Hypocrisy and exceptionalism are not rare traits – and almost everyone is guilty of either or both to some extent. I simply don’t have the intellect to unpack this with any sort of eloquence or clarity but this piece by Alison Hills – a philosophy fellow at University of Oxford - brilliantly explains the conflict between individual choice and common good.

Celebrities trying to relate 

As her extremely dewy face hove into view and she began to coo into the camera about super powers and isolation from the comfort of what is presumably a private residence the size of Versailles no doubt fully serviced by staff, it was hard not to feel irked by Gal Gadot. 

The Wonder Woman star said she had been feeling “philosophical” and was inspired by Italians making music on their balconies to entertain one another while quarantined with Covid-19.

And then the singing started. Some 20 or so celebrities earnestly performed an acapella montage of John Lennon’s Imagine in oversized loungewear.

It takes a certain type of egomaniac to think that, when the world finds itself in freefall they can provide the global population an aural salve by launching into song – especially a song which urges the public to imagine no possessions as their livelihoods hang in the balance. 

The entire thing was tone deaf in every way – and some of them (Kristen Wiig) should have known better. Zoe Kravitz at least had the decency to look ashamed of herself. Cara Delevigne WASN’T EVEN SELF ISOLATING! She was having some kind of sorority party with Cindy Crawford’s daughter. (There is also something unsavoury about Gadot calling this bunch of some 20 plus celebrities her “Dear friends”. There’s more than a whiff of luvvie exclusivity about it that is totally surplus to requirement right now.) 

Someone on Twitter wrote that the video was clearly a direct result of people’s publicists being ill or in self-isolation – that is the only explanation for something so ill-conceived. 

Why do famous people seem to salivate over any opportunity to practise humanitarianism from on high? Why are they so convinced that all us plebs are going to be weepingly grateful for their glossy, emo content? Why do they think that - in a world where people have been physically fighting over loo paper in barren supermarket aisles and doctors don’t have adequate clothing to wear while treating sick patients and jobs and minds are being lost on a daily basis - their #mindful private estate mashups are going to be a welcome salvation? They are literally singing from an entirely different hymn sheet to the rest of the world. 

It is, of course, a disastrous time to be a celebrity – their thunder stolen by a grizzly virus which not only sucks up column inches but has brought into sharp focus all the people that really matter – all those we have underpaid and disrespected while mooning after beautiful egomaniacs, and inflating their bank balances to boot. 

However, despite the Imagine effort going down like a shit sandwich, an intrepid handful of famous people weren’t going to give up the limelight with anything approaching dignity. 

We then had Madonna submerged in a bath of rose petals advising us that Coronavirus is “the great equaliser”. We had David Geffen reminding us to stay safe from the deck of his yacht, currently moored in the Caribbean. 

And then, in extraordinary scenes, we had the cast of Contagion - Kate Winslet, Matt Damon and Laurence Fishburn - acting as conduits between us and Columbia University in explaining how to best wash our hands. This does not say much for how we are perceived as a species if it is generally accepted that we think actors who play pandemic experts are pandemic experts. 

Celebrities have been lulled into a false sense of security that we want more from them than just looking pretty, singing or acting. We did this by liking all their insipid inspirational quotes and writing “PREACH” underneath their political musings and generally shoring up their belief that they were philosophers, academics and activists. 

But it turns out that a crisis of this scale will reveal what we really want from our celebrities. And it isn’t self-aggrandising performance platitudes or Norah Jones and Labyrinth joining forces to warble about the possibility of a world in which there is no need for greed and hunger. There is nothing less palatable than when celebrities try to be relatable and reach out to the little people, offering us a flake of their gilded concern and solidarity. 

We want celebrities to shut up and get their wallets out – something class acts like Rihanna have managed to do with almost no fanfare.