In Episode 2 of HBO’s Divorce, Thomas Haden Church’s Robert visits his friend Nick in hospital. Nick has had a heart attack following a violent row with his wife Diane.
“Seems like it’s open season on men around here,” notes Robert, before adding that it must be “hell” for Nick to be lying there, “can’t speak, clucking hens all around you.” In case Robert’s anger at womankind has not yet been made clear enough, he then tells his wife Frances’ friend to “get the fuck away from me you old harpy.” As far as Robert is concerned, women are the enemy.
One could say he has good reason to be mistrustful. Not only was he almost shot by Diane, he recently found out Frances has been having an affair with a granola-making academic. Having changed the locks on their home, he asks Frances whether she ever slept with both her lover and him on the same day: “Because officially that would mean you were gang banged.” He tells Frances that he is going to make her miserable: “And more to the point I’m going to make our children hate you.”
Divorce is written by Sharon Horgan and executive produced by Sarah Jessica Parker, who also plays Frances. It would be difficult – and unfair – to argue that this is a dramedy in which female perspectives on relationships have been sidelined. Even so there’s something about Robert’s embrace of misogyny, almost as a form of liberation following years of repression, that I find deeply discomforting. It’s not unfamiliar territory in TV shows or films relating to the topic of separation, but still it leaves me, as a viewer, on edge.
Read the full post at the New Statesman.
Being female is an expensive business. It’s not just that the lipstick and high heels don’t come for free. Financially you are hobbled from the day you are born.
There’s no way of putting an exact figure on how much being a woman costs. There are various ways in which people have tried, estimating gender pay gaps, comparing pensions and savings, even checking how much more parents spend on presents for sons than for daughters. But so much of this is unquantifiable. What’s the cost of your time, your emotional labour, all those things you do or don’t do because the world belongs to men and you are not one of them? How does the impact of your sex intersect with your class, your race and your location? It’s impossible to get a precise figure for how much each of us is really owed. Still, since no one’s offering us any actual compensation, I suppose we don’t have to anyway.
At primary school in the 1980s we used to sing a song called Supermum. Vastly inferior to Billy Connolly’s Supergran, it was a study in patriarchal passive aggression:
Supermum, you’re wonderful, but very underpaid.
Supermum, you’re cook and cleaner, handyman and maid.
If you put in a bill, for all the work you do,
There’d be an awful lot of wages due.
Ha! How better to indoctrinate little girls into the ways of the patriarchy than by piling on the insincere praise? It’s not as though “Supermum” ever would ask for payment for her labours; indeed, that she doesn’t is the whole point. While we might occasionally see articles which fancifully estimate what the yearly salary of a stay-at-home wife and mother should be (£159,137, apparently), these are meant to be all the reward a woman needs. You don’t need the actual money, just someone to tell you (ideally via the medium of song) that your labour could be considered economically valuable. It could be, but it isn’t. Soz about that.
Read the full post at the New Statesman