Analysing the representation of Gender in ‘The Only Way Is Essex’ (Rigley and Wood, 2010-).
In this essay, I will be analysing the stereotypes of gender in reality TV show, ‘The Only Way Is Essex (TOWIE)’ (UK, Rigley and Wood, 2010-, ITV2). Gender refers to a socially constructed set of behaviour patterns influenced within culture to determine performed traits (Branston and Stafford, 2010, 116: Google Definitions, 2018) which are categorized biologically, based around the sex (The Branston and Stafford, 2010, 116: Google Definitions, 2018). Gender is often confused with this idea, therefore creating unrealistic and controversial stereotypes of how physical male and female’s personalities should act. Within media stereotypes, males are seen as dominating and women are submissive, these are narrow representations of masculinity and feminity which can be subverted in some modern cases. The media represents this through various visual and aural elements; which will allow the essay to explore and identify the ways in which issues and important ideas of gender are presented in this show. This essay will argue that TOWIE portrays a great example of hierarchy and inequality through stereotypes of gender compared to the unconventional ideologies, illustrated through sexuality and femininity thus take a part in identifying people as a unique gender.
Gender is explored within, through consistent characters in each episode who create a tense atmosphere through their gender traits. The females take glamour very seriously, with almost every scene, a mention of their appearance. This creates a state of control that the men have over the women finding them as objects of desire (Mulvey, 1989: 19; Berger, 2008). As the series progresses, there is more cosmetics and surgery, revealed by sexualising clothes. By ending up in a club most nights, the majority do not have stable relationships, mostly with trust issues hence this enhanced view on women by men. They are emphasised as attractive with padded bras and fake eyelashes; making the men fantasise over their appearance. This is overly represented in a sexualised way of women, referring to the Male Gaze (Mulvey, 1989: 145), thus constructing patriarchy in this social environment and false consciousness on reality (Butler, 2011: 1-30). A hierarchy of men over women creates an impression on the audience that is uncomfortable when the women are unaware of their surroundings and mostly weak against dominating males who have only just noticed them. This is argued by Seyla Benhabib (1992) in which she identifies that Butler (2011) is not referring to or pointing out the struggles that women face especially, as within TOWIE, the way in which males act constructs normality. This is broadcast, setting an example as a way to act in society (Benhabib, 1992: Rackham, 2018). The males within TOWIE, are extremely self-absorbed focusing on the economic and sexual side of their lifestyle which can be combined as their occupations are mostly club promoters (Biressi and Nunn, 2013: 274). As seen in Figure 1, Mark Wright, wearing designer clothing, is flirting with other females in clubs; he buys them a drink, despite knowing that his girlfriend (Lauren) is sat at home conforming to the archetype of a traditional housewife. (Rackham, 2018). He is very controlling over her, showing signs of emotional abuse, thus putting herself into challenging situations of arguments and outbursts with other girls (Rackham, 2018). This presents females as very argumentative and confrontational which creates a lot of drama for themselves as well as the viewers, gaining a sense of audience gratification. The audience watches the show to gain pleasures of escapism and personal relationships in which they can relate to the happenings and problems or contrastingly, escape their everyday lives (Katz and Bulmer, 1974). Audience perceptions are manipulated by these representations like gender, to conform to these ideas of identities which are learnt due to modern social behaviour. (Butler, 2011: 1-30; Beauvoir, 2014). On the surface, the men are very chivalrous with taking the women out for dinner, opening doors and complimenting them, however, the majority presents them as drunk individuals, trying to act similar; promoting the “laddy” (Rackham, 2018) stereotype. This constant wild behaviour associates the typical class of an Essex brought up male (Biressi and Nunn, 2013), with wealthy lives risen from a working-class background. The cultures combine and behaviour doesn’t change. The reasoning for the entertainment show allows their ‘blonde’ moments to function hybrid identities to an audience thus reinforcing the idealised ‘Essex Chav’ (Jones, 2011: Higson, 2000: 64). The targeted audience can relate to people on the show in their 20’s who party each night. The opinions on the way the ‘stars’ act differs depending on the ways the audience encode and perceive the actions (Hall, 2003) linking to the idea that the followers are trapped to the conventions of the age group (Chandler, 2004: 100-105). Chaos and drama never end in the lifestyle as the genders dispute with one another. The misogynistic language used in the TV show leads to social misconducts and hatred, which is common in men shouting at women and behind their backs (Figure 2). This can be with controversial cursing to using unsuitable animal terminology foreshadowing recognisable representations of a male hinting towards sexism. This is not a desirable “example for young people to follow” (http://www.youtube.com/watch?v=L45o7Mzjq4k) Cited in: Biressi and Nunn, 2013: 270).
On the contrary, gender has been dramatized to challenge the binary oppositions, from subvert characters such as Harry and Gemma. Sexuality juxtaposes stereotypical representations of gender through the role of Harry, who is friends with a large group of girls, works in a salon, takes pride in his appearance as well as acts weak and submissive in the company of men. Analysed in Series 12, Episode 5 he presents stereotypical female traits of emotion when he is going through a break-up. Gender roles are shown as non-binary, which is represented in more modern and western media representations (Biressi and Nunn, 2013: 271). He is open about his sexuality and relates to female traits, which has influenced some of the metrosexual men who are more inclined and easily persuaded to explore their sexuality through the lack of female attention and luck (BBC Bitesize, 2018). Shown in figure 3, this appears in Series 14, Episode 3, when the men have a pamper night, enjoying each other’s company rather than clubbing, under the wing of alpha-male Mark trying to chat up ‘birds’. These learnt social behaviours are created out of cultural civilisation determining how one acts whilst challenging binary oppositions on what is right or wrong. Social and cultural exposure determines attitudes on how one acts from learnt behaviour which conforms to the concept that gender is not created when born but becomes you. (Beauvoir, 2014).
Joey also constructs the unusually subvert archetype to an Essex male through his presented lack of intelligence, usually a represented female trait. Instead, the women help Joey with some knowledgeable answers creating a reversal of roles.
Feminism is widely diffused throughout the course of the series’ as they are educating themselves in order to earn money. Jess has a degree in Law conforming to unconventional stereotypes of the ‘Essex girl’ as she is knowledgeable when men are supposedly the dominant characters in education, protection and wealth. Also, Gemma inspires the spread of positivity, meditation and power of women throughout Essex. This is seen in figure 4 as Lydia manages her own boutique (‘Minnie’s’) and design the collections. Through social media, she gains a lot of business from fans. Business is stereotypically seen as a male’s occupation in order to earn the money for the family. The women are seen as powerful without the help of men (McRobbie, 2009: 64). This reinforces the idea that feminism is an important part of a culture in making women’s right equal to men’s, therefore, changing the representation of gender, to the positive outcome within a modern society (Buckingham, 2004: 4).
Referring back to Gemma, she has a fierce personality that men are “scared of”. This can be due to her argumentative, stubborn personality and use of derogatory language. A new style of post-feminism females ensures that there are freedom and equality of speech and opinions. She constructs a performative identity which can be very controversial but liberating to women (Butler, 2011: 1-30; Pugh, 1992: 246-270; Hooks: 115-120).
Due to this self-success, the women are economically taking situations into their own hands. It becomes more aware that the performers are of a materialistic consumer culture; spending money on their appearance. Being at a boutique, salon or surgeon’s becomes second nature as they are a place to socialise and change their images as the “passport to individual recognition and social success” (Biressi and Nunn, 2013: 277); they do not understand the implications this has themselves, which once again, highlights the idea of the stereotypical ‘Essex brain’ (Biressi and Nunn, 2013: 275).
To conclude, gender is represented very stereotypically in terms of controlling and self-absorbed males chatting up heavily made up and glamorous women who fall at their feet. However, as explored, more personalities are being liberated by feminism and sexuality, conducting subvert gender traits represented in the media. From these examples, a post modernised culture has shown a minor change in content and representations to influence audiences. Women are still seen mostly as the stereotypical non-educated ‘Essex girl’ focusing on their appearance whilst the men have superior personalities from their successful careers leading them to overlook the women.
Despite the change in society, the media still focuses on the negative representations of a hybrid reality. This is broadcast to people as an influencer to modern day life which is very hegemonic and unrealistic, with little equality. These representations should not be constructed in the media however with the entertainment factor from audiences gaining pleasure in watching arguments and uneducated conversations, the viewing levels are still popular meaning that the media will continue to construct these inaccurate ideological representations of gender.
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