Working-class female protagonists remain rare, however. More often than not, working-class women play supporting roles as mothers, wives or lovers. Their characters are invariably underwritten or stereotypical.
Phoebe and Paige’s evolution through their working lives is particularly poignant to the millennial Charmed audience; many people I know grew up watching the three (or is it four?) sisters flitting from job to job in their quest to find purpose and fulfillment. And we don’t even have daily demon attacks to contend with!
A primary question about social fiction is whether the story remains relevant, or if the sociopolitical situation remains mired in the past. Norma Rae does retain relevance, though she’d likely be working in Walmart today instead of a textile mill (as I watched, I wondered how many textile mills still operate in the U.S.). While the movie seems to be a window on a past time in working America, it’s still relevant—and progressive—on many levels.
People who don’t work in the arts don’t realize how much work goes into it. Writers write hundreds of pages before any reader (who isn’t a blood relative) loves their work. Musicians practice for countless hours and write a lot of shitty songs before they compose a tune that makes someone want to sing along. Moms Mabley, the Black, queer woman comedian born in 1894 in the Jim Crow south, ran away at age 14 to become a performer and spent much of the next 66 years onstage, performing and polishing her own comedy routines. Her long experience may be why her work, nearly 40 years after her death, still elicits laughs.
Because Katharine steals Tess’s idea, we automatically pull for Tess, the lower-class underdog; consequently, we are forced to view Katharine, the upper-class princess, as the demonized, selfish boss, determined to achieve success no matter what. Hurt, yet motivated to take control of her career, Tess is now forced to lie in order to have her voice heard. This causes her to be pitted against a boss who has clearly abused her power. Even though Working Girl seems like a harmless, romantic drama, its female representation is firmly rooted in classism and sexism.
“Hey we’ve come this far, haven’t we? This is just the beginning.”
The beginning was in 1980, when this feminist comedy classic was released. Dolly Parton belted out the title song, which features a “boss man” who is “out to get her”–it’s an uplifting song, though, that echoes the closing celebratory sentiment: this is just the beginning. Things are going to change.
Our contempt for Miranda Priestly is due, in large part, to the way the film contextualizes her decisions, not just her personality. In making her into a shrill caricature of a woman executive whose single-minded focus on her career ruins her personal life, the film, like so many others, shortchanges the potential of a character like Miranda.
It is the overwhelming drive for excellence that makes the women on the show so real. It sometimes feels that this kind of ambition is not allowed to exist on TV. Sure, women can have high-powered careers and be very successful. But this is different. This is a show that not just portrays ambitious women, but is actively about professionally ambitious women and how they relate to each other and society.
Women of color who are workers don’t weigh heavily in the American cultural imagination. When women of color appear in films, they tend to be secondary characters in low-paying jobs. Rarely do we see movies about working women who happen to be women of color.
Jessica, Rachel, and Donna are all women working in a male-dominated industry. Jessica has overcome the sexism in the workforce by out-thinking it and by dominating the competition. Rachel has chosen to forego any help from her father, in favor of trying (and failing) on her own. And Donna has seen the patriarchal systems of power, and used them to her own advantage.
TV families are generally presented as aspirational. They usually live an upper middle class livestyle and frequently live comfortably on a single salary, have college degrees and wealthy backgrounds.
Usually when characters work menial labor or minimum wage jobs, they are presented as being in a transitory period. This is the stage before the character gets their life together, when the artist waits for a big break or where a youth supplements their allowance with their earnings. It’s rare that this work is presented as the character’s real life, how it will likely always be.
TV families are generally presented as aspirational. They usually live an upper middle class livestyle and frequently live comfortably on a single salary, have college degrees and wealthy backgrounds.
Usually when characters work menial labor or minimum wage jobs, they are presented as being in a transitory period. This is the stage before the character gets their life together, when the artist waits for a big break or where a youth supplements their allowance with their earnings. It’s rare that this work is presented as the character’s real life, how it will likely always be.
Written by Elizabeth Kiy as part of our theme week on Women and Work/Labor Issues.
Raising Hope title card
TV families are generally presented as aspirational. They usually live an upper middle class livestyle and frequently live comfortably on a single salary, have college degrees and wealthy backgrounds.
Usually when characters work menial labor or minimum wage jobs, they are presented as being in a transitory period. This is the stage before the character gets their life together, when the artist waits for a big break or where a youth supplements their allowance with their earnings. It’s rare that this work is presented as the character’s real life, how it will likely always be.
Raising Hope is centered the “lower lower middle class” Chance family, Virginia (Martha Plimpton), a maid, is married to Burt (Garret Dillahunt), a struggling landscaper. They have a twenty-something son Jimmy (Lucas Neff), the result of a teen pregnancy, and act as caregivers to Maw Maw (Cloris Leachman), Virginia’s senile grandmother whose house they all live in. Their lives are decidedly unglamorous and everyone lacks maturity. That is, until, in a wacky series of events, Jimmy has a one night stand with a serial killer who gets pregnant, gives birth and is then executed, leaving the baby to the Chances to raise.
Family events like a camp-out on their lawn keep the Chances together and showcase their heart
The baby, Hope is the catalyst for the maturation, not only of her young father, but of his parents who now have a second chance to fix some of their mistakes. Helping them along is Sabrina Collins (Shannon Woodward), Jimmy’s love interest and later girlfriend and wife, who works at the local grocery store, Howdy’s and comes to view Hope as her daughter.
Unlike creator Greg Garcia’s previous blue collar series, My Name is Earl, characters in Raising Hope are not presented as criminals or cons. The criminal acts undertaken by the Chances, such as illegally selling popular Christmas toys or switching price stickers at the grocery store gain the audience’s approval as they are undertaken merely to survive. For the most part, they’re happy with their lot in life, they complain about their jobs only in the usual way people complain about their jobs, and daydream only idly about winning the lottery or making it as a rock star. They’re are uneducated, but intelligent and they have a cramped house, but its full of love, the way the Chances see it, it could be worse.
The Chance most often live in Maw Maw’s small house, but have lived in their van at times
Comedy with working class protagonists is difficult. There are serious problems in their lives that cannot always be easily and in all good conscience laughed at and the stakes are always high. The show, though allowed some degree of comedic license, could be criticized for its portrayal of a “lower lower middle class” lifestyle as full of charming eccentricity, rather than more realistically as a degrading experience. Indeed, most of the problems faced by a family like the Chances could not be solved in a half hour comedy or dealt with in a manner that could leave the viewer in a good mood after the credits. Thus, the show is to often outlandish, existing in a world of quirky characters, mythical town limits, unlikely resurrections and logical paradoxes, the same world enjoyed by other blue collar families on TV, like The Simpsonsand Family Guy’sGriffins.
Except, it’s a live action show where the naked faces and emotions of the family are always on display, keeping it solidly grounded in a sense of reality unavailable to the working class cartoon. Burt, Virginia, Jimmy, Sabrina, Maw Maw and Hope are real people, played by real actors and it is to the show’s credit that every once and awhile, the greater reality behind the comedy-creating challenges in their lives is exposed. Under the coat of absurdity, Raising Hope is often a trojan horse of a sitcom, leading viewer to think about poverty and social issues, instead of mere escapism. The Chances didn’t have health insurance for Jimmy’s entire childhood because they couldn’t afford it, they have one GED shared between them, no one was properly educated on safe sex, they’ve lived in their van for prolonged periods and frequently acknowledge that they would be homeless if not for mooching off Maw Maw.
What’s refreshing about the show is that the women are the most intelligent characters, though because the show is a comedy, their intelligence manifests itself in complicated schemes and manipulations. Due to this, Virginia’s frequent use of words like “philostrophical” becomes an adorable quirk, especially as she is one of the show’s shrewdest characters. Virginia and Maw Maw are geniuses when it comes to scheming, usually to help their family members overcome a character flaw, get revenge on someone who has hurt someone they care about and make mild improvements to their lives and Sabrina has learnt from their example. Burt and Jimmy are well-meaning man-children, generally getting easily swept away by their wives’ plans.
Burt and Virginia prepare for wealthy guests, pouring box wine into empty bottles in an attempt to appear well-off
Virginia and Burt are each other’s soul mates and have an egalitarian relationship where financial and childcare responsibilities are shared. However, Burt frequently takes care of handiwork in the home, while Virginia does the cooking and takes care of Maw Maw. They both also work in extremely gendered professions, highlighted by Virginia’s pink maid uniform and all female crews (though a male superior is sometimes glimpsed). While Burt is passionate about lawn work and is shown to have an encyclopedia knowledge of different mosses, Virginia sees her work as pure drudgery, and uses self deprecating humor as a means of coping. In her off hours, she has no shortage of things she is excited about, most of them blue collar passions straight out of reality TV. She’s a hoarder, she believed in the 2012 prophesy, is a doomsday prepper and collects like figurines of pigs dressed up for different jobs. Her great achievements are the small things that make her feel important, such as getting her granddaughter in the church nativity scene and winning the town’s annual bake-off, the sorts of community involvement usually portrayed as the past times of wealthy housewives who don’t have to work.
Virginia works as a maid for Knock Knock Knock Maid Service, cleaning the homes of wealthy families
In a recent episode, Virginia refused a promotion because of a fear of confrontation and the stress that comes from it. Like many women, she has been raised to be non-confrontational and like many lower class women, she does not have any confidence that she move up in the ranks and make her life better. When she ultimately takes it and becomes crew chief, she finds she is good at the work and enjoys it. As the show displays time and time again, though she lacks formal education, Virginia is seriously talented in relating to people and figuring out how to serve their needs.
With her new salary, Virginia is no longer stressed financially and suggests she and Burt could now afford their own apartment. This development counteracts the earlier seasons of the show, which suggest that the Chances could never expect to be better off than they are, by showing that Virginia was one promotion away from being able to support them satisfactorily. It’s a troubling message, suggesting that the poor could easily build themselves up if they just decided to stop being lazy.
But the Chances have shown multiple time that they don’t particularly desire to move up in the world. In one episode, the family is saving money for a new toilet after theirs breaks, they are given an expensive model worth two thousand dollars by a wealthy friend. This appears to be the beginning of the familiar sitcom plot where someone receives and expensive gift and struggles with the morality of accepting it, with the blue collar twist that the luxury item in question is a toilet. Instead, Burt and Virginia worry that having a luxury item will begin to move them to a social strata they don’t belong in and give them a taste for the finer things in life, things they cannot afford. It’s played as a triumph (scored by a song repeating “don’t care about being a winner”) when they return it and come home with a grungy, used model.
Though Burt and Virginia are originally fascinated by the expensive toilet, they ultimately decide such luxuries aren’t for them
They’re comfortable with who they are and luxury just not for them. Virginia, even in her unbridled fantasy, dreams of being given imitation diamonds sold on an infomercial by Fran Drescher for her anniversary.
There are always conflicts when the Chances encounter someone wealthy or well-educated. Hope’s serial killer mother, Lucy’s college degree is frequently brought up as evidence that she was too good for him. Several episodes explore the long standing rivalry between Virginia and her successful cousin Deliah, who often teases her about being poor. In another episode the family struggles to decide whether they can be friends with a rich family whose house Virginia cleans.
Most notably, in the second season, the Chances discovered that Sabrina’s family is extremely wealthy and she has chosen her working class life by refusing to accept their money. When Jimmy and Sabrina attend a party thrown by her father, it is clear that Sabrina assumes her wealth former friends are jerks and feels justified in mocking them. However, after spending time with them, Jimmy concludes that they are trying hard to be kind and include him even though he can’t relate to their stories of their lives. Sabrina, who feels she’s making a stand, the outsider exposing their gross entitlement, is the one who’s really being judgmental as she assumes her rejection of their lifestyle makes her superior. Here, Jimmy realizes that Sabrina is severely insecure and goes through life thinking she is superior to the people she meets, particularly her co-workers at Howdy’s who were born working class and did not make a choice to reject their privilege.
The Chances learn Sabrina is from a wealthy family when Burt sees this picture of her in a client’s house
Though its uncomfortable for a man to point out her flaws and force her to work through them, within the context of a sitcom, it’s refreshing. Raising Hope has a male character, Jimmy at its centre, but the female characters never become axillary figures, merely his wife and mother. In fact in recent seasons, it functions more as an ensemble, where each character has multiple flaws pointed out by everyone around them. Sabrina is not just the hot chick that Jimmy, himself an anxious mess of neuroses (he eats his eyebrows when stressed) has a thing for, but an actual human being. She’s overly competitive, combative and sleeps with a “pantyho” over her head to keep out the spiders. The very things she feels makes her a hero are her character flaws, whereas the things she takes for granted: her unconditional love for her adopted daughter, her enduring friendship with Jimmy within their romantic relationship, her deep affection for his family even when they become embarrassing and her often comically misguided desire to do good are what make her likable.
In one episode, Sabrina leads Occupy Natesville. The Chance family aren’t the kind of people to discuss economic theory or the wide-ranging social and cultural inequities that make their lives a constant struggle. Jimmy takes the protests message as a comfort, letting him know that isn’t their fault they’re poor. None of the family take an interest in what it means on a broader level to be part of the lower levels of the 99% or get involved in working for institutional change to the lives of the working class, but of course, their world is solidly a comedic one where a serious exploration of poverty would be out of place. As often happens in life, it is privileged Sabrina who fights for the lower class, claiming to speak for a group in which she has only tenuous membership. This brings to mind the idea that economic discussions often exclude perspectives of the very people who need them the most, because their voices are stifled by things like lack of education or free time to attend discussions.
In early seasons, Sabrina is a tourist, she exists in their world but doesn’t belong in it. She always be differentiated than the Chances, as she has her rich parents as a safety next. If she is ever desperate for money or in a situation where she just couldn’t take being poor anymore, she always has the option of accepting the money her father would willingly give her. The stakes for her are neither high nor impossible to transcend so she is able joke around at work, drawing faces on fruit and changing product labels.
Sabrina and Jimmy work together at Howdy’s Market
Though coming from a background of more privilege than the average viewer, she functions as an audience surrogate: correcting the Chances when they make mispronounce worlds or misinterpret historical events and showing amusement at the ways they have had to improvise to keep their heads above water. The entertainment she gains from observing the Chances and participating in their traditions can border on exploitative. She views them as a sideshow, a carnival act, even a television show. Her marriage to Jimmy, mandated by her grandmother’s will in exchange for a house, appears to bridge the gap between the Chances’ poverty and the Collinses’ wealth. Instead, it turns Jimmy into what Sabrina was, a tourist who frequently drops in on his parents’ hardscabble lives, but goes home to an expensive house he and his wife own outright. Though the series features lots of craziness and amplified reality, I feel this turn is where the show becomes really unrealistic.
Sabrina and Virginia are two women from very different backgrounds who ended up in a similar place. Though the series is an unrealistic portrayal of working class life, the women of Raising Hope are intelligent, dedicated to their families and coworkers and always well-meaning. The circumstances of their lives are far from ideal, but they way they manage to find reasons to be happy is admirable.
Throughout the series, Virginia is always looking for positive female role models for her granddaughter. Hope could do worse than do adopt some of these qualities from her mother and grandmother.
Elizabeth Kiy is a Canadian writer and freelance journalist living in Toronto, Ontario. She recently graduated from Carleton University where she majored in journalism and minored in film.
