Youth in Television

In this essay I will be exploring the different ways youth are portrayed in British television dramas. I will be analysing the first episode of the 2008 UK show ‘The Inbetweeners’ created by Damon Beesley and Lian Morris alongside the first episode of the 2022 UK program called ‘Heartstopper’, directed by Euros Lyn. In this I will be drawing on the theoretical work of Woods, 2016. Across my two set texts I am going to be discussing the representations of class and gender of youth groups in my first set text of ‘The Inbetweeners’. My second set text is ‘Heartstopper’ . I will be analysing the representations of sexuality and race across youth groups in an example of a more modern television drama genre. 

In Faye Woods’ 2016 British Youth Television she distinguishes between US and UK models of youth drama. She discusses the key difference between the styles, aesthetics and ideology. British youth drama is suggested to have a realism trope, Woods suggests that these UK dramas are normally set in working- class or lower-middle class environments. This creates a “sense of self and its audience relationships, drama and comedy displays a pleasure in its frank attitude towards ‘explicit‘ content – swearing, sexuality, drink and drugs”  (Woods, 2016, p. 69). As the ‘comic pleasure in disgust’ suggests that vulgar language and the topics explored within the show, edge towards Both: Woods’ theories, as well as Sarah Thorton in her theory: ‘The social logic of subculture capital’ introducing the term ‘quest of authenticity’. Woods suggests that UK youth dramas are created with the feel of realism and ‘a quest of authenticity’,  using this term to refer to the authentic and realistic characteristic the UK drama has compared to the US youth drama model. Whereas Sarah Thornon sees this term to recall the ways the youth seek to make themselves out from mass culture, this leading to a unique ‘authentic’ self. Woods also suggests that the ‘Narratives engage with social exclusion, mental health, teenage pregnancy Often marked by ‘emotional bleakness’’ (Woods, 2016, P. 69). She also implies that the main protagonists of UK youth drama are white, cis-gender men. In this section of my essay I will analyse attitudes towards class and gender within youth groups, drawing on from the theoretical work from (Woods, 2016) and (Laura mulvey, 1989). 

The first television drama I am going to be talking through is the 2008 UK show which aired on E4 called ‘The Inbetweeners’. Written and created by Damon Beesley and Lian Morris. In this series it follows a friendship group of 4 boys in a British sixth form, representing: lad culture, crude language and adolescent sexuality. 

The impacts of the class hierarchy influence the representations of youth throughout the pilot episode. Our main character Will is of a higher class. The mise-en-scene, more specifically : the costume design, and dialogue represent Will to be prestigious. When we are first introduced to Will in the opening scene of the episode, he is shown to be wearing a blazer and with a briefcase, whilst the other students around him are wearing untucked jumpers. This immediately suggests to the audience that he may be different in class and out of place. In this opening scene Will is explaining to the viewer that he has been ‘taken out of private education and forced to go to a normal school’ after his father has left his mother. The verb ‘forced’ used in this dialogue clearly showcases the negative feelings the protagonist has towards moving schools, therefore suggesting that he already feels uncomfortable and out of place. Later in the episode, we find out he was taken out of private education as his mother couldn’t afford the school fees. At 45 seconds, a Mid Shot of other students looking at Will walking into the sixth form and laughing at him suggests that he is out of place and being mocked for his appearance, as he presents himself as upper class, unlike his peers. When walking around the sixth form, different students walk past Will and say vulgar things to him, this being; ‘posh twat’, ‘Briefcase wanker’ and ‘that briefcase makes me want to punch you’. This is evidence that he had been isolated for his appearance regardless of his characteristics, as they have not yet got to know his personality. This reflects the viewpoints from the lower classes as they have been conditioned to judge based on appearance because someone, in this case Will, is acting outside the societal norm of a public school. At 1.18 we are introduced to other students who are also wearing blazers and have briefcases, Will in his Dialogue says that they are known as ‘the freaks’ again suggesting the social norms of the school is being middle to lower class, and acting outside that results in receiving insults and being isolated from the majority. Woods describes that in post-2000s British youth drama ‘narratives engage with social exclusion’. (Woods, pg 69, 2016) This is portrayed through the actions of Will’s friends, as the people he surrounds himself with are lower and middle class. When we first meet Simon, when Will is first walking into his class 6B, as Simon is told to be the one to show Will around. Simon complains saying ‘look at his blazer… he’s actually got a briefcase… his hair is a bit gay’. Having Simon be so defensive by being associated with Will suggests that he doesn’t want to adopt the ‘social exclusion’ that Will has received, as a result of his prestige. Therefore, Will’s appearance and attitudes to public schools in comparison to private education result in him being isolated from fitting in with his peers. This exclusion therefore makes him the target for mockery. 

The male gaze and male fantasy is used throughout the program. ‘The Inbetweeners’ is a great example of how the male gaze is used in the early 2000s youth television dramas. Edward Snow suggests that ‘a female can only function for the male-only as an object is sadist spectatorial possession’ (Edward Snow, 1989). As ‘The Inbetweeners’ introduces four of the main characters to be teenage boys showcasing their adolescent sexuality, therefore the sexualisation of the female characters is, somewhat, expected. Woods describes British Youth television as having ‘‘explicit‘ content – swearing, sexuality, drink and drugs”  (Woods, 2016, p. 69) In the series women are used to be there for the teenage boys to explore their ‘sexuality’ and vulgarity toward the female characters. In the first episode the characters go to a pub after school. Jay brags about having a fake ID to be able to go get drinks. When Will asks the other three other characters why they aren’t worried about the women getting served Simon explains that ‘girls always get served, as soon as they get tits they get served’. This suggests that post pubescent women are reduced down to only their sexualised features, which is a harmful representation of women as it enforces the male gaze throughout the series, and suggests to the audience that women are just there to be looked at. In Laura Mulvey’s theory, ‘visual pleasures and narrative’ she explains that the male characters are the ‘active’ and women are the ‘passive’. This means that the men are the bearer of looks whereas the women are the ones being looked at. Mulvey also uses the term ‘exhibitionists’ which describes someone that takes pleasure in being looked at. In ‘The Inbetweeners‘ it is implied that the female characters are there for the male attention. For example the main love interest for one of our main characters (Will) is Nicknamed as Charlotte ‘big jugs’ Hinchcliffe, the sexualisation within the characters name already suggests that her character is there for the pleasure of the male gaze and fantasy. The noun ‘jugs’, in reference to breasts, reduces the female character down to her sexualised body parts. The male fantasy can be described as fetishising the female body, like in Charlotte’s character. Mulvey also uses the word ‘fetishation’ which she describes ‘cinema’ and television it ‘refers to techniques used to emphasise erotic display, or attach special qualities to females and their body (parts)’. 

Throughout the first episode of ‘The Inbetweeners’ none of the women shown past the Bechdel test. The Bechdel test, created by Alison Bechdel, was created to measure how important the female characters are in the fictional genre. This test asks whether at least two women in a show or film can have a conversation about something other than men. This test was created to call attention to the active gender inequality in the fiction genre. In this episode not only did it not pass the test, two women were not shown talking to each other through the 20 minute episode. The only time a female character is shown talking is Simon’s love interest Carly. Carly’s outfit design is overly sexualised with her school shirt undone till you see her bra, and her skirt pulled up all the way, seeing her underwear. This is a clear example of Mulveys ‘exhibisionist’ and passive female character. This shows a clear example of how Carly is there for Simon to look at in an active view, by presenting himself as this sexual object, to be sexualised. The audience knows she is being sexualised as there are clear close up POV shots where the viewer is looking down her shirt seeing her bra. How the female characters express themselves with their clothes – though being sexualised links to Hebdiges’ ‘study of youth culture’ this theory suggests that he saw youth expressing themselves through their style and clothes as a direct message to their experience, though this theory was created in the thought of punk fashion subculture, in this case they dress like the rest of their sixth form. The female characters are sexualised as they want the male attention as they are ‘exhibisionist’ where the boys wear untucked shirts to show that they are in the middle to lower class public school. 

As the target demographic for this television program was for a young audience, such as 15-25 year olds, it is shown at the watershed (after 9pm) which enables it to show more vulgar material which isn’t suitable for children. As the show was broadcasted on E4 the show is funded by adverts (unlike the BBC which is a public service broadcaster), this gives the show freedom to make offensive jokes and to include controversial opinions. By doing this it makes the show appealing to the audience as the show is trying to accurately mirror real school in Britain, creating the ‘slice of life’ feel to the show. From rewatching the show in the modern climate attitudes towards the controversial viewpoints have developed creating a more uncomfortable feel for the viewer as some of the phrases they use wouldn’t be used in today’s language. For example, when Simon casually uses the term ‘gay’ as an insult for Will’s hair, it subsequently implies that being gay has negative connotations, which is no longer accepted in the modern day.

In this section of the essay I will be analysing how sexuality and race is portrayed by youth actors. The second Television drama that will be discussed is the 2022 show ‘Heartstopper’ directed by Uros Lyn which was adapted from the book series ‘Heartstopper’ written by Alice Oseman. In this series we follow the life of an openly gay teenage boy who falls in love with one of the students in his form class, who is currently finding his sexuality. 

Our main character Charlie Spring is a gay teenager who has been previously outed for being gay. As a result of this, he is bullied. In the opening scene we follow Charlie walking to the library at Truham Boys school, as he gets a message from Ben Hope who is the popular boy in the year above, who has a girlfriend, to secretly meet up. Charlie assumes that Ben and him are together but they always meet up in secretive places where no one can see them. Before he leaves after kissing Charlie he says ‘still don’t tell anyone about this’. Suggesting he is potentially ashamed of exploring his sexuality with Charlie. When Charlie sees Ben in the corridors, he acknowledges him by saying ‘hi’, Ben responds with ‘why are you talking to me I don’t know who you are’. This shows that Ben is using Charlie, as he is clearly questioning his sexuality but isn’t willing to demonstrate that in public. When talking to one of the teachers Charlie explains that he thinks he has a boyfriend but he isn’t sure because Ben ignores him in the corridor. When the teacher says ‘why don’t you talk to your friends about this?’, Charlie explains that ‘they wouldn’t get it, because they aren’t gay’. 

At 1.46 we are introduced to Nick Nelson, whose nickname is the rugby king, here Nick is seen as the stereotypical straight man. Rugby is pivotal to Nick’s character, as it is a stereotypical ‘masculine’, and heterosexual sport. When Charlie is told where to sit in his form his tutor says he is sitting next to ‘one of the rugby boys’ once Charlie hears this he rolls his eyes clearly angry with having to sit next to him. We find out later in the episode that the year prior Charlie was bullied by Nick’s friends in the rugby team for being gay. We soon learn that Charlie is developing a crush on Nick as though people know him as the ‘rugby king’ and first Charlie was weary as from the previous bullying from the other rugby players, Nick is shown to be a nice guy and is friendly towards Charlie. Though the first time meeting Charlie made a judgement straight away of what type of person Nick would be, a straight bully who would make fun of Charlie for being gay. Once Charlie gets to learn about what Nick is actually like, a friendship blossoms which later in the series ends in a relationship between the two boys.  

Like ‘The Inbetweeners’, ‘Heartstopper’ ‘social exclusion’ (Woods, 2016. Pg 69) is shown, not for class like in ‘The Inbetweeners’ but for sexuality. Though both ‘Heartstopper’ and ‘The Inbetweeners’ both shows are set in public schools, so the environment is similar. Both main characters are bullied but ‘The Inbetweeners’ Will is ‘socially excluded’ for how he presents himself with his class. Whereas Charlie is bullied for being gay and is excluded because of it, he feels like he can’t talk to his friends about his problems as ‘they wouldn’t get it because they aren’t gay’. This is the same for Elle, our trangender character, who just moved to the all girls school. We find out that her teacher would not use her name chosen Elle as he was a ‘massive transphobe’. As the teacher is transphobic this could be debated that he sees ‘Youth as a problem’ as the older generation couldn’t see eye to eye on how the newer generation see things and what’s now socially accepted. The argument that teenagers, which the term teenager was created in the 1950s, were made to be the problem, created moral panic by the media. Though the term teenager is now not as used in the media for moral panic but could argue to have more open opinions are more accepting. This could be debated in why subcultures in which Hebdige talks about aren’t as common as it is more normal for people to listen and dress what they like without being demonised for it, by the media and other people.Youth are portrayed in British youth dramas as being ‘explicit’ whether this is because of their language, or sexuality. ‘Crude language’ is also used in ‘Heartstopper’ this isn’t in the form of swearing, but at some points slurs are said. (Woods, 2016, p 69) The ‘f’ slur is said by the rugby players when they are talking and describing Charlie. 

Having a black trans woman play the only transgender character currently in the show, who is called Elle, you can tell the series is made for the modern climate.  As this makes the show more inclusive to a larger audience. This could also be the same for the LGBTQ+ community as the program included more than just straight cis-gender male characters which UK youth shows usually use, according to Woods ‘white, male protagonists tend to dominate’. Though our two main characters are men, normally the UK youth dramas, like The Inbetweeners‘ the characters are predominantly straight. With having other side characters being lesbians, one of which is a black woman.

Therefore, youth cultures have been portrayed differently across 2000s media texts (The Inbetweeners) and more modern 2020’s texts (Heartstopper). The representations of class and gender in The Inbetweeners accurately showcase the realities of youth culture in British 6th forms : sexualising women, isolating people who subvert societal norms and using crude language to do so. Whereas in Heartstopper, youth culture is represented through race and sexuality, showcasing the more modern views, which are more accepting of a variety of sexualities. The harmful representations of women and upper classes within The Inbetweeners (supporting Woods’ theory), are not evident in Heartstopper, due to the changing nature of representations of youth in the media. 

Filmography 

The Inbetweeners, 2008, dir Damon Beesley and Lian Morris, UK

Heartstopper, 2022, dir Euros Lyn, UK

Bibliography 

Woods, F., 2016. British youth television: Transnational teens, industry, genre. Springer.

Mulvey, L., 1989. Visual pleasure and narrative cinema. In Visual and other pleasures (pp. 14-26). London: Palgrave Macmillan UK.

Thornton, S., 1997. The social logic of subcultural capital [1995]. na.

Hebdige, D., 2012. Subculture: The meaning of style. Routledge.

Snow, E., 1989. Theorising the male gaze: Some problems. Representations, 25, pp.30-41.