Sally Wainwright isn’t slowing down. The visionary behind British television’s most compelling dramas –Last Tango in Halifax,Happy Valley,Gentleman Jack– has struck gold again withRiot Women, a series resonating deeply with audiences.
The show’s instant success isn’t accidental. Wainwright crafts stories about the intricate realities of women’s lives, stories that somehow manage to captivate a broad audience. She explains, “It’s wonderful to get that affirmation, not just from our target audience, but from other people as well.”
Riot Womencenters on five women – Kitty, Beth, Holly, Yvonne, and Jess – navigating midlife and finding an unexpected outlet for their frustrations: a punk rock band. Wainwright’s fascination with her characters stems from a simple belief: “The older people get, the more interesting they become.”
The series arrived at a pivotal moment for Wainwright, fresh off winning the Rolling Stone Gamechanger Award. She recognized her work wasn’t just timely, but at the “cutting edge of what’s new.” The concept of a middle-aged women’s punk band immediately resonated, securing a swift renewal for a second season.
ButRiot Womendoesn’t shy away from darkness. Kitty’s life is unraveling, revealing a history of trauma and a strained relationship with her son. Beth battles suicidal thoughts, while Holly, a retired police officer, confronts the violent assault of a colleague. These are not easy stories.
Wainwright strives for authenticity, constantly questioning if her storylines are believable enough. “You’ve got to tell a dramatic, dynamic story, but marry it up with believability and authenticity,” she insists. She aims to create narratives that feel both compelling and real.
The show’s unflinching portrayal of difficult realities was initially a concern. Wainwright worried some storylines might seem “over the top,” until real-world events proved otherwise. The news, tragically, validated the show’s grim depictions.
WhileHappy Valleyconcluded after three seasons – a deliberate choice to avoid diminishing its quality – Wainwright sees a thematic connection between that series andRiot Women. Both are rooted in the same landscape, Hebden Bridge, and share similar values and a similar emotional core.
A thriller element, particularly surrounding Kitty’s storyline, further links the two shows. Season two promises to delve deeper into the complexities of abuse and exploitation, handled with sensitivity and nuance. Wainwright hopes to explore these themes “without being too preachy.”
Despite the cancellation of her acclaimed seriesGentleman Jackby HBO due to shifting priorities, Wainwright remains undeterred. She acknowledges the changing landscape of television, where “American appeal” often dictates funding decisions, but continues to champion stories that resonate with her.
The loss ofGentleman Jackstings, as its passionate fanbase continues to hope for a revival, but Wainwright is already immersed in new projects. She’s currently developing three shows, two of which feature “powerful, interesting, complex women.”
Having begun her career writing for long-running soaps, Wainwright has witnessed a dramatic transformation in the television industry. The rise of streaming services has altered the landscape, demanding a constant elevation of storytelling.
She observes that the industry is moving away from simply portraying women as supporting characters. “We’re not just interested in women as appendages to men,” she states firmly. However, she cautions against complacency, noting a worrying trend towards a regression in representation.
Wainwright expresses concern that the progress made in portraying diverse and realistic female characters is being eroded, replaced by a narrow focus on youth and conventional beauty standards. She decries the rise of “airport thriller novels” translated to the screen.
Ultimately, Wainwright believes the responsibility lies with writers to continue pushing boundaries and championing authentic, nuanced stories. “It’s up to individual writers to continue to pitch things that they believe in,” she declares, a call to action for a more inclusive and compelling future of television.
