Get outta my pub and into the cultural conversation

Hello and welcome to my latest Gen X input on popular culture. Hot on the heels of the Band-Aid 40 year anniversary comes the 40th birthday of another stalwart of British culture - Eastenders. Surely there is not a single person in Britain who hasn’t heard the infamous lines ‘Get outta my pub!’ or ‘You ain’t my muvvvvverrrrrrrr’. (Indeed, in a bid to culturally educate my younger colleagues here at The Unmistakables I played them the latter clip as an introduction to our client, Mother.)

For exactly 40 years, Eastenders has been at the forefront of British television, pushing boundaries and sparking national conversations through its compelling and often controversial storylines. 

From shedding light on social injustices to breaking taboos with bold narratives, the BBC soap opera has continually used its platform to tell untold stories that resonate deeply with the nation. 

Brands seeking to remain culturally relevant can learn valuable lessons from Eastenders' ability to engage, educate and emotionally connect with its viewers. Impressively, it has stealthily evolved in response to the ways in which audiences now engage with television. As we know, the days of collective 'watercooler' moments, where everyone discussed last night's big episode at work, have been replaced by fragmented viewing habits and social media discourse. With streaming services, catch-up TV, and an abundance of content competing for attention, Eastenders has skilfully embraced digital platforms to remain relevant. EastEnders maintains an active presence on social media, using Instagram and TikTok to engage with audiences in different ways, provide exclusive content and spark conversations. By adapting to the ‘attention economy’, the soap ensures that its storylines continue to drive discussion beyond the traditional broadcast slot, keeping it a crucial part of the national conversation.

EastBenders

In 1987, Eastenders made history by airing the first gay kiss on British television between yuppy Colin (played by Michael Cashman who went on to found Stonewall) and Barry (played by Gary Hailes). At a time when LGBTQ+ representation was scarce and often vilified, the show tackled homophobia and societal prejudices head-on. The backlash was fierce prompting criticism that would be unheard of today, not least from our favourite Piers Morgan who labelled the show ‘EastBenders’. 

Nevertheless, the storyline was instrumental in paving the way for greater acceptance and visibility of LGBTQ+ characters on mainstream TV. What I particularly loved about this storyline, despite being just 11 years old at the time, was Dot Cotton’s initial negative reactions to “that sort of thing” which eventually blossomed into a long-lasting friendship between her and Colin. 

From these early years, Eastenders has continued to platform LGBTQIA+ communities - opening gay bar The Prince Albert in 2019 and airing the first lesbian wedding between Sikh matriarch Suki Panesar and Northern lass Heather Peace on New Year’s Day - demonstrating authenticity, challenging stereotypes and normalising diversity all in one fell swoop. 

Don’t die of ignorance

Eastenders was also one of the first mainstream soaps to feature an HIV storyline. At a time when the British public was terrified of ‘catching AIDS’ - perpetuated by the ‘Don’t Die of Ignorance’ tombstone TV ads - Eastenders fearlessly confronted the issue through the (cis-hetero) character of Mark Fowler, who was diagnosed with HIV. His journey helped dispel myths surrounding the virus and provided a much-needed human face to an epidemic that was so often misunderstood or labelled the ‘gay disease’.

Broken Britain, courtesy of Maggie T

Alongside these storylines came the harsh realities of unemployment and financial hardship. Arthur Fowler’s storyline, which saw him struggle with long-term joblessness leading to depression and eventual imprisonment, was a stark portrayal of how economic struggles can affect mental health and family dynamics. Who could forget the portrayal of sheer devastation and desperation in Arthur Fowler’s iconic Christmas Day scene?

At a time when unemployment in Britain was at an all-time high, Eastenders made an unflinching commitment to portraying economic difficulties with empathy and nuance - helping to normalise the out-of-work Dads who were waiting to collect their kids at the end of a 1980s school day. 

Baby farming 

Fast forward to today, and Eastenders remains committed to telling the stories of the people who watch it, educating without preaching and gently guiding us to confront elements of our collective history that we may not fully comprehend. Personally, I learned a lot about a topic I knew nothing about - the issue of ‘farming’ in Britain, which was brought to life by the character of George Knight, landlord of the Queen Vic. In 1968, up to 5,000 West African children were essentially ‘bought’ by White British people. In George Knight’s case he was always told by his White parents that he was Jamaican only to discover in his 50s that he was in fact Ghanaian - leading to an ongoing period of questioning his own identity and place in the world. 

South Asians who don’t (always) work in shops

Saeed and Naima Jeffery, the first Asian characters and shopkeepers in Eastenders did nothing to dispel the stereotypes associated with South Asians in Britain at the time, nor helped me in my tiny village school argue against the name-calling and ‘accusations’ that my parents must surely have a ‘P***-shop’. I’ve been pleasantly surprised with the updates to Asian families since that time but totally blown away with the introduction of the Panesar family in 2019 which really marked a significant step forward for Eastenders in its representation of British South Asian communities. 

As a family of ambitious, flawed, and multi-dimensional Sikh characters, they challenge outdated stereotypes and bring a fresh, modern portrayal of British-Indian life. The Panesars navigate both family expectations and personal ambitions, touching on issues such as generational conflict, business struggles, and cultural identity. By ensuring that their storylines are nuanced and representative, Eastenders has deepened its commitment to authentic storytelling, reinforcing the importance of visibility and well-rounded character development for underrepresented groups.

What brands can learn about staying relevant in a changing cultural landscape

Brands looking to connect with modern audiences can take several lessons from Eastenders’ approach:

1. Address real issues with sensitivity and authenticity – Just as Eastenders doesn’t shy away from difficult conversations, brands should be willing to tackle social issues in genuinely meaningful ways. 

2. Use authentic voices - Eastenders has increasingly engaged people from relevant communities, such as disability advocate Dr. Shani Dhanda, to consult on storylines. This approach helps create well-informed, respectful, and meaningful narratives that truly reflect the lived experiences of diverse groups.

3. Sing, don’t shout - take a long term approach to engaging communities. There’s never a ‘one and done’ on Eastenders: the writers take the time needed to tell intricate stories, ensuring they have set up their storylines carefully and have a ‘right’ to engage with particular topics through the lens of Eastenders. The same approach is needed from brands to create meaningful engagement with resonant content. 

4. Evolve with the times – From the 1980s to today, Eastenders has adapted its storytelling to reflect cultural and legal changes. Brands must also stay attuned to shifting societal norms and consumer expectations to remain relevant.

5. Foster emotional connections – The show’s ability to create deeply personal and emotional narratives is key to its success. Brands should aim to create authentic storytelling that fosters emotional engagement rather than simply selling a product