Designing story (5): Possession, the relations between minds

Sexy, funny, lovely: Still from Possession (2002)

He felt that he was prying, and as though he was being uselessly urged on by some violent emotion of curiosity  – not greed, curiosity, more fundamental even than sex, the desire for knowledge.  – Possession,  A S Byatt (1990)

[ Part 5 of 5:  1) The intimacy of the written word, 2) Structure, 3) Archetypes and aesthetics, 4) Women 5) Possession, the relations between minds]

I have read many a How to write a bestselling... novel/book/etc. I love them inexplicably, though, I have not (yet) written (or published) a novel/book/etc., bestselling or otherwise.

In all of the how to books I have read, they identify the bestselling pattern, after the fact, after the book has been hailed as bestselling, which I think is cheating a little, especially as the author who identifies the bestselling pattern is never the one who has written the bestselling book under analysis. Personally, I would love to have someone write a how to, then wait a while, and then afterwards, publish a best seller. How cool would that be?

We all want to be seen, heard, and matter

As usual, I was wondering why the need to write (or publish) a best selling novel is so compelling and, why how to write a bestselling… books are so successful. Finally, the reason I came to is the one I always use for everything, probably now and forever, on this blog, in conversation, on social media, and it’s what I murmur during my sleep and that is: We all want to be seen and heard, we all want to matter. So, if we write (or publish) a bestselling novel, then of course, people will take notice of us, we will be seen and heard, and we feel like we matter.

The closest thing that I have read to a how to by a best selling novelist is A S Byatt’s Possession and all the wonderful things she said about writing it during interview. Byatt said that she set out to write a bestselling novel. And, I believe her. It is very different from her other work. (Just an aside, if you are thinking of Stephen King On Writing, as good as it is, a) it is part memoir, b) he wrote it long after he written many a bestselling book, and c) I’m psychic.)

I first read Possession in the midst of completing my PhD in Engineering and it was the only novel I have ever read before or since, that made me wish I’d stuck with my original plan of doing a degree in English Lit (I have A levels in History, French and English Literature and I have degrees in Computing, Artificial Intelligence,and Structural Engineering – I know!). Even today, as I am rereading Possession, whilst wrapping up this blog series, it still fills me with that yearning for things lost, you know the one.

A yearning that I’ve always known and always had

For me, it is brought about by the first spring evening when the clocks have gone forward, especially on a day like today (Mother’s Day) – a flash bulb memory causing you to remember all the other days you have lived through when you experienced that yearning, which somehow includes the promise of light, of life, of creation. Or, the other one which undoes me, sometimes in the middle of a pub, or a conversation, when I forget what I am saying because I hear a key change in a song, it might be a bridge, or include a certain phrase in a chorus, it’s that change which causes an uplifting and undoing all at once. It reflects a yearning that I’ve always known and always had, even before I had reason to yearn.

Possession makes me yearn too, for it is a fantastic novel of love lost and found, of lives not lived out loud, and it demonstrates all the things I have spent ages fathoming out whilst writing about what makes a good story, which begs the question: Did I write this blog series with Byatt in mind? I don’t think so. However, her desire to write Possession, began with the very nature of the question: If you spend time considering other people’s words then who possesses whom?  In Byatt’s words: Possession is about the relations between […] minds.

Truth is what feels right to us, the only truth we know

Possession starts with a familiar genre: the detective story. Byatt said she had been asked to review Umberto Eco’s Reflections on the Name of the Rose, and she liked the detectives, and how in order to destroy a library with fire, Eco had to design it so it could easily go up in flames.  To detectives she adds a quest for the truth after a serendipitous discovery of an unsent-beginning-of-a-love-story-letter in the London Library. And, then very cleverly she includes 1,700 lines of short story, poems and letters, so that we the reader find our own truth in these writings, knowing what we now know between the two authors, because truth is defined in semiotics, by what feels right to us. It is the only truth we know.

Mr and Mrs Smith in a B&B

Then, she describes the time and place so perfectly, we feel that we are researching too, in the British Museum, or that we are in Victorian times doing, as my mum would have called, a Mr and Mrs Smith in Whitby (alright: a euphemism for booking into a hotel to spend time together). Indeed, the still above is the two of them travelling up north in a train carriage, and it portrays that sense of intimacy which two people who have never been alone before, but who have corresponded for a while, experience on meeting for the first time, and which we sometimes feel online nowadays, before even meeting.

Archetypes and the twists in the tale

And, we have our archetypes: the academics, the feminists, the down trodden scholars, the women who endure, each which bring their own energy. Byatt provides twists on them, because although we like what is familiar, we want a twist in the tale. We want surprise and we want our archetypes to be just that – archetypes not stereotypes. The found letter is a catalyst, a herald of change archetype, for everyone involved in the story. And, to that mix, Byatt explores lesbians, spiritualism, and gothic grave digging in the present day and Victorian times to juxtapose living between the ages, with our liminal women who live enclosed lives, and our different ways of managing life, birth and death, influenced as she said by Henry James The Bostonians.

We feel the intimacy of the trip, the intimacy of a séance even written in the omnipresent third person. We feel happy escaping there, even when Byatt presents us with those polarities of life and death, of joy and pain, of agony and ecstasy. She describes them exquisitely.

Creativity: sex, life, and rock and roll

I once saw Byatt at the Oxford Union and remember her saying that she reads The Lord of the Rings when she is ill because it is comforting, because it is asexual. I remember giggling a bit at the time. But, now I get it. I often watch The Two Towers when I feel too ill to do anything. So much of life is about creativity which of course is inextricably linked to sex, the ultimate act of creation, to life, birth, death, and all the big questions such as: Why are we here? So, no wonder, grappling with all that, everyone needs the day off feeling sexy sometimes. Byatt writes about sex beautifully too, yep I know you were thinking about it.

So, how is this answering the question I started with in Part 1: How do we design a classic story? The answer is, we write about the emotional truth of a situation. We write about what touches us most and we do so with an open heart, with vulnerability, we lean in and we love, and we capture it, along with our regrets and the things we mourn, with a sense of significance. Stories matter, so we must do it in a way that uplifts us so that regardless of what happens, we can still look on life with a shiver of awe.

Sexy, funny, lovely detective work

And, this is the thing about Possession, a lot of the reviewers said that the book had a big heart, as if it was a surprise, that someone so erudite could be so sexy, funny, and lovely, but Byatt leaves us clues all along, even fusty, dusty James Blackadder thinks about learning things by heart, as if poems are stored in the bloodstream, and then quoting Wordsworth: Felt along the heart. Byatt knows that we all want the same things. We all feel the same way. We are all experiencing the human existence, even the seemingly fusty, dusty characters (and that is just one point of view of them) want to feel sexy, funny, and lovely sometimes.

And, we the reader spend the whole book reading the poems and short stories and letters (which Byatt achingly holds out on us for the longest time) trying to see the sexy, funny, lovely parts of the interaction between the two people who wrote them, mentally intertwined but physically far apart, after their passionate time doing a Mr and Mrs Smith in a Whitby B&B.

And, don’t we do that with any book we read? Whether it is part of the English Literary Canon, the one that Byatt knows so well, and wears so lightly in this book that it dazzles us. Or, any other story from anywhere else literary or not? We are looking for a resonance, an intimacy, a connection, we are looking to fulfil our Maslow’s hierarchy of needs (‘cos I never miss a chance to mention that either in any blog I write). And once we close the book, armed with that new knowledge gained by violent curiosity, we too feel sexy, funny, and lovely, and can dazzle and feel dazzled in return, in and amongst the intimacy and connection which makes our world a brighter, better place.

Designing story (4): Women

When they write about you do they talk about your thighs? Or your girlfriend? They validate me through having a boyfriend, someone wants me – Abby Whelan, Scandal.

[ Part 4 of 5:  1) The intimacy of the written word, 2) Structure, 3) Archetypes and aesthetics, 4) Women 5)  Possession, the relations between minds]

Scandal is extraordinary, precisely because the women in it, like Abby Whelan above, articulate exactly how society views them in 2016 and depressingly enough, she is spot on. Women are still viewed by the way they look and the men with whom they are associated.

It is said that Jesus had a whole entourage of women who travelled with him. But if the women were there, we don’t know anything about them when we read the stories in the Bible. If they held his hand, uttered words of wisdom, or stood in the light receiving the same appreciative words of confirmation that God uttered over him, no one cared to write it down.

Prostitutes and saints

The one time they had to, was when Mary Magdalene went to Jesus’s grave on Easter morning to find him resurrected. The men had fled, so she was the only one there to meet him. History has rewarded her by calling her a prostitute and even though historians have said that wasn’t the case at all, the label has stuck. All the men got sainthoods, btw.

It reminds me of Joseph Campbell’s monomyth. Women only appear in it as temptresses or goddesses, and they only have support roles. We don’t hear their stories or their trials and tribulations. Instead they are silent.

In his book, Christopher Vogler tries to demonstrate how the hero’s quest could apply equally well to women, like this:

The masculine need to overcome obstacles to achieve, conquer and possess may be replaced in the woman’s journey by the drive to preserve the family and the species, make a home, grapple with emotions, come to an accord or cultivate beauty.

Cheers, thanks for that Chris!

Busy women

Campbell himself said that we only find women in fairytales because women have always been too busy to sit around telling stories. And, when Frank McConnell analysed how hero’s stories make us better in his book Storytelling and Mythmaking, it is men who do the self-actualisation, whilst women are playing prostitutes with hearts of gold, or enduring like Penelope, whilst Odysseus is off chasing glory.

It is the same with the archetypes discussed in the previous blog. We have women playing the shadow or the trickster purely as a plot devices to move the plot along; like the damsel in distress, the old crone jealous of the fair maiden, or the jilted lover. These are all tropes which the hero battles and conquers. The poor women are never the heroine, never the mentor, and they are never allowed to self-actualise. The rare cases in which they do, they become outcasts (don’t be taken in by the sexy pic above of the goddess trinity), shunned and lonely, or punished. Because they are not there to be anything but decoration and to soothe a man’s brow.

Women in the movies

Thankfully, things are changing. In previous blogs I have talked about Rey in Star Wars, and the women’s worlds of Spy and Suffragette. And, to this I want to add Ghostbusters (2016) .

I watched it last night for the first time, and thought it was brilliant. I have never watched the original Ghostbusters, because I never wanted to. The first time I was aware of it on TV, I was a teenager and as it started, I thought: Huh blokes and I went upstairs and read a book.

Last night was totally different. I loved every second, it made me laugh out loud, and as someone who has decided not to dye her grey hair anymore, the riff on hair dye was really funny, because that was happening to me a lot. And when Sigorney Weaver turned up at the end to high-five and utter the immortal line: Safety lights are for dudes… well my life felt complete.

A room of one’s own

There was no patronising female quest of creating a home or attracting a man to make a woman feel validated, it was just smart women being themselves and saving the world. They didn’t need recognition, just a nice space to carry on doing what they love. Virginia Woolf would be so proud.

I can’t wait to see more stories like this one. Lot’s more.

Part 5: Possession, the relations between minds

Yoga Lessons: A year in front of Bikram’s mirrors

the 26 Bikram yoga poses

When I let go of what I am, I become what I might be. – Lao Tzu

When I first turned up to Bikram, I couldn’t believe that I would have to look at myself in a mirror for 90 minutes whilst I got hot, sweaty, and contorted myself into various positions.

I have always preferred my yoga super quiet with the lights down low because that is the only way I thought I would be able to concentrate on me. However, nearly a year on, from when I first committed to doing Bikram yoga, I now see that having mirrors in the yoga studio is genius.

Acceptance

To stand in front of a mirror and to truly accept myself exactly as I am and not cringe, not feel embarrassed and not want to change anything about my own dear self, is the first step, and could well be the only step, to inner peace.

I have a lot of grey hair which I have been covering up for years, but six months into my practice I stood on my mat one day and looked at my hair and asked myself why. Why am I pretending my hair isn’t grey? I am not 20 years old – well I had grey hair then too (but that’s another story). Why do I need to look the way I did when I was 20?

Then, a couple of months ago I swapped my t-shirt for a yoga bra which allowed me to gaze upon my midriff in an act of unbelievable not me-ness, because I have always thought of myself and my midriff as an Egyptian scribe.

In Egyptian times, only scribes could write and were well paid for their services, consequently they had prosperous rolls which would be on display in the market place as they sat doing their job. Nowadays we tend not to admire prosperous rolls so much, which is one thing, so to get them out in public and look at them without judgement, well that is another thing altogether.

It has also been a good way of seeing whether I really am following the script’s command of suck in that stomach which one teacher then followed up with basically forever, which makes me laugh even now. And, I have learnt to take that off the mat and do it wherever I go. It is a way of standing up taller and taking up the space that I am entitled to, which us women sometimes are unable to do (and is a whole blog in itself, coming soon). Of course, now that I have engaged with that part of my body, admired my prosperous roles, sucked it in (or mula bandha-ed it), my core is stronger, which makes me admire that strength and that part of my body in a way I never did before.

Letting go

At certain points in class the teacher might advise me, and everyone else, to let go of the mirrors, because sometimes I need to bend right back and trust my body. Also, sometimes when I am trying to attain a position, I am striking a pose instead of feeling what is going on in my body. And, some of the 26 poses especially in the standing series are very cool and very dramatic, and getting into them and doing them well is pretty fantastic. However, it is not about the glory of the pose, as one fabulous teacher puts it, it is about the shift taking place inside and it is about going to my edge – the area just outside my comfort zone – these things are not reflected in the mirror at all, so I have to let go of the mirrors to look inside.

Sometimes, a teacher might tell us to just let go, which is all powerful, all encompassing. I might have done a great pose, or I might have not quite managed it, but either way it is over now. I have to let it go to give myself the mental space and energy to do the next thing. In the same way off the mat, I have to let go of the thing I wish I had said, or hadn’t said, or the kindness or unkindness I did or didn’t do. That moment has gone. I have to let it all go. I am in a brand new moment which is the only moment I have. I only have the now.

Only what you are not giving can be lacking in any situation – A course in miracles

One day I was doing my usual thing of what I now call mental bartering, which sounds like this: If I do this pose, then I can have a rest, and miss the next one out, and do the one after and then I will a lie down and I will look like I am trying. It was a long monologue in my mind mainly about how hot, how tired, and how I wished I was anywhere else but in the studio. Then the teacher said: Pick up your foot, which I am guessing no one did, who knows for sure, I was busy talking to myself. And then she said: Just pick it up. Don’t think about it, just pick it up, and, she made us practice picking up the foot. It was a revelation. I became free. I had not been giving my full attention to the script and that was what was missing, I was busy mentally hoarding my energy, but by giving it up – the energy, the thoughts, the bartering – and giving my all to that moment, instead of spending all my energy, the act of giving up seemed to free up infinite energy. I picked up my foot in that moment, and every moment afterwards and I was and I remain gloriously free. When I am spent and have nothing else to give, I lean in, and trust that the momentum of picking up my foot will carry me further and create anything I desire.

I picked up my foot: Dandayamana Janushirasana (Standing Head to Knee)

Taking this off the mat, in the moments when I feel afraid, when it feels, for example, like someone not giving me what I need, instead of getting angry and aggressive, I can lean in, and listen to that person, or to myself and ask: What is missing? It is not easy, and I am not always successful. However, this is what I have learnt: If I am looking to someone else for something, it is that I believe that I will feel better in the having of the something that someone has to offer. But that is just not be true. I have everything I need. I don’t need anyone else to make anything better for me. No one else is in charge of my happiness.

No one else can pick up my foot. No one else can stop the monologue in my head. No one else can listen to the script for me.  It’s me who needs to give that which is missing, either to the situation, to the other person, or to myself, and then let the momentum of the giving create the very thing I desire.

To stand in someone else’s shoes you have to stand in your own shoes first – Pema Chödrön

Bikram’s mirrors are like life itself, it mirrors me. I am embodied so I see and interpret the world in terms of myself and my past experiences. I thought I needed silence and the lights down low to do yoga to concentrate on myself, because that was how I had learnt to do yoga, and where I got the best results. However, I have since learnt that there is nowhere better than when the heat is on and the lights are bright to connect with myself. To look at myself openly and honestly, with compassion and acceptance, and to take that off the mat and into my daily life, well that has been the greatest gift that practising Bikram yoga has given me, and I know, I have only scratched the surface.

Namaste!

Women in Storytelling – Star Wars: The Force Awakens

Rey Star Wars: The Force Awakens
Source: http://www.comicbookresources.com

We always wanted to write Rey as the central character, but it was just one of the things we knew we wanted to do: to make the film look and feel more like the way the world looks and feels. – JJ Abrams, The Guardian

It is well known that Star Wars is based on the hero’s quest which is an archetypal story that transcends culture and time. According to Joseph Campbell, the hero’s quest is hard-wired in our psyche and so when our hero battles villains and the powers of darkness, it resonates and entertains each generation anew. The hero’s quest never gets old which is why the Star Wars franchise, begun back in 1977, has endured.

The pattern of our hero receiving a call to action, going on an adventure, doing great things, and returning home to great reward is very satisfying and appears in many of our stories:Lord of the Rings, The Matrix, to name just two. However, these stories have only ever had women in supporting roles as temptresses or goddesses, and other stereotypes (prostitute with a heart of gold, love interest, the really hot girl disguised in glasses) while men do the self-actualisation.

In Star Wars: A New HopePrincess Leia seems to be the only woman in the whole of that galaxy far, far, away. She is a born leader, but still has to wait around for Luke Skywalker, Han Solo and Chewbacca, because everyone is following the rescue the princess trope. She may be feisty (*groan* = a terrible word. Why are men never described as feisty?) doling out snappy one liners and keeping her cool whilst in the clutches of Darth Vader, but she is still doing her best with a terrible supporting role.

Therefore, to watch Rey in Star Wars: The Force Awakens: a female character, a woman centre stage at last, is completely satisfying. And, Rey is not alone in this story. The ever fabulous Princess Leia is now a more rounded character as General of the Rebel Alliance, a mum and wife (possibly ex-wife). Leading the stormtroopers is Captain Phasma. And, wise guru, Maz Kanata, is the voice of Force wisdom.  So, we have female stormtroopers, female pilots, and female medical staff in the Rebel Camp. Star Wars has becomes representative of the world we live in today. No one feels the need to explain or justify these women’s place – it is the way of the world – a balanced world of equal opportunity.

The story which contains these women is brilliant. Not least of all because this episode of Star Wars reuses all the best parts of the previous Star Wars episodes, and sets up the promise of a satisfactory ending from the very beginning, whilst continuing to build momentum right to its resolution in the last frame of the film. I didn’t even realise I was holding my breath until the credits started to roll. We follow Rey right to that ending, leaving us to speculate about her full story, and looking forward to meeting her again in the next episode.

We believe in Rey because we first meet her on the planet Jakku where she lives as a scavenger who finds scrap metal and machinery from abandoned space ships to trade for not-enough food. It is a lonely existence in which she has learnt to become self-sufficient, and how to defend herself.

Like all great characters, she has worked long and hard to learn her skills. She is knowledgeable about spacecraft and how they are put together which has kept her alive all these years.

When her lonely existence is interrupted, first by a droid, whom she refuses to trade for food, we know that she is a good person. And, then when she is called upon in a crisis to fly the Millennium Falcon, we are not surprised that, not only can she fly it, but she can fix it too. It is completely plausible and logical that she is a talented pilot. She has learnt through many lonely long days of taking apart spaceships for food. Han Solo recognises her talent and offers her a job.

However, Rey has her own ideas about what she needs and follows the heroine’s quest of answering the call, transcending her circumstances, and creating new ones for herself whilst becoming happy (or at least happier) in the process of self-actualisation, which has only just begun.

At the end of the film, we know that Rey is a brave woman with still as yet untapped skills and powers, who does the right thing. But, she is still a mystery to us. There is still a lot more for her to discover about herself and for us to vicariously experience as she does.

Finally, we have a Star Wars heroine on her quest of her own.

Roll on Episode VIII. I can’t wait.

Women and Storytelling: Saint, Spy, Suffragette

Spy, Suffragette, Galadriel, White Queen, Princess Leia Pics

We’re in every home, we’re half the human race…

– Maud Watts, Suffragette

Two years ago, I wrote a blog I called Women Centre Stage. It was inspired by my girls, who had just started school, and had discovered that by using the open world or free play mode when playing Lego Lord of The Rings and Lego Star Wars, they could create their own stories, with all the female characters in the centre of the story. Each time they get a new game, they spend time tailoring it to reflect their lives – lives in which girls have the main roles.

It is 2015, but incredibly, there is a proposal to drop feminism from the A-level politics syllabus. In her column, Bridget Christie wonders why the new Creative United Kingdom passport, celebrating 500 years of British talent, only included two women yet seven men. And, why an Israeli newspaper digitally removed Angela Merkel and Ann Hidalogo from a photo. Women are literally being airbrushed from history.

I am a female computer scientist and on a recent IT course I taught, there were three female students to 40+ male ones. This ratio is a lot worse than when I was an undergraduate and, I didn’t really notice until my girls asked me at breakfast: How many girls do you teach, mummy? …Where are the rest? 

Where are the girls?

The other week, we attended Sung Eucharist at St Paul’s Cathedral and my girls asked: Where are the girls in the choir? Where are the female statues? Where are the girls’ stories? I thought about my childhood growing up in the Church of England. When I was about 12 years old, female lay preachers were still novel and I was one of many girl choristers. And, so it was easier to believe that it only a matter of time before things would change further. However, when I looked at the one woman standing at the front in St Paul’s the other week, amongst all those men, I felt like nothing had progressed at all.

It reminded me of Joseph Campbell’s monomyth. Women only appear in it as temptresses or goddesses, and they only have support roles. We don’t hear their stories or their trials and tribulations. Instead they are silent. They are faithful and they endure like Penelope. Odysseus is off living his life seeking glory whilst Penelope is stuck at home as a desperate housewife.

This traditional supporting and enduring journey of our heroine is described in three steps on Ribbonfarm:

  1. The heroine is yet undeveloped.
  2. Her worth and her ability to persevere is threatened.
  3. She endures gracefully and the more she suffers, the more dignified she becomes, until her dignity gives her strength and she regains her worthiness.

When I read Storytelling and Mythmaking by Frank McConnell, I loved that he said that stories save our lives, and that he used films as well as the classics to illustrate myths. However, he only briefly mentioned women and only enduring women in support roles. The discussion focused on male heroes and anti-heroes and their journeys. An alien visiting earth would think that there had been no movies made with strong female characters during that time span – none what so ever.

Not just heroes with boobs

In contrast to the traditional heroine’s quest, the hero’s quest or journey shows that the 1) hero is uncomfortable in the world, and 2) sees a call to adventure, 3) but refuses until life is unbearable and forces changes 4) the hero meets a mentor, then 5) the hero crosses the threshold of no return 6) is tested, meets allies and enemies 7) ready for the major approach or challenge 8) then the hero undergoes an ordeal and faces death and/or a greatest fear, until 9) there is reward, but still the hero is not out of danger – all can still be lost as the hero begins the 10) journey home, only to near get to home and is 11) tested once more, until all ambivalence about this quest has gone 12) the hero sets about transforming the world as the hero has been transformed.

On the fangirl blog series: the heroine’s journey, they look at what a feminine parallel to the hero’s quest would look like. Campbell looked backwards for his model so fangirl blog looks forwards to identify strong female stories who are not just heroes with boobs. They have feminine concerns, such as whether to have children or not, and they do not necessarily get a happy ending. Is this a reflection of our times?

Ribbonfarm defines the modern heroine’s journey in these three steps:

  1. The heroine is confused.
  2. Her value and dignity are threatened, and her ability to defend this value is tested.
  3. She proves her value by either transcending or invalidating the test and then she redefines what her worthiness means.

The reluctant Suffragette

Suffragette follows a group of women fighting for the right to vote. The lead character, Maud Watts, follows each step of the hero’s quest within the modern heroine’s journey. She is reluctantly called and refuses the call, until there is no alternative and she becomes convinced that change is the only way forward. She pays a high price for her value, but is able to save another young girl from living the life she has lived. Maud Watts’s goal is to find a different way to live this life, which is ultimately what she does. It is a poignant and moving film.

Suffragette’s writer, Abi Morgan said that many male actors turned down Suffragette because the male roles were only supporting roles.  It also took ten years to get the funding to get it made because it has a predominantly female cast and no romance – not a major box office draw? It is only aimed at half the population.

Incidently, I read a theory (for which I can’t, alas, find original references) that the reason only the women over 30 were given the vote in the UK in 1918, was because so many young men had been killed in World War I, Parliament didn’t want a female majority making decisions on how the country was to be run.

Would the UK and the rest of the world look different today if Parliament had decided that a female majority was a good thing?

Spy v Spectre

Spy movie also follows a heroine’s quest of answering the call, transcending her circumstances, and creating new ones for herself whilst becoming happy in the process of self-actualisation. It has plenty of great female characters too. The most successful spy, Karen Walker, is a woman, as is the boss, Elaine Crocker, and the baddie, Rayna Boyanov, who inherits the business from her dad. No one feels the need to explain or justify these women’s place – it is the way of the world – a balanced world of equal opportunity. A lot of the movie is played for laughs so it is very funny whilst turning the spy formula on its head. The deskbound agent grow into her brilliance in the field and at the end of the movie she turns down the hot guy to have a girl’s night, because she knows what is important. She values her friends and support network.

Spy has ruined all other spy movies for me because it was so good and like my girls, I love watching women come into their own on the big screen. It is much more satisfying. It resonates with us. Spy is particularly brilliant as the main character is a 40-year old woman who she doesn’t need to be anything else but herself in order to achieve success. Susan Cooper embodies a new fabulous heroine with a great message.

After Spy, I watched Spectre and in comparison it seemed very old-fashioned and formulaic, and no fun at all. Bond shoots people and takes parts in fantastically elaborate stunts. He is a maverick who saves a corrupt world whilst getting revenge. He is of course supported by women who endure until they need saving and who find him irresistible. Yawn! The women are only there to boost his ego.

I eagerly await the Spy sequel. Move over Bond, Susan Cooper has arrived.