Derry Girls gives us the Irish joy and comedy we… | Little White Lies

Not Movies

Der­ry Girls gives us the Irish joy and com­e­dy we deserve

18 Jan 2018

Words by Anna Cafolla

Four young women in evening attire walking together in an urban setting with city lights in the background.
Four young women in evening attire walking together in an urban setting with city lights in the background.
Lisa McGee’s can­did sit­com is a wel­come anti­dote to the usu­al por­tray­als of North­ern Ireland.

As a teenag­er in North­ern Ire­land, if you weren’t suss­ing someone’s side’ out by their sur­name, or whether they called their wor­ship mass’ or church’, it was impos­ing a restric­tive (but usu­al­ly pret­ty spot on) arche­type by their bor­ough. I’m an Ards girl, my best friend’s a North Down one, and I spent my uni­ver­si­ty years with the infa­mous young women of Der­ry. As if we need­ed any oth­er way of divid­ing our­selves up. Der­ry girls, you see, are a spe­cial bunch – with an accent that will box you around the ears across even the busiest bar. They’ve been immor­talised by the Pogues, and rep­re­sent­ed (how­ev­er ques­tion­ably) on a glob­al stage by Girls Aloud’s Nadine Coyle.

Chan­nel 4’s Der­ry Girls, cre­at­ed by Lisa McGee, is cur­rent­ly offer­ing a deep­er, more vibrant depic­tion of young North­ern Irish women. It’s a riotous, nos­tal­gic snap­shot of a group of teenage girls liv­ing in the country’s sec­ond city dur­ing the 1990s, a time defined by con­flict and polit­i­cal strife. They’re ago­nis­ing over dou­ble den­im and eye­lin­er, deal­ing with evil school nuns and get­ting pissed off at army checkpoints.

Up until now, young women have been large­ly left out of the wider cul­tur­al nar­ra­tive sur­round­ing North­ern Ire­land. Film and tele­vi­sion has tend­ed to focus on the promi­nent male politi­cians, sol­diers and hunger strik­ers whose actions came to define The Trou­bles. Think Shoot to Kill, Hunger, or 71. McGee allows a bol­shy, hilar­i­ous­ly awk­ward rag­tag female gang, led by 16-year-old Erin Quinn (IRL Der­ry Girl Saoirse-Mon­i­ca Jack­son), to reboot the sto­ries told around an impor­tant time, social­ly and polit­i­cal­ly, in North­ern Irish history.

It might to be dif­fi­cult to imag­ine any humour in a time where kneecap­ping was the norm and polit­i­cal progress bal­anced on a knife edge. Bois­ter­ous, hoop-ear­ringed Michelle Mal­lon (Jamie-Lee O’Donnell) brings her male Eng­lish cousin along to start at the all-girls school with lit­tle fan­fare. No big deal. She announces, with a smidge more emo­tion, that he’s the off­spring of an aunt who trav­elled to the UK to get an abor­tion – turns out, that ter­mi­na­tion nev­er took place. Erin’s moth­er asks if Macaulay Culkin is one of those Protes­tants, and a girl evades expul­sion, prob­a­bly because she’s in the IRA, they all agree. It’s a rau­cous, dar­ing kind of humour, and an impor­tant state­ment – despite the harsh real­i­ty of the time, young women were able to laugh, have crush­es and decide that army men were rides” (read: attrac­tive). That’s a vital mes­sage to share.

And Der­ry Girls is pure Norn Iron’ – Catholic school uni­forms, Orange­men march­es and Union Jack-paint­ed pave­ments galore. As the pre­miere episode begins, we see men cross­ing out Lon­don’ in the Wel­come to Lon­don­der­ry’ sign. The beau­ty – and laughs – of this show stem from the hon­est details: a pic­ture of nation­al trea­sure Daniel O’Donnell sits on school prin­ci­pal Sis­ter Michael’s desk; Sinead O’Connor peers out from a heav­i­ly-postered bed­room wall; and locals pon­der over what the hell the polit­i­cal­ly-charged murals plas­tered around town actu­al­ly are – are they golf clubs, spat­u­las, or rifles? Take a guess.

Much of what we see on TV about North­ern Ire­land tends to be dry, grim or teeth-grind­ing­ly mis­in­formed. It’s sparse news reports with names pro­nounced clunki­ly, doc­u­men­taries on hor­rors we’ve been forced to tread again and again, or sour, just-miss­ing prime­time dra­mas. Back in 2012, the BBC ran 6Degrees a pret­ty pop­u­lar series based around fresh­ers stu­dents in Belfast (one DG lead O’Donnell also starred in), and there was Cher­ry Bomb and Good Vibrations.

NI-based cre­atives have tak­en to gueril­la com­e­dy, with Face­book pages (Shane Todd’s Mike McGoldrick’ per­sona or Belfast Girls’) and Twit­ter accounts. But what we’ve been dis­tinct­ly miss­ing is real Irish joy on nation­al screens. Der­ry Girls ben­e­fits from hav­ing a pre­dom­i­nant­ly Irish cast, with three of the five leads hail­ing from the region. The pow­er of allow­ing peo­ple to tell their own cul­tur­al sto­ries can not be under­es­ti­mat­ed, and it most def­i­nite­ly comes across in the series’ DNA.

Fear­less­ly, it nev­er con­cedes to over-explain­ing its whip-sharp com­e­dy for a wider UK audi­ence, or delv­ing into the dark­er com­pli­ca­tions of the con­flict. What’s been fas­ci­nat­ing about Der­ry Girls’ stratos­pher­ic pop­u­lar­i­ty is its pull even out­side Ulster (a sec­ond series has already been com­mis­sioned). This comes from its obsti­nate, unapolo­getic sense of iden­ti­ty and unri­valled com­ic timing.

Most­ly though, it’s more about the pol­i­tics of order­ing from the busiest chip­py in the city on a Fri­day night, instead of the politi­cians that squall on the TV in the back­ground. McGee lets her character’s be out­ra­geous, they love tech­no and The Cran­ber­ries and have bizarre school dra­ma, they wear scrunchies and pas­tel eye­shad­ow. Watch­ing the first episode with my moth­er and sis­ter, it quick­ly dawned on me that, despite the gen­er­a­tion gap, these were lives that we our­selves have lived and wit­nessed. Some­times, even just hear­ing your own slang – and there’s a lot of it – on prime­time nation­al TV is enough. But see­ing nuanced and dis­rup­tive sto­ries of young women deal­ing with the peaks and troughs of ado­les­cence – ones who hap­pen to be caught in the fig­u­ra­tive cross­fire – tran­scends time and place.

You might like