Mother Knows Best: The Power of Being 'Too Much' on The Traitors

Eight million viewers of the BBC’s The Traitors witnessed the unthinkable in Friday 9^th January’s episode. The Traitors’ alliance was blown up from the inside, as secret Traitor Fiona detonated not only her bubbly exterior, but also her time on the show, leaving Rachel and Stephen shaken up and on the defensive in the wake of her wrath.

The drama couldn’t possibly stop there – April O’Neill’s article for The Guardian is spot on in claiming that this series’ chaos has reached monumental levels of camp. When the previously stoic ex-barrister Harriet started her offensive on Rachel against the theatrical backdrop of a gothic chapel, I thought the jig was up. But outrage at breakfast and a flimsy roundtable argument saw Harriet swiftly banished – Rachel’s reign as the ultimate Traitor lives on.

What is it about series 4 that has foregrounded such volatility? Why has chaos controlled the game at every twist and turn?

Gendered expectations in the mainstream media seem to expect older women to fade softly into the background, to observe, and to ultimately disappear behind the men who might shout louder than them. A 2021 report from the Geena Davis Institute on Gender in Media found that characters aged 50 and older represented less than a quarter of all characters in top-grossing films from 2010 to 2020 – women only represented 1 in 5 of characters ages 50 and older during that time period. It’s safe to say that the film and TV treatment of older adults – especially older women – is pretty lacking. The Traitors, then, seems pretty revolutionary; we are presented with a rare mainstream space where older women are not punished for being “too much” – they are instead rewarded with screen time, narrative power, and the nation in the palm of their hands.

If I ever need a secret uncovered, let it be known that I want 42-year-old mum of three Rachel and 52-year-old crime writer Harriet on the case. Between them, their FBI training and barrister prowess would definitely get me closer to the truth! And despite 62-year-old Fiona’s somewhat kamikaze outburst, her ability to fly under the radar and trick not only Rachel and Stephen, but also viewers at home, in her role as the Secret Traitor cannot but be seen as formidable. Their unpredictability is sort of what makes them so iconic; what these matriarchs have in common is that they aren’t just quietly steering the ship, they are rocking it almost to the point of capsize. They are fearless and brazen, if not always on the right track, and force others to respond to their theories. Be they Traitor or Faithful, they throw themselves into the spotlight to find answers, rather than just fading into the background.

Natalie Whittle of Good Housekeeping suggests that Fiona ‘wasn’t exactly humble’ in her role as Traitor – I myself didn’t particularly find her the most likeable character. Many people didn’t share my view, however, worshipping Fiona and her confidence. I think the fan adoration comes from a place of underestimation; perhaps as a result of internal bias, we are still somewhat shocked that these women can be so gloriously compelling. No one expected 73-year-old Celia Imrie to get so stuck into the missions on The Celebrity Traitors (to the point of bodily reaction!), and no one thought Harriet’s calm command could flip into fierce, seemingly uncontrolled, anger and self-banishment. As O’Neill writes, ‘there is nothing more legendary – nothing more “mother” – than sacrificing yourself to prove you’re right.’

Reality TV shows such as The Traitors can be viewed as a social microcosm, grouping together people from all walks of life, but also as a kind of pressure chamber – the very nature of being enclosed in such a high-pressure filming environment means that biases surface quickly and assumptions are often exposed. Older women are often underestimated – until they aren’t – with Fiona and Harriet being classic examples; their outbursts were so shocking because they were unexpected. Authority, when it comes from matriarchal figures, can often be seen as “too much”; and while as viewers we might view these women speaking forcefully as effective (with theories often being spot on) it is a shame to watch passion be misread as excess by the other players, always leading to immediate banishment. So, where does that leave us? Is the benefit of these kamikaze women simply excellent TV?

I think The Traitors has to show that it’s something more than that. Audiences aren’t just tolerating these older women taking up space, they’re actively enjoying it, and this seems to reflect a growing appetite for older women who refuse containment. Fiona, Harriet, Rachel, we have you to thank for the reminder that visibility, emotion and volume are not just youthful privileges. Matriarchs on The Traitors are not asking for permission, and that is exactly why they are unforgettable.