In a recent interview, we had the opportunity to discuss the Disney+ adaptation of Jilly Cooper’s iconic novel, *Rivals*, and its portrayal of the 1980s with Zoe Williams. With a cast that includes Alex Hassell as Rupert Campbell-Black and Victoria Smurfit as Maud O’Hara, the show doesn’t shy away from the darker realities of the Thatcher era, all while capturing the exuberance of the decade.

Williams remarked, “You can’t watch *Rivals* and ignore how the 80s really were. The rampant homophobia in Tory politics, the quiet instances of sexual exploitation, and the pervasive objectification all loom large in this setting. The show does a credible job illustrating the struggles faced by marginalized characters, including the fierce fight for visibility by black women.”

Despite the heavy themes, Williams pointed out an unexpected sense of nostalgia when watching *Rivals*. “It’s not just about the nostalgia for pop culture, like enjoying Wham!,” she noted. “There’s something more profound in the exploration of desire and laughter amid the chaos.”

When asked how Cooper’s work fits into the larger narrative of sexual politics of the time, Williams reflected, “Cooper captures a unique take on sexuality, presenting characters who are unapologetically interested in pleasure. There are predatory figures alongside those who are joyfully expressive, and the underlying message is about consent and mutual enjoyment.”

Williams acknowledged that while Cooper hasn’t traditionally labeled herself a feminist, the conversations surrounding sex and agency in the 80s were complex and deeply intertwined with broader societal debates. “The feminist landscape was lively, with conflicting perspectives on women’s roles in sexual dynamics,” she explained. “The anti-pornography and sex-positive movements engaged in heated discussions that shaped our understanding of sexual freedom.”

As the conversation shifted towards the indulgent lifestyle depicted in *Rivals*, Williams remarked on the portrayal of excess. “Characters indulge in morning drinks and cigarette smoke with an air of nonchalance. It paints a picture of unabashed human appetite, which can seem nostalgic, despite our knowledge of the health risks involved,” she observed.

She continued, “This world, where personal discipline takes a backseat and debauchery is celebrated, might not align with modern sensibilities. Yet, it creates an escapist fantasy where social interactions were vibrant, and life was lived fully.”

Discussing the portrayal of body image and attitudes toward weight, Williams reflected on the bluntness of the 80s. “There was a stark absence of political correctness around fatness back then. Magazines promoted unrealistic body standards, browbeating women with advertisements and phrases about thinness being the ideal,” she noted.

“Wearing loose denim and stylishly silly outfits encapsulated an era where the emphasis was more on making a statement than conforming to thinness,” Williams added. “It’s a stark contrast to today’s culture of tight-fitting clothes that demand adherence to a narrow definition of beauty.”

The conversation also ventured into the technological changes of the 80s. “We lived in a time of less surveillance and more mystery,” she reminisced. “You could hear about someone without having instant access to their entire life online. The innovations of the period, from fax machines to satellite TV, fostered a spirit of discovery that feels lacking today.”

Finally, when asked about the lingering optimism of the 80s despite its stark realities, Williams mused, “Even amidst economic despair and geopolitical tensions, there was a buoyant spirit in music and culture. This paradox raises important questions about our current collective mindset and what might be contributing to a pervasive sense of hopelessness.”

As the interview wrapped up, Williams expressed a tongue-in-cheek longing for the culinary delights of the past. “Honestly, I miss vol-au-vents. They symbolize a certain whimsical indulgence that seems to have faded away!”