The new television adaptation of Elizabeth Day’s 2017 novel, *The Party*, explores the pervasive British class system through the experiences of an outsider entering the world of the political elite. The five-part series, adapted by Sarah Solemani and available on ITVX and ITV1 from October 11, follows Martin Gilmour, a political journalist from a modest background whose life becomes intertwined with that of Conservative politician Ben Fitzmaurice. Their complex relationship, shaped by a shared secret from their university days at Cambridge, unfolds across multiple timelines, revealing the tensions between privilege and hardship at the heart of the story.
Set against the backdrop of Britain’s political landscape in the mid-2010s, when figures such as David Cameron and George Osborne held power and Brexit was looming, the series highlights enduring social divides despite the passage of time. Solemani notes that while the peak of private-school dominance in government may now be behind, the British class hierarchy remains deeply entrenched and influential. Day emphasizes the resilience of those in power—mostly men—who continue to shape culture and politics long after leaving office.
Portraying Martin, actor Luke Evans draws on his own upbringing in a working-class Welsh village, touching on themes of aspiration, religion, sexuality, and the feeling of being an outsider. Both Solemani and Day relate to Martin’s experience, having navigated class boundaries themselves, often feeling disconnected from the codes and expectations of privilege despite formative educational opportunities. Day reflects on her complex relationship with her accent and social identity, illustrating the subtle markers of class that persist in British society.
The series also delves into the psychological effects of class and privilege, examining anxiety, obsession, and isolation within this elite milieu. A significant moment in the narrative is the lavish 40th birthday party of Fitzmaurice, where personal and political tensions converge amid the recent resignation of the Conservative leader.
Solemani, who has written for television and political figures, sees *The Party* as a chance to challenge traditional television genres and offer a nuanced portrayal of class mobility and its illusions. Both she and Day credit their time at Cambridge and experiences abroad—particularly in the United States—for providing perspective on hierarchical systems, noting that American society is structured differently, emphasizing self-invention and celebrity over inherited status.
Day’s insights from her podcast *How To Fail* resonate in the series’ themes, highlighting societal differences in attitudes toward failure, particularly along gender and class lines. Fitzmaurice’s character embodies the limitations imposed by a culture that views failure as a weakness, denying opportunities for growth or vulnerability.
Ultimately, *The Party* seeks to depict its characters with empathy while critically examining the social structures that shape them. Day describes the show as “not judgmental,” despite portraying judgmental individuals, underscoring the complexity and human cost of entrenched privilege.