Public engagement with politics is at an all-time low – not that this is the impression you got if you walked along the political societies’ aisle at the Fresher’s Fair, where the Conservatives vied for your attention alongside Communists. The trend of political disengagement is perhaps most striking, and concerning, when you look at the very youngest demographic of voters, with the 2010 general election seeing just 44 per cent of 18-24 year olds turn out to vote. The Hansard Society, the body which publishes an annual health check on the UK’s democratic system, now estimates that only 24 per cent of that same age group are ‘absolutely certain to vote’ at the upcoming general election, whilst 17 per cent claim that they have no intention of voting at all.

However, with Labour pledging to give the vote to 16- and 17- year olds should they win the next general election (something the Liberal Democrats had promised before joining the coalition), and after 80 per cent of the eligible under-18s registered to vote in the Scottish independence referendum, it would appear that there is some impetus to get young people interested and involved in politics. Some, however, remain unconvinced, and the Hansard Society’s director, Dr Ruth Fox, called the idea of lowering the voting age to 16 “bafflingly illogical” as “[y]oung people who already have the vote are increasingly unlikely to use it.”

Young voters are left cold by the mainstream parties’ hot air, and Cambridge, although the current government might not indicate it, is a very long way from Westminster. Although Cambridge is graced with student societies representing the Conservatives, Labour, the Lib Dems, the Greens and various other colours on the political spectrum, the charge of political apathy has been laid at the feet of Cambridge students, most notably in the case of the poor turnout in last year’s CUSU election.

A group of Cantab film-makers and actors, all current or former students, are now embarking on a project to change all of this – producing a crowd-funded online T.V. series aimed at young people. Entitled Ruling Class, the series will follow the protagonist, Quentin, on the campaign trail in a private school where the position of headmaster has been abolished and total power rests with the head boy and girl elected by the student body. Although Quentin initially stands for election only to impress Emma, a candidate for the position of head girl, he is soon faced with fierce political competition from his opponent, Julian, and the school’s board of governors. Quentin also has to balance his love for music with his campaign, and is increasingly forced to consider his political views. Following a successful online fundraising campaign, the Ruling Class team are nearing the end of filming as they seek to produce a one hour pilot episode, with the hope of extending the series to six full-length episodes.

Speaking to Varsity about the political aspect of the project, Mark Danciger, Matthew Lee and Nathan Miller, the team of writers behind Ruling Class, insist that politics need not put off young people. Matthew describes how the young people with whom he has discussed Ruling Class “seem to find it funny” and enjoy the fact that “there are different groups and they get to align themselves with one, like music and fashion. It’s part of the process of developing an identity.”

The Ruling Class team describe the series as “School of Rock meets The West Wing”, and are quick to name The Thick of It, Spitting Image, and Yes, Prime Minister as similar occasions where the boundary between politics and comedy have been blurred. Nathan explains that “Politics often consists of small situations rapidly spinning out of control, which is perfect for comedy […] It’s ‘show business for ugly people’ – which means that all the glamourous events – be it hustings or dinners, have a touch of the absurd to them.” 

That said, this is no targeted satirical attack. Mark, Matthew and Nathan are cautious about comparing Ruling Class to George Orwell’s Animal Farm; their message is, according to Mark, “far more optimistic about politics than Orwell’s”, and “is more about calling young people to get engaged, whatever their political stance.” Matthew, however, realises that they, like Orwell, have set about “bringing an adult world and issues into a domain that can be identified with by young people”. Nathan describes how they have attempted to take “the exciting bits – scandals, competitiveness, betrayal – and put them in a relatable setting – school”, in the hope that this will enable young people “to recognise how much of their day-to-day lives is political”.

It is this message of ‘engagement over apathy’ which runs through the heart of Ruling Class. Nathan adds that the main character, Quentin, “is constantly asked ‘what do you stand for?’ – even more crucial than his answer is the fact that he is bothering to answer the question at all.”

As noble and worthwhile as it is to encourage young people and potential first-time voters to consider ‘what they stand for’ and get involved in politics, this non-partisan push for political engagement may come across as a little open-ended. And while it is not acceptable to force political rhetoric down children’s throats, surely those of us who have ‘found politics’ remember the first time a writer or politician said something that clicked with us and mattered. Ruling Class does not set out to emulate that, seeking instead simply to encourage young people, who have perhaps so far been unable to find a political stance, to be aware of the politics all around them. Think of it less as a call to arms, and more as an awakening.