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Marginalised and Forgotten: How The Raggy Dolls reflected Post-Modern Britain

The Raggy Dolls was a British animated television series that first aired in 1986 and aimed to promote values of acceptance and inclusion by featuring a cast of misfit toys who were discarded and considered to be unwanted and thrown in the factory reject bin! Through its plot and characters, the show depicted the experiences of marginalised and forgotten members of society, highlighting the importance of friendship, belonging, and self-esteem.

Reflecting post-modern Britain, the cast aside Raggy Dolls accepted their imperfections and tried to exist in a world that did not want them – a clear metaphor for the rejection and exclusion of certain individuals in society. They helped raise a growing awareness of social inequality with individuals who whilst shunned by society still tried to help others and make the world a better place.

One of the central characters of The Raggy Dolls was Sad Sack was the oldest of the Raggy Dolls. He ended up in the reject bin because he was a sample of a design that was judged to be too expensive to mass-produce. His appearance was somewhat different from that of the other Raggy Dolls. He was often shown being depressed and feeling “unloved.”

Sad Sack: “I wish I was like the other toys. They’re so perfect, and I’m so… not.”

Luckily the Raggy Dolls were on hand to remind him that “you don’t have to be like the others. You’re special just the way you are.” Highlighting the positive message that everyone is special in their own way, and that differences should be celebrated, not rejected.

Other Raggy Dolls included Dotty, who accidentally had paint spilt on her hair and clothing; Hi-Fi, a doll who was “wired incorrectly” and has a stammer; Lucy, a doll whose limbs are inadequately attached with nylon thread; Back-To-Front , a doll who has his head sown on backwards; Claude, a perfect doll apart from the fact he was supposed to be shipped to France. Left in England speaking French, he was thrown in the reject bin! Also, there was Princess, who was supposed to be a beautiful princess doll, but the machine accidentally cut her hair and left her dress in rags, and later they were joined by Ragamuffin, a wandering traveller doll.

Another way in which the series reflected post-modern Britain was through its style and approach to storytelling. The series was known for its imaginative and often absurd storylines, and its eclectic mix of humour, whimsy, and tragedy reflected the eclectic and fragmented nature of post-modern culture. The series also incorporated elements of metafiction, breaking the fourth wall, and challenging traditional storytelling conventions. Throughout it all though the Raggy Dolls maintained their humanity whatever happened to them:

“We may be Raggy Dolls, but we can still dream and make those dreams come true.”

Also, The Raggy Dolls series was happy to attack consumer culture and the commercialisation of childhood. Episodes would often feature characters who were consumed with material wealth and consumer goods. The Raggy Dolls would then venture into the dark side of consumer culture and the negative impact it can have on individuals and society and hopefully make the character see since and feel better about themselves:

“It’s not the things we own that make us happy, it’s the love and kindness we share with others.” –

In conclusion, The Raggy Dolls represented marginalised and forgotten members of society by using the metaphor of discarded toys to highlight the experiences of those who feel rejected and excluded from society. Through its themes of friendship, self-esteem, and belonging, the show taught valuable lessons about the importance of embracing differences and valuing everyone for who they are.

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