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Identity

4 April 2025

6 min read

Identity is more than mere branding, ask WH Smith

It's not just nostalgia that's being generated by the retailer's demise

Roger Standing

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London.

Cyclists and pedestrians pass in front of a WH Smith store front.

So, alas, no more WH Smith on the British High Street. Then, to add insult to injury, the chain of shops will be rebranded by the private equity firm, Modella Capital, as TG Jones. A move to ensure the stores retain “the same sense of family”.

Really?

I was surprised. Not by the news. We’ve seen so many once famous names disappear, another one is hardly noteworthy. But no, I was surprised by my reaction when I heard.

I’m not quite sure what the emotion was. It nestled somewhere between

“NO!”

and,

“They can’t be serious!”

Somewhere between warm-hearted nostalgia and gob-smacked incredulity.

I have loved Smith’s since forever. As a boy, in a small market town in Norfolk, the kiosk at our railway station was where I went to buy my Commando war story comics. As a teenager it was the music and video department I frequented. Then, newly married it was photo albums followed by all the school supplies of pencil cases and folders our growing family needed every August. Our memories exert a powerful influence on us.

But the nostalgia goes deeper than that. It is a British institution. WH Smith and Sons, as I originally knew it, began life in 1792 in a news vending shop established by Henry and Anna Smith in Little Grosvenor Street in London’s Mayfair.

Their grandson, William Henry (of the WH) joined the firm as a partner in 1846 and was responsible for their expansion through railway stations. Taking advantage of the boom in rail travel their first news stand was opened at Euston Station in 1848 by securing exclusive rights to operate with North Western Railways. This was swiftly followed with a similar deal with Midland Railways.

Across the years innovative entrepreneurship has been part of who they are. They pioneered wholesale warehouse distribution through their sites in Birmingham, Manchester, Liverpool and Dublin.

Then, along the way, in 1966 they introduced a 9-digit code to improve their book reference system. Eight years later their Standard Book Numbering (SBN) system had been universally adopted as the internationally recognised ISBN classification on the back cover of every published book.

Their company history also includes novel initiatives like a circulating library, a travel agency, the DIY chain Do It All, a 10-year ownership of Waterstones, satellite TV with their own sports channel in the mid-1980s, and more recently, in-store post offices and the online personalised greeting card brand, Funky Pigeon.

Smiths is a company that is deeply embedded in the life of our country. It’s deeply embedded in my life story too. Of course I’m going to feel nostalgic about it. But, do you know what, I can’t remember the last time I went into one of their iconic shops and actually bought something!

And that’s probably it, at least in retail. Any nostalgia on my part is, at most, only of the wistful variety.

As important as our personal history and heritage are in helping us understand ourselves, life is provisional, and our identity can change.

While the High Street shops do remain a going concern, it is their travel hub network in airports across the world that make the serious money and will retain the WH Smith branding. Hence, the change of name to TG Jones and the source of my “gob-smacked incredulity”.

Now it is easy to understand how a move from WH Smith to TG Jones makes a lot of sense. Modella Capital were swift to affirm that it is “business as usual”. All the stores will remain open, doing what they do now, with all the staff retained. Two initials and one of the most common surnames is replaced by two initials and one of the most common surnames.

Now the juxtaposition of Smith and Jones is very tempting in its offer to reference specific 1970s or 1980s TV shows. From a marketing perspective it is so cheesy, at least to anyone over 60. But to put that aside: what is in a name?

WH Smith is a 233-year-old company and remained in the hands of the family until 1972. It has a heritage that has real substance behind it. It is the genuine fruit of all that has gone before. TG Jones is a fiction. A necessary invention to fill the gap, to provide a new name in place of an original that has migrated elsewhere. As Charlotte Black, chief strategy officer at Saffron Brand Consultants observed:

“It feels incredibly close, a poor mirror of WH Smith and not necessarily very well thought through … I would say it feels hasty – an ‘insert here’ strategy – and a bit of a missed opportunity.”

Ultimately, it’s about identity. Superficially it appears that a genuine history is being supplanted by pure fabrication. Any “sense of family” in TG Jones is vacuous because TG Jones never existed. There is no back story.

WH Smith, on the other hand, does have a back story. Yet, having been a company run by shareholders since shortly after the second world war, how real is the “sense of family” there either? This is not the proverbial ‘mom and pop’ store. It is actually a corporate leviathan. There might be a sense of rootedness in the name, but a “sense of family” disappeared a long while ago.

Now, with the name gone, the High Street shops have even lost that sense of rootedness, however tentative it had become. Where does that leave their identity? I’m sure the branding consultants and marketing departments have been all over this. However, identity is not established just by saying that something is so.

Thinking about Smith becoming Jones then sent me down a rabbit hole of thoughts. So, bear with me here.

We all know about identity because we all have one.

At any given moment in time we are the product of a complex interplay of things. From our families and where we grew up, to the choices we’ve made and those that are foist upon us. The experiences we’ve had shape us. They make us into the people we are and help define our identity.

Yet nothing is set in stone. There is something intrinsic to life that is dynamic, ever-changing and open to all kinds of possibilities. It is dynamic and multi-dimensional and alive to endless possibilities.

In this sense, life is not deterministic, and our identity is not fixed. How we see ourselves and how others see us can change. As important as our personal history and heritage are in helping us understand ourselves, life is provisional, and our identity can change.

That change can be evolutionary or revolutionary, it can come from inside ourselves, or result from our responses to what comes at us from outside. Life is a constant process of becoming who we are. Our choices matter. They have consequences. Nothing stands still.

The possibility of turning life around, the opportunity of making fresh starts and hopeful visions for a better future have proven to be the bedrock of human resilience. The essential ingredients to ‘pick yourself up, dust yourself off, and start all over again’, to quote the famous 1930s standard. They’re also foundational insights that underpinned what Jesus stood for and taught. Proven across the range of human life, activity and ingenuity

But back to TG Jones, I think I’m with Charlotte Black, the renaming is hasty, ill-thought through and a missed opportunity. Maybe the name will go the same way as Royal Mail’s abortive makeover as ‘Consignia’ in 2002. Identity is more than branding; we will know it by its fruit.

In the meantime, when the new regime has established itself, I may swing by to see what they’ve done with the old place.

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Review

Culture

Film & TV

Identity

Weirdness

9 December 2024

5 min read

Nightbitch’s metamorphosis of motherhood

In parenting the best things in life cost everything and nothing.

Krish Kandiah

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A woman runs down a street at night accompanied by dogs

Amy Adams, running with the dogs.

Searchlight Pictures.

With birth rates declining, family breakdown increasing and what has been called an anxiety epidemic amongst children, a film about the raw challenges of motherhood – aimed at men as much as women - has to make us sit up and take notice.

Nightbitch does exactly that. Based on Rachel Yoder’s lockdown novel of the same name, it tells the story of a stay-at-home mum who, faced with the brutal realities of modern-day mothering, discovers her feral side – and transforms into a dog.

The film stars Amy Adams, an exceptional actress known for her roles in Arrival—a Denis Villeneuve masterpiece about aliens arriving on Earth—and other iconic films like Man of Steel (as Lois Lane), Enchanted (where she plays the central character), and Night at the Museum (as Amelia Earhart). In this film she delivers a powerful and deeply emotional performance as another alienated character, once a successful artist with a promising career, now reduced to part-parent, part-nightbitch.

The plot has echoes of Franz Kafka’s The Metamorphosis, where travelling salesman Gregor Samsa wakes up one day to find himself transformed into a giant insect. While Samsa’s arthropod transformation signifies entrapment and helplessness, Amy’s canine alter-ego provides a contrasting sense of liberation, offering her an empowering path of fierce self-assertion amid the demands of motherhood that have become overwhelming and suffocating. Nevertheless, both magical realism narratives use animal transformation to explore profound feelings of loss of identity, isolation and inequality - themes that are especially relevant in a time when pressures on families are immense.

Identity loss

Introducing herself to a group of new mothers, Amy’s character, who remains nameless throughout, says, “I used to be an artist.” Her inability to articulate who she is reflects so much: her loss of purpose, loss of social identity, loss of external validation, loss of financial independence, loss of cognitive functions, loss of self-worth. But it is not only her transformation into a dog that depicts this. There’s a poignant moment as the film opens when Amy bumps into the woman who has taken her old job. The stark contrast between their appearances—Amy looks pretty rough compared to her perfectly turned-out replacement—highlights just how different her life now is. It seems to me that this image of identity loss will resonate with all who face the struggle to reclaim oneself after a major life event, but especially with new mothers.

Isolation

Though Amy’s character is married, her husband is often absent, working long hours to provide financially. When he is home, he seems to want the pre-motherhood version of his wife, engaging only in the lighter aspects of parenting while avoiding the ongoing challenges. This dynamic leaves Amy’s character feeling alone and disconnected from her husband. Not only that, Amy’s initial attempts to connect with other mothers at her child’s nursery fall flat. Although they share the bond of motherhood, she finds their conversations unfulfilling. Similarly, when she reconnects with her old work friends, she discovers their lives have moved on without her, deepening her sense of displacement. She doesn’t fit in at home, at work, or in her community. She is trapped between worlds and is deeply isolated. Nightbitch offers a powerful antidote to Insta-perfect images of parenthood. The stark visual this film provides of the mother running away from the home at night as a dog challenges us to take seriously the need for mothers to escape claustrophobic societal expectations and to find autonomy, community and support.

Inequality

The third key theme explored in the film is the inequality between the male and female experiences of parenthood, as it portrays how much of the burden falls on women. Statistics only confirm the ongoing gender disparities, with women far more likely than men to reduce working hours and sacrifice their career prospects. Women disproportionately shoulder the long-term economic and professional consequences of parenthood, as well as the day-to-day duties of parenting. Add to this the emotional impact of isolation and identity loss, and the burden becomes almost insurmountable. This cumulative strain is faced by all those who are expected to seamlessly transition from independent individuals to selfless caregivers, often with little structural support. The film lays bare how these pressures, left unaddressed, can fracture not only individual lives but the entire stability of the family.

The film left me with questions:

Have I played my part?

As a father, watching this film prompted me to reflect deeply on my own family dynamic. Do we divide responsibilities fairly? Have one person’s dreams or ambitions been side-lined for the sake of the others? Do I overlook or undervalue what my wife does? What happened to the balance we originally envisioned and agreed upon as a couple?

Where is the support?

I also wondered about the structural support needed for those beginning their parenting journey. Then I remembered who facilitates tens of thousands of parent and toddler groups each week across the UK – the Church. Over a third of children under four attend these groups, translating to millions of parents and carers finding access to a lifeline – a welcoming environment and space for connection and mutual support. Do churches know what an important role they are playing? Do new parents know what is available to them there?

Is parenting only a burden?

While the film expresses brilliantly the challenges of parenthood, does it do so at the expense of expressing its joys? In my own experience parenting 30 children through birth, fostering, and adoption in almost the same number of years, I am still trying to work through the paradoxes. How can it be both overwhelming and overwhelmingly enriching. Both lonely, and connect us to the privilege of unconditional love? How is it that in parenting the best things in life cost everything and nothing?

At the London Film Festival Premiere that I attended, Amy Adams also reflected personally on the film:

“It gave me an opportunity to not only tell my relationship with my mother but also my sister and my friends…. There was a deep universality to the experience of motherhood but also the exploration of relationship inside of parenthood,, the relationship with husband. Everything just fell so true, relatable, and funny.”

In the end, Nightbitch is more than a dark, fantastical, funny tale of transformation; it’s a powerful mirror held up to modern family life that everyone can benefit from considering. It challenges traditional gender roles and expectations, inspires reflection on sacrifices and struggles, and provokes important questions about identity, privilege and partnership in the complex journey of parenthood and beyond.