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Home , Amy Pond, Asylum of the Daleks, A Good Man Goes to War, Catherine Morshead, Companion (Doctor Who), Courtney Woods

Q&A How did you become involved in doing research? I took Milton Wendland’s “Studies in: Queer Film and TV” class the summer of 2012. During this class I learned that I could write on my favourite show through an academic and feminist lens. I was shown that academic work on film and television was a necessity in an ever-expanding media-based society. Milton taught me that we must be critical when watching shows because of the massive influence the media has on society and culture. I also learned that if I don’t use my position of privilege as a student at a top research university to at least try to make a difference, I can’t assume anything will change. Nichole Flynn How is the research process different from what you expected? It’s a lot harder to find academic sources on my topic. Much of what I’m hometown researching is in its infancy in terms of being studied at the academic level. Hutchinson, Kansas There is also a huge disconnect between what is considered scholastic work and what is “merely ” in terms of analyzing . Given my focus on Major representation of women and minorities, it can be difficult to find published Women, Gender, and Sexuality Studies sources that were not written by cisgender, heterosexual, white men, which has shown me the gap in research that I aim to help fill. academic level Senior What is your favorite part of doing research? I love being able to write on my favourite show. I also greatly enjoy blurring research mentor the lines between traditionally scholastic work and the analyses done on Rachel Vaughn, various websites by fans. I enjoy bringing a feminist perspective into media Visiting Assistant Professor of Women, research, particularly for a show with such a rich history of both progressive Gender, and Sexuality Studies and oppressive narratives. I find it beneficial to have a plethora of voices and perspectives on any given subject, and my goal is to help make this a reality within my chosen research topic.

“Strong Female Characters” An Analytical Look at Representation in Moffat-Era Doctor Who Nichole Flynn Abstract The current era of Doctor Who, beginning in 2010, under has presented a downward trend in the representation of nuanced female characters, as well as racial and sexual minorities. This essay will be analyzing the representation and presentation of the three main female companions under Moffat’s run as showrunner, as well as those few characters of minority sexualities and racial identities. This discourse will be made through an intersectional feminist perspect ive with a focus on feminist TV studies, critical race theory, and queer theory. The key concepts to be included are that of agency, heteronormativity, and the male gaze. Moffat’s female characters are limited in the roles in which they are allowed to fill. While Russell T. Davies’ (showrunner from 2005-2009) companions had a range of personal and public conflicts and issues, Moffat’s companions are shown to only fulfil the “traditional ideal feminine roles [which] has four dimensions: fulfilling cultural standards of beauty and fashion, performing domestic/family skills, caring for and satisfying the needs of others, and acquiring male attention .” Each of the three major female characters created by Moffat are shown to only have agency when fulfilling one of these four dimensions.

64 | journal of undergraduate research Premiering on November 23rd, 1963, interact. While there were definitely those written by his predecessor. Doctor Who was the brain child problematic aspects to / One of the ways this has been of Canadian film and television relationships in Classic studied is via the use of infographs producer Newman and Who, those characters are not the that chart the pass/fail rate of each English film and TV producer Verity focus of this essay. Neither are the episode in regards to the Bechdel Lambert. Originally, Doctor Who incredibly nuanced, although still test.6 However, while important, was a science-fiction show meant to problematic in their own sense, passing the Bechdel test does not use travel as a tool to educate a characters written by previous necessitate that a piece of media young audience about history. The showrunner Russell T. Davies2; is “feminist” or “progressive” was a grouchy old man instead, I will be discussing the narratively. Thus, this essay will played by who highly sexist, often racist, and be examining and analyzing the travelled with his grand-daughter frequently homophobic writing representation and presentation of and two secondary for Doctor Who under current the three main female companions: school teachers, Barbara Wright showrunner, Steven Moffat. It is Amelia (Amy) Williams nee Pond, and . The Doctor is a important to note that “showrunner” Melody Pond/, and from the planet refers to Moffat’s position as head Clara (Oswin) Oswald as created who travels around the cosmos in writer and producer of the show. by and written during Moffat’s run his TARDIS (Time and Relative Thus, even when an episode is as showrunner, as well as those few Dimensions in Space), a spaceship not penned by him, he still holds characters of minority sexualities disguised as a 1950s Police Public executive power in regards to what and racial identities. Call Box. He is over 1000 years old makes it into the final product and While Doctor Who has been and has the ability to regenerate therefore should be held accountable written about extensively in various upon death; an attribute which for problematic elements of scripts fields, there has been a lack of has allowed the show to continue written by (white men) feminist scholarly discourse on the over 51 years with over 12 writers on his staff.3 Moffat has series7. Most of the feminist critiques actors (all white men) portraying the also written or co-written half of of the show have occurred outside titular role of the Doctor. Over 80 the episodes aired during his era4 of the academic realm, most notably characters, male, female, and robotic, and has only employed eleven other on Tumblr, a blogging platform have travelled with the Doctor as writers over the last four years5. Ergo, which allows for the sharing of ideas his companions. Typically, the main the overarching look and feel of the and criticisms among a diverse companion has been young, white1, show is to be attributed to Moffat. base. Much of my own analysis of attractive, and female, often from The current era of Doctor the show has occurred on Tumblr in contemporary Britain. It is through Who, beginning in 2010, has part due to the active and insightful, these companions that the audience presented a downward trend in the if non-academic, running feminist is introduced to the world of the representation of nuanced female critiques of Moffat and the show at Doctor. During the long history of characters, as well as racial and large that are prevalent on certain Doctor Who, there have been various sexuality minorities. By this I mean blogs8. My desire when writing show runners, and the show has that the characters created and on Doctor Who is to blur the lines gone through numerous changes written predominately by Moffat between “academic” and “fan” in in how the Doctor and companions are less dynamic or “realistic” than an attempt to break elitist

1. (2007-2008) was the first and remains the only black female reoccurring companion. 2 Who, along with executive producer , successfully revived the show in 2005 after a sixteen year hiatus from television (broken only temporarily in 1996 with the televised movie Doctor Who: The Movie). 3 It is also important to note that there has not been a woman writer on the Doctor Who staff since , whose last written two-part episodes, “The Stratagem”/”The Poison Sky”, aired in the spring of 2008. There have only been two women directors during Moffat’s tenure: , who directed two episodes in series 5 (“Amy’s Choice” and “”); and , who directed the two-part finale of series 8 (“”/””). 4 28/57 as of December 2014; he is also scheduled to write or co-write three of the first six episodes of series 9. 5 More information about the production aspects of the show can be found on the “List of Doctor Who serials” Wikipedia page. 6 Named for Alison Bechdel, the Bechdel test is a litmus test for the presence of female characters in a piece of media. In order to “pass,” a film or TV show must include (1) at least two named female characters, (2) who talk to each other, (3) about something other than a man or men. For more information on the test in general: http://bechdeltest.com/; for more information on the Bechdel test as it applies to Doctor Who: http:// www.doctorwhotv.co.uk/how-often-does-doctor-who-pass-the-bechdel-test-71608.htm 7 As of the writing of this essay, there has only been one book published which analyses Doctor Who through use of critical race theory: Doctor Who and Race. 8 For further reading, see these feminist Doctor Who blogs: http://dwfeministwatch.tumblr.com/, http://feministwhoniverse.tumblr.com/, and http://whovianfeminism.tumblr.com/.

Summer 2014 – Spring 2015 | 65 boundaries of who can be a “critic.” of others, and acquiring male this reading of Amy ignores the I also aim to help create a more attentionii.” Each of the three major prevalent use of the male gaze nuanced understanding of the show female characters created by Moffat during scenes in which Amy is within a feminist perspective. In are shown to only have agency onscreen, particularly during the order to achieve such lofty goals, this when fulfilling one of these four “reveal” of grown-up (19-year-old) analysis will be made through an dimensions. Amy as a kissogram. While Amy intersectional feminist perspective, These “traditional ideal feminine may have some degree of agency as understood through the works of roles” in which the companions in her actions and wardrobe,10 how Kemberle Crenshaw, with a focus are repeatedly forced into is a result she is shot during these scenes on feminist TV studies, critical race of a heteronormative worldview. greatly impacts the effectiveness theory, and queer theory; it shall “Heteronormativity means . . . of said agency within the narrative. explore the concepts of agency, that heterosexuality is the norm, Britton also glosses over the fact heteronormativity, and the male in culture, in society, in politics. that “Amy brazenly trying to kiss gaze, as presented within the Heteronormativity points out the [the Doctor] and unbutton his narrative of the show. expectation of heterosexuality as shirtvii” while the Doctor is shown The first of these concepts, it is written into our world. . . . It to be visually uncomfortable is an agency, is one of the fundamental means that everyone and everything is act of sexual assault11. While this cornerstones of feminism, judged from the perspective of straightiii.” scene does establish that Amy has particularly in relation to what I Thus, heteronormativity refers to some degree of agency, her agency is call “fandom feminism,” which the accepted narrative that people only in relation to her sexuality and refers to individuals who, like myself, fall into distinct and complementary frequently presented via the male critically analyze genders (man/woman) with natural gaze. This scene is the first of several while embodying feminist ideology roles in life. “On the majority of examples of sexual assault during in their worldviews. “Agency is the television shows heteronormativity Moffat’s era, and like those to come, ability for a person, or agent, to act operates in the exact same was it this one is played for laughs. I go into for herself or himself. A person who does in society: invisiblyiv.” While further detail of this unfortunate is not allowed to act for her/himself heteronormativity is present trope in Moffat’s writing later on. is lacking in agency, or is said to throughout the show, it is perhaps “The male gaze,” while a have been denied agency. In geek most insidious in the representation noticeable aspect of cinematic circles, women (real and fictional) of the only reoccurring queer couple, history, was unnamed until Laura often lack agency compared to their Madame Vastra and Flint , a Mulvey’s 1975 article Visual Pleasure male counterpartsi.” This can be dynamic discussed later in this essay. and Narrative Cinema: seen throughout Moffat’s era as Whovian9 Piers D. Britton, author In a world ordered by sexual imbalance, many of the female companions’ of TARDISbound: Navigating the pleasure in looking has been split choices are made due to the Universes of Doctor Who, argues between active/male and passive/ overwhelming influence of the that ’s narrative is a female. The determining male gaze Doctor. Moffat’s female characters “subversion of [heteronormative] projects its phantasy on to the female are limited in the roles in which they patternsv” established previously form which is styled accordingly. In their are allowed to fill. While Russell T. on the show because she “is far traditional exhibitionist role women are Davies’ companions had a range of less conventionally ‘romantic’ . simultaneously looked at and displayed, personal and public conflicts and . . [and is] both confident and with their appearance coded for strong issues, Moffat’s companions are frankly unsentimental about sex, visual and erotic impact so that they can shown to only fulfil the “traditional and more specifically about her be said to connote to-be-looked-at-ness. ideal feminine roles [which have] sexual attraction to the Doctor. Woman displayed as sexual object is four dimensions: fulfilling cultural . . . Amy’s sexuality is in many the leit-motif of erotic spectacle . . . she standards of beauty and fashion, ways a defining element in her holds the look, plays to and signifies performing domestic/family skills, persona simply because it is overt male desire.viii caring for and satisfying the needs and unapologeticvi.” However,

9 Whovian: one who watches/is a fan of Doctor Who. 10 Actress has stated on the record that Amy’s micro-miniskirts were her idea. 11 Doctor Who 5.5, “”

66 | journal of undergraduate research The male gaze is also a way of lonely seven-year-old child whose five, “The Mystical Pregnancy,” filming in which the female subject name the Doctor says is “a bit Sarkeesian explains that when an is segmented into various body parts fairytalex”. Thus when adult Amy author uses this trope, they are (called fragmenting) before being (who shortened her name due to removing the autonomy of the presented as a complete person. This the Doctor’s influence) is overtly female character and instead is type of character presentation is a sexualized both by the filming of the using their body to move the plot form of objectification which limits scene and the narrative, it is implied along. This is exactly the case with the empathy the audience feels that her sexual agency is caused by Amy who undergoes two mystical towards the character in question. In a lack of parental guidance and her pregnancies during her tenure on Moffat’s era, the male gaze litters the abandonment by the male character. the TARDIS. show, from the upward panning of However, Amy is given very little The second time12 Amy is Amy Pond in her introduction as an screen time to process or express revealed to be pregnant, she believes adult in “The Eleventh Hour” to the her emotions regarding her clear it to be a mistake after showing no between the legs upward panning of abandonment issues. Amy’s mental physical changes after a few months. Jenny Flint in “.” health issues are ignored throughout However, Amy has actually been her time as a companion, and her replaced with a doppelgänger made Amy Pond—The Girl history of “four psychiatrists” is never out of intelligent flesh while the Who Waited brought up again in the series. Amy real Amy is indeed pregnant and Amelia Pond first meets the Doctor endures a great amount of trauma has been kidnapped and locked in a as a young child. She quickly during her time as the Doctor’s room strapped to a bed awaiting her becomes enamored with him companion. According to Moffat, time to give birth13. One Tumblr user due to his eccentric ways and his “part of the mission statement when states that “part of Amy’s mystical promise to take her with him on writing a script for Doctor Who is pregnancy allowed Karen Gillan his travels. However, what has how bad of a time can you give Amy to be sexy and running around been five minutes for him has been Pond?xi.” This is made quite clear in a mini skirt while all the while “twelve years and four psychiatristsix” during Amy’s two and a half seasons being fat, hormonal and [pregnant] according to a grown-up Amy as the Doctor’s companion. behind closed doors. She needed Pond. Adult Amy’s first appearance Amy is continuously used as a to give birth but we needed to still is via a slow lingering shot from plot devise. She is given little to be able to pervexii.” This swapping her legs up while dressed in a no agency within her life, and her of Amys and her pregnancy police woman kissogram costume. history becomes so dependent on is an overarching theme of the first This fragmentation of Amy in her the Doctor’s that her life begins to half of series six, which has the introduction results in numerous unravel without him. During one Doctor scanning Amy without her references to Amy’s legs throughout of the Doctor’s many absences from knowledge in every episode as he Moffat’s era, including long after Amy’s life, she and her husband tries to figure out how she can be Amy has left the show. Rory have separated and just filed both pregnant and not pregnant. It is implied in her introductory for divorce. This dismantling of While the narrative portrays the episode that much of her childhood her seemingly perfect marriage Doctor’s repeated scanning of Amy has been shaped by the seeming is apparently caused by Amy’s and unwillingness to disclose abandonment of her parents as sudden infertility, which is implied pertinent information to her as being well as her sporadic and strange to have occurred due to the hostile for Amy’s own good, these actions encounters with the Doctor, and experimental nature of her are invasive and done without Amy’s previous to her becoming a full- “Mystical Pregnancy” in series six. consent or knowledge. Not once does time companion. Thus the instant Well-known feminist blogger Anita this season focus on Amy’s feelings sexualization of Amy is made even Sarkeesian discusses this common regarding pregnancy or starting a more unsettling due to the previous phenomenon in her YouTube family. Instead, the Doctor is allowed introduction of her character as a series Tropes vs. Women. In episode to keep his theories secret from Amy,

12 The first time is in episode 5.7, “Amy’s Choice”: Amy finds herself very pregnant and must choose between two realities, each of which has an aspect of life she desires but that apparently cannot co-exist. Namely, she can either travel with the Doctor having adventures, or she can settle down in a quiet town with her husband and raise a family. At of the episode, however, it is revealed that neither scenario was real, and that the three characters were trapped in dual dream states caused by Amy’s insecurities and alien dream dust. 13 Doctor Who 6.1/6.2, 6.5/6.6, 6.7; “”/”Day of the ”, “The Rebel Flesh”/ “The Almost People”, “”, respectively.

Summer 2014 – Spring 2015 | 67 thus putting her physical and mental allowing him to comfort Amy. This statement by Rory trivializes health in jeopardy; as stated earlier, it Narratively these scenes add nothing the numerous traumatic experiences is due to this forced pregnancy that except to reinforce the patriarchal Amy has under gone during the Amy is rendered infertile. idea that women are owned by the last two seasons, including those This narrative arc is problematic men in their lives, in these instances involving her expressing her love for and sexist for several reasons. First, by their husbands. Once married, Rory. By having the male character the narrative strips Amy of any “Amy becomes the possession of her emotionally blackmail the female and all agency regarding her body husband and is made an object to character and then immediately and her reproductive choices. She trade between the men. Every time follow that up with the reconciliation is repeatedly lied to and denied the Doctor wants to hug her, he of said relationship, Moffat is telling important information and thus addresses Rory: the audience that if one’s partner is not allowed to participate in the The Doctor: ‘Permission?’ is not acting in a way deemed rescuing of her actual body. Instead Rory: ‘Granted.’ appropriate by them, they have the she is regulated to a “damsel in This scene is repeated so often right to attempt to control them distress,” and is not told about her that the Doctor no longer specifies via emotional abuse. Between this predicament until the Doctor has what the permission is forxiv.” While example of emotional abuse, and figured out what is going on. Even each of these encounters is played the previously described repeated then, all she is told, before effectively as a joke, the control is real. Rory instances of Rory controlling who being killed by the Doctor, is that is given the power to decide if and Amy is allowed to interact with, the body she has been living in when Amy is allowed comfort from their relationship is unequal and for the past several months is a her best friend. Sexism passed off as unhealthy, problematized even more doppelgänger and she is given the harmless humour is a very common so due to the narrative insistence ominous message to “push, but only form of misogyny in the media that this is a great love story. when she says soxiii”. After being and by portraying sexism through “The main purpose of Amy Pond obliterated by the Doctor, Amy jokes, Doctor Who (and by extension was always for her to be the mother awakens to find herself strapped to Moffat) is presenting these actions as of the magical child who would be a hospital bed in a dressing gown acceptable to the audience. both the Doctor’s Girlfriend and about to give birth while her captor, Another major problematic Ultimate Foe. This was Moffat’s long Madame Kovarian, watches through element of the use of the mystical game. Her relationship with the a window in the door. Shortly after pregnancy trope is that it links Doctor was predestined not because giving birth, her daughter is violently Amy’s worth to her ability to of her own, unique self but because from her during the Battle reproduce. As mentioned earlier, of what would be in her uterusxvi.” of Demon’s Run, in which several during one of the Doctor’s absences brave individuals fought and died from their lives, it is revealed that River Song—The Woman protecting her and her child. While Amy and Rory are getting a divorce Who Kills/Marries the Amy is given some screen time to due to Amy’s sudden infertility Doctor process this emotional trauma, the brought on by said mystical While Amy is subjected to a fair scene does not last very long and the pregnancy. This minor subplot of amount of misogyny during her only form of comfort she receives series seven presents Amy as feeling tenure aboard the TARDIS, her is when the Doctor (allegedly her like less of a woman due to her development remains stronger and best friend) asks her husband Rory inability to have children. By placing less narratively convoluted (and for permission before hugging her. so much value on a woman’s ability racist) than that of River Song. Although this scene is short and may to reproduce, the narrative is saying River Song has been heralded as seem trivial, this is a reoccurring that infertile women are less than the pinnacle of the “strong female component of Amy’s arc on the their childbearing counterparts. character.” On the outside, she show, and thus implies the male Although the introduction to is an ass-kicking, gun-wielding, ownership of Amy by her husband. series seven emphasizes Amy and archaeologist with insider While typically the Doctor addresses Rory’s increasingly separate lives knowledge of the Doctor. However, Amy as “Pond,” during moments due to their impending divorce, their below the surface River is a character of emotional duress or potential conflicts are seemingly resolved by with very little to no actual agency. platonic intimacy, the Doctor refers the end of the first episode. This Her entire life, from conception to to her as Amy Williams. These is despite Rory telling Amy that a death, is defined by or around the moments are than followed by Rory “basic fact of our relationship is that Doctor, including her chosen name granting permission to the Doctor, I love you more than you love mexv.” of River Song.

68 | journal of undergraduate research River is initially introduced the form best known as River Song, This results in her having to break during Davies’ era in the Moffat an older, attractive white woman her own wrist because the Doctor penned two-part episode “ who quickly falls in love with the read that it would happen in a book. in the Library/.” Doctor, seemingly overcoming While this could be considered During these episodes, River is lifetimes of programming, adopts a moment of agency for River, established as an important figure the name River Song because of the regardless of how grim the situation from the Doctor’s future. While this Doctor, and sacrifices her remaining is, she ultimately only breaks her is the first introduction of River, this regenerations in order to save the wrist because of the Doctor. Her only episode also signifies the end of Doctor. By the end of the episode real agency comes in her attempt to River’s life as she sacrifices herself she is shown applying to the Luna her broken wrist from him, but to save the Doctor. Shortly after University in the year 5123 to study even this action is motivated by the Moffat’s start as showrunner, River archaeology because she is “looking fear that he would become angry is brought back at a much earlier for a good manxviii,” referring again with her. When asked why she does point in her timeline. River’s true to the Doctor. this by Amy, she replies with “never identity is then hinted at for the Every major event in River’s life is let him see the damage. And never next season and a half until it is orchestrated by either the Silence or ever let him see you age. He doesn’t revealed that she is the “Child of the influenced by the Doctor, including like endingsxix.” River’s only true TARDIS.” Conceived within the time the large span of time she spends moment of agency is in the series vortex, River Song, born Melody in a high security prison after being six finale when she decides not to Pond, is Amy’s child who was stolen convicted of killing the Doctor, who kill the Doctor during a fixed point at Demon’s Run by a sect of the leaves her there in spite of him in time. However, this action is religious order “The Silence” run being very much alive. Nearly all of motivated by River’s apparent love for by Madame Kovarian. River is thus River’s scenes are shot via the male the Doctor, agreeing only to reverse kidnapped, heavily brainwashed, gaze, including lingering shots of her decision if he marries her15. abused, and fashioned into “the her cleavage, the upward panning of This wedding, while manipulative, woman who kills the Doctorxvii.” her body, and numerous sexist and is the second wedding to be shown In the episode following River’s sexual remarks made by the Doctor. in two seasons; thus marking the “big reveal” as Melody, we are These include the Doctor referring first time in Doctor Who history introduced to a much younger to Amy and River as “The Legs” where all of the companions are Melody who is shown to have and “Mrs. Robinson” respectively. in heteronormative relationships. grown up alongside Amy and Rory These are two nicknames deeply Though subtle, by having all of the as their mutual best friend, Mels14. rooted in sexism and are used to main characters married the show is This of Melody marks objectify Amy for wearing short saying that marriage is the end-all- the only instance of a named black skirts and sexualize River for being be-all of a relationship. By having the Time Lord in the history of Doctor an attractive older woman. While titular character, who is a thousand- Who. However, this depiction of the Doctor and River’s relationship plus year old alien who has been in Mels is during a short montage is portrayed as an epic love story numerous relationships of all kinds of anti-authoritative and criminal transcending time and space, it is in the past, marry in a wedding that behaviours, all occurring before the in reality largely one-sided and is the crucible for the episode’s plot, opening credits of the episode. As extremely abusive. the show is sending the message that the montage progresses, so does the There are many instances of in order for a relationship to be valid, seriousness of Mels’ crimes, starting abuse depicted in this relationship, the couple must be married. These first with detention and ending with each of which are passed off as portrayals of relationships and the jail. In each of these instances, Amy romantic. In the mid-season finale of focus on marriage as the end goal is is shown waiting for Mels’ release, series seven, River’s wrist becomes heteronormative and homophobic, thus juxtaposing the “lawful” white trapped in the grip of a Weeping as well as diminutive of the Doctor’s woman with the “criminal” black Angel. While she asks the Doctor previous relationships which did woman. Mels’ short screen time is for help, he insists that she change not end in marriage but were just as ended when she is shot and killed the future directly after telling her valid. When included under Davies, by after hijacking the that this event is unchangeable, weddings and marriages were TARDIS. Mels then regenerates into leaving her to escape on her own. shown as normal events, not the

14 Doctor Who 6.8, “Let’s Kill Hitler” 15 Doctor Who 6.13, “The Wedding of River Song”

Summer 2014 – Spring 2015 | 69 defining moment in a character’s life. in “,17” with Vastra fighting. These short two scenes Instead, commitment was shown embodying the dominant “man” and are indicative of the rape culture through actions and loyalty, by the Jenny as the objectified, subservient in which we live and reinforces the characters treating each other with “woman.” This power imbalance sexualization and fetishization of love and respect. This is very unlike is made even more insidious women. To have a scene of sexual Moffat’s depictions of relationships; considering that while Vastra and assault, committed by the Doctor no Amy is emotionally abused and Jenny are married, “for appearance’s less, played for laughs in a family controlled by Rory, as discussed sake, we maintain a pretense, in as hugely successful, previously, and the Doctor lies to public, that [Jenny] is my maidxxii.” and historically progressive, as Doctor and manipulates River constantly. However, this line is followed by Who sends the message to millions By having every romantic onscreen Jenny saying “doesn’t exactly explain of children, teens, and adults that relationship end it marriage, Moffat why I’m pouring tea in private,” this is acceptable behavior. The is sending the message to viewers followed by Vastra hushing her. In sexualization of Jenny is made all the that these are the only relationships every scene during this episode in worse by the fact that she is a queer worth pursuing. This is especially which Vastra and Jenny interact, woman who has shown no interest in harmful to young girls who are there is an obvious power difference any man, yet alone the Doctor, and witnessing these seemingly strong between the two; this is including (as of the airing of this episode) has female companions being treated as the first and only kiss between yet to be seen kissing her own wifexxv. incomplete or less than because of them (to date) in which Vastra uses their marital status. Coupled with her stored to aid Jenny in Clara Oswin Oswald— Moffat’s belief that “There’s this breathing. Thus, their first kiss is The Impossible Girl issue you’re not allowed to discuss: actually an exchange of oxygen and Clara is a complicated companion that women are needy. Men can not a romantic kiss like those the in that she lived and died twice go longer, more happily, without heterosexual couples have been able before being introduced as a full women. That’s the truth. We don’t, as to share.18 In fact, Jenny is actually time companion on the show. She is little boys, play at being married—we sexually assaulted by the Doctor in initially problematic because she is try to avoid it for as long as possible. the previous episode to feature her. shown to only be granted access to Meanwhile women are out there In this scene, the Doctor the Doctor’s world because he has hunting for husbandsxx,” these scenes forcefully bends Jenny over and become obsessed with the mystery of “strong female characters” being kisses her in a shot reminiscent shrouding her, a mystery she knows defined by their spouses is sexist. of the iconic VJ Day “Sailor Kiss,” nothing about and is not informed which was also a non-consensual of until the end of her first season Queering kissxxiii. Jenny then slaps the Doctor, as companion. In this finale, Clara Heteronormativity— who laughs while saying “you have is finally allowed to know who she Madame Vastra and no idea how good that feelsxxiv.” is to the Doctor, which results in her Jenny Flint This scene is quickly followed by decision to sacrifice herself to save The only deviance from this what should have been a powerful him with the repeated assertion that heterosexual marriage motif moment for Jenny as she sheds she “was born to save the Doctorxxvi.” established in Moffat’s first two her restrictive Victorian garb to Again, Moffat has reduced the seasons is in the case of Madame reveal a leather fighting outfit in female companion to a secondary Vastra, “a lizard-woman from order to defend against a group of role, whose entire existence is shaped beyond the dawn of time16xxi” and assailants. Instead, she is overtly around the Doctor. Clara is denied her human wife Jenny Flint. These sexualized by both the Doctor, any character growth or development women are an interspecies lesbian whose rises in during her time aboard the TARDIS, couple living in Victorian , his hand before he embarrassedly instead being shown as feisty and used primarily in the narrative for pushes it back down in what is most unimpressed by the Doctor while shock value and homophobic jokes. definitely an erection joke, and by lacking any real agency of her own. While they are a lesbian couple, they the camera which pans up from The first time the Doctor is are presented heteronormatively between her legs before she begins introduced to Clara,19 she is a

16 Vastra is a , a fictional race of reptile-like humanoids 17 Doctor Who 8.1, “Deep Breath” 18 While this episode was nominated for the GLAAD ‘Outstand Individual Episode (in a series without a regular LGBT character) award, I do not believe that said nomination detracts from the heteronormative lens through which the characters are written. 19 In person. He previously interacted with a version of her in 7.1, “Asylum of the ”; this version also died saving the Doctor.

70 | journal of undergraduate research barmaid in Victorian London. clothes, and waves desperately at in a single episode, most are killed However, she is also revealed to be various Doctors who have been off, and of the two reoccurring the to two children of a edited in from Classic Doctor Who black characters, both are presented wealthy widower. This version of episodesxxix.” As opposed to showing in racially insensitive ways. Ella Clara dies by the end of the episode Clara do any actual saving, we Shohat and Robert Stam discuss while saving the Doctor. The next are instead witness to the Doctor in their essay Stereotype, Realism, incarnation of Clara is again shown jumping into his own time stream and the Struggle over Representation in a nurturing role, this time as the to save her, thus stripping her of any that since “the ‘mark of the plural’ nanny to a family in contemporary potential agency she may have had.22 projects colonized people as ‘all London. Despite these versions In series eight, Clara is effectively a the same,’ any negative behavior of Clara growing up in radically blank slate. No matter what happens by any member of the oppressed different societies, they have the to her or how much she may develop community is instantly generalized same personality and are resigned to over the course of any given episode, as typical, as pointing to a perpetual doing the same type of traditionally she inevitably resorts back to her backsliding toward some presumed feminine work. default template of “feisty” by the negative essencexxxvi.” This season When the Doctor first meets start of the next episode. The only once again presents a young contemporary Clara, he has already constant throughout series eight is the black girl, , as a been shown to have met a younger newly regenerated Doctor negatively “disruptive influence” who challenges version of her,20 and clearly knows commenting on Clara’s physical authority. Courtney does appear much more about her than she does appearance, or “negging” her.23 multiple times during the season, about him. While Clara initially Throughout the season, the Doctor even traveling in the TARDIS for a denies travel with the Doctor, she calls Clara “an egomaniac, needy, short period. However, Courtney soon changes her mind but is still game-player sort of personxxx” and is perpetually in trouble with her denied full agency due to the Doctor a “control freakxxxi”; he describes her teachers and is thusly “saved” by the keeping valuable information from as being “sort of short and round-ish, benevolence of the white characters, her, namely that there are multiple but with a good personalityxxxii”, “built namely Clara and the Doctor, versions of her throughout history. like a manxxxiii”, and that “her face is mirroring the brief introduction of Even after this “big reveal” in the so wide[,] she needs three mirrorsxxxiv.” Mels is series seven. Every black series finale, the audience still knows “Since [the Doctor] regenerated, he’s youth introduced in this series, even very little about Clara. “It seems her called [Clara] fat, old, implied she just in passing, is portrayed as either entire role in the series is to provide a smells (it’s her perfume) and now a criminal or a “disruptive influence” mystery for the Doctor to obsess over. can’t tell if she’s wearing make-up or to those around them. The repetitive [When] the Doctor reflects on his not..xxxv” The Doctor is a character of representations of black youth as relationship with Clara [he] focuses authority; the “negging” of the female criminals or problems to society on Clara’s mystery. He mentions only companion is vehemently sexist and, is incredibly problematic. Because three qualities of hers: she’s funny, according to self-reports on Tumblr, each of the children are shown she’s brave, and she’s ‘perfect’21 xxvii.” has caused a rising discomfort with to be unruly, anti-authoritarian, Instead of being a full and complete the show from young female viewers and potentially dangerous, the person, Clara is repeatedly used as who now fear that the Doctor would “mark of the plural” indicates a to further the Doctor’s insult them as well. that “representation thus becomes character arc. “Clara brings the allegoricalxxxvii.” Ergo, by writing Doctor out of his post-Amy and Rory Courtney Woods and all of the young black children in a depression and gives him something the “mark of the plural” similar manner, Moffat is reiterating to obsess over, before ultimately Series eight showed remarkable the tired racist tropes of the “savage” sacrificing herself to save him xxviii.” improvement in the number of or “primitive negro,” “pointing to a However, “we hardly see her do any significant characters of color, mostly perpetual backsliding toward some actual saving. She falls through fire, black characters. However, nearly presumed negative essencexxxviii.” appears in a variety of cute period all of these characters only appear Courtney’s representation is

20 During a minisode, the Doctor is seen stalking Clara’s timeline, once again meeting a future companion during their formative childhood years and thus imprinting himself onto their timeline. 21 Doctor Who “She Said, He Said: A Prequel” 22 Doctor Who 7.13 (How they exited the time stream remains unknown.) 23 Negging is when a person, usually a man, insults or humiliates a woman as much as he can get away with in order to lower her self-esteem and try to get her to seek his approval, while establishing himself as being of higher authority and value. It’s a manipulative, yet common tactic established by so-called “pick-up artists.”

Summer 2014 – Spring 2015 | 71 especially problematic when viewed clear message that he does not Goldberg in The Color Purple; through an intersectional lens. She value women, nor their stories, and Goldberg was herself influenced to is a young black girl who is deemed by having the Doctor, a character become an actress when she saw “unimportant” by the Doctor, despite looked up to by millions, disregard Nichelle Nichols in the original Star him previously having said that “in women, Moffat is saying that we Trek xliii. More connected to Doctor nine hundred years of time and the audience shouldn’t care about or Who, both and space and I’ve never met anybody value women either. were huge fans of the who wasn’t important beforexxxix.” Currently, all of the writers for show growing up, and Tennant was Doctor Who are affluent white men. influenced to become an actor in Moffat the Misogynist While it is true that not all women order to one day play the Doctorxliv. Doctor Who is a family show watched are feminists, and that women can Thus, by continuing to allow subpar by millions of people. When a uphold sexist ideology just as well and offensive representations show such as this presents female as their male counterparts and of women and minorities on the characters without autonomy or therefore there is no guarantee that show, Moffat is alienating large agency, presents the Doctor as a the addition of women writers would communities of people who may sexual predator, and dismisses improve representation in Doctor have otherwise been influenced to as “just a phasexl,” it Who, it can be inferred that due to do great things based on the heroics has power and influence over those the poor representation currently, of the Doctor and companions. The watching. Moffat has repeatedly the show would greatly benefit show has proven itself to be better insulted women and minorities in from diversifying the writer’s room. in the past, and I have that it interviews24 and has allowed his Moffat has repeatedly shown us will become more inclusive again personal biases to infiltrate a once that he cannot write nuanced female in the future. By analyzing the beloved show. Episodes penned characters. He is constantly falling numerous intertextual problems in by him frequently fail the Bechdel back on the same tired old tropes Moffat’s representation of women test. His female characters are tepid and has not proven himself to be and minorities, and highlighting at best and overtly sexualized at receptive of criticism. Thus, I fully the ways in which his writing has worst, and when confronted with believe that the only solution to the hindered the enjoyment of such his blatant sexism over the way he “Moffat problem” is to replace him a beloved show, I truly hope to wrote Amy and River he insisted as showrunner with someone more aid in both academic and fandom the opposite: “River Song? Amy capable of writing complex female discussions of the show. By using Pond? Hardly weak women. It’s the characters. I do not know who that the academic concepts explored exact opposite. You could accuse person should be. However, I do know above, I aim to enrich the average me of having a fetish for powerful, that the show needs more women fan’s critical understanding of the sexy women who love cheating writers to help counter-balance the show. In the same way, by using peoplexli.” What Moffat seems to fail overabundance of men writers. my position within the fandom, I to understand is that him fetishizing Representation in media matters. hope to aid in the decentering of women is not the same as respecting It influences the way people view academic and critical feminist media them, nor is it the same as writing those different from them, as well analysis to include discourses found well-developed, three-dimensional as how they view themselves. Lupita on popular websites such as Tumblr. characters. Moffat has developed Nyong’o addressed this concept By blurring together these two a version of the Doctor that, as a perfectly when she said in an seemingly opposing viewpoints in queer woman, I would be terrified interview that “until I saw people my discussion of representation in to travel with. Moffat’s misogyny who looked like me, doing things I Moffat-era Doctor Who, my goal is has allowed for the lack of agency, wanted to do, I wasn’t sure it was a to show that academic and popular under-characterization, monism, possibilityxlii.” It was due to seeing discourses are not so different after and invasion of bodily autonomy someone who looked like her that all and can in fact greatly benefit of the female companions in ways Lupita realized she could be an actor. from each other when conducting significantly more problematic These kind of realizations based media analysis research. and sexist than during the show’s off of the representation in media original run in 1963. Through his are common occurrences. Nyong’o writing, Moffat is sending the very was influenced by seeing Whoopi

24 A semi-complete list of his interviews and quotes can be found at http://feministwhoniverse.tumblr.com/post/25598314408/steven-moffat-is- a-douchebag-the-masterlist

72 | journal of undergraduate research Notes xxiii Leopard i Geek Feminism Wikia xxiv Doctor Who 7.11 ii Helford, Pg. 13-14 xxv Boleyn iii Chambers, pg. 35. Emphasis in original. xxvi Doctor Who 7.13 iv Ibid. xxvii Alyssa v Britton, Pg. 135 xxviii Ibid. vi Ibid. Pg. 136 xxix Ibid. vii Ibid. Pg. 137 xxx Doctor Who 8.1 viii Mulvey, Pg. 9-10. Emphasis added. xxxi Ibid. ix Doctor Who 5.1 xxxii Doctor Who 8.2 x Ibid. xxxiii Ibid. xi Flesh and Stone Confidential xxxiv Doctor Who 8.4 xii feministwhoniverse.tumblr xxxv Welsh xiii Doctor Who 6.6 xxxvi Shohat and Stam, Pg. 805 xiv Nesbitt xxxvii Ibid. xv Doctor Who 7.1 xxxviii Ibid. xvi Coleman xxxix Doctor Who 2010 Christmas Special xvii Doctor Who 6.12 xl Doctor Who 7.1 xviii Doctor Who 6.8 xli Jeffries xix Doctor Who 7.5 xlii Staff xx Scotsman.com xliii Hart xxi Doctor Who 2012 Christmas special xliv IMDb xxii Doctor Who 7.1

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Alyssa. “Clara Oswald: The Ultimate Manic Pixie Dream Girl?.” Jeffries, Stuart. ‘’There Is A Clue Everybody’s Missed’: Sherlock Writer whovianfeminism.tumblr. Steven Moffat Interviewed’. . 2012. Web. 7 May 2015. 2013. Web. 7 May 2015. Leopard. “The Kissing Sailor, or ‘The Selective Blindness of Rape Barrett, Sarah. “How Often Does Doctor Who Pass The Culture’.” Crates and Ribbons. 2012. Web. 7 May 2015. Bechdel Test?.” Doctorwhotv.co.uk. 2015. Web. 7 May 2015. Mulvey, L. 1975. “Visual Pleasure And Narrative Cinema.” Screen 16 Bechdeltest.com. “Bechdel Test Movie List.” 2015. Web. 7 May 2015. (3): 6-18.

Boleyn, C. “Eleven Sexually Assaults and Sexualises Jenny in The Nesbitt, M. The objectification of Amy Pond. SPARK Movement. 2012. Crimson Horror by (Series 7 Episode 11).” claudiaboleyn. Web. 7 May 2015. tumblr. 2013. Web. 7 May 2015. Orthia, Lindy. Doctor Who And Race. Bristol: Intellect Ltd., 2013. Print. Britton, Piers D. Tardisbound. London: I. B. Tauris, 2011. Print. Sarkeesian, A. “#5 The Mystical Pregnancy (Tropes vs. Women).” Chambers, Samuel Allen. The Queer Politics Of Television. London: I.B. Online video clip. YouTube. YouTube, 28 July 2011. Web. 7 May 2015. Tauris. 2009. Print. Scotsman.com. “Time Lad Scores With Sex And Daleks.” 2004. Web. 7 Coleman, View. “The Dangers Of Mystical Pregnancy As May 2015. Entertainment.” Persephone Magazine. 2011. Web. 7 May 2015. Staff, THR. “Lupita Nyong’o Talks The ‘Lupita Effect’.” The Hollywood Crenshaw, Kimberle. “Mapping The Margins: Intersectionality, Reporter. 2014. Web. 7 May 2015. Identity Politics, And Violence Against Women Of Color.” Stanford Law Review 43 (6): 1241. 1991. Print. Welsh, Kaite. “Review: ‘Doctor Who’ Season 8 Episode 4, ‘,’ feministwhoniverse.tumblr,. “Moffat’s Magnificent Mystical Celebrates The Power Of Fear (And Bad Dates).” Indiewire. 2015. Web. Pregnancy.” 2011. Web. 7 May 2015. 7 May 2015.

Geek Feminism Wiki. “Agency.” 2015. Web. 7 May 2015. Hart, Hannah. “WHOOPI GOLDBERG TALKS ABOUT .” Online video clip. YouTube. YouTube, 5 May 2015. Web. 7 May 2015.

Summer 2014 – Spring 2015 | 73 Doctor Who episode guide: Moffat, Steven. “.” Doctor Who. BBC One. 18 Raynor, Helen. “The Sontaran Stratagem.” Doctor Who. BBC One. 26 May 2013. Television. 7.13 April 2008. Television. 4.4 Moffat, Steven. “.” Doctor Who. BBC One. 25 Raynor, Helen. “The Poison Sky.”Doctor Who. BBC One. 3 May 2008. December 2013. Television. Special. Television. 4.5 Moffat, Steven. “Deep Breath.” Doctor Who. BBC One. 23 August 2014. Moffat, Steven. “The Eleventh Hour.” Doctor Who. BBC One. 3 April Television. 8.1 2010. Television. 5.1 Moffat, Steven. “Dark Water.” Doctor Who. BBC One. 1 November 2014. Television. 8.11 Moffat, Steven. “Flesh and Stone.” Doctor Who. BBC One. 1 May 2010. Television. 5.5 Moffat, Steven. “Death in Heaven.” Doctor Who. BBC One. 8 November 2014. Television. 8.12 Nye, Simon. “Amy’s Choice.” Doctor Who. BBC One. 15 May 2012. Television. 5.7

Roberts, Gareth. “The Lodger.” Doctor Who. BBC One. 12 June 2010. Television. 5.11

Moffat, Steven. “.” Doctor Who. BBC One. 25 December 2010. Television. Special.

Moffat, Steven. “The Impossible Astronaut.” Doctor Who. BBC One. 23 April 2011. Television. 6.1

Moffat, Steven. “.” Doctor Who. BBC One. 30 April 2011. Television. 6.2

Graham, Matthew. “The Revel Flesh.” Doctor Who. BBC One. 21 May 2011. Television. 6.5

Graham, Matthew. “The Almost People.” Doctor Who. BBC One. 28 May 2011. Television. 6.6

Moffat, Steven. “A Good Man Goes to War.” Doctor Who. BBC One. 4 June 2011. Television. 6.7

Moffat, Steven. “Let’s Kill Hitler.” Doctor Who. BBC One. 27 August 2011. Television. 6.8

Roberts, Gareth. “Closing Time.” Doctor Who. BBC One. 24 September 2011. Television. 6.12

Moffat, Steven. “The Wedding of River Song.” Doctor Who. BBC One. 1 October 2011. Television. 6.13

Moffat, Steven. “Asylum of .” Doctor Who. BBC One. 1 September 2012. Television. 7.1

Moffat, Steven. “The Angels Take Manhattan.” Doctor Who. BBC One. 29 September 2012. Television. 7.5

Moffat, Steven. “The Bells of St. John: Prequel.” Doctor Who. BBC Button. 23 March 2013. Webcast. Minisode.

Moffat, Steven. “She Said, He Said: A Prequel.” Doctor Who. BBC Red Button. 11 May 2013. Webcast. Minisode.

74 | journal of undergraduate research