Does Steven Moffat have a problem with women?

A debate over the Doctor Who and Sherlock writer's attitude to female characters.

On 1 January, the first episode of the new series of Sherlock aired -- a retelling of the Arthur Conan Doyle story A Scandal in Bohemia called A Scandal in Belgravia. Among several changes from the source material were a few which provoked comment; particularly the decision to adapt the character of Irene Adler ("the woman", as Holmes calls her).

Instead of an opera singer, she was now a dominatrix. And -- spoiler alert -- instead of outwitting Sherlock, she was undone by her decision to make a crucial password dependent on her fearsome crush on the great-coated detective.

That night, Zoe Stavri wrote a blog post called "Irene Adler: how to butcher a brilliant woman character", which argued that "it's pretty when a story written over 120 years ago has better gender politics than its modern reimagining". Jane Clare Jones, writing for Comment is Free, concurred. I, however, disagreed, arguing that there were sound dramatic reasons for the changes.

So I invited Zoe to debate the issue on this blog. Here is our email exchange --

Helen Lewis: First up, cards on the table. I really like Steven Moffat's work; he'd be near the top of any list of British screenwriters working today, and if it were possible to have him cloned, I would find it sorely tempting. Coupling? Hilarious. Jekyll? Creepy. Blink? One of the best pieces of television I've ever seen. Sherlock? So good I watched the first episode again the instant iPlayer would let me.

Maybe my love has blinded me to the fact that he's supposedly a sexist, but I find it hard to believe. The character of Irene Adler in the new series of Sherlock is undoubtedly less strong than her forebear in the books - she doesn't outwit the detective - but there are any number of sound, practical non-sexist reasons why you would make this change. Building a series arc about Moriaty, for one. Not demolishing the key allure of Sherlock the invincible so soon, for another.

Not making every woman in your drama a strong, confident person isn't the same as being systemically sexist. I always remember what The IT Crowd writer Graham Linehan told me: "One thing I have always tried to do is make the female characters as venal, corrupt and silly as the men. Being equally hard on my characters, male or female, is my pathetic little contribution to feminism."

Zoe Stavri: Cards on the table: I, too, adore the work of Steven Moffat. I found myself turning joyful metaphorical cartwheels when it was announced that the man who wrote some of my favourite Doctor Who episodes would be running the whole show. Moffat's writing sizzles and his plots twist with intricacy and never fail to surprise and delight.

I find it difficult, then, to reconcile my love for Moffat's shows with a stripe of sexism I feel runs through it all. Particularly egregious was the first episode in the new series of Sherlock, which is based on an Arthur Conan Doyle story in which Holmes finds himself completely and utterly outsmarted by a woman.

In Moffat's take, not only are Irene Adler's smarts demoted to being due to advice from Holmes's male nemesis Moriarty, but Adler ends up as a damsel in need of rescue.

I would be more willing to excuse this as serving a gender-blind narrative function were it not for the rest of Moffat's body of work I have watched. Let's start with Coupling, which was was funny enough to make even this sour-faced feminist crack a smile, despite much of the humour revolving around the notion that men and women are different species with men wanting sex and women wanting a relationship.

Compared to the men in the show, the women characters are somewhat flat and one-dimensional, desperately scrapping over getting men into their tightly-woven female webs.

Then there's Moffat's run on Doctor Who, which has featured some downright problematic content. Take, for example, the two Moffat Christmas specials. In the more recent one, the plot was resolved by motherhood being the source of women's strength and womb-magic saving everybody. The Christmas before was about a woman in a box who was occasionally taken out for men's amusement.

Put together, a worrying picture emerges. I'd hoped to see Irene Adler done justice on the screen, but she received a similar treatment to the rest of Moffat's women.

HL: OK, I will give you that Moffat's Doctor Who episodes are not as bristlingly right-on as those of his predecessor, Russell T Davies. But still, this is the man behind River Song and Amy Pond and Madame de Pompadour and Sally Sparrow. You could make the argument that these characters are primarily explored in relation to a man, but isn't that the nature of long-running drama?

The Doctor will always be the most interesting character in Doctor Who, in the same way that Sherlock is the lynchpin of Sherlock Holmes. Moffat simply has the "bad fortune" to inherit two series with well-loved leading men. The answer is a few more Buffy the Vampire Slayers (that is also the answer to a number of other problems with TV today, incidentally).

It's interesting that you raise Coupling, because for me that's the hardest to defend. The characters - both male and female - are fairly broad brush, but I'd excuse that as the nature of the sitcom. Does it pass the Bechdel test, though? Possibly it's rare that the female characters discuss anything other than men, but again - the clue is in the title. It's a comedy about relationships. And I don't agree the women are more one-dimensional: of all the character, Jeff is the subject of the most mockery, and is the least "realistic". Is that misandry?

One last thing: Steven Moffat's time in charge of the Tardis has meant there has been a female companion who is - shock horror! - married. I love that. I love that in Moffat's world, you still get to have adventures once you're married, and even when you've had a baby. And yes, I found the "this one is strong" Mummy-knows-bestery of the Christmas episode a bit yukky, but it really was refreshing to see a mother getting to be part of a TV drama doing something other than washing up or nagging.

ZS: You raise a very good point about the nature of long-running dramas and how Moffat's current two shows happen to be centred around men. This is certainly relevant to the issue, and represents the broader problem of sexism in the media: there are far fewer shows, films and books with women in the leading role. I definitely don't expect Moffat to single-handedly solve this entrenched problem, yet there are ways to create a strong woman character in a male-centred show which Moffat has missed entirely.

Returning to Sherlock, there were unfortunate implications to Adler being "beaten" by Sherlock, recasting an independent woman character as one who is ultimately less good than a man and needs to be rescued. This does not exist in a vacuum: it exists in a broader context wherein female characters are largely inferior to men anyway, and in the minds of many, women are still the weaker sex. To take a source material which subverted the Victorian expectation of a weak, emotional woman and return it into something which exemplifies this archaic archetype is inherently problematic.

Moffat has also expressed concerning opinions about women, describing his viewing of Karen Gillan's audition tape as "a shame she's so wee and dumpy" in an episode of Doctor Who Confidential. Ultimately, she ended up in the role as Amy Pond because on meeting he realised she was tall and slim.

To me, a better measure of sexism in the media is not the subversions along the way, nor the Bechdel test, but where the woman characters ultimately end up. In Moffat's work, this is almost universally "in the arms of a man". Whether as a contrite tamed shrew like Adler or having fought their way there through improbable science, they all end up in the same place.

You can find Helen and Zoe on Twitter - @helenlewis and @stavvers

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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David Blunkett compares Labour membership to failed revolution “from Ukraine to Egypt”

The Labour peer and former home secretary says new members need a “meaningful political education”, and accuses unions of neglecting their “historic balance”.

There are three sorts of opposition. There’s the civil society opposition, with people campaigning in their own specific areas, people who’ve got an interest group or are delivering social enterprise or a charity. I don’t think we should underestimate that because we're going to have to hang on to it as part of the renewal of civil society.

The second is the opposition formally, within the House of Commons: those who have agreed to serve as the formal shadow ministerial teams. Because of what I’d describe as the turmoil over the last two years, they’ve either not been able to be impressive – ie. they’re trying very hard but they don't have the coherent leadership or backing to do it – or they’ve got completely different interests to what it is they’re supposed to be doing, and therefore they’re not engaged with the main task.

Then there’s the third, which is the informal opposition – Labour linked sometimes to the Lib Dems and the SNP in Parliament on the opposition benches as a whole. They’re not doing a bad job with the informal opposition. People getting on with their work on select committees, the departmental committees beginning to shape policy that they can hopefully feed to the National Executive Committee, depending on the make-up of the National Executive Committee following this year’s conference. That embryo development of coherent policy thinking will be the seed-bed for the future.

I lived through, worked through, and was integrally involved with, what happened in the early Eighties, so I know it well. And people were in despair after the ‘83 election. Although it took us a long time to pull round, we did. It’s one reason why so many people, quite rightly in my view, don't want to repeat the split of 1931 or the split of 1981.

So they are endeavouring to stay in to argue to have some vision of a better tomorrow, and to persuade those of goodwill who have joined the party – who genuinely believe in a social movement and in extra-parliamentary non-violent activity, which I respect entirely – to persuade them that they’ll only be effective if they can link up with a functioning political process at national level, and at townhall and county level as well.

In other words, to learn the lessons of what’s happened across the world recently as well as in the past, from the Ukraine to Egypt, that if the groundswell doesn’t connect to a functioning party leadership, then, with the best will in the world, it’s not going to achieve its overall goals.

How do we engage with meaningful political education within the broader Labour party and trade union movement, with the substantially increased rank-and-file membership, without being patronising – and without setting up an alternative to Momentum, which would allow Momentum to justify its existence as a party within a party?

That's the challenge of the next two years. It's not just about someone with a vision, who’s charismatic, has leadership qualities, coming forward, that in itself won’t resolve the challenge because this isn't primarily, exclusively about Jeremy Corbyn. This is about the project being entirely on the wrong trajectory.

A lot depends on what the trade unions do. They command effectively the majority on the National Executive Committee. They command the key votes at party conference. And they command the message and resources that go out on the policy or programmes. It’s not just down to personality and who wins the General Secretary of Unite; it’s what the other unions are doing to actually provide their historic balance, because they always have – until now – provided a ballast, foundation, for the Labour party, through thick and thin. And over the last two years, that historic role has diminished considerably, and they seem to just be drifting.

I don’t think anybody should expect there to be a party leadership challenge any time soon. It may be that Jeremy Corbyn might be persuaded at some point to stand down. I was against the challenge against him last year anyway, purely because there wasn't a prepared candidate, there wasn't a policy platform, and there hadn’t been a recruitment drive to back it up.

People shouldn’t expect there to be some sort of white charger out there who will bring an immediate and quick end to the pain we’re going through. I think it’s going to be a readjustment, with people coming to conclusions in the next two years that might lead the party to be in a position to fight a credible general election in 2020. I’ve every intention of laying down some good red wine and still being alive to drink it when the Labour party is elected back to power.

David Blunkett is a Labour peer and former home secretary and education secretary.

As told to Anoosh Chakelian.

This article first appeared in the 30 March 2017 issue of the New Statesman, Wanted: an opposition