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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Labour's Eurosceptics should steer clear of loaded language

Phrases such as "wholesale importation" leave the impression Labour will not speak for migrant workers.

Nothing reflects Britain’s division over Brexit than the Labour party. Do we want soft or hard Brexit? What do we prioritise? The fractures within the party’s ranks is a portrait of the divisions splintering the country.

Labour’s ambiguity over Brexit helped it in the general election in appealing to everyone. It convinced Remain voters that they could hold the Tories to account while promising the Leave voters that the referendum decision would be respected. But now clarity is needed. 

The Labour leadership seems to be angling for a hard Brexit, wishing to leave the single market and customs union on the grounds that this honours the wishes of the 52 per cent. Ironically, they are at odds with everyone in this situation, from the general public – who favour access to single market over immigration controls – to a poll in LabourList showing that 72 per cent of readers prioritised inclusion within the single market.

Jeremy Corbyn's lukewarm attitude to the EU is well documented. If the Labour Party are serious about their public ownership plans for the railways and energy, it’s likely they envision it being made difficult within the EU because of directives which create competition between the state and the private sector. There are unexplored alternatives to this, as seen in Germany and Italy where private companies are made and run the industries with the states acting as the major shareholders of the company. However it’s unlikely to see the hard left ever accepting this, given its disdain for both the private sector and the idea of it interacting with the state to deliver services.

But this is not all that should trouble progressives regarding the Labour leadership’s stance on Brexit. During a recent Andrew Marr programme in which he appeared on, Corbyn claimed that mass immigration had been used to denigrate the conditions for British workers, saying that there was a “wholesale importation” of workers from parts of Europe which would then undermine the rights of British workers. It’s an argument that has been regurgitated by British politicians consistently in recent years – but from the right, not the left.

The idea that migrants are taking British jobs and depressing wages does not hold up to evidence at all. The London School of Economics carried out a research which illustrated increases in migration from the EU did not result in depression of British wages. That’s not to suggest that wages have not stagnated, but rather the trend is linked to the financial crash in 2008, rather than migration. Corbyn’s defenders insist that there were no deliberate racist overtones in his argument, and that the villains are employers deliberately taking advantage of an easily exploited labour market. But the manner in which Corbyn framed his speech was worrying.

The reason for this is that Brexit has created an unbelievable sense of uncertainty, insecurity and fear amongst migrants. Their position in society is now being contested by politicians with different stakes in society to them. Xenophobic abuse – legitimised as an acceptable part of political discourse by Brexit – has been climbing swiftly. Immigrants are seen as threats to British jobs and that is a narrative consistently drummed out – not just since last year but for possibly the past decade.

This is not to say that Labour should not address how some employers might seek to cut costs by hiring foreign workers on a cheap rate. But phrases such as “wholesale importation” or even using the heavily demonised “mass migration” simply sketches the idea that Labour are swinging towards the hard Brexit voters, and in doing so leaving migrant workers to be defended by no one. If the intended idea was to castigate employers, it simply entrenched the idea of immigration as a problem. Rather than bringing British and migrant workers together, you know with that whole “workers of the world unite” idea, Corbyn’s framing of the argument keeps them pitted against each other.

If Brexit has shown us anything it’s that language matters in politics in how it transmits its message to people. Slogans such as “take back control” were attacks on multiculturalism and immigration, stoking white nationalism, even if the Leave campaign insisted it wasn’t about that. Likewise, Corbyn might insist it wasn’t about migrants, but his message sounded a lot like he was blaming freedom of movement for the suppression of wage growth in Britain.

Needless to say, Labour need a rethink on what kind of Brexit it pursues.