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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Donald Trump's cartoon nuclear rhetoric draws on a culture of American jingoism

Senior Republicans avoided condemning Trump's incendiary speech, and some endorsed it. 

From recent headlines, it seems as though Donald Trump isn't content with his Emmy-by-proxy. The US president told the United Nations General Assembly this week: “The United States has great strength and patience, but if it is forced to defend itself or its allies, we will have no choice but to totally destroy North Korea.” Trump’s speech raised eyebrows for its bellicose tone, especially when contrasted with his predecessor’s endorsement of a war-averse approach. 

A widely circulated image of Trump's chief of staff John Kelly with his head in his hand might suggest that most listeners loathed the speech. But Trump said many outrageous things on the campaign trail and voters - at least a critical number of them - agreed. So how did his words go down at home? 

My contacts in international security were unwilling to go on the record condemning it. They were mainly Americans in their twenties, hoping for a government job one day, and fearful of saying anything that could be interpreted as "un-American".

The one person who would speak to me asked for their name to withheld. A former military analyst in the US Department of Defence, they told me that “the US has the military capability and legal responsibility to address threats to itself or allies". What Trump said, they suggested, should be seen in the context of the wider US institutions. "While Trump may have advocated for isolation in the past, the political and military forces he leads are built to enforce the adherence to international law and regional security," the former analyst said. "They provide a real counterweight to the bombast in Pyongyang.”

Trump's speech may have been colourful - his nickname for the North Korean leader Kim Jong-un, "Rocket Man", is a reference to Elton John’s mid-Cold War musical hit – but the speech should be seen as yet another reassertion of US military dominance. North Korea may boast of its Inter-Continental Ballistic Missile (ICBM) development,  but its arsenal is simply not well-equipped enough to present the same existential threat to the US that the USSR did at its peak. 

Rather than lacking comprehension, the analyst said of the speech: “Trump's rhetoric is intended to galvanise recognition that the current rules based order is threatened by North Korea's actions”.

Trump’s jingoism is not unique amongst the current American elite. Back in 1983, in his book, The Wizards of Armageddon, the liberal journalist Fred Kaplan characterised the hawkish US military strategy as simply ejaculating combative statements without a long-term plan. Kaplan quoted Herman Kahn, one of the early nuclear strategists, who called one proposal targeting the USSR a “war orgasm”. 

The US Senate recently passed a defence policy bill to increase military spending to $700bn, which includes $8.5bn for missile defence purposes. Overtly catastrophic language, meanwhile, has long been a staple of US foreign policy debates. In 2015, Trump's rival for the Republican presidential nomination, Ted Cruz, made headlines when he vowed to carpet-bomb Isis until he found out "if sand can glow in the dark". While most leading Republicans chose to stay silent after Trump's speech, a few, such as Paul Ryan and Rand Paul, publicly endorsed the message. Cruz, despite the rivalry, was among them. 

On social media, the American public are vocally divided. Some called for Trump to be denounced for his inflammatory speech, but others tweeted #MakeAmericaGreatAgain. Even some Trump sceptics agreed that the North Korea “nuclear summer” needed to be kept in check.

By contrast, overseas listeners have perceived the speech, and this administration’s foreign policy, as unnecessarily incendiary. Matt Korda, a Canadian research assistant on strategic stability at the UK-based Centre for Science and Security Studies,  told me: “Kim Jong-un perceives his nuclear weapons to be the only thing guaranteeing his regime's survival”.

“He will never give them up, no matter how much Trump threatens him," Korda added. “On the contrary: Trump's threat to ‘totally destroy’ the entire country (including millions of innocent and oppressed civilians) will only tighten Kim's grip on his nuclear weapons”.

The effects of Trump’s speech are yet to fully play out, but it is clear that his words have rallied at least a section of American society, and rankled everyone else. The Donald may seem to be mirroring the culture of nuclear recklessness his North Korean opponent helped to create, but this is also the kind of hostile and hyperbolic rhetoric which fuelled his rise to power. In reality, once Trump’s unpleasant vernacular is decoded, he can be seen to be echoing the same global view that has long pervaded the collective American consciousness. Trump's speech was not addressed at his UN doubters, but rather at his domestic fan base and his allies in the South Pacific. This is not a shift in US foreign policy - it is tradition with a spray-tan.

 

 

Anjuli R. K. Shere is a 2016/17 Wellcome Scholar and science intern at the New Statesman