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.

Photo: Getty Images
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The Conservatives have failed on home ownership. Here's how Labour can do better

Far from helping first-time buyers, the government is robbing Peter to pay Paul

Making it easier for people to own their own first home is something to be celebrated. Most families would love to have the financial stability and permanency of home ownership. But the plans announced today to build 200,000 ‘starter homes’ are too little, too late.

The dire housing situation of our Greater London constituency of Mitcham & Morden is an indicator of the crisis across the country. In our area, house prices have increased by a staggering 42 per cent over the last three years alone, while the cost of private rent has increased by 22 per cent. Meanwhile, over 8200 residents are on the housing register, families on low incomes bidding for the small number of affordable housing in the area. In sum, these issues are making our area increasingly unaffordable for buyers, private renters and those in need of social and council housing.

But under these new plans, which sweep away planning rules that require property developers to build affordable homes for rent in order to increase the building homes for first-time buyers, a game of political smoke and mirrors is being conducted. Both renters and first-time buyers are desperately in need of government help, and a policy that pits the two against one another is robbing Peter to pay Paul. We need homes both to rent and to buy.

The fact is, removing the compulsion to provide properties for affordable rent will be disastrous for the many who cannot afford to buy. Presently, over half of the UK’s affordable homes are now built as part of private sector housing developments. Now this is going to be rolled back, and local government funds are increasingly being cut while housing associations are losing incentives to build, we have to ask ourselves, who will build the affordable properties we need to rent?

On top of this, these new houses are anything but ‘affordable’. The starter homes would be sold at a discount of 20 per cent, which is not insignificant. However, the policy is a non-starter for families on typical wages across most of the country, not just in London where the situation is even worse. Analysis by Shelter has demonstrated that families working for average local earnings will be priced out of these ‘affordable’ properties in 58 per cent of local authorities by 2020. On top of this, families earning George Osborne’s new ‘National Living Wage’ will still be priced out of 98 per cent of the country.

So who is this scheme for? Clearly not typical earners. A couple in London will need to earn £76,957 in London and £50,266 in the rest of the country to benefit from this new policy, indicating that ‘starter homes’ are for the benefit of wealthy, young professionals only.

Meanwhile, the home-owning prospects of working families on middle and low incomes will be squeezed further as the ‘Starter Homes’ discounts are funded by eliminating the affordable housing obligations of private property developers, who are presently generating homes for social housing tenants and shared ownership. These more affordable rental properties will now be replaced in essence with properties that most people will never be able to afford. It is great to help high earners own their own first homes, but it is not acceptable to do so at the expense of the prospects of middle and low earners.

We desperately want to see more first-time home owners, so that working people can work towards something solid and as financially stable as possible, rather than being at the mercy of private landlords.

But this policy should be a welcome addition to the existing range of affordable housing, rather than seeking to replace them.

As the New Statesman has already noted, the announcement is bad policy, but great politics for the Conservatives. Cameron sounds as if he is radically redressing housing crisis, while actually only really making the crisis better for high earners and large property developers who will ultimately be making a larger profit.

The Conservatives are also redefining what the priorities of “affordable housing” are, for obviously political reasons, as they are convinced that homeowners are more likely to vote for them - and that renters are not. In total, we believe this is indicative of crude political manoeuvring, meaning ordinary, working people lose out, again and again.

Labour needs to be careful in its criticism of the plans. We must absolutely fight the flawed logic of a policy that strengthens the situation of those lucky enough to already have the upper hand, at the literal expense of everyone else. But we need to do so while demonstrating that we understand and intrinsically share the universal aspiration of home security and permanency.

We need to fight for our own alternative that will broaden housing aspirations, rather than limit them, and demonstrate in Labour councils nationwide how we will fight for them. We can do this by fighting for shared ownership, ‘flexi-rent’ products, and rent-to-buy models that will make home ownership a reality for people on average incomes, alongside those earning most.

For instance, Merton council have worked in partnership with the Y:Cube development, which has just completed thirty-six factory-built, pre-fabricated, affordable apartments. The development was relatively low cost, constructed off-site, and the apartments are rented out at 65 per cent of the area’s market rent, while also being compact and energy efficient, with low maintenance costs for the tenant. Excellent developments like this also offer a real social investment for investors, while providing a solid return too: in short, profitability with a strong social conscience, fulfilling the housing needs of young renters.

First-time ownership is rapidly becoming a luxury that fewer and fewer of us will ever afford. But all hard-working people deserve a shot at it, something that the new Conservative government struggle to understand.