Domesticating the Doctor III: Marrying the Ponds

The Eleventh Doctor crashes literally in Amelia Pond’s back yard, and from that point on is irretrievably tangled in her life and her family – though with the exception of dancing with them (presumably) at her wedding, he remains largely apart from, and free from any association with, her parents and aunt. Indeed, the whole of season 5 not only has Amy’s family literally removed from her life (a mystery to be solved by the Doctor) but frames the Doctor himself as her imaginary friend, a character who, in the land of child logic, would never interact with her parents and guardians anyway.

The Doctor has always been an abductor of young people, but here we see him set up as an ostensible kidnapper of children. He not only gets himself invited into her house at night, he agrees to take young Amelia off on adventures with him, without any kind of permission from the adults responsible for her.

The Eleventh Hour is for me one of the most perfect pieces of Doctor Who storytelling of all time, but my inner parent is still going, HANG ON A MINUTE. It also raises all kinds of interesting questions of where he got hold of Susan in the first place, back in the 1960’s…

The Doctor’s first main scene with young Amy, in which he tries all the foods and spits them out in dramatic fashion, demonstrates quite clearly that he is still a fish out of water in a domestic environment (and shouldn’t be let out in public).

Like Rose, the adult Amy alternates between dragging the Doctor into her domestic life, and using him to escape it. Amy’s house is a symbol of domesticity gone wrong: the house with missing family members and too many rooms. In that first episode, there’s a monster hiding in a room she can’t even remember, let alone see – the Doctor can see her house more clearly than she can.

At the end of the Eleventh Hour, the big reveal is that Amy, who may or may not have “something” to come back for in the morning, has hightailed it out of her spooky house with the Doctor, leaving behind a certain wedding dress. We return later that same night, at the end of Flesh and Stone, because Amy thinks the best place to proposition the Doctor is back at hers, rather than the far more convenient TARDIS. Why there? Was she expecting him to dump her and wanted to make sure she was back where she started? Or was the TARDIS emanating some kind of ‘no unmarried nookie in here thank you’ magnetic field?

It’s fascinating that the Doctor goes to so much trouble to set up Rory and Amy in The Vampires of Venice, in response to her failed seduction. I know there are some who might view this as him being all patriarchal, but I think his general comedic incompetence balances out his assumption that he knows what’s best for them. He doesn’t understand how humans work, especially the romantic aspects, and his bumbling attempts serve to show how alien he really is. It’s certainly preferable to how the Tenth Doctor dealt with Martha’s feelings for him by ignoring the issue.

The Eleventh Doctor isn’t completely dense, though. He figures out that Amy and Rory’s relationship won’t survive her having otherworldly adventures without him (much as travelling in the TARDIS changed Rose into someone her mother almost didn’t recognise) but he is still flailing blindly in the dark. The obvious solution – to leave Amy with Rory and start again with a new companion – doesn’t occur to him. Instead, he’s determined to keep Amy even if that means bringing her feller along with him. Something he never offered any of his previous companions… and a good thing too, really, or (back in the 70′s) Jo Grant would have had a TARDIS full of alien toyboys by the time Cliff Jones came along.

Amy’s Choice is one of several stories in Season 5 to deal overtly with the issue of the human desire for domesticity vs. The Doctor’s aversion to it. There are two dreamworlds created in this story, one recreating the TARDIS, and the other recreating the life that the Doctor thinks Amy and Rory want for themselves. You’ll note that he’s already thinking about the fact that someday, Amy and Rory will leave him to settle down planet side. Of course they will. The companions always do.

So dream Amy is pregnant, dream Rory is a qualified GP with a silly ponytail, and they are living in an idyllic but deeply boring country village. The dullness is accentuated by the fact that the characters actually fall asleep as they shift between dreamworlds.

The ‘choice’ of the story title is implied to be Amy choosing between the Doctor and Rory, as symbolised by the two dreamworlds. But that’s a cheat, because the village dream isn’t something Amy craves at all (and it could be argued, is only tangentially what Rory wants for them). Her choice has nothing to do with the Doctor – it’s about figuring whether she loves Rory. She chooses a future with him, regardless of where they are, and that’s a choice she holds to from that point onwards, even when she doesn’t remember him.

Arguably the most important story of the Eleventh Doctor vs. Domesticity is The Lodger, which has nothing to do with Amy Pond at all, but crystallises this particular Doctor’s interest in how humans work.

Stranded without the TARDIS, the Doctor investigates a new creepy house, one which, like the one Amy grew up in, is not what it seems. Again we see him trying to fit in with humans by parodying their behaviour, not always successfully. Where he does succeed, it’s often by accident – he cooks and plays football brilliantly, but is less than convincing when it comes to toothbrushes, money or emotional signals.

The story revolves around the top floor of a house that lures and kills people – a floor that was actually never there. It’s a neon sign as to what has been going on with Amy all along, but also represents one of the greatest horror tropes, the idea that the place where you live might not only not be safe – but might be trying to kill you.

It’s interesting really that this trope is so rarely applied to the TARDIS itself, the Doctor’s hearth and home. Though of course it is, many times during this season, and Amy herself is finding out how dangerous the TARDIS can be while all of the Doctor’s tea drinking and footballing is going on.

The mystery of Amy’s house is unravelled in the finale of Season 5 (though the mystery of the TARDIS blowing up is not) and she leaves the house behind without a backward look, wending her way into the universe with “her boys” as a married woman ready for adventures. This felt revolutionary at the time – the idea that a wedding doesn’t have to be the coda for ‘time to stop having fun’ or ‘second best to travelling with the Doctor’. I think it’s dangerous to only imagine weddings are the end of a story, a happy ending to strive for rather than the beginning of something new. We need more pop culture that says you can have your domesticity and swashbuckling at the same time.

It was a magnificent end to a great season of Doctor Who, but I’m not convinced that what followed was anything close to the married-in-the-TARDIS hijinks we were promised.

Having a married couple in the TARDIS (and a baby of sorts) is a huge change of focus for the show, and while it’s good in some ways that it didn’t change the format too drastically (we don’t actually want the show to turn into The Pond Sitcom however cute that YouTube trailer was) it also felt like the show didn’t change enough. A cute married couple can absolutely bomb along with the Doctor in his rackety old TARDIS without making him change his habits too drastically, especially as they were doing so in the previous season as a romantic couple anyway – but why do something different with the companions only to then NOT do anything different with the companions?

The Time and Space comic relief scenes are actually the closest we come to seeing ‘married person chatter’ or any real acknowledgement that something has changed. The funny revelation in The Doctor’s Wife that the room the Doctor set up for Amy and Rory features bunk beds (and he can’t imagine why they might not think they were awesome) and his embarrassed discussion with Madam Vastra about the conception of the baby go to show that actually, the Doctor has not had to compromise in order to make space for the Ponds in his life. They are still travelling with him on his terms, and he’s not even letting them partly set up home for themselves.

Indeed, we see that Rory is still unsure of where he stands with Amy well into Day of the Moon, and episodes like the Rebel Flesh two parter still prioritise the relationship of Amy as the Doctor’s main companion, with Rory as a sidekick. The controversial kidnapping of Amy by Madam Kovarian may put Amy in a traditionally passive role, but at least it forces the Doctor and Rory to work as a team, something we haven’t seen nearly enough of, and makes the TARDIS crew feel more united in the second half of the season by comparison.

Then there’s The Doctor’s Wife, another story about houses that are quite literally trying to kill you. It is a loving tribute to the TARDIS as the Doctor’s faithful companion (or rather, the Doctor as her faithful companion) and makes it clear that the show is really just about the two of them. Companions come and go, but the TARDIS, the Doctor’s hearth and home, is always going to be there for him, and vice versa. The reason he has always fled domestic spheres in the past is not necessarily because it scares him or confuses him, but because he already has a wife and house waiting for him within those blue doors, and no one else compares to Her Indoors.

Wait, I’ve forgotten to address something.

The baby.

But that’s okay, because the show forgot to address it too!

I’m all for babies in my science fiction and fantasy. I’m a mum, and I love to see motherhood explored in my favourite genres. It’s not done nearly enough… and of course, it’s rarely done well. It drives me batty when a pregnancy or baby story is introduced to an ongoing science fiction series, usually to a female character, and then whisked away again, leaving little to no emotional ramifications. Think Deanna Troi and “The Child” in Next Generation. Also there’s the rapidly ageing baby trick, as with Connor in Angel or Eve/Livia in Xena. I don’t even like it when the show in question properly acknowledges how horrible an experience that is for the parent/s, because I’m well aware that the emotional trauma is a side effect of a cynical production choice, to dabble with a baby story but not bother with the realistic long term issues of how that would change a character’s life and priorities.

Which is relevant in the case of Season 6 of Doctor Who, because not only did they take the easy escape by writing the baby out almost as soon as it was born (and indeed skipping the inconvenient pregnancy period too) but they didn’t properly address the emotional ramifications of this to Amy or Rory for a full half of a season. Especially Rory, actually, as Amy at least gets to express her feelings in The Wedding of River Song, while we have to read his loss as a father from subtext in stories where he openly expresses other reasons to be dissatisfied with the Doctor.

It’s a shame, because one or two sentences per episode throughout the second half of Season 6, to show the characters were still thinking about and dealing with this enormous loss would have made it a far more powerful, worthwhile storyline. My only hope is that the story isn’t over yet, and there’s a twist still to come. Recent revelations about the setting of the episode in which the Ponds will be written out only further support my theory that the story of baby Melody is not yet finished. (And you can see HERE my argument for why Amy Pond should not be killed off)

Domesticity and parent-child relationships are a huge part of Season 6, despite the baby-fail. The Doctor can barely turn around without being faced with more children, daddy issues and haunted and/or murderous houses. In Closing Time, he slapsticks his way through Two Men and a Stormageddon, and we are treated to a fun comedy of errors which deals with all kinds of great issues to do with the clash of domesticity, danger and dads. I particularly enjoyed the whole issue of – how do you save the world if you can’t get a babysitter?

So… why couldn’t this be done with Melody Pond? Why couldn’t we have a baby in the TARDIS, stick a robot nanny in with the Gallifreyan crib, and tell the story that way? It’s not like we were going to be stuck with her forever, they’re only keeping the Ponds another five episodes into Season 7!

(James, a regular commenter on Doctor Her, expresses fan frustration with this issue beautifully in a comment on another post, which had me punching the air in agreement)

So, the Doctor has a married couple in the TARDIS (mostly) but he doesn’t have to change his spots. They have a baby, but while there are all manner of timey wimey consequences, it’s hardly even worth the Doctor dusting off that old cot of his. Then, to cap it all off, the Doctor gets married (to someone who isn’t the TARDIS though you could definitely say River is TARDIS-approved) and is in no way expected to live with, change or compromise anything for his new bride.

And yet… maybe he isn’t living as fancy free as we think – at least, not by choice. If we learn anything from The Doctor, the Widow and the Wardrobe, it’s that this Doctor rather likes playing house. He creates a Christmas home for Madge and her children, and afterwards, goes home to Amy and Rory – the same home he bought for them, something he’s never done for a companion before. Another Doctor at Christmas dinner, but this one is all his idea.

Somehow, the Doctor has ended up with a real family, not one he visits in order to placate his current companion, but one that includes him as official, full fledged son-in-law. It’s not a permanent thing – Amy and Rory’s days with the show are numbered, and they’ll be gone by Christmas – but it’s hard to imagine that the Doctor hasn’t somehow been irretrievably changed by this development.

Looking back over the Seasons 5 and 6, I wonder if maybe all the kids and killer houses were not about showing us what the Doctor (and those who travel with him) can’t have, but about what this Doctor might be looking for in the future. Eleven didn’t have to marry River, or provide a home and car for Amy and Rory. He certainly doesn’t have to fly through space with a cot in his TARDIS, all ready for some future occupant.

Is this as domesticated as our hero is ever going to get, or is it the beginning of a new direction for Doctor Who? As long as Moffat is involved in the show, it’s pretty clear that it will be daddy issues ahoy. And that means there’s one fairly obvious next step that the show could take.

Could the Eleventh Doctor become a parent – a real, involved, doing-the-dirty-jobs-while-saving-the-world parent – without breaking the show irretrievably?

It would certainly make a change from all those romantic companions, if the next woman to join him in the TARDIS was his daughter…

"Booties... doesn't look too hard!"

PREVIOUS DOMESTICATING THE DOCTOR POSTS:
Cocoa, Test-tubes and the Classic Years
The Missus, the Ex and the Mothers-in-Law
John Smith’s Human Nature

26 comments

  1. Sally O says:

    Jenny! Bring back Jenny! She’d make a wonderful companion, especially since Eleven isn’t the same father she knew…

    • I think it would be brilliant! I have been hoping to see David Tennant back for the anniversary and given that he is now married to Georgia Moffet (aka Jenny) it would be great to have both of them! Though a new Jenny is also very feasible.

  2. Kmasca says:

    Thanks Tansy – I’ve really enjoyed these domesticity posts.

    The Doctor’s motives for marrying River were left very obscure. In fact I was surprised when acquaintances found the Wedding of River Song romantic. It’s clear that she loves him, and by no means clear he feels the same way. He looked beset by guilt to me. (Added to which you have the ambiguous status of the marriage – all the characters treat it as real, and I’m sure they will continue to do so, yet River questions how seriously they should take other events in the same timeline e.g. Amy killing Madame Kovarian). It will be interesting to see where the Doctor’s feelings for River as his wife go next season.

    • I am glad. I hadn’t planned a series eventually, it just seemed to be a way to push a lot of my ideas into one place. Domesticity & SF/Fantasy as a whole is something that really interests me because it’s a theme so often ignored.

      I agree that the Doctor clearly isn’t in love with River yet (though emphasis on yet) at the point of their marriage, but it’s also pretty clear that he is intrigued by her at this point, and not just because the pieces of their relationship are starting to make sense. I am happy with it to be one sided because of the point where they are in their timeline. I also like the idea that she starts out completely obsessed with/dependent on him, but grows up to become far more independent and well-rounded (as in The Big Bang where she lets him go to his death with a business-like nod, or Silence in the Library where she’s off doing her own thing).

      He has made a choice with the wedding ritual, and it’s not a choice (again, yet) to be in love with her now, but a choice to start giving her a chance at a relationship, something he hasn’t really factored in before that point. His comments about the prison and her ‘nights are another matter’ suggest that the courting gets to begin now (offscreen, of course!).

      And while on the one hand it’s a little bemusing that he lets her go to prison for a crime she didn’t commit (killing him) it also makes sense that, frankly, he wants her locked up until he can be sure she’s worked through her sociopathic stalky nature, and isn’t going to go around destroying time itself to save a boy next time around. Which is one of the most responsible things we’ve ever seen him do.

      Not romantic, no, but the wedding is a very pragmatic scene, and I often find pragmatism a lot more interesting (and saucy) than straight-forward romantic love anyway.

      • Kmasca says:

        Oh, I agree that the wedding was more interesting for not being romantic! I didn’t consider that to be a flaw at all. I was, however, surprised that people were reading romance there.

      • Danathan says:

        Hi, lovely site you have here! I hope I can stick around and lurk, and maybe post on those rare occasions I have anything to add. :)

        And while on the one hand it’s a little bemusing that he lets her go to prison for a crime she didn’t commit (killing him) it also makes sense that, frankly, he wants her locked up until he can be sure she’s worked through her sociopathic stalky nature, and isn’t going to go around destroying time itself to save a boy next time around. Which is one of the most responsible things we’ve ever seen him do.

        Just wanted to add to this that River specifically forbade the Doctor from altering her past (can’t remember whether it was in SitL/FotD or ToA/FaS), and by the end of Flesh and Stone he knows about her imprisonment, so if he had prevented her from going to prison, he would not only have been breaking a promise, but also (we can extrapolate from TGWW) he would have been killing the person he made the promise to.

        • Thanks for reading!

          This is the ultimate complication at the centre of the River Song story – if the Doctor gets Amy and Rory their baby back, he wrecks River’s timeline, which is a difficult position to be in.

          But of course, the same writer is responsible for all of these things, so I am hoping he has a plan of how to tie it all together in the end.

  3. James says:

    I must admit it never struck me that Amy waited until she was back on home ground before making her pass at the Doctor. Maybe the point s that it’s somewhere that she feels secure? She loves the excitement of travelling and seeing new things, but needs to come back to somewhere she’s familiar with and reassure herself that she’s safe? As an extension of that, perhaps part of the reason she tries to seduce the Doctor is an attempt to reassure herself that she’s in control?

    TBH, the most troubling thing about that particular scene was the fan reaction to it – 90% of which was “OMG, Amy’s a slut – she should be ashamed!”, while most of the rest was “OMG – Moffat’s written Amy as a slut – he should be ashamed!”. The idea that making a pass at someone might not be something to be ashamed of didn’t really get a look in.

    And thanks for quoting me, BTW. That was a nice thing to find on a Monday morning. :)

    • Yes I like Amy’s general casualness about sex because it’s something NEW (and isn’t that what we’re always looking for in Doctor Who) and the way it was handled in the show – even when she’s completely committed to Rory she’s a wild flirt, and that’s completely OK.

      It’s certainly better (or at least, different) than those muttery cranky comments they always gave Martha (he fell in love with a human and it’s not me… she would be a blonde… etc).

      I love that they put into Doctor Freaking Who the revolutionary idea that you can make a pass at someone, and be turned down, and continue to develop the friendship with them, without it being OMG the end of the world. Crushes don’t last, people! Not even when both the people involved are pretty!

      I loved that comment of yours! It still makes me happy.

      & obviously she took him back to her place because she couldn’t find anything but bunk beds in the TARDIS…after searching for weeks.

      I’m a little sad that there wasn’t as much resolution with Amy’s house in the final of season 5 because it is heralded throughout that season as being SO IMPORTANT. I feel like I haven’t got to say goodbye to it properly.

    • I was probably a minority in this, but my reaction to that scene was, “Oh god, Amy is being rapey and we’re supposed to think it’s funny.” This is, I think, one of the most irresponsible scenes of the entire series. Amy repeatedly ignores a clear, spoken “no,” and keeps kissing the Doctor when he doesn’t want her to, and the show plays it as humor? That is some gross rapey bullshit, and the LAST thing that was on my mind was whether Amy was “slutty” or not.

      Edited to add: This wouldn’t have been nearly as “humorous” for the audience if their genders had been switched. Which says a lot about rape culture, and how Doctor Who perpetuates it.

      Though I do agree that there’s nothing to be ashamed about when one is making a (consensual) pass at whatever other adult(s) they damn well please.

      • James says:

        That’s a very good point. A man trying to force himself on someone who’d said no would have been received very differently.

      • I agree that it’s problematic that the scene shows Amy continuing once the Doctor has said no, and that this is played for humour in a way that you wouldn’t see if the genders were reversed (at least, not with the aggressive character being portrayed sympathetically).

        But I don’t agree that the scene is irresponsible – I think it has a very important message in it. Amy might not get smacked down for her actions, but she isn’t rewarded for them, either. More importantly, the scene and the development of their relationship afterwards shows that despite the awkwardness, it’s okay to say no if a friend wants sex – and it’s okay (not the end of the world) to have someone you like say no to you. It doesn’t spell the end of the friendship, and it doesn’t perpetuate the loathsome rom com message that “men and women can’t be friends because sex gets in the way”.

        While Amy and the Doctor are on completely different wave lengths in the scene, and it takes her a while to figure out he is saying no to her, once she gets the message, she doesn’t raise it again (random flirting notwithstanding).

        I don’t want to be an apologist for the non-consensual stuff in the scene, because I agree that it’s a problem and that it was MISSED as a problem in production (as compared to how they were often very careful with portraying Captain Jack as a wild flirt but not in any way predatory) because of gender issues.

        But I also think it’s an important scene because it tells us so much about both of their characters, and the level of entitlement she feels because of how she looks.

        It’s also worth comparing to the OTHER surprise kiss of this era, which is River kissing the Doctor for the first time (on his side) – again, played for humour, but even though he didn’t see it coming and she is proceeding from assumed consent (because she doesn’t know it’s his first time) it feels a lot less squicky (to me, mileage may vary) because there is some sense in the performance that it’s a pleasant if confusing surprise.

  4. James says:

    Yeah, the house did get rather forgotten about. Strange, that. And, yes, I like the fact that Amy’s able to flirt, or – it’s implied – go further without Rory being affected. Can’t help feeling that fandom’s reaction said more about their insecurities than about the character as portrayed.

    • I suspect it’s because Moffat has spent less time obsessing over Gothic literary tropes than I have. But, sigh. Houses are important!

      • James says:

        It continues something that has been associated with the show since RTD brought it back – a feeling of loose ends being left dangling and not tied up, or else being dealt with in a rather perfunctory way.

  5. SA says:

    not only did they take the easy escape by writing the baby out almost as soon as it was born (and indeed skipping the inconvenient pregnancy period too) but they didn’t properly address the emotional ramifications of this to Amy or Rory for a full half of a season.

    Ugh, this exactly, and James’ comment as well. I already couldn’t stand Amy Pond (even before she turned into a bloody FASHION MODEL just to complete her stable of stereotypical female tropes), and the very idea, that if someone told you “your child has been abducted; you will meet her again when she is an adult but she will grow up without you and turn into a sociopath because of how she is raised,” you would not MOVE HEAVEN AND EARTH TO TRY TO GET HER BACK UNTIL THE LAST BREATH LEFT YOUR BODY…

    Well.

    That is a story written from a male perspective, for a male audience, and I am so sick of the bloody Amy Pond arc that this just clinched it for me, because who are they trying to kid.

  6. Tabitha Smith "Tabz" says:

    So, is the Doctor a high-functioning sociopath like Sherlock?

    • Heh, I see the comparison, but I don’t think it flies – if the Doctor was a sociopath, high functioning or otherwise, he probably wouldn’t go out of his way to save people quite as often as he does.

      If we were relying on Sherlock to save the universe on a regular basis, we’d be in trouble! “This is a boring one. It’s just the Daleks. I’m going back to bed.”

  7. [...] “always loving” his daughter feels unfamiliar, for reasons nicely explored by Tansy in her posts on domesticity. The scenario suggests a permanent bond, or a personal tie placed before his public, itinerent, [...]

  8. Galadriel says:

    Does the arguments in Asylum change your perspective at all.

    • That’s a really good question! I have to mull it over – if anything, Pond Life gives us more domesticity material than Asylum. I do think that the current format as of the Christmas special, in which Amy and Rory go home after every adventure, is quite revolutionary for the show and shows that the Doctor has chosen to compromise his stance on domesticity in order to keep Amy and Rory, which is FASCINATING.

      As for the arguments… I personally see Amy chucking Rory out and making the snap decision to give up the relationship upon the discovery of her infertility as being a long-awaited psychological response to what happened with Melody (she does tend to be the sort of person who bottles everything up and then snaps) but I’m aware that could be drawing a long bow.

      I don’t want to make any pronouncements until after the Angels Take Manhattan but I am rather looking forward to revising the Domesticity & the Doctor angle at that point. I have heard that there is going to be at least one River-Amy revelation which deals with the loss of the baby (again cutting Rory out of the equation, what’s with that?) which is hopeful.

      I’m going to wait and see. But I certainly feel that the fact of the arguments, of Amy and Rory “having a domestic” in the midst of Daleks and drama, is quite realistic. And the Doctor using Daleks to “fix” their marital problems, rather less so. But intriguing.

      He never went to this much trouble for Mickey and Rose, gotta say!

      (ooh and one more intriguing domesticity tidbit from the iTunes prequel – the Doctor definitely considers himself married)

      • Aazhie says:

        I’m curious if you have new thoughts on this now that Angels has come out :D Very interesting reads, I think I agree with you that Amy is a flirt and used to getting her way. The Consent issue of her and the Dr’s kiss to me was as you explained: she didn’t hear the first few times, at least not in a serious way. As someone who gets told I ought to model (ugh, never) it is easy to feel like every guy is after you for something more than friendship. It’s really nice to find a friend who is not interested in any kind of making out or sexual interaction beyond flirting. I dealt with it by being antisocial but Amy deals by being a big flirt and quick to jump the gun. I didn’t think it was THAT unrealistic (for a sci fi show), unless all girls aren’t supposed to be aggressive and initiate sex…

        • I definitely plan to do an updated post on the Domesticity themes in season 7a.

          I think that after seeing the arc of Amy growing up, you can look back on that original kissing scene as one of those stupid, impulsive things you do when you’re young – I like the fact that we see her change so greatly in the way she interacts with the Doctor, and how his importance to her fades gradually in comparison to the relationship she has with Rory. The fact that Rory is the third wheel in Season 5, they have a fairly equilateral triangle in Season 6, and the Doctor is very much the third wheel in Season 7, is significant, I think.

          And I love the fact that Amy and the Doctor show that you can have a crush on someone, be turned down, and that it won’t wreck the friendship. & also that you can have a crush on someone while in a relationship with someone else and it doesn’t have to wreck the relationship.

          There are consequences, though, the way that Amy behaves in season 5 is still having a knock on effect with her relationship with Rory in Asylum, where he is taking for granted that he loves her more, simply because (arguably) he did early on in their relationship. You can bet that her kissing the Doctor on the eve of her wedding is an aspect of his lack of confidence in her love for him, and his belief that he is BETTER at loving her.

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