Tag Archive for fifth doctor

You’re a beautiful woman, probably: My life as an ace Who fan

Some weeks ago, the Daily Fail wrote a spectacularly condescending article on a new book of social justice Who criticism, Doctor Who and Race. There’s a lot to dislike in the Fail’s piece, but I want to draw your attention to one of its most cynical and effective tricks: an insistence on a binary. In writer Chris Hasting’s view, you’re either with the Doctor or against him. He pits evil killjoy academics determined to suck the fun out of everything against a venerable, beloved British institution. On one side, checking your privilege and learning to acknowledge the problematic. On the other, kneejerk affirmation that Doctor Who rocks. Hastings’ readers knew which part they’d been assigned. Result? A book with important points to make will almost certainly get less exposure than it deserves.

We’ve written about moving beyond fandom binaries before–here’s my own piece. There’s another fandom binary that revolves around whether the Doctor is a sexual being, and the players in this one (as I experience it, anyway) are “prudish anoraks terrified by sex” vs. “sensible adults”.

This puts me in a bit of a bind. I am aromantic asexual, and, yes, it is important to me that the Doctor be asexual. In a world where people like me either don’t exist or need to be cured (The 40-Year-Old Virgin, that one episode of House), I like knowing that there’s one character who’s like me. When, in “City of Death”, the Fourth Doctor tells Countess Scarlioni “You’re a beautiful woman, probably”, it’s a beautiful shock to me because I can relate so completely. When Tegan, in “Enlightenment”, steps out in a beautiful Edwardian ballgown and shows off for the Doctor, clearly expecting his jaw to drop and his eyes to bulge out of their sockets, and he kind of glances her up and down as if to say “Yep, that’s an appropriate dress for a party”, and then turns away and starts down the hall–that, again, is me. Whereas today, we have a married Doctor kissing people (sometimes against their will) and going “Yowza”. Under Davies and, especially, Moffatt, I have less and less room to pretend that the Doctor is ace.[1] That hurts. We have a tiny handful of asexual characters out there–most of whom are never identified as ace–and now we can’t even have those?

Worse, fandom is not exactly a refuge: I’ve sometimes said that Doctor Who fandom is the only place I feel that asexuality and feminism are somehow in conflict. I don’t object to shipping. (Why would I?) What I do object to is what I experience as fandom insisting that shipping represents an advance over the old “prudish anoraks terrified by sex” days–that because, broadly speaking, shipping is associated with female fandom, therefore enthusiasm for shipping is feminist; and its opposite, preferring an asexual Doctor, is somehow anti-feminist. And when fans ritually denounce the sad caricature of the stereotypical fan as mid-thirties and virginal… well, as a mid-thirties virgin fan myself, I’ve had about enough of it. (Should I carry around a sign explaining that I’ve had offers? Maybe have a t-shirt made? Would this make me less pathetic, or more?)

I suppose I’m asking for a bit of room: room to not ship Sherlock/John, room to think UST is really overused in new Who. (Does everyone have to fall for the Doctor? Is romance the only way male and female characters can relate?) Room to imagine a Doctor Who that kinda sorta includes me–because right now, it’s feeling a lot like when I was a kid and suddenly all the other girls wanted to make Barbie and Ken kiss. I didn’t want to make them kiss. I wanted them to go on adventures.

[1] Matt Smith, bless him, is on record as thinking the Doctor (or at least his Doctor) is ace.

The Girl Who Fell Out Of The World: or, The Importance of Being Tegan

Before we begin: Janet Fielding is battling cancer. I’d like to take a moment to wish her the very best of outcomes, and to point you all to her online support group slash charity page: projectmotormouth.org.uk

Actor Janet Fielding as Tegan Jovanka, in a screencap from the 1982 serial "Black Orchid". In this closeup, she is wearing a flapper-style green headband ornamented with a pink rose, and is smiling or laughing at the camera.

Actor Janet Fielding as Tegan Jovanka, in a screencap from the 1982 serial "Black Orchid". In this closeup, she is wearing a flapper-style green headband ornamented with a pink rose, and is laughing at the camera.

Mouth on Legs

Tegan Jovanka, everyone’s favourite trainee Australian flight attendant, is one of the Doctor’s longest-serving companions. She even eclipses the legendary Sarah Jane Smith, though only by a couple of weeks (and SJS was in more episodes). She’s pretty inarguably the Fifth Doctor’s companion, serving in all but two of Peter Davison’s televised serials. But you’d never know it from fandom. What is it with Tegan? Why is her sarcasm “stroppy” and “mean-spirited”, while Donna Noble’s is endearingly sassy? Why is her ambivalence about adventuring across time and space versus forging her domestic, Earthbound life–her real life–”whiny”, when Amy Pond’s very similar arc is portrayed much more sympathetically? I think it’s time to take another look at Our Tegan, the Classic Who companion who most clearly anticipates the New Who companion, and this time see the seeds she planted.

I hate those transmat things. I’d be afraid of coming out puréed.

Me, I had a soft spot for Tegan from early on. In “Castrovalva”, the newly-regenerated Fifth Doctor is looking for a Zero Room–a place, he says, that’s cut off from the rest of the universe. Tegan snarks that if she’d known that’s what he wanted, she would have suggested her native Brisbane. And lo, my little heart went “pwing!” What kid raised in suburban or rural environs–convinced that their parents had deliberately chosen the least interesting place on earth for them to grow up in– wouldn’t feel a twinge of empathy?

I love moments in Who that ground the fantastic in the earthy, that reach right past the high concept of the show to reveal how real people might react in such bizarre circumstances. I love the moment in “Forest of the Dead” where Donna, bewildered at the revelation that her life is a Matrix-like simulation, snaps, “But… I’ve been dieting!” All her discipline and willpower, and she could have had the chocolate cake anyway. Who wouldn’t feel frustrated? I love Martha worrying, in “The Shakespeare Code” whether Elizabethan London is a safe place for a black woman, and I’m annoyed that the Doctor brushes off her valid concerns.

And Tegan, with her shots at Brisbane and her entirely understandable wariness of this strange new world she finds herself in; Tegan, who never travels with a fellow human aboard the TARDIS; Tegan provides that essential grounded viewpoint.

Tegan’s character establishes itself early, and is remarkably consistent: she’ll speak her mind even when her voice shakes, she tries to be self-reliant to the extent that she won’t always ask for help when she needs it; she hides her fear and vulnerability behind a facade of snark and bravado. In short, she has a lot in common with one of the best-liked recent companions: Donna Noble. The two redheads are characterized by their fiery natures–both have tempers, neither is willing to take the Doctor’s crap, and both almost delight in puncturing his self-importance. Both remind the Doctor of the impact his plans have on the ordinary people caught up in them; indeed, they each almost consciously take on the mantle of the Doctor’s conscience. Both women were abducted aboard the TARDIS for their first experience(s) with the Doctor; leave when the Doctor finally returns them to their own time; and, later, dissatisfied with what had, pre-Doctor, been perfectly satisfying lives, chose to return for more adventures. [1]

So why is Donna beloved while Tegan, generally, isn’t? Is it the quarter century that elapsed between the two? I think that’s a large part of it. Nyssa and Tegan are both good examples of some of the problems with the way womens’ roles were written in the early Eighties: one was sweet and childlike; the other, adult but shrewish, and guess which one was allowed to be intelligent? Nor was the series at the time very interested in the companion’s story. We learned much more about Donna’s past, her family, and her character in one year than we did about Tegan in three, and the depth of Donna’s character helped make her sympathetic. So where Donna was a well-rounded character with flaws and strengths, Tegan, despite her much longer tenure in the TARDIS, is much more of a cipher.

I happen to think that human lives are just as valuable as yours!

Tegan’s original character brief is… kind of offensive.

Tegan is twenty-one, an attractive and intelligent Australian trainee air stewardess, whose brash confidence in her own abilities actually conceals inner insecurity, a state of affairs that becomes clear in moments of stress. On her way to her first real flight she accidentally blunders into the TARDIS and thus finds herself being inadvertantly [sic] abducted by the Doctor. Characteristically her inner bewilderment at the new situation in which she finds herself causes her to assume an attitude of overweening self-assertion, and she begins to take charge of the Doctor and Adric. During the course of three stories, Tegan’s superficial self-assurance will build until it becomes a real problem for the other two occupants of the TARDIS, and it will need drastic action on the part of the Doctor to put things to rights and show her the error of her ways. She may or may not continue with the Doctor thereafter.
(“Doctor Who – The Eighties” by David J Howe, Mark Stammers, Stephen James Walker; p.13.)

Oh, joy: the Uppity Woman Who Receives Her Well-Deserved Chastisement At The Hands Of A Wiser Man. (See, also, a remarkable fraction of the plots involving Lois Lane in mid-century Superman.) Way to smack down any female character who thinks herself a man’s equal!

But what’s remarkable here is how little of Tegan’s planned arc made it into production. Tegan had her flaws–rashness, a short temper, a bad habit of lashing out at people when she felt overwhelmed or frightened–but I think it’s very hard to argue that she was arrogant, much less that she “took charge” with “overweening self-assertion”. She makes her opinions known, but defers to the Doctor and Nyssa, less brash than she but more experienced. Certainly her comeuppance, as planned in her character brief, never happens.

Long shot showing Tegan exiting the TARDIS. Her inexpert landing has left the TARDIS sticking out of a hill at a strange angle, but she is proud to have landed it intact. Screencap from the 1981 serial "Castrovalva".

Long shot showing Tegan exiting the TARDIS. Screencap from the 1981 serial "Castrovalva".

Tegan gets away from the bitch in the character brief as early as her debut story, “Logopolis”. We meet her as she heads to Heathrow to begin her new job as a flight attendant, a job she is clearly looking forward to. She seems eager for independence, for a chance to prove herself in–yes–a man’s world. Tegan herself identifies her desire to fix her own car as feminist self-reliance.

Even when Tegan stumbles into the TARDIS and gets lost, she manages to maintain much better composure than might be expected of a human confronted with the overwhelming implications of a dimensionally transcendent alien spacetimeship. (Remember that, unlike nearly every other companion, Tegan doesn’t have the Doctor as a tour guide.) She is clearly terrified, but doesn’t let her fear disable her. She knows that she is in some sort of craft: she realizes that the console room is the equivalent of a cockpit; she tries to use the communication devices at the console; she reasons that there must be a pilot aboard, and asks to see that person. She, in short, displays a rather astonishing degree of analytical ability and sang-froid–and that’s just in her first serial.

Peter Davison’s been heard to say that he thought Nyssa was the companion best suited for his Doctor, but I think he’s wrong. Nyssa may have been the one the Fifth Doctor got along with, but Tegan–spiky, ornery, brave Tegan–was the one he needed. It’s Tegan who wants to know why the Doctor can’t go back and save Adric (“Time-Flight”), in a scene that–as the companion confronts the Doctor over a heartbreaking failure to save a fellow companion–is right at home in the new series:

Tegan: Aren’t you forgetting something important, Doctor? Adric is dead.

Amy: Save him. You save everyone. You always do. That’s what you do.
The Doctor: Not always. I’m sorry.
Amy: Then what is the point of you?

 

It’s Tegan who who commits to freeing the Frontios colonists when the Doctor is trying to butter up the villain (“Frontios”), Tegan who’s willing to throw knives at people in the Doctor’s defense (“The King’s Demons”). And, finally, it’s Tegan whose departure forces the Doctor to admit that his hands are bloody. The Doctor doesn’t last long without her–two serials after she leaves, he regenerates.

Tegan vs. Eurocentrism

"McArthur's Universal Corrective Map of the World": a 1979 world map by an Australian cartographer that is oriented so that it has South at the top.

"McArthur's Universal Corrective Map of the World": a 1979 world map by an Australian cartographer that is oriented so that it has South at the top and Australia in the center.

Beneath its glossy science fiction trappings, Doctor Who is a direct descendent of Victoriana: specifically, the Victorian traditions of the gentleman adventurer and the gentleman inventor. This is not an era known for its transgression or its diversity, and Who has at times struggled to rise above the colonialist subtext of “nice white man from advanced civilisation arrives to save backwards civilisations from themselves”.

As our own Courtney Stoker has put it, Doctor Who is:

… not a particularly progressive, transgressive, or subversive show. It’s just a show about a White dude who wields all the power and paternalism of a British imperialist force…

John Nathan-Turner’s reasons for creating an Australian companion probably didn’t include venturing outside Doctor Who‘s comfort zone or introducing a non-European perspective–accounts of the era suggest that he was mostly interested in selling the show to Australia.

But Tegan does bring a non-British, non-European perspective to the TARDIS, maybe most notably in “Four to Doomsday” when she can communicate with Kurkutji, a temporally displaced Aboriginal Australian, and the Doctor can’t.[2] The scene has some problematic elements that imply a screenwriter who seems not to have thought much about either linguistics or Australia’s diversity of languages, including the odd implication that Kurkutji’s language hasn’t changed over 40,000 years (by contrast, a mere 10,000 years separates English from Proto-Indo-European), and the extraordinary coincidence that Tegan happens to know that one particular language among the hundreds native to Australia. But Tegan’s achievement remains: she can do something that the Doctor cannot, and it is extremely important to the story.

It’s tempting to wonder how much of her pointed refusal to be impressed by the Doctor is that, from her perspective, he may well be the Ultimate Pom: representative of an allegedly superior culture who condescends to hang around hers.

It’s stopped being fun, Doctor

What does Tegan want? Does she want to stay with the Doctor or leave? Certainly she’s one of the companions most ambivalent about traveling with the Doctor. But her story is nearly unique among the companions: she stumbled aboard the TARDIS without meaning to, and the Doctor’s attempts to take her home repeatedly failed. She never asked for adventure; it was thrust upon her.

But how do you reconcile a life of adventure with a mundane Earthbound life? This is a major theme of the new series and its spinoffs, but it’s in Tegan’s story that we see it first broached.  The confident young woman we met in “Logopolis”, looking forward to her new job, has her horizons so shattered by her adventures that (per “Arc of Infinity”) she doesn’t last three months as a flight attendant.

So she returns to a life of adventure. This time she wants to be there. She seems happier, now that it’s her choice; she’s more of a participant than a bystander. She is increasingly concerned with the lot of the little people caught up in the mayhem that surrounds the Doctor, and is increasingly determined to give them a voice.

And things start going wrong. Gradually, Tegan realizes that the exhilaration of adventure is not worth the psychic toll it’s taking on her. She’s seen too much. She’s… outgrown him.

So she makes the excruciating choice–the only possible choice–and leaves. On her own terms, with her head held high. Brava.

 

There’s a woman in Australia… fighting for Aboriginal rights

I’m of the opinion that Who has, ultimately, just one lesson for us to learn, over and over again: we are the same.

Tegan learned it.

[1] It’s pretty common in the new series for companions to alternate time with the Doctor and time at home: Rose, Mickey, Martha, Donna, River, Amy, and Rory have all had adventures, left the Doctor, and then come back to have more adventures. But it was vanishingly rare in the classic series; I think Tegan’s the only example. (Sarah Jane didn’t come back until the new series.)
[2] Interestingly, this translation oddity didn’t make any sense at the time (I think it’s the first time the translation magic didn’t work) but does fit in remarkably well with current Who canon, which holds that the TARDIS can’t translate exceptionally old or obscure languages. (“The Impossible Planet/The Satan Pit”)

The First Face This Face Saw

[crossposted at tansyrr.com]

I know that most of us are thinking REALLY HARD about The Angels Take Manhattan right now, but I wanted to step back for a moment and talk instead about a thought that emerged from the previous episode, The Power of Three.

“The first face this face saw,” the Eleventh Doctor said to Amy, explaining why it is that he has been so very emotionally attached to her, and by extension, Rory, over the last several hundred years. Much like “I always took you where you needed to be” from The Doctor’s Wife, this one line throws the whole history of Doctor Who into a new light.

I’ve always subscribed to the idea that the Ninth Doctor was freshly regenerated in “Rose,” and that he went off to have a bunch of adventures in that instant before he and the TARDIS came back for her and he upped his offer: “Did I mention it also travels in time?” Not only is this a nice thought because it means he got to have a bunch of adventures on his own, but it allows him to appear at various points through history in his leather jacket, thereby catching the attention of Clive.

But Rose could well have been the first face that his Ninth face saw. At least, the first non-Auton, non-dead face. The first person he talked to, the first person he told to “Run.” Extending this thought further, this could be why he came back for her at the end of the episode, once he thought of something new to tempt her with. And maybe even that “run” was the first word he said, also imprinting itself upon the destiny of his incarnation of the Doctor.

Yes, I’m arguing that the Doctors set their own themes in the first moments of life. Bear with me.

I know that many fans are annoyed by the perceived “specialness” of Rose, while others love her best and most above all others. Well, she is special. Because she may well be the only person whom the Doctor saw first in two incarnations. With the Ninth, it’s arguable, but it’s definite with the Tenth. He regenerated in the TARDIS, and the first face his face saw was Rose, crying and angry and bouncing emotions off the walls. Rose, who loved him.

Yep, this explains a lot about the Tenth Doctor.

But does the theory hold up into the Classic series? I had a long walk this morning, which always does ferocious things to my brain, and I’m here to tell you that maybe it DOES.

Some are drawing a longer bow than others, I’ll admit. The first face the Eighth Doctor saw was that of a morgue technician screaming at him for being alive. But the surgeon who killed him, Grace Holloway, certainly can have had an effect on who he was as a Doctor. Did he see her through the anaesthesia? Does his grogginess explain the weird hallucination about being half human?

The Seventh Doctor is a way better example. The first face his face saw was his old enemy the Rani, pretending to be his companion Mel. No wonder he spent his whole incarnation as a sneaky, suspicious and manipulative dark version of himself! Apart from the whole spoon-playing phase which was obviously caused by the strobing effect from Mel’s psychelic apricot striped outfit.

The Sixth Doctor tried to kill the first face his face saw, the argumentative Peri, and his incarnation was certainly characterised by bickering and violence.

The Fifth Doctor saw three young people he barely knew: Adric, Nyssa and Tegan, and spent the rest of his regenerative crisis freaking out and impersonating his former selves. I have no idea what effect this had on his personality. But it does explain why he and/or the TARDIS failed so utterly to return Tegan to her workplace over and over again, despite her stated wishes.

The first faces the Fourth Doctor saw were Sarah Jane Smith and the Brig. Interesting then that he set out to distance himself quickly from UNIT and his previous life on earth. A born contrarian? Still, there’s no denying that he remained more closely attached to them both than almost any other companions of the classic era. He sent Sarah a K9, after all, and he always came back for Alistair Gordon.

The first face that the Third Doctor’s face saw was a random squaddie who shot him. He then spent five years living with and working for the military, despite the fact that this was dramatically against anything established for the character previously.

And finally, the Second Doctor. His very first regeneration, and the first people he saw were Ben and Polly. There was nothing particularly special about them, though it is worth noting that he spent his entire incarnation with companion pairs of a boy and a girl, except for the one time that Jamie stowed away.

The first faces that the first regenerated Doctor saw were human, though. And in fact, apart from Nyssa, Adric and the Rani, every first face his faces have seen have been human. No wonder he’s so attached to us all, to the humans who live on Earth. The First Doctor despised humans, and if he had any control over the TARDIS, would not have chosen to land on Earth nearly as often as he did. But the later Doctors… every one of them called Earth his home away from home.

And there we are, proof that I think about this stuff way too much.

Time Ladies: The Fanart

With our remit, what are the odds we wouldn’t feature Gladys’ excellent manga-flavored renditions of all eleven Doctors as women?

The first six Doctors, as women, drawn by Gladys.

Doctors seven through eleven, as drawn by Gladys

Doctors-as-women art isn’t new (in researching a post on femme Doctors, I found examples from 1985) or uncommon (anymore), but IMHO Gladys excels here at giving suggestions of personality to the Doctors that are similar to, but distinct from, their male counterparts. One has a suggestion of great warmth behind all her poise. Six, with her blonde curls coming undone from her bun, looks like she’s just paused to gather her thoughts before unleashing her tremendous intelligence on your ass. Ten I imagine as a mad librarian.

Two Women in the TARDIS

So the TARDIS is a lady. We’ve always known that, right?

The Doctor’s Wife, which made concrete the Doctor’s characterisation of the TARDIS as female, and a living being with her own thoughts and feelings, makes re-watching older episodes a fascinating exercise. It brings an extra layer of meaning to almost every story since 1963.

But crucially, it shakes up the Doctor Who “formula” which, to so many people, sums up what the show is about: One Doctor, One Female Companion.

If you actually watch the show for any length of time, you know that this formula isn’t actually essential at all – but it’s amazing how often the media surrounding the show, official or otherwise, prioritises this depiction of how Doctor Who works. We all know that Jack, Mickey, Rory and River count companions (there hasn’t been a single full season of New Who in which the Doctor has one lone female companion at his side) and yet somehow they disappear in the way the show is pitched to the audience, in the newspaper and blog coverage, and even the merchandise (Arthur Darvill, after one year as occasional companion and a second year as a billed co-star, is only just receiving his first action figure).

[Ritch discusses why this might be the case in one of his Ritch and Space YouTube vids: New Companion, Old Companions]

It happened in the old days, too. JNT, a previous generation’s RTD, famously set up all manner of sexy photo shoots for the Doctor’s co-stars, to the point that you would easily believe that Sarah Sutton’s Nyssa or Janet Fielding’s Tegan travelled with him alone. Most non-diehard-fans remember a Doctor-companion combination that is singular. There’s a kind of mythic resonance to the concept of the “Doctor Who girl” and yet for huge chunks of the show from 1963 all the way through to the present, the Doctor travelled with more than one companion, often a man and woman together, but sometimes as many as three.

In fact, only the Third, Sixth and Seventh Doctors followed the ‘one Doctor Who girl’ format for their whole TV run, and considering that the Third Doctor had an ensemble cast as well as his female companion, it’s really only the late 80’s (and a few chunks of the Fourth Doctor’s era, depending on whether or not you count the robot dog) which completely support the ‘crew of two’ concept.

Now, of course, we know that the TARDIS *always* made three.

But I thought it was worth talking about one of my favourite companion combinations: when the Doctor has two women in his life at at time. (Well, okay, three.) Having more than one woman in the regular cast allows for multiple “types” of female character (yay diversity) plus we get to see them gang up on him, and when is that not fun?

So here are the best examples:

SUSAN AND BARBARA:
The Doctor’s grand-daughter and her history teacher, worlds apart in so many ways. It was Barbara’s curiosity about (and concern for) Susan which got she and Ian into this mess in the first place, and she often takes on a motherly (or at least, cool auntie) role with the alien teenager. I particularly like that they both have such different spheres of expertise, and often have something to learn from each other.
From The Unearthly Child (1963) to The Dalek Invasion of Earth (1965)

BARBARA AND VICKI: Just as Vicki was the substitute granddaughter figure for the Doctor, she had a similar relationship with Barbara as had Susan, though perhaps they erred closer to be being friends rather than teacher-student. It didn’t hurt that Vicki was human, if from the far future, which meant she had extra reason to think that Barbara (and Ian) were like, SO OLD, MAN. When the crew split up (as often happened back then) it often meant we had the Doctor and Vicki going one way and Ian and Barbara going the other, but we still get plenty of great scenes with these two very different women working together.
From The Rescue (1965) to The Chase (1965).

TEGAN AND NYSSA: After a very long gap including the entire Troughton and Pertwee years (and most of Tom Baker) the Fourth Doctor accidentally took on a random assortment of urchins and orphans in his last stories, including two women: Tegan, a mouthy Australian air stewardess and Nyssa, a demure alien aristocrat with mad science skills, along with alien boy genius Adric. While the scripts didn’t always give them the best material to work with (often the writers dealt with the three companion dilemma by making one fall mysteriously asleep for a whole story or otherwise disappear) we did get to see the forging of a strong friendship between these two young women, which was further developed after Adric left and we got to see them working together as the Doctor’s companions. More recently, in Big Finish, their friendship has been further explored with a series of adventures based on the premise that a much older Nyssa has returned to the TARDIS crew – fifty years have passed for her, while only a few weeks for Tegan.
From Logopolis (1981) to Terminus (1983) [TV]
From Cradle of the Snake [Big Finish Audio]

PERI AND ERIMEM: Not only does Big Finish provide us with a bunch of new stories for Doctor-companion combinations that didn’t get much time in the TV show (like Five-Peri) they also create new ones! Erimem, the feisty female Pharaoh who chose a different destiny for herself by leaping into the TARDIS, makes a great offsider for Peri, and their stories involve a lot of girl talk as well as culture clashes between them – for the most part it’s a warm, supportive friendship. I haven’t listened all the way through to Erimem’s end, though!
From: The Eye of the Scorpion [Big Finish Audio]

DONNA AND MARTHA: After two years of Rose, it felt like Martha Jones left too soon, and so it was lovely to have a story in which the Doctor returned at her summons to help with a UNIT mission that turned out to be a Sontaran attack. Even better, we got to see new companion Donna join forces with her predecessor without a hint of jealousy between them. The scene in which the Doctor watches, baffled, as they hug and shriek and mock him, is pure Doctor Who gold. It’s particularly nice because Martha’s era had been overshadowed by her cranky jealousy of her own predecessor Rose, and it’s the first time we get to see a Martha who isn’t in love with the Doctor any more. The Doctor and Donna then manage to kidnap Martha for at least one more spin in the TARDIS.
From The Sontaran Stratagem to The Doctor’s Daughter, plus Journey’s End

AMY AND RIVER
While River’s travels in the TARDIS are rarely chronological, she does manage to pop in quite often when Amy is there – and as we realise in Season 6, it’s not all about the Doctor’s charisma. Even before we learned that Amy and River were mother and daughter, we saw them as friends. The lack of jealousy (so crucial) between them was evident from the start, and Amy is delighted at the weird possibility that River might be the Doctor’s future wife. We also see River work to save Amy by her own methods, proving the Doctor wrong and showing her own capability. The two of them come into their own as a team many times over, across several adventures, often overriding or challenging the Doctor.
From The Time of Angels on and off until The Wedding of River Song.

HONOURABLE MENTIONS:

MEL AND ACE: In the story Dragonfire, we get a rare overlap/handover from old companion to new, but most of the story actually has Mel and Ace working together as a team while the Doctor does his own thing. At the end, it’s Mel who nudges the Doctor to take Ace along on his adventures.

ROSE AND SARAH-JANE: In the episode School Reunion, New and Old Who collided, and Rose discovered she wasn’t the first young woman to be important to the Doctor. Sadly, jealousy was a big issue in this story, though Rose and Sarah-Jane did work through their issues and boy, wasn’t the Doctor worried when they started laughing at him together?

ROSE AND JACKIE: Obviously this mother-daughter team had been hanging out for a long time, but it wasn’t until Army of Ghosts and Doomsday that Jackie actually hopped aboard the TARDIS and came for a ride. Only across the city, but still… it was very cute to see the Doctor claim Jackie as an aged Rose, and while the mother-daughter team were mostly separated (as they were also in Journey’s End) it was enough evidence for me to claim Jackie as a companion.

DONNA AND ROSE: In Turn Left, Rose became the Mysterious Enabler of Donna’s adventures – with the Doctor nowhere in sight! Lovely to have two companions get a story entirely to themselves. Donna was always a bit of a Doctor/Rose shipper, and while they didn’t get to recreate their Turn Left relationship in Journey’s End, we do get to see the two of them (and Jackie and Martha and Sarah-Jane) all jammed into the TARDIS together. Five women in the TARDIS!

ACE AND BENNY: While Bernice Summerfield was introduced in the Virgin New Adventures novel that wrote Ace out, the two of them didn’t stay strangers. Ace returned several times, the two of them wrangling over all kinds of issues (including I think some rivalry over Jason Kane – boo for jealousy but yay for it not being the Doctor in the pointy end of the triangle for once). Big Finish recreated the Seven-Ace-Benny team a few times, and will be bringing them back together again for the anniversary of that first story, Love and War, later in 2012.

EVELYN AND MEL: in the Big Finish audio Thicker Than Water, the Sixth Doctor brings Mel back to meet Evelyn, the companion who has had the most effect on how he lives his life. And the two of them get into all kinds of trouble together!

LUCIE AND SUSAN: Rose wasn’t the first companion to be faced with the Doctor’s distant past – in Big Finish audio Relative Dimensions, she cooked Christmas Doctor for the Eighth Doctor, his granddaughter Susan, and great-grandson Alex! Together, Lucie and Susan discussed what it meant to travel at the Doctor’s side… and whether it was something either of them wanted to do now.

SARAH-JANE AND JO: In the Sarah Jane Adventures episode Death of the Doctor, these two iconic 70’s companions met and were delighted to do so, even if it was at the funeral of the man they both thought of as their best friend. There was a hint of jealousy here and there, but not of the romantic kind – plenty of wistfulness too, especially when Jo discovered that the Doctor’s current companion got to bring her hubby along on the adventures. But mostly it was two awesome women who had fabulous lives, with fond memories of that crazy bloke they both knew in their youth. And I would have watched whole seasons of them together!

LEELA & ROMANA II: in another spin off series, Big Finish’s Gallifrey, two of the Fourth Doctor’s companions work together in war, death and politics, and barely even mention that crazy bloke they both knew in their youth. Luckily for us, there are whole seasons of them together!


HARDLY WORTH MENTIONING:

But for completion’s sake…

VICKI AND KATARINA – a hand-maiden introduced late into the Trojan story The Myth-Makers was sent on her way to the TARDIS by Vicki, who had a better offer.
DODO AND POLLY – They got along quite well in the opening episodes of The War Machines but Dodo was sent “to the country” halfway through, leaving Polly to carry on with Ben instead.
ROMANA I AND PRINCESS ASTRA – liked each other so much in The Armageddon Factor that Romana stole her body – well, the intellectual property surrounding her body, anyway. She wore it better, too.
ROMANA II and CHARLEY – Disapproved of each other mightily in Big Finish’s Neverland mostly because Romana II had a problem with Charley’s status as a time paradox. How awesome that they didn’t conflict over their feelings for the Doctor, though!

Domesticating the Doctor I: Cocoa, Test-tubes and the Classic Years

Domesticity and Doctor Who don’t seem to fit together, as concepts. There’s something about this show, and its fandom, and possibly the hero himself, that rails against the ordinary and the everyday.

You could argue (as I think I might, in future posts) that a major theme of New Who is the uncomfortable and at times antagonistic relationship that the Doctor has with domesticity – he rails against it, runs from it, fails to see it when it smacks him in the nose, and on several occasions, has to compete with it for the attention of his companions.

Feminism often struggles to deal with the same issue. There’s a long tradition in feminist history of dismissing or disassociating itself from anything that smacks of the domestic, and while that’s an understandable side effect of trying to increase the options of female (and indeed, male) roles, it’s important to accept that domesticity can be a perfectly valid life choice. Even for superheroes.

Choice is key, though. There’s a big difference between characters who choose to embrace domesticity and those who are pushed into it against their nature. It doesn’t seem likely that the Doctor would ever willingly choose a domestic path… or does it? Before discussing the uses of domesticity in New Who, I want to look at the (far fewer) instances in the Classic series where domesticity is remotely relevant to the Doctor’s aimless, epic lifestyle in the TARDIS.

As it happens, this is the theme of the very first episode, “An Unearthly Child.” The First Doctor has ceased his wanderings in time and space in order to give his granddaughter Susan a “normal” life in one place for a while, and it’s driving him nuts. Susan is enjoying school, but not very good at faking normality, and when her teachers investigate, the Doctor takes the first opportunity he can to cut them all loose from 1963 London, and hurl them into the unknown.

We never learn the truth of how and why the Doctor ended up being Susan’s carer, but it’s very clear that the parental role is not one he inhabits comfortably. The addition of Ian and Barbara to the crew, however, gives Susan a semblance of “normal” family life in amongst all their mad adventures, at the expense of Ian and Barbara themselves, who have been ripped from their own life.

The contrast between mad adventuring and domesticity is actually rife through the First Doctor’s era. For a start, we get to see where they all eat and sleep, something happily ignored for decades at a time in the show. The Doctor accidentally goes through a cocoa-related betrothal ceremony with Cameca in The Aztecs, and responds to this discovery with utter bemusement (but isn’t above using the relationship for his own benefit). He abandons Susan so she can make the most of a fledgling romance in a war-ravaged future Earth (REALLY not a good parent) and promptly takes on a replacement in Vicki, who serves as his surrogate granddaughter up until she also falls in love, and the Doctor cuts her adrift in a war-ravaged Troy. Are we sensing a pattern here? The Doctor is willing to emulate family life on his own terms, travelling around randomly in his intergalactic house, but never considers allowing Susan or Vicki to bring her new boyfriend/future husband into the TARDIS.

(Obviously production decisions have a lot to do with this choice, but I didn’t say this article was going to be fair!)

It’s not until the Third Doctor that we see something close to domestication imposed upon him. The Time Lords may have ensured he is stuck on earth in one time stream, but it’s the Brigadier who provides the Doctor with a job and a laboratory, making sure he stays in one place. And boy, doesn’t the Doctor settle in? Luckily there are plenty of alien invasions to keep him amused, but in between all the adventuring and military politics, his life is almost cozy, with female assistants to pass him his test tubes and tell him how brilliant he is. The TARDIS, meanwhile, acts as a glorified cupboard in the corner.

Don’t get me wrong – the Third Doctor is constantly railing and complaining about being stuck on Earth, and never entirely accepts his confinement. But it’s telling that even when the Time Lords free him from his exile, he doesn’t quit his job – in between travelling in time and space he keeps returning to the laboratory and his UNIT family, drinking Sgt Benton’s excellent cuppas, bickering with the Brig, and tinkering with his cars on the weekend. Likewise, Jo’s time as companion never involves cutting herself of from everyday life – she goes on dates, earns a pay check, goes home to change her boots, and still gets to flit off to alien planets during work hours. Liz never even got to leave Earth!

This Third incarnation of the Doctor, then, is fully house-trained. But as soon as he regenerates into his Fourth identity, he and the TARDIS are off again, without looking back. Whenever the Doctor returns to UNIT you can see that he doesn’t quite fit, and isn’t tempted to stay with them. He is a domestic tourist again, occasionally turning up in the suburbs or someone’s home, but only when there’s something nasty in the woodwork.

The Fifth Doctor Years transform the TARDIS into something more home-like than had been seen since the early 60′s, with his companions’ bedrooms as regular sets, but eventually they all leave him to go home, or to find a new one. The Seventh Doctor examines domesticity through something of a scientific lens as he sorts out Ace’s back story, but family and home life in that era of Classic Who are portrayed very much as sources of gothic and suburban horror rather than somewhere safe and warm.

In the New Adventures novels, there’s only one really clear instance I recall where the Doctor was completely immersed in domesticity – the novel Human Nature by Paul Cornell, which I’ll talk about when I get to the David Tennant years rather than deal with the same plot twice. It’s one I highly recommend, though, if only to compare to the TV version!

In the Big Finish audio adventures, which occupy a headcanonspace for me between the classic and new series, even though there is substantial overlap with New Who, there’s only one relationship that I felt really pulled the Doctor against his nature into something like a domestic sphere. This was the pairing of the Sixth Doctor and Dr Evelyn Smythe, who is also the first ‘old lady’ companion the Doctor has ever had, though she was only 55 (a spring chicken!) when she first ran away with him.

Evelyn is a fabulous character, and managed to soften the blunter edges of the Sixth Doctor, not complaining about his pompousness as Peri did, but actively training him out of such behaviour. In “Thicker Than Water,” when he takes Mel to meet Evelyn, it’s clear that he credits Evelyn with having substantially improved his manners and temperament in dealing with people.

That word ‘cozy’ comes up again – while there is no romantic spark at all between the Doctor and Evelyn, they settle easily into the dynamic of an old married couple, and their adventures are dotted with nice chats, cups of cocoa (of the non-marital variety), and gentle holidays in between the madness and the Daleks. Evelyn leaves for love, but that’s not the end of her adventures, nor the end of her relationship with the Doctor, who COMES BACK TO SEE HOW SHE’S DOING ON PURPOSE, something which I don’t think has happened in his history before. This relationship was very much a hint towards how the 21st Century Doctor (both in audio and on TV) was going to develop differently.

For the most part, the Doctors of the classic series and their associated (pre-2005) spin offs not only avoid domesticity, and long term family or relationship ties, but seem to look straightthrough them, ignoring their existence. No, not even ignoring their existence, because he’s so rarely put in a situation where they impinge upon his reality.

The endless traveller is constantly moving forward. He never stops to pick out furniture, or to drop in to any former companions’ homes for tea, biscuits and baby photos. Even his beloved TARDIS is constantly changing (or being changed) by him, often at times of emotional crisis – the jettisoning of Romana’s room, for example, or the restoration that happens just before The Five Doctors.

But something does change for him, and it’s possible that the turning point can be seen in the portrayal of the elderly Seventh Doctor at the beginning of the TV Movie, which also marks close to the halfway point of the Wilderness Years between Classic and New Who – instead of the stark white console room, we see flying buttresses and a sitting room that resembles a Victorian parlour – the Doctor sips his cup of tea and reads a book, surrounded by the music from his record player, a dish of jelly babies and a cluttered (one might almost say, cozy) assortment of possessions.

It’s a calm, utterly domestic scene between a Time Lord and his TARDIS. Who else, after all, was he ever going to settle down with?

The Eighth Doctor we see in the TV Movie was every bit the undomesticated adventurer of most of his predecessors, but for the first time in that story we see a companion’s home, and a friend for the Doctor who is willing to not only turn down his invitation to travel in the TARDIS, but to counter it with an invitation of her own: to stay with her, and fit into her life.

Of course he didn’t say yes – barely even took the question seriously. But the fact that it had been asked was a turning point for the series. Not since Cameca in The Aztecs and Susan before An Unearthly Child had someone suggested to the Doctor that he stop moving for personal reasons, and choose to settle down in one time and place.

When Doctor Who came back in 2005, that question was going to get larger, and louder, and domesticity would no longer be something the Doctor would have the luxury to ignore, as the show itself began to pay greater attention to the needs of the humans around him.

But this post is long enough already. Tune in soon for Part II of Domesticating the Doctor!