Tag Archive for the master

Lucy Saxon: But He Was So Good To My Father

This is heavily edited from the original post.

“There was a time when we first met, I wondered…
But he was so good to my father.”

Lucy Saxon
“Sound of the Drums”

For me, this short, rather simple line does not just sum up Lucy Saxon in a nutshell but it’s possibly one of the scariest line in all of nuWho. This was the line that revealed seemingly normal woman was not Harold Saxon’s wife but The Master’s. She is aware and supportive of his evil deeds.

That one line shows us The Master’s ‘in’ to get Lucy’s loyalty but it’s the past tense that is really unsettling. Instantly I assume The Master killed his father-in-law and Lucy is oblivious. It’s logical. By giving Lucy reason to grief, he can comfort her and gently slide into the the hole in her heart and take over that power vacuum.

Lucy is an important part to the new introduction of The Master as a shorthand of how they see humans. Where The Doctor befriends humans, falling in love with some and generally treats them as equals ignoring or ignorance of any Time Lord privilege where The Master marries a woman through manipulation only to help him achieve his end goal.

Though Lucy is used as a plot device (character arc device?), abused by the character she spent most of her scenes and have very little lines, she is not neglected as a character. Alexandra Moen is acting if small background screen she’s in. She has a character arc. True, most of that is off-screen in the year between Sound of the Drums and The Last Timelord but we are given hints of the physical, mental, emotional and possibly sexual abuse she’s gone through without it going too dark for the kiddies and hints to her strengths and weaknesses in her actions and the few times she’s allowed to talk.

I always felt that Lucy would be excellent for companion in End of Time. After rejecting Lady Catherine in Planet of the Dead, The Doctor needed a reason to be working with someone and stopping Lucy from killing The Master seems in character, even for the Timelord Victorious. Lucy would be a brilliant way to show The Doctor what he’s becoming going down the Time Lord Victorious path because she already seen where it leads. It would be an interesting an new dynamic of a Doctor and companion genuinely not liking or trusting each other but helping each other through issues.

Have The Doctor raise the question what Lucy might be like if she met him first.

Have Lucy raise the question what Rose, Martha and Donna would be like if they met The Master first.

And give Lucy a chance to say those words with understanding in her voice:

“There was a time when we first met, I wondered…
But he was so good to my father”

The Doctor: a God Among Women?

This guest post was written by Chris Emslie. Chris is a poet and editor living in Scotland. He blogs intermittently at Q.L.P. but spends most of his time yelling at his relatives for saying things they don’t realize are offensive. He co-edits the online poetry journal ILK and frequently gets angry at the TV. Who aside, Chris loves Buffy, True Blood and Dead Like Me. Also he tweets.

God and the doctor we alike adore
But only when in danger, not before;
The danger o’er, both are alike requited,
God is forgotten, and the Doctor slighted.

John Owen

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“It’s always the women.”

Some of the many ‘dying words’ of Doctor Who arch-villain The Master. These come in the 2007 episode ‘Last of the Time Lords’, immediately after he is shot by Lucy Saxon, the human woman he seduces, marries and—ostensibly—brutalises and drives insane.

This scene is dominated by a tearful farewell conducted exclusively between men, but there is more to note here. While the  Doctor in this scene is literally all forgiveness and light, the only dangers to the Master’s life come from wronged and vengeful women: Francine Jones and Lucy Saxon. The impulse to revenge immediately casts these women as morally inferior to the Doctor.

This unspoken assertion of the Doctor as the superior / rational man among hysterical / inferior women is symptomatic of a larger trend in the series’ history. What are unendingly termed ‘strong women’ are permitted space in the narrative to display their charm / wiles / independence, but only to a point—only so long as they do not present a sustained challenge to the Doctor’s supreme position at the centre of the Whoniverse.

The best examples, distressingly, can be found in the rebooted series, from 2005 onwards. The Doctor’s female cohorts might flirt with equality, but it cannot last. In ‘The Parting of the Ways’, Rose Tyler is granted superhuman abilities by her contact with the heart of the TARDIS, but at a cost: the power will kill her without heroic male intervention (“I think you need a Doctor”). Similarly in 2008’s finale ‘Journey’s End’, Donna Noble achieves the vaguely-defined ‘metacrisis’ that puts the Doctor’s Gallifreyan brainpower in her ickle human (read: female) head. But again, the sudden upsurge in agency is too much for Donna. Indeed, she gets so close to true equality with the Doctor that she has to be punished—“all those wonderful things she saw” have to be stripped from her, reducing her to the bridal archetype she represented at her inception.

More recently, River Song has been repeatedly been billed as ‘[more than] a match’ for the Doctor.  She almost succeeds in killing him, and her ‘human-plus-Time-Lord’ physiology removes the impassable disadvantage of species. But let’s stop and consider the fate of the Time Ladies (or variations thereof) who have given equalling or surpassing the Doctor a real shot:

  • Romana Mk. I is shown as stuffy and narrow-minded in comparison to the Doctor, and only outsmarts him very occasionally. She regenerates into the more submissive Romana Mk. II, who conveniently departs for E-Space and never comes back—at least not in the television series.
  • The Rani is arguably a cautionary tale against allowing Gallifreyan women access to education (they’ll only end up as evil geniuses, ultimately dropped without much ado from the programme).
  • 2008’s ‘The Doctor’s Daughter’ gives us Jenny, genetically a female offshoot of the Doctor. She is born a morally misguided killing machine, reformed by the reason of a Doctor at his most literally patriarchal, and then swiftly killed off, resurrected and sent on her merry way.
  • And then we have River Song herself. She has all the makings of a true equal, on the Doctor’s own turf: she is ingenious, heroic, brave and appealing. Her knowledge of the Doctor’s personal future puts her at an unprecedented advantage. This is balanced initially by her being homicidal—no one can be that badass and morally righteous but the Doctor—and latterly by her domestication. Okay, ‘domestication’ might be a strong word. But the bulk of River’s considerable ability is used to preserve the Doctor’s place on his pedestal, cohesion of reality be damned. The woman who almost defeats him gives up her regenerations to save him because (of course) she has fallen in love with him. Is anyone else noticing a trend in Steven Moffat’s writing here? And of course, River’s threat to the Doctor’s role as patriarch is neutralised by the fact that we know from her first appearance that she is doomed to die, while he can potentially live forever. Take that, woman!

Let’s end with a nice, light-hearted moment from 2006, when Rose Tyler meets Sarah Jane Smith, the celebrated damsel-in-distress from the days of the third and fourth Doctors, in ‘School Reunion’. Sarah-Jane ribs the Doctor:

“You can tell you’re getting older […] your assistants are getting younger.”
“I’m not his assistant!” Rose rightly protests.
“No?” Sarah Jane shrugs and smiles to herself.

We cannot help but infer from this brief exchange that Rose thinks herself equal to the Doctor. Quite reasonable, really, to assume that about your best friend. Sarah Jane’s smile tells us that Rose, like countless other women to have travelled with the paragon Doctor, will inevitably learn otherwise.

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