Clara doesn’t lie to Danny because he would somehow try to forbid her to travel with the Doctor. He doesn’t - and shouldn’t have - that kind of power over her. And keep in mind that he has been supportive of her travelling with the Doctor. He even encouraged her to not quit in anger and told her to have fun on the Orient Express. All he ever demanded from her was honesty. Honesty and allowing him to help her when she had a problem.
Clara doesn’t lie to the Doctor because he would necessarily care about Danny approving or disapproving. The Doctor is the Doctor, Danny is Danny, there’s still not a lot of love lost between them, even if the Doctor seems to have moved on from his total rejection of Danny.
Clara lies so she doesn’t have to examine her choices. If she told Danny the truth, then she would have to face up to the fact that she decided to continue travelling with the Doctor against her better judgement. She’d have to speak about being impulsive, about ignoring everything that happened before. She’d have to speak about the addiction to the thrill of this kind of life… and not the Doctor’s, but her own.
And if she told the Doctor the truth, she would have to confront that that is why she did it.
One thing that concerned me about 'Mummy' was that almost all the experts that were left behind after the holograms dispersed were men. I think I saw one woman. I don't know if it's just a generic TV thing where the default for background characters is male, or if it was a conscious choice, but it really threw me. It feels like they're really concentrating on developing Clara- which is fantastic- but they haven't really clocked on to the fact it's not just that. 1/2
2/2 - It’s a space train set hundreds of years in the future, is it really that unbelievable that women could do science too? Would love to hear your thoughts, thanks
I actually took a look into this and I think this perception brings up a fascinating point.
So, if you take a second look at all of the scientists, the group is actually a little bit more diverse than you remember.
Here’s half the scientists:
And here’s the other half:
Ignoring the four named characters (Quell, Perkins, Moorhouse, and the Doctor) I count eleven unnamed scientists. Seven are men, four are women. So men definitely outnumber women, but there was definitely more than one woman scientist.
So why, thinking back on the episode, do we forget the other women are present? Why, when we remember the science scenes, does it feel so heavily male? I think it has to do with which characters were named and which characters got to speak.
As I said above, there are 15 people present in the room but only four, to my recollection, are named and have lines, and all of them are men. They are the ones who are most actively involved in the science and deductions. Quell and Moorhouse provide data as they die, and Perkins bounces off deductions with the Doctor. For most of these scenes, the other scientists sit in the background with lab coats on. We’re meant to infer that they’re doing vaguely science-y things, but we don’t actually know what they’re doing for the most part. There is one woman who provides information about who they’ve deduced is the next victim, but that information is passed on wordlessly to Perkins, who then passes that information on to the Doctor.
When we look back and think about these scenes, we remember the characters which are most distinctive, particularly those who are named and have lines. None of the female scientists are named and have lines, and there’s only one who does something that appears to contribute to the plot. I think that’s why we forget how many women were actually present.
The Bechdel Test isn’t necessarily designed to capture things like this, but it can provide a useful framework for how to think about representation of women in situations like this. Remember, the three conditions of the Bechdel test are that the female characters must 1) be named, 2) talk to each other, and 3) talk to each other about something other than a man.
The Bechdel test touches on three important elements of representation in film: which characters, by virtue of being named, are given extra importance by the narrative; which characters get to speak; and what do they get to talk about? It is important because it helps illustrate how few women are given prominent roles, and that when they do get prominent speaking roles, they tend only to talk about the male characters.
The female scientists are present. But most of the important scientific and deductive work is done by the men. There are a lot of scientists in the background who don’t get any lines, and Clara and Maisie do contribute to uncovering the mystery of the Foretold and the Orient Express, so I’m not particularly bothered that those female scientists didn’t get any lines. But I understand where your perception that most of the scientists on the train were men comes from. The female scientists just didn’t receive that much attention.
(For the record, “Mummy on the Orient Express” passes the Bechdel test. And the Bechdel test even received a subtle call-out in the episode! Clara, trying to get Maisie to stop talking about the Doctor, says “Seriously? We’re stuck in this carriage, probably all night, and all we can talk about is some man?”)
The most impressive naval career of all the female sailors is that of William Brown, a black woman who spent at least twelve years on British warships, much of this time in the extremely demanding role of captain of the foretop. A good description of her appeared in London’s Annual Register in September 1815: “She is a smart, well-formed figure, about five feet four inches in height, possessed of considerable strength and great activity; her features are rather handsome for a black, and she appears to be about twenty-six years of age.” The article also noted that “in her manner she exhibits all the traits of a British tar and takes her grog with her late messmates with the greatest gaiety.”
Brown was a married woman and had joined the navy around 1804 following a quarrel with her husband. For several years she served on the Queen Charlotte, a three-decker with 104 guns and one of the largest ships in the Royal Navy. Brown must have had nerve, strength, and unusual ability to have been made captain of the foretop on such a ship….The captain of the foretop had to lead a team of seamen up the shrouds of the foremast, and then up the shrouds of the fore-topmast and out along the yards a hundred feet or more above the deck….
At some point in 1815, it was discovered that Brown was a woman and her story was published in the papers, but this does not seem to have affected her naval career….What is certain is that Brown returned to the Queen Charlotte and rejoined the crew.
why do people make shit arguments against queer representation by saying things like “the percentage of lgbt people in the population isn’t that high” well neither is the percentage of vampires but we see plenty of them in our media dont we
I read a lot of scripts. A lot. From professionals to aspiring writers to complete newbies. Features and pilots. Specs and treatments.
And 8 times out of 10 the fan fic that I’ve read over the last, oh, 15 years is leagues better than this stuff. It’s more inspired. It’s more compelling. It’s genre bending and creative and heartfelt. It’s well-paced and intense and funny and sexy and meaningful. It’s smart and thoughtful and good. It’s novel-quality. Better than, sometimes.
Rare is the script I don’t want to put down, but how often have we stayed up until 3am to get to the last chapter of a 100k fic? And it’s not even a fan fic author’s day job. This is what they do on the side. In their spare time. For free.
So my point is, fan fic authors, you’re good. You’re good writers and great storytellers. I know it doesn’t always feel like it, especially if you’re one of the authors who’s not a BNF and doesn’t get the notes/hits that a few do. And because some people still view fic as “not real writing.” You guys know the shit that gets made into movies. You’re better than that. So be better than that. If writing is what you think want to do, then just know you’re already doing it. You’ve already started.
And you’re more talented than you might think.
And if you ever wonder how you stack up to people trying to break into the pro market, consider this quote from Teresa Nielsen Hayden, an editor with Tor Books. I attended a panel with her at WorldCon in 2004, where she said, “If you’re literate, coherent, and not crazy, you’re in the top 10% [of the slushpile].”
So if you’re a fanfic writer and you’ve always wanted to go pro, don’t hesitate, you’ve already got a leg up!
1000% accurate. I’ve seen all sorts of lame scripts in tv animation from “professional writers.” In fact, when a friend jokingly tried to give me a hard time for reading fanfic, I said “at least it’s better than our scripts.” We both just shook our heads and agreed.
So thank you fic writers! You are great and greatly appreciated! \^_^/
(and if you’re looking at this and wondering “is she talking about me tho?” YES. I am talking about you. Thank you.)
“[I]t is actually more expensive to be poor than not poor. If you can’t afford the first month’s rent and security deposit you need in order to rent an apartment, you may get stuck in an overpriced residential motel. If you don’t have a kitchen or even a refrigerator and microwave, you will find yourself falling back on convenience store food, which—in addition to its nutritional deficits—is also alarmingly overpriced. If you need a loan, as most poor people eventually do, you will end up paying an interest rate many times more than what a more affluent borrower would be charged. To be poor—especially with children to support and care for—is a perpetual high-wire act.”—
Reblog this forever. I’ll never forget how many of my students in the school I worked in with a 100% free and reduced lunch rate lived in residential motels and how many of them relied on the school to get breakfast and lunch and how often those were their only meals for the day.
Or how my friends who have older cars have to spend so much money repairing them but an older car was all they could afford in the first place.
And how you literally have no safety net because if you already fixed one thing on your car and something else goes a week later, you’ve already spent the little bit of buffer you saved up.
“The reason that the rich were so rich, Vimes reasoned, was because they managed to spend less money.
Take boots, for example. He earned thirty-eight dollars a month plus allowances. A really good pair of leather boots cost fifty dollars. But an affordable pair of boots, which were sort of OK for a season or two and then leaked like hell when the cardboard gave out, cost about ten dollars. Those were the kind of boots Vimes always bought, and wore until the soles were so thin that he could tell where he was in Ankh-Morpork on a foggy night by the feel of the cobbles.
But the thing was that good boots lasted for years and years. A man who could afford fifty dollars had a pair of boots that’d still be keeping his feet dry in ten years’ time, while the poor man who could only afford cheap boots would have spent a hundred dollars on boots in the same time and would still have wet feet.
This was the Captain Samuel Vimes ‘Boots’ theory of socioeconomic unfairness.”