There is a trend in media for strong women who are outwardly so. They are witty, snarky, toned, and know how to hold a gun. The role model being pushed is that of the ultimate woman. It’s progress – I wouldn’t trade River Song for a hundred people from Hollywood’s past – but there’s a silent repercussion, a fortification of the idea that women have to be twice as accomplished to be considered half as good, to deserve this screen time at all. They are always extraordinary, always the one in a million. Importantly, there’s no variety – only one mould to fit ourselves into. A great mould, yes, but not if you don’t fit into it.
Molly Hooper is different. Molly Hooper is kind, thoughtful, always smiling, and intelligent in a way that you don’t really notice until you remember she’s a pathologist. She asks after people and cares about the answers, remembers little details because everything someone says is important. She probably still remembers how Sherlock likes his coffee. Her blog is pink, covered in kittens, and uses Comic Sans. She blunders her way through speaking, has serious foot-in-mouth syndrome, and can’t put on a pair of plastic gloves without making faces. She is one of the strongest women I have ever seen.
She puts up with what can only be described as “total bullshit.” You might say that makes her a bit of a doormat, but for people like Molly (like me), who like kindness and hate conflict, it takes serious guts to call someone on their behaviour and say you’re hurting me. It takes guts to carry that kind of unrequited love and still first and foremost be a friend, to ask what do you need? Molly Hooper makes Sherlock Holmes, a man who can barely articulate anything beyond the scientific, try to be kinder. In the end, Molly isn’t the woman who counts [like Irene Adler], but the friend.
^THIS YES THIS 1000 TIMES OVER
how people can still think that Moffat is sexist is merely beyond me
HERE’S HOW I THINK HE’S SEXIST: THERE ARE FOUR RIVER SONGS IN HIS WORK AND ONLY ONE MOLLY HOOPER, AND MOLLY DOESN’T GET NICE THINGS. EVER.
ZSAZ, YOU ALWAYS FIND ME THE MOFFAT-LOVERS TO SHATTER. ~okay, let’s get down to business~There’s this issue you’re not allowed to discuss: that women are needy. Men can go for longer, more happily, without women. That’s the truth. We don’t, as little boys, play at being married - we try to avoid it for as long as possible. Meanwhile women are out there hunting for husbands. - Steven Moffat on Female Characters.
“Well, the world is vastly counted in favour of men at every level - except if you live in a civilised country and you’re sort of educated and middle-class, because then you’re almost certainly junior in your relationship and in a state of permanent, crippled apology. Your preferences are routinely mocked. There’s a huge, unfortunate lack of respect for anything male.” -more assholery from Steven Moffat
How about I list all the characters he’s written/created that either go through with, or intend, to have the doctor meet her as a young child, then go back and be sexually involved/attracted to her as an adult.
Rose- Turns out, the original plan (Devised by Paul Abbott) was to have the Doctor influence Rose’s life from the start; this was changed later on, either because it was turned into a love story and thus changed to make it less creepy, or two, because it always was a love story and someone pointed out how creepy it was. The only writer who didn’t erase references to the meta? Moffat. (“Red bicycle when you were 12”.)
Sally Sparrow: In the original Ninth Doctor short story “What I Did On My Christmas Holidays by Sally Sparrow”, which Moffat wrote for the 2006 Annual and that he then re-worked into the episode “Blink”, she was a 12-year-old girl. In the end, it turns out that the Doctor only got into contact with her because he met her older self first - a spy on mission in ‘exotic’ Istanbul, whom the Doctor calls “beautiful” and an “amazing woman” in front of the girl.
Amy, River, and Clara are all obvious examples that I don’t need to go into detail for. Shorthand: CREEPY AS FUCK, sexualizes young girls to an extent, CREEPY AS FUCK. (This particular information/certain sections of summary comes from here)
“I remember when I was reading that story as a kid, Sherlock goes on and on about The Woman, the only one who ever beat him, and you’re thinking, he’s had better villains than this. And then you click: he fancies her, doesn’t he? That’s what it’s about.” -Moffat, talking about Irene Adler and why she’s a romantic interest in his version.
“And I thought, ‘well she’s really good. It’s just a shame she’s so wee and dumpy…When she was about to come through to the auditions I nipped out for a minute and I saw Karen walking on the corridor towards me and I realised she was 5’11, slim and gorgeous and I thought ‘Oh, oh that’ll probably work’.” -moffat, talking about hiring Karen to play Amelia in the Doctor Who confidential ‘All about the Girl’
“Your wife turns into a boat, and shortly after that, you never sleep again and you clean shit off someone. It doesn’t seem like a very appealing prospect. Obviously, the moment I saw my child, that was different, but up until that point, I was thinking, ‘how long before she gets back to normal size? Will this damage anything?’” -Moffat, talking about his wife being pregnant.
STFU-Moffat is a great resource for examples of why he shouldn’t be given large amounts of creative control.