My Amy Pond overview

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Tanlee
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Amy remains my favourite New Who companion (it doesn’t hurt that like my old series favourite Romana, she’s beguilingly beautiful).

To be fair that’s not difficult. Nearly all the male companions have been wet blankets with inconsistent moments of macho bombast that seems desperate to demonstrate growth. Martha was bland and insufferably self-absorbed, and I think had the Doctor got as intimate with her as she wanted, he’d have caught splinters.

Donna’s whirlwind breath of fresh air personality was someone I’d love to share a flat with. And yet such a big deal was made about her being a fresh air in terribly repetitious on the nose fashion that it became something of a one-note joke in the end.

As for Rose, Parting of the Ways’ line “Do that for me Rose. Have a fantastic life” reminds me when Rose was New Who’s beating heart and soul, but School Reunion onwards soured her for me beyond redemption.

Tennant and Rose’s cod come-ons left me moaning “Just shag and be done with it!”, whereas Karen and Matt’s incorrigible sexual interplay left me sighing “Come on Doctor. Be a gent and give Amy a shag. She seems in need of it.”

However fandom was in uproar at her behaviour given her relationship and imminent engagement with Rory.

But these days girls are suing for their sexual freedom. I remember in our all male Who group meeting a young couple in a bar. The girl started flirting with and sharing a cigar with one of us, whilst I and a fellow writer observed her wilfully asserting her post-feminist right to enjoy her social, sexual freedom. Eventually she was outright sitting on the guy’s knee, before returning to her put out boyfriend and kissing him affectionately to reassert her continual loyalty to him having enjoyed her fun. He remarked this would’ve been unacceptable ten years ago, never mind fifty.

Science fiction’s eroticism gives an insight into this, especially female shipper Trek fiction dripping with forbidden lusts, fantasies and the female gaze (Amy notedly has written similar fiction). More mainstream examples include Sarah Brightman’s irresistibly camp “I Lost My Heart to A Starship Trooper”, Earth Girls are Easy, Rocky Horror Picture Show (“I’ve got an itch to scratch, I need assistance”) and Barbarella, where the inexperienced glamourpuss finds herself new sexual pleasures from males who start outright molesting her from the outset. Many women loved that film.

Speaking of, the anti-Moffat feminists have shown no double standards in criticising Amy’s forcing herself on the Doctor in Flesh and Stone as much as him likewise goosing Jenny in The Crimson Horror. However there’s a danger of equating a schoolgirl’s need for snogging her idol, with a pervert reprobate’s compulsion toward putting his hands on girls’ legs.

I think were Amy confronted with that charge against her actions, or even the very suggestion that a female touching a guy up can be considered abuse, it’d be to her a core attack on her femininity. Women are by nature tactile, affectionate, loving, nurturing, with the greater need for kindling physical closeness. Knowing physical contact’s something where they must make the first move. So that charge is seen as a demonization of their femininity and a criminalisation of their right and need to assert said femininity and affectionate nature.

However Amy doesn’t inspire more than fringe female solidarity from women who champion her sexual courage, or have a major girl-crush on her, or feel in their hearts they should be her sister’s keeper protector from all the slut-shaming she’s been subject to by fandom.

There’s several reasons why. Inevitably many older fans were left seriously morally confused by the show, and take moral offence at Amy jumping the Doctor’s bones to the point of switching off for good, but predictably excuse Warriors of the Deep as a story that suffered only ‘production issues’. Nevermind turning the Doctor into a despicable, obsequious Hitler-sympathiser and an enabler of ethnic cleansing massacres.

Something’s wrong when New Who teaching girls it’s okay to kiss that boy you fancy is judged more deplorable than Classic Who teaching kids genocidal mass murderers are noble and cool and more worth saving than their victims.

But this isn’t just about curmudgeons. Teenagers are every bit as immovably judgmental and self-righteous. Many fangirls hate Amy for making her move on the Doctor with a jealous rage and dehumanising moral scorn. After all Smith’s Doctor is the image of innocence, (he was at this point a new-born), and women hate when someone gets with the clean cut idolised innocent male figure. It’s their unattainability that makes them desirable. It’s why male pop acts are so much blander and void in personality than their more spunky female counterparts. Why many girls accept Rappers constantly vilifying groupies as ‘bitches’.

Ally Sheedy was an impulsive explosion of petting sexual energy in Short Circuit, but could never have got with Johnny 5, because women would want to kill her for that. It’s why male leads in romances, especially Richard Gere are characterised as dicks somewhat.

And this applied to the Doctor and Rose too. The only times they ever locked lips, Rose was either possessed by Cassandra or the Tardis, or the Doctor was his most tainted Dalek-hating genocidal self. That’s why the separation in Doomsday moved so many girls’ hearts and why many felt Journey’s End spoilt it by taking away the pain and denial.

When it comes to the Moffat era, I don’t usually subscribe to ‘dos’ and ‘don’ts’, which I think separates me from most Moffat critics that seem to condemn and forbid him doing anything innovative. Whether changing the powers and rules of the Weeping Angels to make the plot more scary and less rehashed, or having River joke about leaving the Tardis brakes on, or even casting Matt Smith in the first place.

But with Series 6 I stopped being able to care, mostly due to the horrid treatment of Amy. I’ve never been able to divorce Amy’s confronting dead Rory’s blood scratched messages of murderous hatred of her very name from the kind of raging fangirl posts on Gallifrey Base to the same words and effect they seem cut and pasted from.

This particularly bothered me in Angels Take Manhattan’s suggestion that Amy’s devotion to Rory means she should prove equally suicidally devoted and jump and die with him for no reason and no gain. This was a rehash of her leap of faith suicide to break the illusion she couldn’t bear to be real in Amy’s Choice. But Amy’s ultimatum of “together or not at all” should’ve realistically made Rory choose the latter, never the former. There’s no point sacrificing himself for a dead wife.

So it felt somehow falsely arm-twisted and coerced of her character, as well as his. Doing it because an unforgiving segment of the audience wanting her to pay her dues to Rory demanded it of her, rather than because her character’s will was to do it.

There’s a horrible sense Series 6 was appeasing fans that wanted to see her punished. I hung in nonetheless, in the hope this sheer unpleasantness was going somewhere, but Let’s Kill Hitler dashed those hopes.

Amy being River’s mum only could’ve worked if her and Rory left on A Good Man Goes To War, only returning for Wedding of River Song (and maybe Closing Time). They might even have made the padding and cheap get out clause forgivable, and closer to Moffat’s notion of his story being a masterpiece rather than one so close and yet so far it positively hurts. River’s arc compromised Amy’s credibility and the more Amy was there, the more apparent it was she was barely half there in spirit.

I’m not sure why. Amy’s Choice, Girl Who Waited and Angels Take Manhattan’s emotional climaxes prove beyond doubt that Gillan can give a phenomenally powerful emotional performance. I can’t condemn Amy too harshly for her reckless insensitive treatment of Rory. Yes wilful cheating is a form of psychological abuse of your partner, and an abuse of power Amy arguably possesses. Yet I get the sense her autistic tendency to misread situations and what’s appropriate makes her innocent of meant malice. Those endings demonstrate how when it’s gotten through to her what her actions did, or how much Rory means to her, she’s left truly devastated.

So how could she be so much the beating heart of the show, yet somehow it all got downright heartless in Series 6?

Well take Almost People’s cliffhanger. It’s a moment where the Doctor becomes sinister and reduces Amy to distraught tears. It’s like from a horror movie with the Doctor cold bloodedly condemning Amy's ganger to her grave, crying out for Amy’s ganger to outright say "My feelings are not 'inferior' to yours."

It was an organic lifeform with her thoughts, her feelings. It was in a sense alive. Like Cyberman 2’s existential discussion where Samantha the android describes what makes a living existence and emotion genuine, and how her binary code make up no less true an emotion than the human brain’s chemical reactions.

Like Evangelista’s ghosting personality chip surviving four minutes after her death and experiencing her terror and death agony too.

It's presented like a literal nightmare, where things suddenly become unpredictable and shocking, and events and people's actions change and become sinister and cruel without warning. The Doctor’s actions leaving the viewer thinking "did I just see what I just saw?" It's about the horrific shock of the moment. Sadly there's no reassuring resolution or return to normality where we're reassured the Doctor is still our benevolent hero, until Rings of Akhaten.

From then on it feels like something’s truly broken between Amy and the Doctor, and moreover that she’s being pushed out of her own show in favour of Moffat’s solipsistic love fixation with his River Song. This is an era of guns, swastikas, ganger gunge, men in black. It’s no longer Amy’s show, she barely matters anymore as the now superfluous God-mode Mary Sue babymaker, and thus it’s clear the show’s heart has been dislodged.

And frankly the Pond’s divorce in Asylum puts this into perspective for me. Her marriage with Rory couldn’t be interesting or dramatically in and of itself. But at the same time these jeapordies involving abducted babies and divorces provide utterly neutered drama that’s killed stone dead once the 45 minute runtime elapses.

This has made me wonder if maybe originally Amy shouldn’t have been with Rory. How about in Series 5, Rory’s stuck in the friend zone whilst she’s totally in love with the Doctor who refuses to take advantage of her child-like vulnerability. Let’s say Rory doesn’t come aboard. I’d gladly lose that tacky, off-colour moment the Doctor totally destroys Rory’s stag night and crushes his dreams.

It was when making a youtube video that put together her furious snogging of the Doctor in Flesh and Stone before her being stolen forever from the Doctor by the Weeping Angel, I realised what was missing.

Amy’s desire for the Doctor, which Karen brought such amazing passion and hunger to should’ve been kept alive I reckon rather than deflected onto Rory. However they could’ve made things interesting by having The Big Bang land Amy in a new timeline where she and Rory are married. The dilemma then being that part of her feels this isn’t right and that it’s the Doctor she should be with, and then next season do Amy’s Choice and Girl Who Waited about the version of her that chose Rory winning out.

It’d make their Series 7 divorce more plausible, and have episodes after be about her and the Doctor getting closer, and eventually intimacy happens between them before, like Sarah Connor did Kyle, he tragically loses her forever in Manhattan. Then River consoles him.

Like I said for me it’s less about wanting to say ‘don’t do that Moffat’, and more ‘slow down and save it for a rainy day.’
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The Krynoid Man
 
 
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Personally, I can't stand her.
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I love Amy. By far the best New Who companion (certainly better than RTD's horrific collection, not to mention "Personality? What personality?" Clara). I agree that the writing for her was a bit sloppy in the second and third series (though it was sloppy as a whole, so that's hardly surprising). Still fab though.
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Tanlee
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I think Clara did show some personality enough in Asylum and Rings (but no-one seems to like that one but me). But beyond that such examples were too few and far between I feel, and by Nightmare in Silver, the bigging up of her superiority and importance just got plain insulting.

But yeah I tend to think that when it comes to Amy and fans who don't like her, especially heterosexual male fans, there must be something seriously wrong with them.
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The Krynoid Man
 
 
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Oh so the reason Amy's a good companion because she's hot. That's not sexist at all. :D
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Hey tanlee you should proply check outs Niels tumblr it sates that the Carla he wrote in that was the Victorian Clara




also whele any may be hot she is a soropath and it has even been in iplated that she is a abusvie. To Rory

P.s. don't kill my spelling I am dislexic also my hands are cold
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The Krynoid Man
 
 
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What my friend here is trying to say is that Neil Gaiman wrote Nightmare in Silver for Victorian Clara and the Moff never bothered to tell him to change it. Hence her acting out of character.
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Tanlee
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The Krynoid man wrote:Oh so the reason Amy's a good companion because she's hot. That's not sexist at all. :D
Shallow?.... Moi...?

:)
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Also Amy is not autisc I should becuase I am autisc and so is krynoid man she shows no signs of autism
Tanlee
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Doctorwhooves wrote:Also Amy is not autisc I should becuase I am autisc and so is krynoid man she shows no signs of autism
Well I assumed she was from talking to another fan about how in the ending of Flesh and Stone when she makes her move on the Doctor she completely misreads the situation and makes several insensitive faux pas with Rory in Vampires in Venice and Amy's Choice that leave him feeling she doesn't feel anything for him, and her crying in The Pandorica Opens without herself knowing why is a significant example of the autistic tendency to lack a sense of 'emotional centrality'.
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Tanlee wrote:
Doctorwhooves wrote:Also Amy is not autisc I should becuase I am autisc and so is krynoid man she shows no signs of autism
Well I assumed she was from talking to another fan about how in the ending of Flesh and Stone when she makes her move on the Doctor she completely misreads the situation and makes several insensitive faux pas with Rory in Vampires in Venice and Amy's Choice that leave him feeling she doesn't feel anything for him, and her crying in The Pandorica Opens without herself knowing why is a significant example of the autistic tendency to lack a sense of 'emotional centrality'.
I think you're over analysing things again, Tanlee.
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The Krynoid Man
 
 
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Tanlee wrote:
Doctorwhooves wrote:Also Amy is not autisc I should becuase I am autisc and so is krynoid man she shows no signs of autism
Well I assumed she was from talking to another fan about how in the ending of Flesh and Stone when she makes her move on the Doctor she completely misreads the situation and makes several insensitive faux pas with Rory in Vampires in Venice and Amy's Choice that leave him feeling she doesn't feel anything for him, and her crying in The Pandorica Opens without herself knowing why is a significant example of the autistic tendency to lack a sense of 'emotional centrality'.
No I would say that's just her being a bit selfish rather than autistic
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Tanlee sweetie what you Gould know about autism is its not the feelings them self that are not there. It's the able to express those feelings. Also if your going to over alazyle it and do a full psylogol profile of Amy I've already done it.
Tanlee
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Doctorwhooves wrote:Tanlee sweetie what you Gould know about autism is its not the feelings them self that are not there. It's the able to express those feelings.
That's what I said though. She has those feelings within, as is clear in her crying, she just can't understand or process where they're coming from within herself at first but soon works it out out.
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She may have borderline autism which a lot of people have
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The Krynoid Man
 
 
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Doctorwhooves wrote:She may have borderline autism which a lot of people have
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... You hard boiled poo poo head
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