Clara Oswald: Agency, Moral Compass, and a Feminist Heroine
A revolutionary female agency representation
Clara Oswald represents a rare form of feminine heroism: composed, joyful, non-confrontational, and yet uncompromising in her ethos. The discomfort she provoked in a small but very vocal minority, and the intensity of the discursive saturation that resulted, tell us a lot about audience expectations, and pleads for an examination of her effective cultural significance.Â
Having encountered and watched Doctor Who outside of fandoms, my interest and attachment was shaped only by the text itself â and by my perspective as a writer, a feminist, and a queer woman.
I believe that Clara disturbed the narrative status quo because she was uniquely defined outside of familiar narrative roles assigned to women: either submissive or adversarial to a male hero, and defined by their romantic bonds, sexuality, or motherhood. She was not even a subversion of those tropes: she was a counter-proposal. An independent woman. That refusal to conform to patriarchal definitions was a narrative revolution.Â
Her agency, kindness, and moral responsibility remain strikingly consistent across her arc â with one short, confusing, and infuriating narrative misstep, with immediate and telling damaging consequences. However, in spite of that moment of regression, Claraâs arc concludes with an apotheosis that asserts the force of her significance.Â
I think that Clara still matters because she shows what female agency can look like when it is neither punished, nor apologised for. Clara chooses, she cares, and she acts â neither for the love of someone nor for personal gain, but for doing the right thing. Like a heroic protagonist. Her story disturbs patriarchal tropes, heteronormativity, and gender expectations.Â
And I think that her story shows a triumph of female agency in a long narrative, something that remains unfortunately very uncommon.
1. Oswin: a queer, cheerful genius with a tragic end
The first encounter with Clara is Oswin Oswald in Asylum of the Daleks. Brilliant, funny, and generous, she flirts with Rory over the coms 'to cheer him up' while explicitly stating her first love was called Nina. Her open queerness is incidental: her main traits are being extremely competent, casually smug, confidently peppy, and kind without naivety. She is, unapologetically, herself. She ultimately proves to be the most important âand competentâ character in the episode, driving the narrative, outwitting the Daleks, and saving even the Doctor.
Having a queer woman who was heroic and not defined by her sexuality was extremely rare at the time (still is) â and it made her immediately important. Â
Then she dies. The moment is brutal, crushing â and painfully familiar (the Bury Your Gays trope is all the more hurtful that Moffat is known for his "Everybody Lives" pattern).
But then Jenna Coleman reappears in the Snowmen, then as the new companion, with the same qualities: cheerfulness, agency, warmth, intelligence, and a distinct queer-coded independence.Â
2. Choosing to be a companion: an unwavering attachment to her agency.
In her first modern encounter with the Doctor in The Bells of Saint John, while she is in obvious danger, in the presence of the powerful and seductive man who has already saved her life and guards her, Clara refuses to follow him blindly: she demands explanations for his âsnogging booth.â Not only does she refuse to obey and follow out of fear or submission, she takes control of the interaction with composure and humour.Â
It is also a refusal to be regarded as a sexual object â later confirmed with her âDown, boy" (when he evokes her doing "young tings with young people"). Not out of prudery or anger: she still maintains an easygoing interaction, but she wants to be considered and valued as a full person.
When, later, he offers to take her to travel with him, she acknowledges the seduction of the proposal, and, with humour, confronts him for the underlying manipulation: "You just crook you finger and people jump into your snog box and fly away?". And, then, she good-naturedly takes the upper hand again. âCome back tomorrow. Ask me again. I might say yes.â
Refusing that once-in-a-lifetime opportunity is already extremely rare, but her reaction is unique. Because she does want to travel â but only on her own terms. Which is why she chooses to risk missing it, to make sure to maintain relational balance. The very rare characters who refuse the Doctorâs invitation do so for fear, anger, or confusion. Clara is not angry, nor fearful, nor antagonistic. Her refusal is light-hearted and kind. She does not reject him, but she refuses to be impressed, to let him decide for her.Â
Her dialogues, witty, non-aggressive, and funny, are a sign of her defining character trait: quiet and unyielding agency.
And she simply demands respect and the right to choose.
She is emotionally mature.Â
3. A true hero defined by kindness and choice
I fell fully in love with Clara in The Rings of Akhaten. She does not disobey and wander off like an immature brat, but sge refuses to walk away and and when push comes to shove, she does not act as a sidekick, but as a hero. Her kindness toward a frightened alien child, her refusal to walk away from the parasitic god, her willingness to sacrifice something deeply personal â all to save someone she has just met â define her clear moral code. She is sensible, observant, pragmatic, generous, and kind. She deduces what could defeat the god of Akhaten, all by herself. She is brave and heroic not because she seeks validation, but because she cares.Â
Her empathy allows her to understand what others canât, be it to understand the War Doctorâs position in the Day of the Doctor, or to elicit Skaldakâs mercy in Cold War. Her ability to maintain her composure under pressure is present from the beginning, and grows to the point of assuming leadership against impossible odds in Nightmare in Silver.
And, from Akhaten to Name of the Doctor or Time of the Doctor, her moral compass is her main deciding factor, her ability to sacrifice what needs be, including her own life, for what is right â not by whim, nor by submitting to authority, nor 'for the love of a manâ, but through deliberate moral judgment, grounded in empathy and responsibility.Â
She always chooses to do the right thing. Without hope, without witness, without reward (sic).
And, throughout, her autonomous agency persists. Clara is one of the very few female characters I ever saw that seemed completely free from patriarchal tropes. She is not a damsel in distress, nor an 'angry woman', nor a mother or nurse, and, more than anything, she is not driven by romantic interest, not defined by her relationship to men. She is simply her own person. Centered, easygoing, sensible, kind, and adamant in her determination to do whatâs right and to choose her own path.
4. Representation that mattered
The lack of female â and especially lesbian â representation during my childhood and teenage years (and even adulthood) was genuinely distressful for me. In genre fiction, women were almost always victims, antagonists, or narrative rewards â and always, heterosexual and submissive (or sometimes angry and obnoxious). When Buffy aired, I was already a young adult, and having a female protagonist was a revolution â but the show was still painfully tangled with misogynistic patterns, plagued by tragic narratives, and deeply dominated by the all-importance of heterosexual romance.
Clara was different. She is explicitly portrayed as:
Immune to the Doctorâs seductive authority.
Not defined by a quest for a romantic partner, sexuality or maternity.Â
All that, without being confrontational: she stays composed, confident, congenial, and kind.
For the first time, a hero who felt like the ones I had yearned to see.
5. Explainable backlash, chilling effect, and consequences
I learned many years later that a very vocal minority rejected Clara for her supposed âlack of characterisation,â a claim â so relentless and omnipresent that they distorted the perceived consensus â deeply at odds with my own experience.
In retrospect, the intensity of that backlash makes sense. Clara disrupted two deeply ingrained narrative habits and all-important traditional 'definitions of womanhood' and criteria of 'female characterisation', making her illegible to some viewers. For exactly the same reason that it felt liberating to some âincluding myselfâ it was a source of cognitive dissonance to them.
She is a woman who exercises agency without positioning herself as the Doctorâs admirer, assistant, or love interest. She rivals him as a hero herself, an ally and an equal. She questions him, but not with anger or contempt: she makes him better. This undermines hierarchy, and the fantasy of an unquestionable, all-powerful male hero.
Most importantly, Clara is not narratively organised around romance, sexuality or motherhoodânot even the denial of it, or rage, trauma, or longing. She does not seek meaning, identity, or validation through a man. She is simply an autonomous person. After centuries of patriarchal storytelling that equates female characters with romantic attachment and reproductive roles, some people found such emotional independence profoundly unsettling âor threatening.
A female character who had no "female" motivation nor behaviour, that had to mean an 'empty' character, a complete lack of personality or characterisation, right?
I think many people are incapable of viewing female characters outside of romantic attachment (As Missy says: "Try, nano-brain, to rise above the reproductive frenzy of your noisy little food chain, and contemplate friendship").
Clara exists outside patriarchal tropes and habits. For those whose cognitive balance relies on them, that exposure proved either unfathomable or intolerable. So, I believe their claim to her 'emptiness of character' was sincere (if short-sighted), though I do not condone their response.
For the response was a sustained saturation of collective spaces â crowding out alternative readings, silencing quiet appreciation, and creating the illusion of a widespread rejection, and effectively erasing the reality that a majority of viewers appreciated the narratives.
The result was a 'chilling effect' (as documented in social psychology and media studies): people who wanted to discuss the character were overwhelmed by negative comments (discursive saturation), and therefore discouraged from speaking or participating; and those who liked her were left feeling isolated, rejected, and silenced, in spite of being the actual majority. This colonisation of public discourse, reinforced by the negativity bias, created lasting damage â to the perception of the characterâs popularity and actual interest, and to the very possibility of openly enjoying or discussing her character... and of reproducing such traits.
6. A narrative misstep and tragic heteronormative tropes harming character consistency.Â
[Note: Spoilers for Season 8]
In series 8, most episodes, most adventures, naturally maintain Claraâs role. She remains brave, resourceful, emotionally intelligent, fiercely independent, and functions as the Doctorâs moral and social compass. She takes responsibility and even leadership roles. In Into the Dalek, she drives the narrative. In Robot of Sherwood, she is the one who keeps a level head. In Flatline, she takes charge with creativity, compassion, and responsibility. And throughout the season, she is the one calling out the Doctor on his callousness.Â
But then, weaved into the season's arc, there was the Danny Pink overarching subplot.Â
Danny himself is not the issue. On the contrary, he is a much-needed representation of positive masculinity: respectful, vulnerable, solid, reliable, quite likeable. Having Clara in a straight relationship was quite disappointing for queer representation (as a lesbian, I was annoyed), and having it woven into the season arc was an unfortunate concession to classic 'female' tropes; but that could have been overlooked if it were written in coherence with her.Â
The problem is that the script has Clara stubbornly pursuing an obviously mismatched romantic bond. The incompatibility is painfully evident from their first dateâand itâs not in an âoverwhelming torrid passion taking over your lifeâ trope and tragic story arcâitâs just awkward, and cringe. They lack basic compatibility, shared life goals, humour, deep aspirations, or emotional language. And yet the story laboriously insists, and tries to vindicate their toxic pairing. It is a narrative reorientation of Clara's character around romantic persistence rather than personal agency and ethical clarity. Which seems to me like a definite character betrayal.Â
Worse, it diminishes Claraâs agency and characterisation. Because, to make this relationship happen, itâs necessary to rewrite Clara as partly sacrificing what had defined her â either her agency, or her moral integrity, or her personal aspirations⌠or the three of those. Not to mention her lucidity. It felt like sexist patriarchal tropes taking over and twisting the essence of a previously unique character, to reclaim her.
[By the way, S8 labels Clara as âbeing a control freakâ (told, more than shown), which sounds like a misogynistic reframe of her unyielding agency⌠coincidence?]
The âTARDIS keysâ incident crystallises this betrayal. The scene is dramatically effective and beautifully performed â but it is fundamentally incoherent with the character.
It relies entirely on the trope that âa woman is defined and driven by her love for a manâ and that her attachment can and will override her ethics, values, and personality (a form of *hysteria* trope). (Note: I think this trope is so deeply ingrained in our culture that Moffat didn't even see it at the time).Â
It is deeply inconsistent with Clara, who had been consistently defined by her unwavering moral compass. For two seasons, she has repeatedly chosen self-sacrifice to protect others, be it a little girl, random strangers, or the whole universe. She understands responsibility and consequences. She has been (and will be) a genuine righteous incarnation of empathy and responsibility. She embodies the motto: without hope, without witness, without reward. She's been the Doctor's moral beacon and reminder. She would never endanger the universe for personal reasons. Writing the story around her making that choice is not only tragic â it is insulting.
Yes, the writing is brilliant, the acting magnificent, and the beat conveys an effective sense of tension â but at the cost of a massive confusion in characterisation, and of meaningful consequences to the long-term narrative.Â
Because that momentary lapse of character traits damaged the show on three fundamental levels:
Moral consistency â for the two main characters (both of them choose personal feelings and ignore the cosmic consequences), but also for the show at large.Â
Character consistency: it went in contradiction to all of Claraâs characterisation, and the self-reliant agency and ethics that defined her.
Narrative continuity: it enabled âor forcedâ some viewers to retrospectively question, or erase, Claraâs previous heroism and sacrifices (many people in the fandom, have been defining Clara on the basis of this single incident - and therefore defined her as 'evil').. It fractured the characterâs consistency, and undermined the showâs inner logic.
By he way, this narrative misstep played right into the hands of the aforementioned haters - allowing some to hate her for this immoral action, or confirming the opinion that the character is inconsistent - or worse, allowing them to feel vindicated in their opinion that female characterisation is dependent on romantic bond.Â
It was more than a misstep. It was a betrayal â of the character, and of what she represented.
7. Claraâs heroic apotheosis â and fitting conclusion
[Note: Spoilers for Season 9]
If you manage to ignore or write off the "TARDIS' keys" beat (or justify it somehow), Clara snaps back into character for the whole rest of her 3-year tenure.
Even in that episode, she accepts accountability and consequences for her betrayal, with honesty, responsibility, and dignity â and the return of her inner strength and moral clarity. And still, her unflinching agency remains, quietly and steadily. NPC (to Clara): "That may be... hard" Doctor: "She'll be fine" Clara (matter-of-factly): "Speak for me again, I'll detach something from you â I'll be fine"
In fact, in spite of the cringey âromanceâ arc, Clara had stayed coherent in most of Series 8: Into the Dalek, Robot of Sherwood, Time heist, Kill the Moon, Mummy, Flatline⌠All along, she stays the resourceful, funny, independent hero with an unwavering moral compass.Â
And, in Series 9, she is more than ever herself, continuing her evolution, and once again free from unwelcome classic gendered tropes.
The Magicianâs Apprentice starts with her fully empowered: her authority at UNIT, her negotiation with Missy, her emotional control through provocation, her capacity to rein in the psychotic Time Lady, her resourcefulness, her acceptance of a strategic alliance for a greater purpose. In The Girl Who Died, a prisoner with no weapon, she manages to negotiate with the leader of the Mire â and to change the Doctorâs mind, and make him help the villagers. Again in the Zygon two-parter, when she is rendered powerless, she yet manages to regain agency and play a major active role with the sheer strength of her mind.Â
Jenna Colemanâs extraordinary performances manage to convey all those â from concealed emotions to multiple personalities.
The Jane Austen reference is a confirmation of her queerness â unfortunately, told but not shown. However, this one was treated true to character: the relationship has deep meaning to Clara, but does not define her.Â
And then, of course, comes Face the Raven.
Obviously, her death is devastating. She faces it as a hero. Vulnerable, determined, and brave. She is the agent of her life and death. And she uses her last breath to protect others and reassert her values. Agency, kindness, unwavering moral compass: that is Clara.
Her ânot staying deadâ in Hell Bent, does not invalidate her character arc: on the contrary, it is a confirmation and an apotheosis.Â
Hell Bent is the Doctorâs confrontation with his refusal to let go. Indeed, his defiance to the Time Lords looks âbadassâ. But the episode is all about demonstrating how his grief and denial lead him to betray all of his rulesâseizing power, seeking vengeance, breaking the laws of time, killing those in his way⌠As Ohila points out, he looses his moral foundations. âAre you being cruel, or cowardly?âÂ
And the foundation of this, is his transgression of Clara's last will. She has specifically stated that she accepts her death, and that he should not seek revenge, nor try to save her, and try to heal himself. He has, stubbornly, disregarded all of her requests. He has refused to move on, tried to save her despite herself, to override her acceptance and courageâin contradiction to her volition, in violation of her agency. Â
Of course, as an audience, we (at least, I) agree with him, and we want Clara to live [and, narratively, I think it would have been a treason to the audience to have her die].
But the episode definitely demonstrates that the right choice is to let go of attachment to the people we lost, and it emphasises that her agency is more important to her than her life. A demand to respect her choice.
In Hell Bent, Clara is, once again, the one to bring him back and rewire his moral compass, with compassion and clarity. She refuses to be saved if itâs against her values or at the cost of hurting others. She reasserts her authority over her own life, her death, and her memories â not driven by fear or anger, but self-respect, kindness, and compassion.Â
Her arc ends as it began: by claiming her right to chose, and refusing to be saved or controlled.
It is right and fitting that she is narratively rewarded with a new chance, a âhappy endâ.
It is, definitely, the right message towards the audience.
Because she has been a true hero. She has stayed true to herself, and to her values. She has accepted the consequences for her own mistakes, and heroic choices. She has saved the Doctor, once again â not his life this time, but his identity. In the end, she has been the one who saves the day, not with domination and power, but with kindness, moral clarity, and stable, unyielding agency.
Narrative rules demand that heroic integrity be rewarded.Â
8. Why Clara still matters
Looking back and analysing her significance, I understand why Clara mattered to me so much. Representation has improved since then â though slowly. But she remains essential.
Clara matters because she embodies characteristics that remain very rare:
A woman defined neither by men nor romantic attachment (or sexuality), but autonomy.
A hero driven not by tragedy, but by kindness, intelligence, and empathy.
A female character with a clear moral compass and an unyielding sense of agency.
As a gay woman, a lover of imaginary fiction, and an author, I am still very deeply attached to Clara Oswald. And always will be.
