Missy, the female incarnation of the Master in Doctor Who, burst onto screens and immediately captivated audiences with her chaotic energy and deliciously wicked persona. But what goes into crafting such a compelling villain? Behind every memorable character are the writers who breathe life into them, and for the Missy audio dramas produced by Big Finish, we get a unique peek into the minds shaping this iconic Time Lord. This article delves into writer’s notes from Roy Gill, John Dorney, Nev Fountain, and Jonathan Morris, exploring their individual approaches to writing for Missy Doctor Who and the nuances of her character.
Missy as the Victorian Menace: Deconstructing “A Spoonful of Mayhem”
Roy Gill, writer of A Spoonful of Mayhem, reveals the genesis of his story stemmed from the striking “evil Mary Poppins” imagery associated with Missy Doctor Who’s debut in Death in Heaven. Producer David Richardson’s desire for a Victorian-era tale provided the perfect backdrop to explore this facet of Missy. Gill cleverly weaves in literary inspirations, drawing parallels between Missy and characters from E. Nesbit’s urban fantasies and even alluding to modern writers like Neil Gaiman. He highlights the inherent challenge of placing Missy, a character who would scarcely tolerate children, into a narrative involving teenagers. The story’s brilliance lies in crafting a “Doctor Who-ish logic” that justifies Missy’s presence, her engagement with the young characters, and her descent into dark magic. Gill emphasizes the playful chaos Missy embodies, positioning her as a force of nature unleashed upon a shadowy London, leaving audiences to wonder how this mischievous incarnation of the Master will connive her way back out.
The Explosive Dynamic: Missy vs. The Monk
John Dorney, in his characteristically concise and enthusiastic style, boils down the essence of his Missy Doctor Who story to a simple yet potent equation: “Michelle Gomez. Versus Rufus Hound.” For Dorney, the sheer dynamism of pairing Michelle Gomez’s Missy with Rufus Hound’s Monk is the driving force. He eloquently describes the unique thrill of writing for Big Finish, likening it to having “the best seats in the house” as he witnesses characters come alive through dialogue. Dorney credits the actors themselves, Michelle Gomez and Rufus Hound, for the vibrancy and richness they bring to Missy and the Monk. His writing process becomes almost observational, a matter of “flinging them into a room together,” listening to their interactions, and transcribing the ensuing chaos. This highlights a key aspect of Missy Doctor Who stories: the electric energy generated when she clashes with other strong personalities, particularly those who might mirror or challenge her own chaotic nature.
Containing Chaos: Missy as a Detective?
Nev Fountain grapples with the inherent danger of Missy Doctor Who, comparing her to Hannibal Lecter and Darth Vader – characters best observed from behind “glass.” He articulates the challenge of writing a scene where Missy can simply interact normally, given her propensity for sudden and lethal violence. Fountain’s witty approach to “containing” Missy is to literally place her “behind glass,” envisioning her as the star of a television crime show. This ingenious concept forces Missy to operate within the conventions of investigation, tracking a killer even more unhinged than herself. However, Fountain acknowledges the futility of truly containing Missy’s chaotic nature. The inherent thrill of Missy Doctor Who lies in the inevitable moment when she breaks through those barriers, reminding everyone that she is a force that cannot be truly controlled or predicted.
Curlicues of Death: The Art of Missy’s Evil Plans
Jonathan Morris delves into the intricate nature of Missy Doctor Who’s schemes, referencing the Rani’s iconic line about the Master’s “devious and overcomplicated” plans. He argues that Missy, especially in the absence of the Doctor, elevates her villainy to an art form. Her plans are not merely about achieving an evil goal; they are about the “evil way” in which she executes them, adding “decorative twists” of suffering for her own amusement. Morris’s analysis of The Belly of the Beast focuses on the perspective of those caught in Missy’s web, the “pawns in a game of four-dimensional chess.” He highlights the potential for these pawns to disrupt even Missy’s most elaborate schemes, suggesting that her very complexity can be her undoing. This exploration of Missy Doctor Who’s intricate and often self-defeating plans underscores the fascinating paradox at the heart of her character: a brilliant mind often undone by its own elaborate machinations.
Conclusion: The Enduring Allure of Missy Doctor Who
These writer’s notes collectively paint a vivid picture of the challenges and joys of crafting stories for Missy Doctor Who. From exploring her “evil Mary Poppins” persona to pitting her against formidable adversaries and dissecting her convoluted plans, these writers reveal the multifaceted nature of this captivating villain. Missy’s enduring appeal lies in her unpredictable chaos, her sharp wit, and the constant sense that she is always several steps ahead, even when her own complexity becomes her greatest challenge. Exploring these insights from the writers’ room offers a deeper appreciation for the artistry behind bringing Missy Doctor Who to life in the audio realm, and why she continues to fascinate audiences across the Doctor Who universe.
