i'd love to see a post on amy pond full-fleshed out if that's something you'd be willing to write? because i think karen was so talented but so much about amy was just told to us and not shown. there's so much still we don't know/understand about her.
Not exactly what you’re asking for, but here’s some Amy. I wrote this out ages ago, but over a series of several random rambly posts, so I thought I’d compile/edit/give them to you here. This about Amy, a bit about Rory and the Doctor, and a lot about River Song.
Someone tell me a bedtime story, someone sing me a lullaby about Amy Pond burning the universe down, searching for her stolen child.
Amy is allowed to be fierce and violent and furious in every timeline but the true one: she is the hardened military officer putting the eyepatch calmly back on Madam Kovarian and leaving her to die in pain; the wearied Girl Who Waited, trapped and furious and refusing to lay down and die.
She is established as a woman with potential for such violence and power in every other world; but in this one, in the timeline that stays, that matters, Amy lets the Doctor drop her and Rory off to play house while he goes and searches for Melody alone.
No. Let Amy rage. Let her conquer, a loyal centurion at her side. She would be glorious.
Let’s tell the story of season six and seven under the assumption that Amy and Rory Pond aren’t the sort who sit at home while someone else searches for their stolen child. Let’s tell it like River is an actual subplot and an actual person, not a flash-bang grenade.
So what happens, if Amy and Rory demand to follow the Doctor into chaos and war after their child? He drops them, just as before, at the house with the nice car, the door painted TARDIS blue.
But this time there’s screaming, not tearful farewells. “I will not get you killed, too!” “This is my child!” cries Amy, “You have no right!” And Rory: “I’ve died before. At least this time it’ll mean something.”
But he leaves them, leaves them anyway, leaves them no choice. This is the Doctor. This is what he does when he loves people, and he loves Amelia Pond.
We can still have the corn maze that shouts DOCTOR to the skies, his rapid landing to make sure they’re not in trouble. We still get young Mels and her reckless gun, charging through the cornfield with Rory and Amy, and commandeering the TARDIS. But this time it’s with Amy raging at her friend’s shoulder, desperate to be part of this fight. This is her child, her search, and she will find Melody Pond or she will burn the universe trying.
(Or even have the TARDIS drag him back to Earth without his consent here. She knows Melody Pond. The TARDIS is going to teach her how to fly one day. I’d love to see the TARDIS thinking of her as family).
“We are finding my baby. Either you’re with us, or we’ll see how well a centurion can fly a TARDIS.”
The Doctor surrenders. He lapses proud and terrified for his Ponds, suspicious of their friend who refuses to back off. He makes her leave the gun, but he can’t manage to get Mels to leave her friends to fight this one alone.
Having a desperate, driving main plot, this furious breathless search, wouldn’t stop us from having DW’s classic one-shot episodes. They land accidentally in that house with the faith monster, spend the same episode trying to escape—just more lives are on the line than just theirs this time. They have someone they need to go save. (I love that one, by the way: Amy’s faith in the Doctor as the literal thing that’s killing her).
Or they’re following up a lead at that fancy spa planet, tracking down some rich benefactor of the Eyepatch Lady. But Amy gets separated, gets stuck in the wrong time stream, and we get The Girl Who Waited.
Or they land on some planet, get the info they need to keep tracking Eyepatch Lady, but something seems wrong. The Doctor wants to investigate, against Amy’s impatient protests. “My baby is alone and scared. We are not going to let her go so you can satisfy your curiosity!”
“Amy, I want to save your child. You know that. But there are children here, too. Remember? You told me once that I was old, and sad, and I’d never let a child cry alone. We will find your Melody. But help me save these children first.”
Except, during all these stories, we have Mels, too, now, this brash, beautiful girl. She’s maybe a bit too violent, maybe has a bit of a bright-eyed death wish. She’s spittingly combative with the Doctor, deeply loyal to Amy, regards Rory with a vast and amused affection.
When the Doctor takes Amy aside, asks her softly to help save these children, too, Mels is staring, staring, glaring. Because she needs to hate this man whose blood she is destined to have on her hands. He’s making it difficult.