Three Heroes and a Villain: The Unconventional Women of Miss Fisher’s Murder Mysteries

Running Head: THREE HEROES AND A VILLIAN
Three Heroes and a Villain: The Unconventional Women of Miss Fisher’s Murder Mysteries
Megan Wilson
COM601
Queens University of Charlotte

THREE HEROES AND A VILLIAN 1
Introduction
Withthe influx of superheromovies atthe box office one thingisclear. The female superherois
conspicuouslyabsent. A heroissomeone towhompeople lookupto—ingoodtimesandbad—an
inspiration. Cypert(2001) discusses inhisarticle on TheFugitivethe role of how the actionheroand
howthe story allowsthe “viewer…[to…] identi[fy] with[thehero] becausehe [orshe] couldimagine
himself [orherself] beingable toduplicate [the hero’s] actions”(p.173). Miss Fisher’sMurderMysteries
(S01E01) givesitsfemale viewersmultiple versionsof ahero.One hasthe option,accordingto Cypert,to
finda versionof the herotheymostidentifywith.Myheromay not be the same as your hero but a
televisionshow suchas MissFisher’sMurderMysteries(S01E01) givesme the optionto choose.
Thoughthe role of womenhaschangedfromthe 1920’s whenMissFisher’sMurderMysteries is
setto now,certainthingsremainthe same.Womenare oftenmarginalized,notonlybecause of their
gender,butbecause of the way many culturesassignthem theirpositionsinsocietyand the workforce.
Theymay alsobe degraded forwhomand how theylove.Womenare still judgedinaccordance tothe
achievements of their(male) spousesratherthanontheirownmerit. GiventhatU.S. culture leavesa
gap inthe needof womenseekingstatus inmediarepresentations, businesspractice andeventhe
political sphere of 2016, seekingahero,women findotherwaystofindahero theycan lookupto. This
paperseekstoshowhow Miss Fisher’sMurderMysteries(S01E01) demonstratesthe Burkeanconceptof
equipmentforliving forwomenseekingahero.
Literature Review
AmericancriticKennethBurke (1998) suggeststhat literature provides“equipmentforliving,
that size upsituationsinvariouswaysandinkeepingwithcorrespondingvariousattitudes” (p.598).
Otherscholarssuch as Young(2000), Yergenson(2006) and Turpin(2007) apply Burke’sconceptof
equipmentforlivingtofilm.Evenrealitytelevision,asPerks(2013) discusses, canhelpviewerslearn

strategiestobettercope withsituationsintheirownlives (p.3).Prosise (2004) usesBurke’stheory to
lookat crime-basedrealitytelevision“toidentifyarepresentative anecdote,ageneralizeddrama
providingaseriesof lessonsandexpectationsforaudiences”(p.74).Thoughmuch researchfocuseson
filmorrealitytelevision,noresearchshowshow crime dramas,suchas MissFisher’sMurderMysteries
(S01E01), provide equipmentforliving toconfidentwomenwhoseeksocial independence.
Perks (2013) suggestsrealitytelevision,forexample,canhelpviewerslearnstrategiestoachieve
orderin theirlives.Adams(2007) takesita stepfurther,assertingthat audiencescanbecome better
people byusingnarrativestoshowthemhow tothink,feel,andactwithinsocietal norms(p.2).These
strategies,asProsise (2004) states,teach“publicaudiencesaboutsuchthingsas‘goodand evil’,‘heroes
and villains’,‘mortality’”and“mayinfluence how audiencesmayview themselvesandtheirsociety”(p.
72 - 73). We use literature,film,andtelevisionasguidestoreinforce our(mis)conceptionsonhowto
live,howtoassessthe worldaroundus,and how to interactwiththose aroundus.They become
touchstoneswe returntotime andtime againfor remindersof how we wantto live andwhowe wantto
be.
Televisiondoesn’tjustshowthe good—italsoshowsthe badandanywhere inbetween. There is
not one setnorm to follow.We [Avoid speaking foryouraudience] studyboththe explicitandimplicit
lessonswe see onscreen.Adams(2007) states,“if storiesremainriddledwithideasabouthow tolive
well,we mustconsiderwhothese ideasaboutlivingwell excludeaswell ashow authorsand audiences
impactthese waysto live”(p.7).These “lessons”can,at times,cause anegative effectonthe viewer,
and,as such,he or she may “avoid”a filmdue toa troublesome characterortopic(Young, 2000, p.449,
458). The audience may,asYoung (2010) states,“reject”the filmandtherefore the lessonsitteaches.
Realitytelevision,asProsise (2004) discusses,mayalsodepictalimitedpopulation,creating“myths”
that “misrepresent”reality(p.75).Thisgivespeople afalse sense of realityandcancause a disconnect
betweenwhoorwhatisportrayedon screenversuswhatviewersexperience intheireverydaylives.

There isno researchto show how Miss Fisher’sMurderMysteries (S01E01) providesequipment
for livingtoconfidentwomenwhoseeksocialindependence.Thispaperseekstofill thisgap.Filmshows
itsaudience arole model,aperson to lookto forwhat Cyphert(2001) callsa “stereotypical hero”to
idealize (p.169). A vieweridentifieswiththe hero “because he couldimaginehimself beingable to
duplicate the [hero’s]actions”(p.173). Cyphert(2001) thengoeson to state “thisactionhero isso
successful,buthe isnevergod-like”(p.175).Therefore,the hero portrayssomethingnotonly
recognizable,butattainable.This,asBurke (1998) states,“fillsaneed”(p.595).
Method
I watchedthe firstepisode of MissFisher’sMurderMysteries (S01E01), CocaineBlues, onNetflix
and analyzedthree scenes [of thisAustraliantelevisionshow, whichhasa total of 34 episodesspanning
three seasonsfrom2012 – 2015. Providethis kind of orienting information in theintroduction.]
Henceforth,whenIrefertothe episode Iviewed,Iwill refertoitusingthe episode title CocaineBlues.
Usingthe FeministStandpointTheory firstdefinedbyNancyHartstock (1998), I lookedathow this
televisionshow “callsattentiontothe knowledge thatarisesfromconditionsandexperiencesthatare
commonto girlsas women”andsupports the ideathat womeninfilmcanbe positive role modelsto
confidentwomenwhoseeksocial independence(Littlejohn &Foss,2009, p. 396). Accordingto
LittlejohnandFoss,“apersonwhoholdsa feministstandpointrealizesthatsocial expectationsfor
femalestobe nice,defertoothers,andnotbe pushyunderline derogatorytreatmentof assistivegirls
and women,includingcallingthembitches,whereasassertive menare admiredfortheirconfidence and
leadership”(p.397). This theoryemergesfromthe inconsistenttreatmentof menandwomen onthe
screen,andthistelevisionshowchallengesthe traditional ideasof how womenshouldact,talk,dress,
love,andconductthemselvesinsociety. D.Hallstein(2000) discussesthe postmodernview of the
feministstandpointtheory:

The ideathat womenare diverse andoccupydifferentpositionsorstandpointsbasedon
elementsof race,class,andsexuality.Viewingall womenassharingthe same essentialnature
and/orformsof oppression,then,isviewedasexclusionaryandessentialist,anditprivilegesthe
positionof the dominantgroup(p.3).
CocaineBlues featuresvariouscharacters thatcouldbe termed“bitches.”[Review APA style
punctuation.] Eventhe charactersthat fitthe traditional moldof the meekfemalestruggle againstthis
stereotype and,likethe episode viewers,seekoutaheroto emulate. Thispaperwill show fourwomen
whochallenge the traditionalideaof the feminine role insociety andhow theybecome heroesformany
of itsviewers.
Data
Thistelevisionshow,written,[produced,andstaffedprimarilybywomen, [Reservefor
introduction] featuresfourwomeninthe firstepisode,eachrepresentingadifferentaspectof the
feminine,allowingthe viewerstofindthe herothatresonatesbestwiththem:
1. Phryne Fisher,astrong-willedwoman,one whoignorestypical genderstereotypesand
societal roles,whocelebrateshersexualityandindependence inall she does.
2. Dr. ElizabethMcMillian (Mac),afemale doctorina time where womenbarelyworkoutside
the home,whoisalso a Sapphicwhodresseslike aman.
3. Dorothy (Dot) Williams,adevoutCatholic,amaidaccusedof murder,whoisterrifiedof
technology,andovercomesfearinthe pursuitof truthandjustice.
4. Lydia Andrews, the villainof the episode,one whorunsa cocaine ringwitha stronghand and
playsthe victimto hide herownrole inherhusband’sdeath. [Write lean for clarity]

Scene I (02:35 - 03:15)
Phryne andMac are inher hotel suite inthe Hotel WindsorinMelbourne,Australia.Phryne
grewup inMelbourne. [Unlessweareseeing thisin a flshback,you can usethismaterial in the
introduction to orient us,butnot in the data.Thedata is composed of materialthat appearsin the
scenesonly.i.e. “thefacts.”Whenshe was12 her youngersister,Janey,age 9, disappearedandwas
assumed kidnapped byMurdochFoyle.He wasconvictedforthe kidnappingof ayounggirl.He never
confessedto beinginvolvedinthe disappearance of Janey,butPhryne hasbelievedforyearsinhis
involvement.AfterWWI,herfatherinheritedthe titleof Baronof Richmondand herfamilyrelocatedto
England.Nowthe Honorable MissPhryne Fisher hasreturnedtoMelbourne andtaken asuite at the
Hotel Windsor.] She andherbestfriend,DoctorElizabeth “Mac” McMillian,are discussingPhryne’s
reasonsforreturningtotown.
Mac: What are your intentions?You've hadthree monthsatseato ponder.
Phryne:Well,I intendtoleave myfamilyasfarbehindaspossible.
Mac: I thinkyou've managedthat.Next?
Phryne:Well,I couldlearnAbyssinian.Orperfectmybarefootdancing.
Mac: We both knowwhyyou're here.Darling,youcan't bringJaneyback.
(Knockondoor)
Phryne:But I can stophimdoingit again.PremierHoganisa regularguestof this
establishment.
Mac: Straightto the top,then.
Scene Two (42:50 – 43:30)

Phryne andDot Williams,hermaid, returntothe suite atthe Hotel Windsor havingidentified
and captureda back-alleyabortionist named“Butcher”George Fletcher. [Dotplayedanintegral role in
whichshe pretendedtoneedanabortion.Phryne,alongwithcabbiesCecil“Cec”YatesandAlbert
“Bert” Johnsonassistedinthe capture of ButcherGeorge.[Reservedata section fo materialsfromchosen
scenesonly.] Phryne isat the mirror adjustingherhairandclothingas Dot sitson the sofainher dressing
gown,a mug of hot cocoa in herhands.
Dot: Won't Alice still have toconfess?
Phryne:Don't worry, Dot.Cec will have totell the police thatshe paidButcherGeorge
moneyandthenchangedhermind,but he wouldn'tlisten.
Dot: Isthat what happened?
Phryne:More or less.
Dot: That wasthe mostperilousdayof myentire life. Evenworse thanbeingamurder
suspect.Butthe cocoa helps.
Phryne:I'm glad aboutthat, Dot.'Cause youneedtobe brave a little longer.
Dot: Why?
Phryne:You'll be safe enoughhere,butif Idon't return by midnight,youmighthave to
call the police.
Dot: Onthe telephone?
Phryne:I'm afraidso. Cheerio!
(Phryne kissesDotonthe forehead.She leavesandDotstaringwithfearat the
telephone)

Scene III (47:13 – 48:45)
Phryne andBert stake outa chemisttoidentifywhere cocaine isbeingdistributed.The pairsee
the dancer,Sasha de Lisse,speakingwiththe chemistandwatchas he is takenawayby a pair of thugs to
the Turkishbath house.Phryne sendsBertforhelpandbreaksintothe bathhouse.Phryne seesSasha
beingbeatupand attemptsto help.She isoverpoweredandislockedinasteamroom withSasha. As
she unties him,LydiaAndrewswalksin andisrevealedtobe the Kingof Snow (whomSashablamesfor
the deathof hissister).
(The door opens)
Sasha: Lydia?
Lydia: Theytoldme he had a floozy.Ididn'tthinkitwouldbe you.
Sasha: Buthow?
Phryne:Lydia poisonedherhusbandafterhe hadhiswaywithhermaid.
Lydia: It wasn't justhisphilandering.
Phryne:Of course not.I know youbetterthanthat. AndMadame Bredasortedthe
pregnancylike she sortedall yourothergrubbybusiness.
Sasha: Youhelpedus.We dancedfor all yourfriends.
Phryne:Why didyou doit?

Lydia: Not all of us didso well outof the war, Phryne.Youinheritedatitle,butmy
familylosteverything.AndthenImetJohnandhe was wealthy,charming. Far
too charming.Andinthe end,a hopelessbusinessmanandanutter
embarrassment.Irescuedusfrombankruptcyanddisgrace.AndI builtan
empire.All Iwantedwasmyownlife back,butJohnwouldn'tletme have it.
Judge me,if youlike.ButI saved myself.
Phryne:What a shame ittook a life of crime foryouto findyour strength,Lydia.
Lydia: Haven't youbecome a drearycrusader.I'm sure yourdemise will fixthat.Strip
them.
Analysis
[ MissFisher’s MurderMysteries teachesviewersthatstrongwomencanbe variedandcan
embodythe characteristicstypicallygiventomenwithoutdistractingfromthe storyline,withouttaking
away fromthe traditional role of men,andwhile complementingthe storyline. Overall,thispaperseeks
to showthat there isno one renditionof astrongwomen,thata womancan be quietlyconfidentand
seeka more traditional role butstill be ahero.A heroicwomanneednotfita single mold,i.e.being
flashylike Phryne,butmayalsobe domesticlike Dot,gender-bendinglikeMac,or ruthlesslike Lydia.
Each character celebratesthe feminineand the powerof womeninsociety. Reservethisthesisforyour
intrdouction/conclusion ]
NancyHartstock (1998) statesthat “class society,accordingtoMarx, doesnotproduce thisdual
visioninthe formof the rilingclassvisionandthe understandingavailabletothe ruled”(p.108). Social
expectationsinthe upperclassare regimented—therulestowhomyoucanand cannot associate with

are strict—especiallyforthose thatare (un)luckyenoughtoholdatitle.Eventhough CocaineBlues is set
inthe 1920’s, the topicsthistelevisionshow tacklescaneasilybe envisionedinthe present.
In the firstscene Ianalyzed,Phryne isdiscussing herreturntothe city withherbestfriend,Mac.
Thoughjokingaboutreturningtothe city because she wantstoget awayfrom herfamily, Phryne hasa
more seriousreasonforreturning.The manshe blamesforhersister’sdisappearanceiscomingupfor
parole,andshe wantsto confronthimand preventhisrelease. She entersMelbourne withconfidence,
and thisscene showsthe façade of jovialitycoveringherfear—herfearof confrontingherpast,herpain,
hernemesis.Phryne behavesinboth strongandsassy ways, as well as beingafraid.Herperformance [of
bothactress and character] showswomenthattheycan be both, and that there isnothingwrongwith
feelingfearwhenyouconfront thatwhichmakes youuncomfortable,pained,orthatyou wishtoavoid
for these andmanyotherreasons. The painon Phryne’sface isapparentwhenshe andMac talk.
Mac, whohas known Phryne foryears,isnotfooledby herstatementthatshe “couldlearn
Abyssinian. Orperfect[her]barefootdancing”(02:35).Mac respondswith“We bothknow whyyou're
here.Darling,youcan't bringJaneyback” (02:35). Strong,confidentwomendonotneedtohide their
fearfrom theirbestfriends.A strongwomenknowswhentogetsupportfromthose aroundthem—to
be grounded,tobe supported, tobe listenedto.Sometimeswe justneedsomeone towelcomeusback
withopenarmsand be there,justbe there,foryou. Youcan go againstsocietal andfamiliarconventions
and take on the role of protectorand seekrevenge.
The secondscene revolves aroundPhryne andhernew maid,Dot,whowasaccusedof the
murderof herformeremployerandsubsequentlyfired.DotturnedtoPhryne inhertime of needand
Phryne respondedbywelcomingherintoherhome andofferingherajob. Andmore thanthat,
protection.Phryne,wealthyandapart of the upperclass,doesnotneedtoworry aboutwhat a maid
needs,butshe offersDotmore thanwhat societyexpects—ahome andafriend.

Dot acceptsand endsup assistingPhryne inherinvestigationof aback alleyabortionist. Dot,a
devoutCatholic,isfacedwithbreaking the commandments(Thoushaltnotlie) tofollow Phryne and
face her fears. We see throughDot the strengthwomencanfindinaskingfor helpwhenyouare in
trouble andhave beenabandonedbyyoursupportsystem.Itisterrifyingtobe suddenlyleftwith
nothing—nohome,nojob,nomoney—andtotake a leapandgo to someone youdonot know forhelp
isinspiring.Dotalso showsviewersaplainand hardworkinghero—someone the “workingclass”can
relate to.Dot isa maid,an oftenlowlypositioninmanypeople’seyes.She showsaquietconfidence,a
quietgrace,whichisoftenignored.One neednotbe wealthyandfashionable like Phrynetobe a role
model. She risesabove the expectationthatwomeninservice needtobe meekandquietandtake
orders. Viewingthisshowthroughthe lensof the feministstandpointtheory, itisclearto see the
importance of the differencesbetweenthe twowomenandhow thistheory“recognize(s)both
commonalityanddifference[s] [as] itscore tenets”(O’Brien,p.4). We all have storiesto tell,lessonsto
impart,regardlessof oursocial standing.Dot,as muchas Phryne, can teachus a great deal.
The third scene Ianalyzedshowsthatwomencanbe powerful andtake onrolesnormallyfilled
by men.Inthisscene,Phryne andherlover,Sasha, confrontthe Kingof Snow—awoman.Lydia
Andrews, ahousewife andrecentwidow,tookoveracocaine ring andkilledherhusband.ThoughLydia
isthe villainof the episode andnota typical hero, she showswomenthatthere isnothingwrongwith
challengingstereotypes—one canbe womanlyandstrong,powerfulandfeminine,andlead.Viewers
can learnfromher villainy—take lessonsfromherstrengthanddrive anddownfall.Lydia’sshort
monologue isinspiring:
Notall of us didso well outof the war, Phryne.Youinheritedatitle,butmy familylost
everything.AndthenImetJohnandhe was wealthy,charming. Fartoocharming.Andinthe
end,a hopelessbusinessmanandanutter embarrassment.Irescuedusfrombankruptcyand

disgrace.AndI builtan empire.All Iwantedwasmyownlife back,butJohnwouldn'tletme
have it. Judge me, if youlike.ButI savedmyself (47:13).
There isno doubtthat, throughherreasoningis flawed,there isstrengthinwomenwhoattemptto
reclaimtheirlives,especiallywhileina lovelessmarriage.There are otherwaystoenda marriage and
killingshouldnotbe the answer,but attemptingtoexitapartnershipwhere one isheldbackfromtheir
potential is inspiring.
Discussion and Limitations
Miss Fisher’sMurderMysteries (S01E01) showsitsviewers fourwomen who,while
unconventional,are nonetheless role models.Thesecharactersgive womensomethingdifferentto
inspire them—confidentwomenwhoseektobreakboundaries. Whileare vastlydifferent,thesewomen
provide womenof all sortssomeone tolookupto. Cypert(2001) definesthe needforahero andstates
howthe “viewer.. . identi[es] with[thehero] becausehe [orshe] couldimagine himself [orherself]
beingable toduplicate [the hero’s]actions”(p.173). Film, whethermoviesortelevision,givesaudiences
an easyway to visualizetheirheroandputthemselvesinthe story,tosee how one can conduct
themselves(orwhatnotto do) and see possibleoutcomes.We canthenenvisionourselvesinthe story
and applywhathappensinourown lives.
Phryne Fisher
Throughoutthe firstepisode,the Honourable MissPhryne Fishershowshow she seeksto
challenge social norms.She entersthe episode inastereotypicallywealthyway—withflashandflare
and an overabundance of luggage.One mightassume atfirstglance thatPhryne isvapid—the definition

of flapperin the 1920’s—a fastmovingwomanwitha Lula boband redlipstick. But, fromherfirst
conversationwithMac,she shows audience members thatthisassumptioniswrong. Phryne has
returnedtoher hometowntoface a kidnapperandfindthe truth abouther missingsister.She isgoing
to use everythingatherdisposal—herwealth,connections,andconfidence—tofindthe truth.She
confrontshernightmaresinthe formof Murdoch Foyle,amanwho isin prisonforkidnapping ayoung
girl—the manPhryne believeskidnappedandkilledhersister.Thoughshe entersthe prison to
childhood memoriesof playingwithhersister,she sitsbefore Foyle withdignityandauthority.Yousee
hergrow strongeras she waitsfor himto recognize her.She isstone-facedandstrongasshe silently
remindsFoyle whoshe isbypullingoutafadedblue ribbon.She willnotallow hiswordstopenetrate
her,hiswordsto bait her.She endstheirencounterwiththe followingwords:“I'mnota childanymore,
Mr. Foyle,soIwon't playyourloftygames.Whateverhorrorsyouvisitedonher,Ihave imagined
tenfold.Andgiventhe chance,Iwoulddothe same to youwithoutsmearingmylipstick” (17:44).
Powerful words.
Phryne isa sexual character.Womenintelevisionare rarely shownasbeingbothsexual and
brazen.She shocksherAuntPrudence at the charitysoiree bydancingthe tango withthe dancer,Sasha
de Lisse,a man she latersavesfromthugs, tendsto,and thenbeds.She isshownthe nextmorning,
alone andwitha satisfiedsmileonherface. BaumeisterandTwenge (2002) examine how “the double
standardof sexual moralityhascondemnedcertainsexual activitiesbywomenwhilepermittingthe
identical actionsformen”(p.166). Women,it seems,are notallowedbysociety tocelebrate their
sexuality.Theyare punished anddeemedslutsif theyare knowntohave had a sexual encounterof any
sort. Yet, menare laudedandpraisedfortheirvirility.Phryneshowswomenthattheydonot have to
hide theirsexuality;one canbe sensuous,seduce,andtake charge of herfeminine health.Inone scene,
Phryne nonchalantly mentionstoDotthe itemshe isholdingisafamilyplanningdevice.Inthe 1920’s,
birthcontrol was a taboo topicyetPhryne doesnotcare. She isprogressive,a feminist,aninspiration.

Phryne alsotakescharge of situations.AfterSashastealsherearrings duringaboutof flirtation,
Phryne immediatelyrespondswithaction.She leavesherAuntatthe frontdoor and goesintothe night.
Phryne:My earrings!Thatman was far toocharming.
Aunt Prudence:What's the hurry? My driver'sonhis way.
Phryne:I'll explainlater.Goodnight,AuntPrudence.
Aunt Prudence:At thishour?It's not safe!Whydo youthinkyoucan justrun off on your
own?
Phryne:Because I'm carryinga gun(26:41)!
Phryne goesoutintothe nightto follow Sasha.She watchesashe entersa chemist’sshopandis
thrownout andattacked bythugs.Insteadof beingsavedbya man, she inturn saveshim. She takeson
the traditionallymale roleof protectorandsaviorto nota childor a fellow women,butaman,much
largerthan she.
Sasha: Itis me,Sasha.Pour, L ’amourde Dieu,mademoiselle,helpme!
Thug #1: (indistance):He’sgotto be around here somewhere!
Phryne:In here.Nota sound.Down.(Menshout indistance)
Thug #1: (closerthistime) Come on!
(Phryne takesoff herheadpiece andadjustsherfurstole and dressto show off herleg
as the menappear)
Phryne:(In broadaccent) Evening,gentlemen.Lookingfor afrolic?
(Lighterclicks andThug #1 and #2 lookherup anddown)

Thug #1: Yeah, we're lookingforafella.Seenamanrun throughhere?
Phryne:Nah, butI seenplentylyingdown.
Thug # 1: Come on.Thisscrag's nouse.
Thug #2: How much,darling?
Phryne:(she scoffs) Depends,sweetheart.Show usyourtackle.
(Thug#2 starts to unbuttontrousers).
Thug #1: Put it away!
(The thugsmove on)
Phryne: The coast is clear.(Sashagroans) Sasha!
Sasha: I thoughtthe bulletmissedme.
Phryne:(Witha groan) Wonderful (28:00).
[Reserve Data for the Data section.]
Hartstock (1998) states“the associative linksbetweenideasof manlinessandvirilityonthe one
hand,and domination,conquestandpoweronthe otherhand,are strongand pervasive inWestern
culture”(p.17). Phryne challengesthe dominance of the thugs.She useshersexuality (andwit)asa
weapon. Astime haschanged,more andmore women(inbooksandfilm) challengethisstereotype,like
Phryne does;however,thisrepresentationislimited. Confidentwomenneed more of this
representation andPhryne fillsthisneed.She showsthatyoucan face yourfears,be sexual without
regret, andbe the hero of yourown story.
Dr. Elizabeth“Mac” McMillian

Mac is anotherconfidentwoman.A lesbian,she goesagainstsocietal normsanddresseslike a
man—trousers, waistcoat,andcravat.Mac is alsoa doctor ina time where womenrarelyworked
outside the home.She showsviewersthatyou,too,do nothave to conformto social norms.You can
love whoyoulove,dressthe wayyouwant to dress,anddo a jobthat you love,regardlessof if itis
acceptable ornot. Inone of herfirstscenes,she usedthe excuse of abowel operationtogetoutof
attendinganeventwithPhryne.Later,Mac andPhryne discussthe evidencePhryne found.
Mac: Yousaid the husbandwasfatally poisonedatbreakfast.
Phryne:Well,that'sone theory.Do youthinkLydiacouldhave beenslippedsomething too?
Mac: Headache,palpitations,vomitingand...Yousaidshe lookedalittle blotchy?Could be
causedby anything.
Phryne:IncludingAuntPrudence. (Phryne offersMaca glass of whiskey) Medicinal?
Mac: Asit comes.Thankyou.I mean,the oldfavorite’sarsenicof course buthalf a gram of
strychnine will dothe trick.
Phryne:I foundthese inthe bathroomcabinet.
(Phryne tossesMaca small packetwhoopensitto assessthe contents)
Mac: Hmm.Looks like anerve powder,usuallyprescribedforwomenof course, the
hysterical sex,fornervousexhaustion,emotional collapse,wanderingwombs,that
sort...
Phryne:Why on Earth woulda wombwander?
Mac: Unnatural behaviorwill doitaccordingtoHippocrates.Like celibacy.
Phryne:Oh, good.Mine'snot goinganywhere (11:50).

Mac and Phryne converse withthe ease of familiarity.Theyare polaropposites,one tall with
fashionablehairanddress,the otherolder,hairpinnedback,dressedinmen’sclothing, yetthey share
the love of straightwhiskey(atraditionallymale drink) anddiscussmurderandmotives. Their
conversationiscutshort witha telephonecall: “Excuse me.Dr. Macmillan,the Women'sHospital
telephoned.Theyneedyouurgently” (12:40). Mac and Phryne rushto the hospital andMac
immediatelygoestowork.She givesorderswithease andknowsthatherwordwill be done.
Mac is a friend.Winch(2012) discusseshow femalerelationshipsinsome film“depictsconflict,
pain,and betrayal actedoutbetweenwomenand,indoingso,isinvaluableinofferingthe female
vieweracathartic space to explore the complexitiesof women’srelationships”(p.71). ThoughMac
wantsto protectPhryne,she knowsherfriendisheadstrong butwill supporther.
Phryne:Has she givenyouanydetailsaboutwhathappened?
Mac: Theyneverdo -- eitherfell downthe stairsorclaimto be completelymystified.Thisone's
not evenofferinghername.
Phryne:No cluesinherpurse?
Mac: Youdon't have to save the world,Phryne (18:11).
Mac knowsPhryne’shistoryandunderstandsherfriend’sneedtoinvestigate.Macallows
Phryne,againstherbetterjudgement,tosearchthroughthe patient’spersonaleffects. Andlater, Mac
supportsPhryne inhernewendeavortobecome aladydetective.
Mac showswomenthatwe can dressthe waywe want,drinkthe way we want,love the waywe
want,and workthe way we want,regardless of if societysaysitisconsideredwomanlyornot.There is
more to what a womancan do than bearchildren,goto partiesanddance,or live alife of service.A

womancan take charge and not onlyobtainjobsinfieldsthatare traditionallyheldbymen, butalso
succeed.
Dorothy “Dot” Williams
Dot Williamsentersthe episodeinthe firstscene.She runsafterherfriendwhohasbeenfired
as a maid andnaivelyhandshera package—apairof hand-knitbootiesforthe baby. Herinnocence to
the waysof the worldisrefreshingand,throughoutthe episode,yousee herprogressfrom ascared
maidwhois afraidof the telephone to someone who,thoughstill “green,”isstrongerthanshe was
before. She goesfrommaidtochildto finallybeingcalledbyherfirstname.She reclaimsheridentity.
Dot shows womenthatthere is nothingwrongwithbeinggenuinelynice. Youdonotneedtobe
flashylike Phryne;youcanbe inthe backgroundand still make adifference. Dotisa maid,firstforthe
murdervictimandthenfor Phryne,alowlypositionin many eyes. Herrole allowsviewerstosee a
differentversionof confidence,one thatisquiet,timidatfirst,buttransformingasshe gainsmore.
Dot: I washedandpressedyourclothesandImendedthose stockingsforyou.
Phryne:(Chuckles) Youhave averyfine hand,Dot!
Dot: It'smy gift,Miss...Phryne.Ihad more trouble gettingthose bloodstainsoff
that lovelygown,though.
Phryne:(Gasps) Genius!
Dot: AndI foundthisunderthe bed. (She holdsupanobjectwhichlookslike a
compact)
Phryne:Oh! Thank you!A marvelous device inventedbyathoroughlymodern
womancalledMarie Stopes.Familyplanning.

(Dotdrops the device).
Oh! I coulddowitha maid.Though you'll probablywantyouroldpositionback
once thisfusshas blownoverand Mrs. Andrews isbackto heroldself.
Dot: No,notfor all the tea inChina.Evenwithout Mr. Andrews,there'sstillthe
electricirontoworry about.And the vacuum cleaner,andthe new
washingmachine.
Phryne:Don't theysave you labor?
Dot: Yes,butat whatcost, Miss?My priestsaysit'sunnatural puttingelectricity
throughwires.Soonerorlater,it'll come incontact withthe molten
centerof the earthand will blow upthe whole world.
Phryne:Well...if youworkfor me,you'll have toanswerthe telephone
promptly.AndImightneed youon occasionto bendthe Ten
Commandments.
Dot: Um...Like when?
Phryne:Today.
Dot: Andhowimportantisthe telephone?
Phryne:Extremely.Now,getyourcoat.We're off to the Turkishbaths.
Dot facesmany challenges inthisepisode.A devoutCatholic,she goesagainstthe teachingof
the church to pose as baitfor a stingoperation.She putsherself injeopardytocatch the man that
performedanillegal abortiononherfriendandformercolleague,aprocedure thatalmostkilledher
friend.She succeedsandshowsusthatwe can face our fears—thatitisokayto bendthe rulesinthe

pursuitto helpsomeone we care for.Itisokay to take chances—onyourself andonotherpeople. You
can still holdonto yourbeliefsbutchallenge whatyouhave knownandare comfortable withandtry
somethingdifferent.
Lydia Andrews
LydiaAndrewsisa complex character.Inthe beginning of the episode,she isshownasfragile,a
womanwhohas justbeenwidowed,one whohasapparentlybeenpoisoned. She isthe quintessential
damsel indistress:herhusbandhasdied, andshe isalone.Lydiaispale,sickly,andfaintsintothe arms
of a strongman. She allowsherself tobe carriedoff to bedandthose around hertake care of her.
Phryne:You lookterriblypale.
Lydia: I've feltdreadful,evenbeforeJohncollapsed.Asif Iknew somethingwascoming.
(Later)
Aunt Prudence:My God! The soiree.
Lydia: Oh! (Sighs)
Aunt Prudence:Lydiahas plannedacharity soiree fortomorrow evening.Sashais
engagedtodance for us.
Sasha: Uh, yes,butnowI...
Aunt Prudence:No,everythingmustbe cancelled of course.If onlythe hospital committee
weren'tabsolutelydependingonit.
Phryne:Tell themLydia'sjustbeenwidowed.
Aunt Prudence:If onlyshe weren'tsogood at raisingthousandsof pounds.And goodness
knowshowwe're to contact the guestlistintime.

Phryne:Her guestswill understand.
Lydia: Johnwouldwantus to go aheadwithit.
Aunt Prudence:I know,Phryne andI will take overall the arrangementsandhostthe entire
eveningonyourbehalf,won'twe,Phryne?
Lydia: Thank you,Prudence.Ifeel so...Oh,my... (Lydiafaints)
Sasha: Lydia!
Aunt Prudence:Maid! What's hername?Maid!
Phryne:Get her to bed.I'mgoingto call a doctor.
However,youcansee that she ismore thanwhat she appears:a weakwomanwouldnotbe
able to raise thousandsof dollarsfora charity. It isnot apparentuntil the endof the episode thatyou
see the steel in herspine.Insteadof beingthe weakwomanshe portrays,she isnotonlyamurderess
(of herhusband),she isthe “Kingof Snow”of Melbourne—theheadof alarge cocaine ringin the city
and guiltyof countlessotherdeaths.She isthe villainof the episode,arole normallygiventoaman. She
isdecisive.Intelligent.Ruthless.Strong.She givesorders,andtheyare followedwithno hesitation.
Lydiashowswomenthatthere are nolimitstowhat they can achieve.One need nothide one’s
true nature behind a manand in the shadows. Youcan challenge expectations,regardlessof social
standing,andbecome successful (thoughhopefullynotasa criminal). A confidentwomanisone who
stepsbeyondthe traditional rolesof housewife,someonewhoisapartnerand a professional.Youcan
be both andbe successful inthe world.

Most of thisdiscussionisactuallyyouranalysis,whichappliesyourtheoryindetailtoyourdata.
You have addedmore data – you wantto avoidthat. Nevertheless,thisisasuperanalysis. Withregard
to yourdiscussion,extendyourfocusawayfromthe televisionshow specificallyandoutintoculture,
identifyingthe valueof strongrole modelsandthe dearthinmostof Westernculture.
Limitations
Thispaperfocusesonlyonone of the 34 episodesof thisseries.There are manymore female
characters inthisseries,showingevenmore examplesof the heroicwoman—fromthe matriarchof a
family,tothe supposedreligioushystericwhoexposesthe true nature of herstep-mother,tothe
strengthof a younggirl whotriesto helpherbiological mother.Thispaperalsoonlyfocuseson the
feministstandpointtheory andthere are more waysone can view thisseries. [Thisisa fine exampleof
the kind of limitationsyou wantto share in this section.]
Conclusion
Due to a dearthof researchshowinghow MissFisher’sMurderMysteries (S01E01) provides
visual examples of confidentwomenwhoseeksocial independence,thispaperlaysthe foundationfor
future studies inthe field.Womenare insearch of a hero—afeminineone. CocaineBlues givesits
viewersfourexamples of sucha hero:Phryne Fisherwithherstrong-will andconfidence, Mac,withher
mindand perseverance,Dot,withherrighteousness andquietstrength,andLydia,withherruthlessness
and intelligence. Unfortunately, 2016 isnot muchdifferentfromthe 1920’s—inmanyways womenstill
fightforequalityinthe home,workplace,andsociety,andmanyare insearch of heroesof substance.
Thisepisode,aswell asthe 33 consecutive episodes of MissFisher’sMurderMysteries,show women

that theycan be both feminine andstrongandthat thisduality isnotto be ashamedof,but instead
lauded. Ihope that,in the comingyears,we are shownmore heroicwomeninall formatsto highlight
variousformsof the hero.One day,there will be numerousexamplesof whataherocan mean,for all
typesof people. […Shesaid,hopefully…]

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Cox,D (Writer), &Tilse,T (Director). (2012).Cocaineblues [Televisionseriesepisode].InCox,D&
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ccountid=38688
Perks,L. (2007). Equipmentforlivinginanorderedhome:Disciplinaryhomologiesin Supernannyand
Dog Whisperer. Conference Papers-- National CommunicationAssociation,1. [Review APA style
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Prosise,T. O.,& Johnson,A.(2004). Law enforcementandcrime on Copsand World'sWildest Police
Videos:Anecdotal formandthe justificationof racial profiling. Western Journalof
Communication,68(1),72-91.
Turpin,P.(2007). Equipmentforliving:Talkingof love andlovingtalkinPhaedrus andPrideand
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Winch,A. (2012). We can have it all. FeministMedia Studies,12(1), 69-82.
doi:10.1080/14680777.2011.558349
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