As the actress portraying Clara, Coleman received second billing alongside Matt Smith and Peter Capaldi for the duration of her time as a regular cast member.

Oswin then learns from the Eleventh Doctor (Matt Smith) that she has been converted from human into a Dalek and has coped by retreating into a fantasy of her own intact survival.

She assists the Doctor and his travelling companions, Amy Pond (Karen Gillan) and Rory Williams (Arthur Darvill), to escape the planet unharmed, but at the cost of her own life.

Seeing her full name on her tombstone and finally recognising her voice, the Doctor realises she is the same woman as Oswin from the Dalek Asylum, whom he had never seen in her human form.

[2] In "The Bells of Saint John" (2013), Clara receives a phone number to the Doctor's time and space vessel, the TARDIS, from a mysterious woman.

The Doctor finds Clara Oswald (this time with no middle name) in contemporary London through her phone call, and takes her on as a companion with a goal to solving the mystery of the "impossible girl".

[3] The Doctor's repeated attempts at investigating Clara's origins over the course of "The Rings of Akhaten", "Hide", and "Journey to the Centre of the TARDIS" consistently turn up compelling evidence that she is just a normal young human woman.

One version of Clara successfully persuades the First Doctor (William Hartnell) to pick the "right" TARDIS on his home planet Gallifrey, prior to the events of the show's first episode.

[10] In "Into the Dalek", Clara and fellow teacher Danny Pink (Samuel Anderson) agree to go for drinks together,[11] and over the course of the episodes "Listen", "Time Heist", and "The Caretaker", the two enter into a romantic relationship.

[17] In "Death in Heaven", Missy reveals that she was the aforementioned woman who gave Clara the TARDIS telephone number and had also been secretly keeping the two together after their first meeting as part of her plan.

Clara lies too; she pretends Danny returned from the dead through Missy's device, when in fact he sacrificed his opportunity, to save the life of the child he killed in the Afghanistan war.

[19] In series 9, Clara accompanies Missy and the Doctor to Skaro when he is summoned by Davros (Julian Bleach), barely escaping the ordeal with her life.

[20][21] Now an experienced companion, Clara shows greater confidence when dealing with alien races and volatile humans, but the Doctor finds himself concerned by her reckless streak.

[22] Clara's recklessness gets the better of her in "Face the Raven", when she attempts to outsmart the Doctor's adversary Ashildr (Maisie Williams) by taking on a death sentence, but later learns that it cannot be revoked.

[24] In "Hell Bent", the Doctor uses Time Lord technology on Gallifrey to extract Clara from her last moments of life, and attempts to run away with her and cheat death.

She leaves the Doctor on Earth to start his adventures anew, and begins traveling with Ashildr in a stolen TARDIS with the intention of one day returning to Gallifrey to meet her end, although vowing to "take the long way around".

In the 60th anniversary special story "The Giggle", the Toymaker depicts Clara as a marionette alongside Amy Pond and Bill Potts, taunting the Fourteenth Doctor by reminding him of companions who died while travelling with him.

[26] Clara (Sophie Downham) appears in a short prelude to "The Bells of Saint John" as a child who talks to the Doctor at a playground.

[36] In the 2015 Doctor Who Magazine comic storyline Blood and Ice (DWM #485–488), Clara meets another incarnation of herself she created called "Winnie Clarence", a university research graduate from the year 2048.

[71] Initially it was reported that Peter Capaldi told tabloids there would be "no flirting" between him and Clara, likening such a potential relationship to Papa and Nicole, but the actor himself discarded that.

Two people who are really crazy about each other..."[75] The narrative of series nine culminated in a three-part story arc in which Clara dies and the Doctor spends the next 4.5 billion years executing a gambit to change history and save her life.

He wrote, "Coleman brings sauce and sparkiness, and while she initially seems a familiar Moffat archetype, all snarky cracks about the Doctor's chin and throwaway lines about sexual experimentation... there's a deeper vulnerability there too, which makes her eventual fate in this episode genuinely heart-skewering.

"[79] Michael Hogan, writing for The Daily Telegraph, also found her debut promising and described her as "enchanting in an elfin way – rather like a brunette, curvier, less annoying Fearne Cotton".

The Guardian's Dan Martin wrote, "The masterstroke behind Jenna-Louise Coleman's surprise introduction is that it made us want to see more of her before Karen Gillan had even gone.

"[81] Setchfield called her "less of a motormouthed quip-merchant than [Oswin], but Coleman makes her equally winning – plucky, smart and riffing on a very promising chemistry with Matt Smith".

[83] Radio Times reviewer Patrick Mulkern admitted that he had "found Oswin's perkiness a tad wearing", but he was "completely won over" by Coleman's Clara in "The Snowmen".

[85] Following "The Bells of Saint John", Digital Spy's Morgan Jeffery said that the new Clara was "more grounded and so far easier for the viewer to latch on to" than her two predecessors, both of whom could have been harder to sustain as companions.

[87] Setchfield described Clara as "equally sparky and winning but altogether younger and possibly just a tad more vulnerable than her previous incarnations" with a "helplessly watchable chemistry" with Smith.

[90] Mike Higgins of The Independent felt that Coleman was "an improvement" upon Gillan, but wrote that "the pairing of an intellectually bright but emotionally dim male with a techno-illiterate but wised up female is a tired old trope of much drama and comedy".

[95] Dave Golder of SFX stated that Clara was "to an extent, a bit of a cartoon character" and that Moffat was better at writing her in "The Name of the Doctor" than some of the preceding writers.