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Star Trek Edition: The Great Fandom Swap!

The following is a repost from Michael of My Comic Relief in regards to the fandom swap we recently worked on together!

Friendship is wonderful, isn’t it?  It can lead you to do all sorts of things you’d never do on your own.  I’d start listing examples but, c’mon, then we’d be off on a tangent (a beautiful, nourishing, and entertaining tangent to be sure!) which could fill pages.  Let’s cut to the chase!  My friendship with Nancy of Graphic Novelty2 – my oldest, longest, and dearest blogging friend – has led to an historic first.  I, Michael John Miller, author and operator of the blog My Comic Relief, am writing about Star Trek for the very first time.  You see, Nancy loves Star Trek and I’d never seen a single episode of Star Trek (only the JJ Abrams films).  I love Doctor Who and Nancy had only seen a few episodes in passing.  So, in the name of friendship, AMAZING THINGS, and blog content, we did our first ever Fandom Swap!  Eagerly sharing what we love with the other, Nancy chose eight episodes of Star Trek: The Next Generation (her favorite iteration of the show) for me to watch and I gave Nancy eight episodes of Doctor Who

What follows is a unique piece, a sort of dialogue.  You’ll see Nancy’s intro material leading me, a Star Trek newbie, into each episode, followed by my thoughts, feelings, and reactions to the episodes as well as my general feels on wading into the world of Star Trek for the first time.  Enjoy!

NancyStar Trek: The Next Generation ran for seven outstanding seasons, but I am starting off with an episode from S3, for truth be told most series take awhile to gain their footing and attract a fan base. 

Yesterday’s Enterprise S3E15

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: This episode was the perfect “going back in time to right wrongs” episode.  It features Tasha Yar, a character from the first season who had been the first Head of Security in S1 and was killed in the line of duty.  IRL the actress wanted to leave the show (so foolish!) and was given a rather ignoble death scene, so this episode in S3 gives her a fitting end, plus I liked the subplot about the possible romance between her and Castillo.  It also ended up setting up another amazing twist storyline in future seasons.  Some background knowledge: The Enterprise NCC-1701-D  is the fourth Enterprise, under Captain Picard (A was Captain Kirk, B was Captain Harriman, C was Captain Garrett). 

Michael:  My very first thought as I began my very first episode?  “Is that Whoopi Goldberg???  It is!!!”  I had no idea she was on Star Trek!  The size of The Enterprise is something my mind kept sticking on.  I’m not used to “good guy” ships being so big/full.  In Star Wars, the Rebels’ ships are so much smaller than the Empire’s and in Doctor Who the TARDIS is infinite on the inside but it’s always just the Doctor and a few companions.  To think of this ship’s “ecosystem,” as it were, is staggering.  It’s so much more “polished” than the world of Doctor Who, where the Doctor is essentially a vagabond setting things right where they find things needing sorted.  I got lost

thinking on the Tasha/Castillo romance.  The idea of meeting someone, having that connection, and then knowing they have to go back into the past which will reset your timeline and make you forget ever even having met them??  That’s a heavy thing to wrap your mind around.

It’s not as jarring as I thought it’d be, jumping into the world of Star Trek for my very first time.  My most vivid connection to a character from this episode was Tasha then Picard (obvs.) and Data and Whoopie.

Sins of the Father S3E17

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: Worf, Klingon Head of Security, defends his family’s honor and has to make a sacrifice.  This episode really showed Klingon society.  Worf has proved to be one of my favorite characters, and later very capably made the jump to Star Trek: Deep Space Nine and helped anchor the series that was initially struggling before it hit its stride. 

Michael:  Worf is one of my most vivid Star Trek memories from my youth, seeing him in ads in my comics or on TV.  I always thought he was a villain (he kinda scared me) given the way he looked.  Since Klingons freaked me out as a kid, it was interesting to see an episode so focused on their culture.  They were as intense and violent as I would’ve expected but there was a surprising warmth and familial connection.  As I observed above, the very military nature of this show is so foreign to me.  I don’t normally watch or read things like this.  The hierarchy.  The routines.  The protocol.  It all fees so…strict.  I got a rush o’ feels when Worf asked Piccard to serve as his cha’DIch.  And when Picard replied in Klingon??  It felt surprisingly sweet for a show I was only on my second episode of.

The Best of Both Worlds S3E26 & S4E1 (two-parter)

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: The Borg, cybernetic humanoids that assimilate individuals into their hive-mind, are introduced.  Captain Picard is captured and assimilated!  His time there would forever change him and would tie him to another character (Seven of Nine from Star Trek: Voyager – which was Captain Janeway’s ship) who also was formerly a Borg, and the two co-star in the series Star Trek: Picard.  This was an excellent cliffhanger episode and really made me anxious for the start of S4.  In the years since, the Borg have become the Big Baddies of the franchise, and are over-used TBH. 

Michael:  What came to mind whenever I thought of Star Trek as a kid, before ever seeing an episode, was their color coded uniforms, the shape of the Enterprise, Picard, the Klingons, and the Borg.  So to see the introduction of the Borg was exciting!  The Borg gave me major Cybermen vibes – a cyborg species seeking to assimilate everything and operating through a hive mind.  So this was kinda cool :).  This threat felt familiar.  It makes me wish I gave you an episode of Doctor Who with the Cybermen in it!  I get your anxiety over the summer, too.  My notes at the end of Part One literally said, “That’s where they did the ‘To Be Continued…’ cutoff??  How did people wait all summer to see the next one?!?

This episode was the first time through this I felt really invested in the story.  Like I was on the edge of my seat watching!  I also keep thinking of how often I saw the Borg, the assimilated Picard, and their big ol’ cube ship in my comic ads as a kid.  So much of my sense of Star Trek comes from those ads.  Going into the second episode, even though I knew Picard would be ok (somehow), I still felt a pit in my stomach as Ryker takes charge and Guinan gives him his li’l pep talk to do so.  My notes for the end of Part Two, “What was with that ending??  Was it just a sobering reflective moment or are they still in his head someway??”

The Inner Light S5E25

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: Probably my favorite TNG episode ever!  Picard is always so stoic, but here he gets to raise a family and the ending will gut you.  The flute…tears!!!  It makes you wonder how long you yourself would fight against knowing you were in the wrong era/world and give in and live the best life you could under the new circumstances.

Michael: Knowing this is your favorite TNG episode ever had me really excited to see it!  I can see why you like it (and I don’t even have the emotional connection to the series/characters that you do!) and it did give me a lot to think about!  Waking up in a world I know is wrong but everyone else says is correct would be so overwhelming!  I presume I’d spend a lot of time crying and ultimately find myself committed.  Even if I had another family and natural supports, I’d be haunted by what I knew was right and what I knew I’d lost.  Could I go to bed with a women I just met who was certain we were married?  When would I commit to an illusion?  When would I accept it as “real”?

I figured out the twist when Picard and Batai were talking about the planet being doomed but that didn’t make it any less emptional.  What a beautiful reflection on the power and purpose of history!  History, when done right, should pull us into a people and we should come to love them – their life, their culture, their ways, their world – just as we do our own family.  But history often fails.  Though when it doesn’t, well it can forever change our lives as it did for Picard.  The flute scene at the end, while I was expecting something like it, was so poignant!  This was an episode!  I see why you love it so much!  On the one hand, my gut reaction was it was kind of a dick move on those people’s part, to hijack a consciousness to share their story with the world.  But as soon as I thought about it for a few moments I realized…what else is the point and purpose of history?  Yes, it’s hard but it should be.  WOW.

I, Borg S5E23

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: An injured Borg drone is captured and Picard has to decide if he will use him as a weapon against the Borg, who have become a huge threat to the Federation.  What happens when this former Borg begins to demonstrate free will? 

Michael:  Seeking out an area “for colonization” carries a different connotation in our age of growing awareness of the horrors of empire.  Dr. Crusher’s immediate compassion for the wounded Borg boy was welcome, especially after their last encounter.  I really like her character for that :).  Picard plotting a potential Borg genocide with Data is not unsurprising (heck, Star Wars adores genocide) but it still makes me sad.  The whole military-centric drive of the show, in fact, is something that has yet to feel like it “fits comfortably” for me.  I love how the more Geordi gets to know Hugh, the more uncomfortable he feels with the program he’s designing.  Conversation breeds connection and connection breeds communion.  The last episode tugged on the ol’ heartstrings but watching Hugh voluntarily go back to the Borg to protect Geordi from their pursuit hit hard.  I just wanted them to save Hugh!  Why couldn’t they take him with them??  Why didn’t he become part of the crew??  Siiiiigh.

The First Duty S5E19

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: Wesley Crusher, the doctor’s son who had been a regular in the first few seasons but had left the Enterprise to attend Starfleet Academy, is back in this episode and he is in trouble.  He and some other cadet pilots made a stupid decision while flying and a crewmate died.  This isn’t truly one of my very top episodes, but it ties in nicely with the next episode I am having you watch.  Aside – the actor playing Nick Locarno would later be recast and play Tom Paris in Star Trek: Voyager.  For legal reasons, he couldn’t be the same character in two different series. 

Michael: “Captain’s Log: Stardate…”  “Space – the final frontier.  These are the voyages of the starship, Enterprise.  It’s continuing mission, to seek out new life, to explore new star systems, to boldly go where no one has gone before.”  “Resistance is Futile.”  It’s so cool to finally be experiencing these classic lines for myself as part of their narrative rather than just hearing them as an oft quoted piece of pop culture!  Picard told Wesley the duty of every Star Fleet officer is to the truth – scientific, historical, and personal truth.  I really like this frame of what they do.  And I got to see future Earth – future San Diego, it looks like – for the first time!

Lower Decks S7E15

Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: We get a look at the younger crew members of the ship, and one of them is from the episode The First Duty.  This gives us a different perspective of the ship, seen from the crew who are part of the “lower decks.”  This premise is the basis for the new series Star Trek: Lower Decks, which is a cartoon, but ties in with the entire franchise.  A very bittersweet ending, but realistic that sometimes captains need to make decisions that they know could hurt or kill their crew, but is for the greater good.  

Michael:  In some ways this episode reminds me of Scrubs S9, with it’s focus on the ensigns on the ship and their concern about their careers and promotions and coming up in Star Fleet.  I was really happy to see Sito back from the last episode.  I like her.  Watching her talk with Picard in the wake of what happened at the Academy was hard.  We’ve all been haunted by mistakes but how do you come back from something like that.  Do you?  Can you?  I like how this episode explored that.  I love how often they hang out in the bar/restaurant on the Enterprise.  I like the overlay of senior officers and the ensigns playing poker – regular poker on a regular poker table

with regular cards – and chatting, too.  It gave a strong sense of continuity between those on the Enterprise and us.  It felt more like our possible future, you know?  Ok, so here are my literal stream on consciousness notes:

“If Sito dies in this episode…I’ve not seen enough Star Trek to learn their narrative rhythm yet but it seems like this could be setting her up for a tragic ending.  I am rooting for her!  I really like her as a character!  She can’t die here!  If I lose Sito after the flute scene and losing Hugh, I am gonna be in a rough place!  I am not comfortable with this whole hostage ruse/escape pod pickup scenario.  I am not liking this one bit!”

What a heartbreaking way to end.  I mean, it makes sense.  It is bittersweet, as you said.  And it certainly leaves me awash in my own emotions around the crew of the Enterprise.  Part of me is surprised I became so connected to these characters in just eight episodes – and Sito who was only in two of them! – but part of me isn’t.  I’m an empath by nature and I’m easily pulled into a well written story.  Also, Star Trek has been popular for sixty years precisely because it pulls people in like this.

Nancy: I hope you enjoyed your window into my beloved franchise, and if I had another episode I would recommend the last episode of the series, All Good Things, which wraps up the series nicely.  It had a perfect ending scene with all the main characters.  While of course Star Trek: The Original Series is the granddaddy of the entire Star Trek universe, I believe you can truthfully say it was Star Trek: TNG that revitalized the franchise, and all series that came afterward are truly based on TNG.  For anyone interested in getting into Star Trek for the first time, of course, I recommend TNG, but the new Star Trek: Strange New Worlds is absolutely fantastic and will make a Trekkie out of you yet!  In the meantime, Live Long and Prosper!

Michael:  I did enjoy this!  In fact, I enjoyed it so much by the start of “The First Duty,” I began to consider watching Star Trek on my own, making it another big series I explore alongside Classic Doctor Who.  This is HUGE as I feel I never have time for the TV people tell me I “should” be watching (in fact, I just wrote about my reluctance to jump into new TV shows here).  But I was open to – even eager – to explore more of the Star Trek universe on my own.  The main reason I haven’t yet was I wasn’t sure if we’ll make this Fandom Swap an annual thing we return to so I held off ;D.  But I’m SO GLAD we did this!  And I’m really happy you chose TNG for me to begin with as almost all the Star Trek memories I have from my youth are about TNG.  Now I finally got to see it for myself!

I chose to end with this picture as a) I mentioned above how much I enjoy the characters regularly hanging out at this bar on the Enterprise, b) Worf is one of Nancy’s favorite characters, and c) my heart still hurts for poor Sito! / Photo Credit – Paramount’s Star Trek: The Next Generation

Nancy: Stay tuned for my piece on Doctor Who next week!!!!!

Guest Post on the 2022 YASF Tournament of Books

As the Head of Teen Services at my library, I attend a networking group with other librarians who work with teens in the Chicagoland suburb area. For several years the YASF (Young Adult Services Forum) group has had a yearly Tournament of Books for YA novels from the previous year, and this is my sixth year participating by writing reviews for their blog So like YA know

This year I got to read two excellent sci-fi novels- Victories Greater Than Death by Charlie Jane Anders and Upper World by Femi Fadugba. One was more a space epic, while the other was grounded in reality, but both will appeal to a YA audience. Check here to find out which book I chose and WHY!

-Nancy

Fiction’s Fearless Females: Norma Bates

March is Women’s History Month, and both of us here at Graphic Novelty² have joined forces for the third year with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! During this month, we will have six bloggers sharing who they believe is a fictional woman to be admired, and we will share each entry of the series on our blog. Today’s post comes from Kalie of Just Dread-Full, a superb blog centered on the horror genre. 

One thing worth noting about the horror genre is that it produces images that resist quick mental erasure.  From the statuesque model who turns into a decrepit, decaying old woman in the infamous shower scene of The Shining to the bloody womb hanging limply outside the skin of Nola Carveth in The Brood, horror does nothing if not supply us with grotesque images of often monstrous women.  Psycho’s Norma Bates, then, is no exception.  In Hitchcock’s original film, Psycho, we see Norma not as a mommy so much as a stereotypical mummy; all that is left of her is a skeletal, eyeless frame and some tousled hair pulled back in a bun. We hear her character, and therefore understand her character, only through Marion Crane’s ears as the delusional Norman voices her from afar in the antiquated Victorian house on the hill outside Bates Motel.  But Norma is a famous mummy, and a famous mommy, to be sure, one who lingers in the mind of the viewer long after the theater lights go on, and one who has lingered in the cultural imagination now for sixty-one years and counting.  Significantly, Norma Bates didn’t get to speak for herself until 2013, when the hit TV show Bates Motel rescued and re-invented her character through Vera Farmiga’s portrayal of her as Norman’s mildly cooky but vivacious and loving mom.  As a woman who navigates an excruciating past, a corrupt, drug-infested city, and a psychotic son with surprising sangfroid, Norma Bates in Bates Motel is who I choose to feature this year for the annual Fiction’s Fearless Females blogathon. 

Continue reading “Fiction’s Fearless Females: Norma Bates”

Fiction’s Fearless Females: Lisa Simpson

March is Women’s History Month, and both of us here at Graphic Novelty² have joined forces for the third year with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! During this month, we will have six bloggers sharing who they believe is a fictional woman to be admired, and we will share each entry of the series on our blog. Today’s post comes from Jesse of the Green Onion, reposted with permission.

Oh, it is good to be back in the blogging ring.  Specifically, when it comes to collaborating with all the other amazing bloggers.  And once more I am grateful to throw my words into the Fiction’s Fearless Females series.

Fiction’s Fearless Females (#FFF) is a cross-blog event that has been going strong for years now.  Each year a collection of my favourite friends and bloggers come together to celebrate women in fiction.

This year’s line-up includes the usual suspects including posts coming throughout the month from Nancy at Graphic Novelty₂, Kalie at Just Dread-Full, and Jeff at The Imperial Talker.  Thankfully, you won’t have to wait much longer.  Plus, it gives you time to catch up on the masterful additions to #FFF already available.

This year, Kathleen of Graphic Novelty₂ launched the series with an exploration of Kara Zor-El – the best of the Super-Girls.  Michael J. Miller of My Comic Relief followed it up with everything you could possibly need to know about Doctor Who’s Martha Jones.  Both are worth reading right now.  So, go ahead, I’ll save your spot here.

Choosing a character for the #FFF series is harder than you might think.  There are so many amazing women to explore throughout pop culture.  When the #FFF first began, I was quick to write about Ripley from the Alien franchise.  An easy choice I would easily make again.  This year I wanted to find a character equally deserving to be in this collection of fantastic fictional females.

I gave this some deep thought.  There are three criteria for a character to be added to this series.  They have to be fictional – obviously.  They have to be “fearless”, which can be taken in many ways, but we don’t need any one-note distressed damsels.  And finally, they should celebrate femininity.  While there are many characters that fall into these categories, for me, there was one that stood out in all three.

Lisa Marie Simpson.

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Fictional

The Simpsons has been on television since 1987, first appearing as shorts during The Tracy Ullman Show.  We all know what happened next.  As the show landed its own ongoing series in 1989, The Simpsons exploded becoming the most popular television program of the 90s.  Redefining and dominating adult animation as a media.  And has gone on to become the longest-running scripted television show in history, currently running a 32nd season and weeks away from premiering the 700th episode.

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Beyond the small screen, Lisa Simpson has appeared in every form of merchandise there is from action figures to toothbrushes.  The Simpsons Movie brought Lisa and her family to theatres in 2007.  She has appeared in video games on nearly every console since the classic NES.  And comic books galore, including her own self-titled Lisa Comics, which lasted one glorious issue with a parody of Alice’s Adventures in Wonderland.

You cannot mention Lisa Simpson without mentioning Yeardley Smith, the beloved voice and advocate for all things Lisa.  For which, Smith won the 1992 Primetime Emmy Award for Outstanding Voice Performance as well as many other accolades.  Three decades later, and Smith continues her role as well as being one of the biggest faces for the series appearing at conventions and panels year-in-and-year-out.

As far as fictional goes, Lisa Simpson fits the bill.  It could even be argued that she is the most recognizable female character on the planet.  In fact, she is one of just a handful of fictional women on Hollywood’s Walk of Fame.

Fearless

When it comes to hitting the ‘fearless’ category, Lisa does not have the raw power of most of the other fictional females.  We are talking about an eight-year-old girl here.  However, I do not think that anyone could argue that Lisa Simpson could be defined as “fearless”.

Lisa Simpson started out as another childish character, getting into antics as much as her brother, Bart.  However, her character began to shift early.  She has become one of the most intelligent figures in all of Springfield and she is never afraid to show it.  Lisa is now one of the strongest liberal voices in primetime television.  And she stands for a wide range of causes.

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Though she feels like an outcast from her town and family for her beliefs, Lisa is not afraid of progression.  In fact, of all the characters in the show, Lisa has shown the most growth and stuck to her guns.  In season seven, Lisa became a vegetarian and some years later she adapted to Buddhism.

When it comes to activism, Lisa is at the frontline.  She is a feminist, often getting into disagreements with her mothers’ traditional guidance.  Lisa Simpson is a figure of environmentalism, winning real-world awards for being a voice of the planet.  She was even named as one of the animal-friendly TV characters of all-time by the People for the Ethical Treatment of Animals. 

In a town that is at times meant to showcase America at its worst, Lisa is always the opposition.  Bravely she will not allow anyone to get between her and what is right.  Her left-wing ways have become legendary.  Ted Cruz has referred to the Conservative Party as the “Party of Lisa Simpson”.  In one particular Simpson’s future, Lisa even becomes POTUS, which was surely achieved through her strong voice and reasoning.

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Still, if you want to talk about powers and abilities, Lisa has had a few.  “Treehouse of Horrors X” even gave Lisa super strength, Clobber Girl, along with Stretch Dude became a formidable duo, and have made their own appearances in comics.  In video games, Lisa can knock people around with the best of them.  And it could be argued that her spiritual connection has granted her some powerful gifts throughout the years.

Lisa Simpson is as fearless as they come.  For a second-grader, she shows bravery and courage whenever she sees injustice.  Whether it is the mistreatment of snakes on an out-dated holiday or the ongoing battle with the local nuclear power plant, Lisa’s voice is heard.

Female

Not only does Lisa Simpson ooze femininity, but she is also a leader in women’s rights and a role model for young girls everywhere.

It is easy to forget at times that Lisa is just an eight-year-old.  But she is very much a little girl who loves ponies, her Malibu Stacy dolls, and believes that unicorns are real.  She is sweet, nurturing, and gentle.  But she is as flawed as anyone, being stubborn or righteous at times.  Lisa is as real as an animated little girl can be.

But over three decades, Lisa has become a symbol for women everywhere.  The feminist character has often spoken out about gender rights.  Of course, while maintaining the strong voice that we just covered.

Additionally, Lisa has proven time and again that she is capable of anything her brother can do.  Never treated as fragile or delicate, Lisa has played sports alongside Bart and the other boys.  And though her brother often plays the muscle, as a duo the two of them have accomplished some fantastic things like solving crimes and saving their friends.

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Most importantly, her strong morals have guided girls for three decades.  Lisa is a symbol of what women are capable of while changing the way that girls are represented on television.

Lisa Simpson is one of the greatest fictional characters, absolutely fearless, and an amazing figure of femininity.  An icon for speaking your truth and standing up against injustice, Lisa is a powerhouse.

 

Fiction’s Fearless Females: Martha Jones

March is Women’s History Month, and both of us here at Graphic Novelty² have joined forces for the third year with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! During this month, we will have six bloggers sharing who they believe is a fictional woman to be admired, and we will share each entry of the series on our blog. Today’s post comes from Michael of My Comic Relief, who is a fine connoisseur of comics and lover of the Doctor Who franchise. 

By Michael Miller of My Comic Relief

Happy International Women’s Day!  In celebration of International Women’s Month, I’ve joined with some other bloggers to write pieces spotlighting some of our favorite female characters.  Kathleen, of Graphic Novelty2, kicked off the festivities with her brilliant look at Kara Zor-El/Supergirl and, following me, we’ll have Green Onion, of Green Onion Revival Project; Nancy, of Graphic Novelty2;  Kalie, of Just Dread-full; and Jeff, of The Imperial Talker.  You can find all their posts here but you should check out their super sweet sites, too.  Anyhoo (or AnyWHO, as the case may be (stop…don’t reward that (I’m sorry, I’m so sorry (you deserve better)))), this year when I thought of what “fearless” means, my mind turned to Martha Jones.  Played by Freema Agyeman, she was the companion of David Tennant’s Tenth Doctor in Series Three of Doctor Who.  Martha did a great many things while travelling with the Doctor but, in her faith and her willingness to advocate for her own needs, she models the type of courage which could transform all of our lives if we, too, could be so fearless.

Continue reading “Fiction’s Fearless Females: Martha Jones”

Fiction’s Fearless Females: Five Fearless Cartoon Females From The 80s

March is Women’s History Month, and both of us here at Graphic Novelty² have joined forces for the second year with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! During this month, we had six bloggers sharing who they believe is a fictional woman to be admired, and shared each entry of the series on our blog. Today is our last post in the series and comes from Rob of My Side of the Laundry Room who couldn’t just pick one fearless female, he chose five! His blog and YouTube channel centers on great toys, cartoons, movies, and comic books of the 70s, 80s and 90s. For a nostalgic treat, you must subscribe to his channel and look for excellently made videos on themes such as Good Games for Bad Gamers, Rob vs The Internet, sentiMENTAL and Days of Dorker Past. 

Rob of My Side of the Laundry Room

To help celebrate International Women’s Day (March 8) and Women’s History Month (March), I along with some of WordPress’s best bloggers are teaming up to shine a spotlight on some of our favorite fearless females from movies, comics, television, and beyond.

For my contribution to this celebration, I chose the subject of 80s cartoons (Shocker!!). Before I begin let me say that there are dozens of fearless, headstrong, and strong female characters in the world of 80s cartoons. Last year for Fiction’s Fearless Females celebration I did a video for Scarlett, G.I. Joe’s counterintelligence operative and first female character. Scarlett is a very popular character in the world of 80s cartoons, so this time I wanted to talk about some great characters that are lost to time (kinda). Continue reading “Fiction’s Fearless Females: Five Fearless Cartoon Females From The 80s”

Fiction’s Fearless Females: Queen Amidala

March is Women’s History Month, and both of us here at Graphic Novelty² have joined forces for the second year with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! During this month, we will have six bloggers sharing who they believe is a fictional woman to be admired, and we will share each entry of the series on our blog. Today’s post comes from Jeff of The Imperial Talker– who is an expert on all things Star Wars. His themed haikus are unmatched and deep love for the Star Wars franchise makes his blog a pleasure to read! 

Jeff of The Imperial Talker

Standing behind the doors leading into the royal hanger, the Queen of Naboo, surrounded by her loyal handmaidens and advisers, must make a choice. One path will keep the teenage monarch on Naboo, with her people, risking capture and death at the hands of the invading Trade Federation. The alternative path will take her off-world, traveling with the two Jedi escorting her, running the Trade Federation blockade above her world in the hopes of reaching Coruscant, the capital of the Republic, to plead for help directly to the Senate.

“Either choice presents great danger, to us all,” the Queen says as she turns her head and looks at the handmaiden standing next to her.

“We are brave, your Highness,” the handmaiden responds, calmly speaking for herself and the other handmaidens.

To be brave is to be fearless, to stand firm and unflinching when confronting danger. Either path the Queen takes includes the risk of death, to herself and her retinue, but these handmaidens will face the risk with fearless poise standing side-by-side with their monarch.

But there is something else at play here, another layer hidden in the dialogue between a Queen and her assistant. In this scene from The Phantom Menace, the Queen we see is not the real Queen. No, she is actually a handmaiden, a loyal bodyguard charged with protecting the Queen by serving as a decoy dressed in royal attire. And the real Queen, Padmé Amidala, she is the handmaiden who has spoken.

This truth will not be revealed until later in the film when standing before the Gungan Boss Nass this handmaiden, Padmé, will confidently step forward, risking her own safety, and declare that she is Queen Amidala. Even though this revelation takes place late in the movie the gravity of the revelation reverberates through the entire film. It is possible then to add an interpretation to the statement “We are brave” by considering that Padmé, as Queen-in-disguise, is using the royal “We” when she speaks. And by viewing the term through this lens one can easily believe that Padmé Amidala is not only affirming the bravery of the handmaidens, but she is subtly but confidently affirming, as the true sovereign of the Naboo, that she is fearless.

Amidala's Reveal
Stepping forward, Padmé reveals that she is Queen Amidala.
Photo Credit – Star Wars Episode I: The Phantom Menace

Again and again we see Amidala model her bravery, in word and deed, simultaneously as handmaiden/Queen throughout The Phantom Menace. This is obvious when she reveals her identity to Boss Nass. Begging for help as she gets down on her knees – an act of pragmatic and diplomatic submission – Queen Amidala places herself and her party at the grace the Gungans. It pays off as her act of fearless humility convinces Boss Nass that Gungans and the Naboo can be friends and allies.

The Queen’s courage is also obvious when she and her retinue travel to the planet Tatooine.

Their vessel damaged as it ran the Trade Federation blockade surrounding Naboo, the two Jedi accompanying the royal entourage must identify a location that is free from Federation control to perform repairs. Jedi Padawan Obi-Wan Kenobi chooses a locale: the desert planet Tatooine. The head of the Queen’s guard, Captain Panaka, inquires how the Jedi know their Federation enemy is not present on the world to which Qui-Gon Jinn answers, “It’s controlled by the Hutts.” “You can’t take her royal Highness there! The Hutts are gangsters,” Panaka declares, immediately raising his concerns. Never-the-less, Tatooine, a lawless world on the fringe of the galaxy, remains their destination.

Upon landing in the desert Qui-Gon Jinn, accompanied by the astromech droid R2-D2 and the Gungan Jar Jar Binks, will head towards Mos Espa to seek out the parts they need to repair the damaged vessel. But as they head off Captain Panaka will stop them. With him is the handmaiden Padmé who remains silent as Qui-Gon and Panaka speak:

“Her Highness commands you to take her handmaiden with you,” the Captain explains.

“No more commands from her Highness today, Captain,” Qui-Gon responds, “the spaceport is not going to be pleasant.”

“The Queen wishes it. She is curious about the planet,” Panaka retorts.

“This is not a good idea,” Qui-Gon warns. “Stay close to me,” he tells the handmaiden as the group continues towards Mos Espa.

Padme joins the Group
The “handmaiden” remains silent while Captain Panaka and Qui-Gon Jinn discuss whether she should join the group.
Photo Credit – Star Wars Episode I: The Phantom Menace

The exchange may not seem like much but it serves a clear purpose: to account for Padmé being part of the group heading into Mos Espa. Fair enough, but narratively this should not be necessary. If the handmaiden was part of the group to begin with we would think nothing of it. She would just be someone else who is seeking the parts for the damaged hyperdrive. So why bother briefly pausing the plot to account for the handmaiden tagging along with the party? Because Padmé is no ordinary handmaiden. Armed with the knowledge that “her Highness” IS the handmaiden, this exchange is no longer a narrative curiosity but a narrative necessity, a way of demonstrating, and reinforcing, that behind the veil of “handmaiden” resides a formidable monarch who is exercising her power and displaying her strengths.

Captain Panaka, as noted, expressed his reservation to the Jedi about taking “her royal Highness” to Hutt-controlled Tatooine. While we do not see it, we can presume he shared these reservations with the Queen herself. But now, in a surprising twist, the Captain has escorted the Queen, dressed as a commoner, into the hot desert to join the repair party. Why does he do this? Because “Her Highness” has issued a “command.” She has used her authority and given an order which the Captain is duty-bound to follow.

The command she has given – for a handmaiden to join the party – is a clever trick on the part of Amidala, a way to insert herself while maintaining anonymity. This does not come without risk. Captain Panaka is not wrong that Tatooine, being controlled by galactic gangsters, is a dangerous world. Qui-Gon Jinn acknowledges this as well, admitting that “the spaceport is not going be pleasant.” The Queen does not flinch. Instead, she is putting words into action, showing “We are brave” by placing herself in an unpredictable and potentially precarious situation.

Granted, this decision does seem ill-advised. Being fearless is laudable, but it is difficult to justify being reckless. “This is not a good idea,” Qui-Gon explains, a clear indication that he does not want anyone else to be put in danger, even a young handmaiden (although, for the record, I believe he knows Padmé is the Queen but that is a conversation for another time). Were something to happen to Amidala in Mos Espa – a run in with the Hutts, for example – the consequences could imperil not only her safety but the safety of the planet Naboo. So how can one justify her decision to join?

For starters, we can think about why she is joining the group. As Captain Panaka explains, the Queen “wishes” for the handmaiden to go with Qui-Gon Jinn because “she is curious about the planet.” Thus, we are explicitly told that the Queen is inquisitive, a quality which demonstrates her desire to lead effectively, gaining new insights and perspectives which will inform future decisions. Stuck on Tatooine for the time being, Queen Amidala chooses to step out of the comfort of her royal yacht so she might gain firsthand knowledge about her galaxy. Notably, this is exactly what happens when she meets Anakin Skywalker, a precocious 9-year-old boy, and is shocked by the revelation that he is a slave. The Queen was clearly under the impression that the abominable institution did not exist. In turn, after meeting Anakin’s mother Shmi, the Amidala learns that the Republic’s anti-slavery laws do not extend to every planet. A sobering truth that challenges her understanding of the Galactic Republic’s legal and moral reach, this discovery foreshadows the truth she learns a short time later about the ineffectiveness of the Senate and the Supreme Chancellor.

Padme and Anakin
Padmé meets Anakin Skywalker and learns a harsh truth: he is a slave.
Photo Credit – Star Wars Episode I: The Phantom Menace

Like her fearlessness, Amidala’s inquisitiveness is laudable. Yet, it does not entirely justify her decision to risk danger in the spaceport. Except, it does if we view it not solely as a pursuit for galactic knowledge. Rather, it should be interpreted as an example of the Queen’s strategic thinking. While Mos Espa is “not pleasant” and dangerous, given the situation it is also the safest place Queen Amidala can possibly be, a fact she must be aware of since she has given the command to “take her handmaiden.” Think of it like this: if the Trade Federation does track them down, discovering the royal yacht on the outskirts of Mos Espa, Amidala will not be there. Instead, the enemy will find the decoy Queen, along with the other handmaidens, the captain of the royal guard, and even a Jedi protector.

Meanwhile, Queen Amidala will be blending into the crowded streets of the unpleasant spaceport as the handmaiden Padmé. She will be fearlessly hiding in plain sight, as she does throughout The Phantom Menace, with no one the wiser.


Fiction’s Fearless Females is in it’s second year! Yay! The series runs for the month of March and along with myself will feature posts by Nancy and Kathleen of Graphic Novelty2, Kalie of Just Dread-full, Rob of My Side of the Laundry Room, and Mike of My Comic Relief. Be sure to follow each of these blogs (as if you don’t already!) and to check out all of the Fearless Females in the series.

*****

The Imperial Talker is Jeffrey Cagle. He holds a BA in Religious Studies from Mercyhurst College and a Masters of Theological Studies from Vanderbilt University.  A lifelong fan of everything Star Wars, Jeffrey enjoys combining his academic interests with his love of the “galaxy far, far away.” When he is not lost in his imagination, he is spending time with his family or coaching volleyball.

Fiction’s Fearless Females: Dani from Midsommar

March is Women’s History Month, and both of us here at Graphic Novelty² have joined forces for the second year with some other amazing bloggers to celebrate women under the auspicious blogging series title of:  Fiction’s Fearless Females! For the next few weeks, we will have six bloggers sharing who they believe is a fictional woman to be admired, and we will share each entry of the series on our blog. Today’s post comes from Kalie of Just Dread-Full– whose intelligent blog is all about horror books and movies. Her posts are a must-read, for her writing is dread-fully insightful!

By Kalie of Just Dread-Full

Dani Midsommar 5
Dani and her emotionally distant boyfriend, Christian

Warning: Because of the film I’ve decided to talk about, the following subject matter will be unavoidably uncomfortable and dismal. Second Warning: If you’ve not yet seen Midsommar and you want to see it, well, first of all, get to it 🙂 (it’s free on Amazon Prime), and second, you may encounter some spoilers. Okay, you’ve been warned, onward:

I think it would be remiss to discuss the inception of this post without discussing the context. First of all, I’m writing in the fairly early morning of March 20th, which I’ve already mistaken for March 19th, because at this point we’re all basically quarantining ourselves (to the extent that we haven’t been governmentally mandated to quarantine) and the days are starting to slip assiduously into one another. Second, I, the super-introvert who initially prized herself on her abilities to hide out alone in her apartment while interacting with the outside world predominantly via telephone, almost lost my shit trying to execute my original idea: a first person monologue of the naked, decaying, monstrous half-corpse in The Shining who emerges from the shower of room 237 first (presumably) for Danny – in the movie – and second, more overtly, for Jack. You need to understand, I was perhaps overly excited about the idea of a first-person fictional exploration, and one that gave a voice to an otherwise voiceless female, until I tried to make it happen and felt that it flopped completely (the piece was so odd that it was utterly unrelatable). So, here I am, at 6:30 a.m., attempting to execute a “backup” plan for my “Fiction’s Fearless Females”* post before I run to the grocery store to go apocalypse shopping.

So, instead of creating a monologue by a startlingly voiceless naked monster-woman who lurks in the bathroom of an expensive hotel, I’m going to take an easier route and discuss Dani (played by Florence Pugh) in Ari Aster’s Midsommar, because she’s nothing if not a complex, often difficult to understand but ultimately at least somewhat fearless fictional female. Michael suggested writing about Adelaide Wilson, played by Lupita Nyog’o, in Us, and I almost did that – because she is fascinating and brilliantly acted – both the original character and the “tethered” version of her character – but I ultimately had more of the “Dani” post already in my head, and felt I could write about her without re-watching Midsommar (I can’t say the same for Adelaide) so I went with my easiest bet, especially since my post is late already (and yes, for that I blame the plague).

Dani Midsommar 6So what we learn about Dani in the beginning of Midsommar is that she seems perpetually concerned about, and perhaps overly responsible for, her sister, who has Bi-Polar Disorder; we don’t know much about her sister beyond that. The sister’s mental illness seems like her defining marker and is the presumed impetus of the calamity that will ensue after the first couple minutes of the film. I tend to be wary of the use of mental illness as a stereotypically cheap plot device, but I guess that’s neither here nor there right now – indeed, it’s another post entirely. So Dani reads an e-mail from her sister about not being able to take it anymore, about “going away” and taking her parents with her, and while Dani’s somewhat coldly indifferent boyfriend, Christian, assures Dani that her sister has said similar things before and it’s an attention-getting ploy, we learn a few minutes later that Dani’s sister has killed herself and the girls’ parents by running a hose from the toxic gas emission of a car through various parts of the home that Dani’s parents and sister share. And, if I recall the film correctly, Dani’s the one who finds them all dead. Though there’s not much in the way of typical horror movie gore, the scene is both chilling and gruesome through its terse, simple camera shots, and the whole ordeal invokes that macabre sense of morbidity that is, in my opinion, becoming such a hallmark of Aster films as he continues to add to his repertoire.

Losing your entire immediate family to a murder-suicide, finding the bodies, and being in a situation where you can (wrongly) justify your responsibility for the travesty’s occurrence is a catastrophic trio of trauma. Indeed, this sequence of events seems noteworthy and calamitous enough to comprise a cinematic climax, and yet, all these events do is lay the foundation for a plot that’s enigmatic and emotionally grueling – for at least some of the main characters in the diegetic narrative, and for the viewers, who are likely astounded to contemplate what direction a film that starts such a way will go, based on its sinister and disturbing beginning.

Dani Midsommar 7
Pelle comforting Dani, something Christian has trouble doing

One element of the film that interests me, of course, is Dani’s reaction to the trauma she faces, and how her reaction drives the narrative. I’m also tempted to make the case, as I analyze Dani a little bit closer, that while I do like her character, her “fearlessness” in this film might be – depending on how you read the film – her shortcoming, her Achilles heel, her downfall, even if it’s a laudable characteristic. Fear, after all, though sometimes needlessly hyperbolic and speculative, and though pretty much always unpleasant, has served its purpose for centuries when it creeps through our psyche and settles in the deepest recesses of our mind. And it is also, in some sense, a leveler – an irrevocable marker of the human condition. The word “fearless,” to that end, is always used with a certain implicit qualifier: the reality that everyone is afraid at some point, even if they appear confident, even if they walk through their terror with grace and seem to surmount it. At the same time, when we rally against fear, from a religious or socio-cultural standpoint, what we seem to be rallying against the most is an excessive amount of fear that traps us and mutates our daily life into a chaotic labyrinth of “what ifs” and “I hope nots.” In fact, it seems especially appropriate in these times to admit both that fear is indelible (and indispensable) while warning ourselves that too much fear will consume us. Fear itself, in reasonable doses, keeps us from touching hot flames and fighting bears. In the abstract, it’s not such a deplorable emotion.

And in Midsommar’s narrative, it could have been an emotion that saved Dani from a lot more trauma – trauma compounded upon the initial trauma of losing her family in a horrible way. It is obvious to the viewer that Dani’s boyfriend, Christian, is not “good boyfriend” material. Though he’s not malicious, his friends are a pack of immature douchebags who happen to be anthropology PhD students, and Christian is much more of a follower than a leader. This is a group of guys who puts Dani down, keeps trying to persuade Christian to break up with her, and objectifies women constantly and consistently when they’re together. So when, in a gesture of fearlessness, Dani talks Christian into taking her with him and his group of friends to experience a Midsommar festival in Sweden, her fearlessness is a bit distressing. We’ve already seen her constantly try to appease Christian and to make him think and feel that he’s right about every one of their disagreements by this point in the film – and we don’t criticize her for it, because it’s understandable given her situation, and anyway she’s still remarkably level-headed for a young 20-something year-old woman who’s lost her entire family in the blink of an eye. But it would be reasonable, based on her desire to go to Sweden with Christian, to infer that she really does think he’s right about all their disagreements, that she deems herself wrong for wanting the amount of support and affection she secretly desires (and certainly deserves) from her boyfriend. The film keeps Dani in her place just enough for us to assume we know better than her, and it thus tempts us all to say that if we were in Dani’s situation, we’d never go on a trip with a bunch of immature assholes to watch an unusual, possibly religious ceremony in another country, especially if the option followed shortly after the deaths of our entire family. But, what we fail to realize when making that self-assessment is that most of us have never been and will never be in Dani’s position. Whether she is afraid of Christian’s month-long absence or desperate to escape the sadness of her post-traumatic daily life (or some combination thereof), we are likely to sympathize with her desire to go to Sweden with Christian and his friends, even as we cringe at the precariousness of the situation.

Dani’s perhaps harmful and hyperbolic fearlessness is evident almost immediately when the trip begins. Pelle, one of Christian’s anthropology friends, the one who’s from Sweden and invited the rest of the guys to the festival, offers the group some ceremonial fungus to celebrate the oncoming tradition. While popping hallucinogens might not seem like the most enticing undertaking for a person who’s witnessed a major trauma and is in an unfamiliar place with a “boyfriend” who only half-likes her, Dani’s fearlessness (of the consequences) and/or her fear (of not fitting in with the guys) drives her to take the mushrooms anyway. Of course, when she does, it’s not a pleasant experience for her – a reality that shouldn’t surprise anyone who’s read or heard the least amount of information about hallucinogens. Such drugs tend to morph with your mood, to emphasize, exaggerate, and re-create your most salient or your most subdued, secret insecurities, fears, and impulses, so the fact that Dani takes the mushrooms is a decision that could underscore the degree of naivete embedded in her fearlessness; it does not seem inaccurate to argue that, perhaps, she believes she can handle more discomfort (more additional trauma, even) than she actually can.

Dani Midsommar 4
Dani mid-ceremony as May Queen

While I could dissect this film scene by scene, doing so might actually require that I re-watch it (and, as you probably know, life in an apocalyptic plague is surprisingly busy), and I think such an article might get tedious. After having done some of my own research on the film, there are two slightly overlapping but dichotomous reads of the events that ensue once the group reaches Sweden. For a little background, the rest of the plot takes us through the often gruesome, always unpredictable, generally strange Midsommar festival, with its sacrifices (homicides), dining rituals, and bizarre sex scenes, and we’re likely to learn that after a certain point, rather early in the film, Dani couldn’t escape the festival if she wanted to. Indeed, the visitors who do try to escape after witnessing the first “sacrifice” (the ostensible suicide of two village elders) only show up later as semi-mutilated corpses that the cult caught and killed. So the question of Dani’s decision making, to the extent that it was ever relevant, becomes eclipsed by the question of her agency: Dani, we come to see, fairly early in the film, loses the ability to choose. Indeed, the cult and its Midsommar ritual seem so careful, so calculating, and so manipulative, that Dani becomes more or less an object tossed about amid more knowing subjects, a person following the mandates of greater forces – with trepidation, but without much option to do otherwise.

Until, that is, we reach the concluding scene of the film – and here’s where our different readings of the film might impact how we assess Dani’s fearlessness. The last scene of the film foregrounds a tent full of corpses – corpses of other visitors that have been killed, stuffed with straw like scarecrows, and positioned upright in the tent like deranged dolls. The corpses await their final burning – the ultimate sacrificial gesture committed by the cult, after a variety of dining scenes, games, and unusual rituals – but they require one more body to sacrifice. So they present Dani with an option: she can sacrifice Christian (who has not only mistreated her, but cheated on her when coerced into a sex ritual at one point in the film), or a presumably innocent man that she doesn’t know. They’ve given Christian a drug that paralyzes him so he can’t try to escape, and they sit him next to an innocent stranger. Presumably because of the coldness, even the cruelty, that Dani has experienced from Christian, Dani chooses to sacrifice him, and one of the final scenes of the film focuses on Christian being burned wearing a giant bear suit in the tent that he shares with the other corpses, while the rest of the members of the cult dance in celebratory unison outside the tent.

Some viewers consider this conclusion a happy ending, and if we take that route, it’s easy to position Dani as the fearless victor, despite the fact that joining a murderous cult and becoming their revered “May Queen” during a strange ceremony are both rather fortuitous occurrences. It’s obvious throughout the film that Pelle, who invited most of the group to Sweden knowing full-well they’d be sacrificed, has always liked Dani. Indeed, throughout the film, he treats her more kindly than Christian does. So Dani exercises the power given to her by the cult, mandates Christian’s sacrificial execution, and will live in Sweden with her new family, the cult – a family that includes Pelle, who we might presume was hoping for this ending the entire time. I’ve even read speculation that the death of Dani’s parents and sister were a set up by Pelle, a way to dictate her circumstances so that she’d chose to accompany Christian to Sweden. I don’t know if I completely accept this reading of the film, but it does position Dani as both intrepid explorer and ultimate victor against her creep of a boyfriend.

Dani Midsommar 9
Danny and Christian watch a sacrificial cliff jump.

My read of the film tends to be, I suppose, more traditional. I don’t doubt that the read I just provided is more original, that it “reads between the lines” in an interesting way. Indeed, those who adhere to the aforementioned reading tend to see Hereditary and Midsommar as Aster’s cinematic couple – one depressing and dismal (Hereditary), and the other airy and light (Midsommar). Such a read supposes that death and terror are always going to be imbricated in the narrative of a horror film, but that even horror films, with all their concomitant hideousness, can produce hopeful messages. I, on the other hand, don’t view Midsommar as particularly hopeful. Like all the visitors who visit the cult, Dani tends to be tossed around by their traditions; she fills the role they tell her to fill during the ceremony, even though she gets to wear a crown of pretty flowers and becomes the May queen. We have no reason to infer that her queenly status will last past the Midsommar festival, and after that, who knows what strange events she’ll have to undergo at the behest of her new cult-family. Even her position of “power” at the end of the film puts her in a tenuous space: she must select a person to die. Though she can use her temporary power as a means to get back at her asshole of a boyfriend (an option she chooses, in the end), she doesn’t have the power to reject sacrificial killing completely, and the elaborate drawings that adorn the walls of one of the buildings owned by the cult – drawings that rightly predict the end of the Midsommar ceremony – lead us to believe that more uncomfortable, even horrific traditions await Dani. What’s more – she’s stuck. This isn’t a chosen family; it’s a family she accidentally stumbled into and one – if those who tried to escape previously are any indication – one that she can’t leave.

In light of Dani’s situation, we might suggest that she’ll have to maintain a certain level of her already evident fearlessness to adapt to the new life that sits in front of her. It’s tempting to see the floral head-wear and the kindness of Pelle as inviting signals that Dani’s found a better place, a better group of people, but I doubt that. Dani, who certainly exhibits a type of fearlessness that we can all applaud when she moves on with her life after her family’s death, when she asserts herself and emphasizes that she wants to go to Sweden with Christian, is ultimately – or may ultimately – be a victim of her own courage. One reading of Midsommar definitely does not reward female fearlessness, to be sure. But perhaps what my dear mother says about life is true: The truth lies somewhere in the middle. Maybe Dani’s situation isn’t ideal now that she’s a member of a hidden Swedish cult, but is the situation really much better than living in a city and country where your parents have been killed and your sister killed herself, sharing a house with a cold, distant boyfriend who stays with you because he’s afraid to break up? Quite truthfully, I’m tempted to invoke the cliché, “six to one, half-dozen to another” to answer this question. After the death of her parents and sister, Dani’s position in the world is cruel and traumatic no matter what line of plot twists we choose. And she does buckle under this cruelty, but she never breaks. For maintaining her sanity in the face of chaos, for maintaining her sense of self in the face of a boyfriend who constantly ignores or disparages her, Dani is, truly, a fearless fictional female.

Just Dread-full’s note: The “Fiction’s Fearless Females” series is a tradition that was started last year between multiple blog. This year, participating blogs include Graphic Novelty2 (Nancy and Kathleen), My Side of the Laundry Room (Rob), The Imperial Talker (Jeff), My Comic Relief (Michael) and me! Because life has been busy, I haven’t posted any other installments of this series, but I likely will in the days to come. In doing so, I plan to broaden my generally genre-specific blog to allow space for some new voices and perspectives. As such, stay tuned! (P.S.: Pardon the inconsistent italics; WordPress is being counter-intuitive).

Fiction’s Fearless Females: Doctor Who

Today is International Women’s Day, and both of us here at Graphic Novelty² have joined forces for the second year with some other amazing bloggers to celebrate women under the auspicious blogging series title of:  Fiction’s Fearless Females! For the next few weeks, we will have six bloggers sharing who they believe is a fictional woman to be admired, and we will share each entry of the series on our blog. First up is Michael from My Comic Relief– whose blog is must reading for his brilliant views on comics, Star Wars, social justice, and of course Doctor Who! 

By Michael Miller of My Comic Relief

In celebration of International Women’s Day today and Women’s History Month to follow, I’ve teamed up with a group of other bloggers to write a series saluting some of our favorite female characters. Going first was a bit intimidating. Who could I write about? Who has the gravitas worthy of beginning our month-long celebration of these incredible characters? Then it hit me – it’s the Doctor! It seemed so obvious once I thought of her. So, in honor of International Women’s Day, Women’s History Month, and to kick-off our month-long series I’m exploring the Doctor, as portrayed by Jodie Whittaker in Series Eleven and Twelve (with more to come!) of Doctor Who. Continue reading “Fiction’s Fearless Females: Doctor Who”

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