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.
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”→
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!
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.
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.
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 whyshe 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.
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 ofJust Dread-full, Rob ofMy Side of the Laundry Room, and Mike ofMy 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.
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!
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).
So 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.
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.
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.
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).
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 Dr. Who!
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: Dr. Who”→
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, and this is my fourth year participating by writing reviews for their blog So like YA know…
This year I was assigned graphic novels Bloom by Kevin Panetta and Savanna Ganucheau and Laura Dean KeepsBreaking Up WIth Me by Mariko Tamaki and Rosemary Valero-O’Connell. Both books have gained impressive followings, rave reviews, and book awards due to their positive and true-to-life representation of LGBTQ+ life. You can see in the graphic what book I choose to move on in the tournament, but click here and find out WHY!
In celebration of Women’s History Month and beyond, both of us here at Graphic Novelty² have joined forces with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! This is the seventh of our planned eight piece series, and Kiri of Star Wars Anonymous features Rey of Star Wars! In Kiri’s Star Wars blog she shares heartfelt reasons why Rey is fearless and connects the theme to love and her own life. Make sure you check out out her site and her thoughts on a galaxy far, far away…
I have heard that the opposite of love is fear, not hate, which may be first emotion that comes to mind due to the love/hate analogies we often make. If we go by that assumption, then someone who is fearless, or without fear, is someone who loves immensely.
When asked by My Comic Relief to join in on the #FictionsFearlessFemales and write about a character from Star Wars, I immediately thought of Rey. Not Leia, like so many people often think of when they think about a fearless woman from Star Wars. Not Leia, but Rey.
Why is that?
As I dove deeper into my own exploration of Rey versus Leia and why I think Rey epitomizes a fearless woman more, I realized that much of why I like Rey is due to her relatability. Leia is stone, Rey is warmth. It’s not to say that Leia is not fearless, but more that I believe Rey is easier for me to relate to in her fearlessness.
When going by the theory that the opposite of fear is love, Rey demonstrates that in full capacity. When loving to your fullest extent, you:
That is how you are fearless.
My past 6 months have been a whirlwind of horrible fear. In a nutshell, I have been bombarded with heavy subjects like drugs, addiction, overdose, death, and loss of money. I was not fearless. Even just writing this makes my heart rate rise and I get clammy hands. It was like an earthquake happened in my life. I am still dealing with aftershocks of this earthquake which namely include my lack of sleep due to hypnic jerks which leave me awake until 2 or 3am that happen night after night, physical symptoms that have been knots in my stomach for months so much so that I can’t distinguish happy or tense emotions from general anxiety, and pins and needles in my chest from sleeping in the fetal position every night.
I am not fearless. I am fear-filled.
To break away from fear, you need to love. You need to accept your limitations and others and love the life you have.
Rey loves herself. I think she had to learn to love herself and be okay with waiting days on end for parents to return to her. This was part of her core and it gave her hope on Jakku. Even after the horrible realization that her parents were nobodies in The Last Jedi, she did not give into fear. Giving into fear would have been joining Kylo Ren because he would then represent the safety that she had been looking for in her parents. But Rey realized, or had possibly been beginning to realize through her training and with the mirror, that the safety and home she was looking for could only be found in herself.
Loving yourself means having a strong conviction and not deterring from it. Rey shows that stronger than any other Star Wars character, except possibly Luke in the Original Trilogy. In The Last Jedi, we are bombarded with the message of the movie: hope. But I think the message of the movie is always doing what you think is right, no matter what others think. Rey exemplifies this throughout both The Force Awakens and The Last Jedi, but especially in The Last Jedi. I would not be able to continue to do what was right after
being turned away by Luke. She followed her feelings and went to save Kylo, even if it didn’t work out. She went back to the Resistance, instead of going back to Luke at the end of the movie even though it may have made more sense to continue her training. She knew she was needed with the Resistance, to bring them hope again. Rey’s sense of self makes her more fearless than many people I know in my everyday life.
Rey shows her love for others unabashedly. It’s one of the character traits that I aspire to – the fact that she can show her emotions and not fear her emotions.
So often our society tells us to hide our emotions and Hollywood perpetuates this with their definition of “strong”. I think it is the main reason that I could not relate to Leia when I grew up but related more to Luke. The one scene that I would act out over and over again when I was younger was when Luke tells Leia about Vader being her father. It’s the one scene where she lets her guard down, where her emotions overtake her and she needs to be held by Han at the end. It’s a glimmer of emotion.
I immediately connected to Rey after the first viewing of The Force Awakens. She laughs with such joy over simple fixes in the Millennium Falcon, her excitement over meeting Han Solo is so real, and her devastation over Finn’s possible death and serious wounds tugged my heart strings. Rey wears her heart on her sleeve and I love her for that.
She continues this in The Last Jedi. Her anger at Kylo erupts from her when she yells at him for not appreciating his father, her frustration with Luke at his unwillingness to help culminates in physical fight, and her delight in seeing Finn at the end of the movie reminds us of her loyalty to her friends and the Resistance.
I hope that we see more women like this in movies as Hollywood continues to evolve. Not only for women, but also for men. It’s okay to cry and it’s okay to be unrestrained in your joy. We don’t need to act like toddlers with no control whatsoever, but we need to get over our fear of showing our emotions. We need to become fearless, like Rey.
We love life by walking through it without fear holding us back. We take leaps of chance, hoping it turns out okay, and if it doesn’t, knowing that we will be okay in the end. When you’re filled with fear, you don’t follow your passions, it’s hard to make attachments and your focus is keeping yourself safe.
While safety is important, if we are always full of fear about something happening, we miss out on the beauty life offers us.
Rey waited around on Jakku for her parents to return for a long time and with a lot of patience. But when Finn and BB-8 were thrown into her life, she accepted the change and went along with what life threw at her. She had an adventure of a lifetime.
Rey loved herself enough to know that she would harness life and try new things without fear. She felt the Force, and used it to get out of her jail cell. She went off in search of Luke Skywalker and stayed there until she knew life was pushing her in a different direction. Rey could have stayed on Ahch-To long past when she left, insisting on doing things the “right” way and getting a complete training. But instead, she followed a different path and believed that life and the Force would take her where she needed to be.
We may not have the Force, but we do have gut feelings. We are only given one life, as far as we know. Don’t give into the fear of feeling like nothing will work out and that you need to remain safe. That is a fear trap.
If you made it to the end of the post, I hope you are swayed on how Rey is fearless, and perhaps more fearless than Leia. Today is my birthday and while I was writing this, I knew that this next year had to be one of less fear and more love. To stop worrying because what will be, will be. I no longer want to feel the chains of fear, but instead to have more conviction in my beliefs, show more emotion, and take chances that throw me into an adventure.
In short, I hope to be more like Rey and be FEARLESS.
I’ve joined forces with some other exciting bloggers and YouTubers – Nancy and Kathleen of Graphic Novelty2, Rob of My Side of the Laundry Room, Jeff of The Imperial Talker, Kalie of Just Dread-full, Mike of My Comic Relief and Green Onion of The Green Onion Blog – for a little salute to “Fiction’s Fearless Females.” Starting on International Women’s Day and going forward over the next couple months, a different contributor will offer their take on a favorite female who harbors a fearless spirit. Click on the links below to read about the other women being profiled.
In celebration of Women’s History Month, both of us here at Graphic Novelty² have joined forces with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! This is the sixth of our planned eight piece series, and Jeff of The Imperial Talker features Princess Leia of Star Wars! I do not think it was a coincidence he posted the feature on his site the day before the first trailer dropped for Episode IX: The Rise of Skywalker (OMG, the movie looks fantastic!). Read on to find out what this Star Wars expert has to say about the indomitable Leia Organa!
There is a line in Star Wars: A New Hope which often gets lost in the greater scope of the film, a quote which points to the toughness of the movie’s lone female protagonist, Princess Leia. It comes when Darth Vader, the movie’s villain, speaks to Grand Moff Tarkin, the secondary villain in the film. Pacing back and forth as if annoyed, Vader admits that, “Her [Leia’s] resistance to the mind probe is considerable. It will be some time before we can extract any information from her.” Prior to this admission, we saw Vader enter Princess Leia’s prison cell with an interrogation droid floating behind him, a needle protruding from the droid and Leia’s face giving off subtle apprehension. Now, Vader states that it was for not, that the Princess has resisted this “mind probe” and that breaking her will take more time.
I have always loved this line; it has always resonated with me because it points directly to the fearless resolve which resides in the heart of Princess Leia. Even before Vader utters these words, we know that Leia is a force to be reckoned with, a whirlwind of confidence capable of holding her own. After all, it is Leia who was leading the mission to Tatooine to find Jedi General Obi-Wan Kenobi at the film’s outset. When the ship fell under attack, Leia created a new plan to secure Kenobi’s help EVEN AS IMPERIAL SOLDIERS STORMED THE VESSEL! Dispatching the droid R2-D2 to Tatooine’s surface, Leia awaited her inevitable capture, and even shoots/kills an Imperial stormtrooper before she is apprehended.
Captured by the Empire’s white-armored soldiers, Princess Leia is escorted before Darth Vader, the nefarious and imposing villain we were JUST formally introduced to as he lifted a man by the neck and crushed his windpipe. The black-clad Vader towers above the petite, white dressed Princess, an obvious visual meant to represent the power of the evil Empire towering over the small, fledgling Rebellion. But Leia is far from intimidated. Oh no, not only does she stand tall next to this masked monster, she speaks first AND is the one who chastises him with palpable disdain!!!
In just a few frames, Leia presents herself as competent and fearless, especially under pressure. Rather than quivering and backing down, she boldly stands her ground against imposing odds. It is no wonder then that later, when Darth Vader assaults Leia, probing her mind for the “location of the Rebel base”, her resistance is “considerable.” Princess Leia is the embodiment of fearless resolve, the very heart and soul of the small Rebellion against an Empire which spans a galaxy. There was never a chance the mind probe would work, it was always going to be an act of futility on the part of Vader.
An Alternative Form of Persuasion
It is Grand Moff Tarkin who chooses a new tactic to extract the information they seek following the failure of the mind-probe. Rather than probing her mind, Tarkin gives Leia a choice: give up the location of the Rebel base OR watch as her home planet of Alderaan is destroyed by the Death Star superweapon. It is a brilliant move on Tarkin’s part, one that catches Leia off-guard. Pleading with him, the Princess turns into a supplicant as she tells the Grand Moff her planet is “peaceful” and has “no weapons.” Tarkin, of course, does not care and, presenting the question again, demands to know where the Rebel base is located. It is now that Leia gives in: “Dantooine. They’re on Dantooine.”
That Leia gives in to Tarkin is shocking, but all the more painful as Leia must continue to stand and watch as Alderaan is destroyed. This is an unsurprising move on Tarkin’s part, an obvious example being made to the whole galaxy (and the Princess) that no one, not even “peaceful” worlds, are safe from Imperial military might. Now, the fearless young woman who stood her ground at the film’s opening, who chastised Vader and resisted his mind probe must steel herself as she watches her home world and her family perish in a ball of fire.
And yet, what we do not realize in this moment is that Leia has tricked Tarkin. Presented with the choice of Alderaan being destroyed OR the Rebellion being destroyed, the quick-thinking Princess chose a different route: an open-ended lie. We do not discover this right away, not until an Imperial officer informs Tarkin that scout ships discovered a deserted Rebel base on Dantooine. Furious, but more importantly humiliated, the Grand Moff orders the immediate execution of the Princess.
That Leia lies about the location of the Rebel base is brilliant, a narrative misdirect that leads Tarkin and the audience alike to THINK this strong-willed woman has caved under pressure. It is easy to forget this, as later we DO discover the real location of the Rebel base. But in this instance, we are led to believe Leia has given it up, that Dantooine is, in fact, the location. Instead, what we discover a few scenes later is that Princess Leia was in control the entire time, and while her plea to the Grand Moff that “Alderaan is peaceful” is certainly genuine, it, too, was also part of her quick thinking plan to save both Alderaan AND the Rebellion.
Awaiting Tarkin’s Fury
Knowing she has lied to Grand Moff, we can surmise that after being returned to her cell that the Princess sat and waited for Tarkin’s fury. Surely, too, she sat there in mourning, the loss of her world and family weighing heavily on her heart. One could hardly criticize the fearless female if she did break down and cry, although it is hardly necessary to know whether she did. The imagination is enough in this case.
Regardless, when we next see Leia she is reclining on the hard bench in her detention cell. Luke Skywalker, wearing stormtrooper armor, barges in to the rescue and, without missing a beat, the reclined Princess – certainly suspecting Tarkin’s fury has arrived – directs a shot of insulting sarcasm at the soldier: “Aren’t you a little short for a stormtrooper?” While Vader’s comment about her resistance to the mind-probe directly points to Leia’s strong-willed personality, this shot of sarcasm – coupled with the sarcasm she throws at Tarkin earlier (see video clip) – highlights her constant disposition towards her Imperial foes. Basically, Leia is always ready to level an attack against the Empire, even if that attack is in the form of words alone.
But she is also more than happy to criticize her own allies, in this case her rescuers: Luke Skywalker, Han Solo, and Chewbacca. Cornered by Imperial soldiers in the detention center, the Princess chastises the films heroic men, noting that it “Looks like you managed to cut off our only escape route.” What makes this all the better is that the quick-thinking Princess – who, we should remember, was not anticipating a rescue – immediately comes up with a plan and puts it into action. Taking the blaster from Skywalker, Leia blasts open the wall across from her and demands that everyone jump into the garbage chute. Before objections can be raised, Leia is already on her way into the depths of a Death Star trash compactor.
To be perfectly honest, this has always been my favorite “Leia Moment” in A New Hope. On one hand, her action makes the film’s heroes – Luke and Han – look incredibly foolish for not actually thinking about HOW they should go about completing their rescue mission. On the other hand, and more importantly, this moment demonstrates a clear reversal in fortune for the Princess. When the film begins, and her ship falls under attack, the protocol droid C-3PO tells R2-D2, “There will be no escape for the Princess this time.” True in that moment, C-3PO is ultimately proven wrong as Leia not only escapes, but does so by taking control of her own rescue when she and her allies are quite literally backed into a corner.
But there is an additional element of control which Leia brings to her escape: her decision to travel directly to the Rebel Base on Yavin 4. Why, if Leia knew the Millennium Falcon was being tracked, would she willingly lead the Empire to the Rebel Base, the location she resisted sharing with Vader and Tarkin? For some time, I felt this was a curious move on her part, a clear flaw in her thinking. Yet, the deeper I have considered it, the more I have realized that it is the safest choice given the stakes. With Alderaan destroyed and Obi-Wan Kenobi dead, Princess Leia is left with the only choice that makes any sense: getting the Death Star schematics stored in R2-D2 to the Rebel High Command as quickly as possible. A detour to another world, or a stop to acquire a new ship, runs the risk of Imperial capture, while traveling directly to the Rebellion ensures that the Death Star information (not to mention her own life) is protected. Besides, the sooner the schematics are delivered, the sooner the Rebellion can craft a plan of attack to destroy the planet-killing superweapon.
A Beacon of Hope
Once Leia and company arrive at the Rebel Base on Yavin 4 her role in the film becomes primarily observational. While Luke Skywalker will jump into an X-Wing to participate in the impending engagement, and Han Solo will get a reward and leave before the fight begins, Leia will stand in the Rebel Command Center watching the battle unfold on display screens. Admittedly, it is a bit odd that with the Death Star approaching and preparing to destroy the Rebel Base, Leia (along with others) choose to stand-around watching rather than evacuating. On some level, this sorta gives away what we know the inevitable outcome of the battle will be: the Rebels will win and the Death Star will be destroyed.
On another level, though, that Leia remains in the Command Center puts the final stamp of bravery on her fearless nature. With the Death Star approaching and preparing to destroy Yavin 4, it is conceivable that the Princess was asked (perhaps even ordered!) to evacuate before the battle begins, her safety and importance to the Rebellion being tantamount. Instead, by remaining, Princess Leia reveals once more that she is the very heart of the Rebel cause, a beacon of hope for the Rebel soldiers fighting the Imperial war machine. She may not be in an X-Wing or Y-Wing fighting the battle, nor giving orders as a General, but Leia’s stoic presence in the face of imminent death testifies not only to her personal resolve, but also the resolve of the Rebel Alliance.
Given her status and importance to the Rebellion, it is unsurprising that Princess Leia is the one to bestow medallions upon Luke Skywalker and Han Solo following the Battle of Yavin. With the Death Star destroyed, the two men (accompanied by Chewbacca) will march down the center of a great hall, flanked on both sides by the entire assembly of Rebels on Yavin 4. Arriving at the bottom of a staircase, the trio ascend the steps until they are standing before, albeit slightly below, the magnificently dressed Leia. This is the only point in the film in which Leia has changed clothing, and she is now without the iconic hair “buns.” Wearing a gown, with her hair in a braided updo and jewlery draping her neck, Leia now, officially and formally, looks like a Princess. Never-the-less, while she is resplendent in her royal attire, we also know that there is far more to her than meets the eye, and that what makes Princess Leia truly regal is her considerable fearlessness and capacity for hope in the face of overwhelming odds.
I’ve joined forces with some other exciting bloggers and YouTubers – Nancy and Kathleen of Graphic Novelty2, Rob of My Side of the Laundry Room, Kiri of Star Wars Anonymous, Kalie of Just Dread-full, Mike of My Comic Relief and Green Onion of The Green Onion Blog – for a little salute to “Fiction’s Fearless Females.” Starting on International Women’s Day and going forward over the next couple months, a different contributor will offer their take on a favorite female who harbors a fearless spirit. Click on the links below to read about the other women being profiled.
In celebration of Women’s History Month, both of us here at Graphic Novelty² have joined forces with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! This is the fifth of our planned eight piece series, and Rob of My Side of the Laundry Room features Scarlett of the GI Joe franchise who was one of his first introductions as a child to a fearless female. Rob’s blog about 80’s nostalgia (and much more) has now evolved into an incredible YouTube channel, and also often features his good friend Chris. So make sure you check out his videos and subscribe!
When the subject of fearless women in fiction ever comes up, my thoughts instantly go to the first woman I ever idolized. Her name was Scarlett and she was a member of G.I. Joe. When I was a kid growing up in the 80s, G.I. Joe had three separate “universes”. There was the toyline, the cartoon, and the comic book. These three things weaved together from time to time but usually they distanced themselves from each other, only coming together with one goal in mind…making Hasbro Toys money.
One of the things that remained a constant between these three “universes” was the strength and awesomeness of the character of Scarlett. In this weeks video I take a look at some of these moments of strength and awesomeness from my childhood.
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.
In celebration of Women’s History Month, both of us here at Graphic Novelty² have joined forces with some other amazing bloggers to celebrate women under the auspicious blogging series title of: Fiction’s Fearless Females! This is the third of our planned eight piece series, and Michael of My Comic Relief brilliantly shows how a companion of Doctor Who becomes as integral to the show as the Doctor himself.
There was an idea. Jeff knows this. The idea was to bring together a group of remarkable bloggers to see if they could become something more. To see if they could work together when we needed them to, to celebrate a collection of incredible female characters we never could on our own. This week it’s my turn and I’m shining my spotlight on the incomparable Amy Pond, my all-time favorite companion to ever set foot inside the TARDIS in the world of Doctor Who.
Played by Karen Gillan over three series, Amelia Pond entered the Doctor’s world in “The Eleventh Hour,” the first episode of the fifth series of Doctor Who (as the show is English, I’m using “series” over the more American “season”). She joined the show along with Matt Smith who had taken over from David Tennant, when the Doctor entered his eleventh regeneration. As the Doctor once so beautifully told Amy, “You were the first. The first face this face saw, and you’re seared onto my hearts, Amelia Pond. You always will be.” She’s one of my favorite characters on the show – she’s one of my favorite characters ever – and she’s easily my favorite of all the Doctor’s companions.
The relationship the Doctor has with his companions is important. (Note, while the Doctor’s current regeneration is female, as the Doctor was male when Amy travelled with him – and because English awkwardly lacks a universally-accepted gender-neutral third person singular pronoun – I’ll be using masculine pronouns in this piece when referring to the Doctor.) Behind all the adventures, all the smiles, all the exuberant joy in creation, the Doctor is a very lonely character. The modern incarnation of Doctor Who begins after the Great Time War, fought between the Time Lords (the alien race the Doctor belongs to) and the Daleks (his greatest enemy). To end the war and protect all of space and time, the Doctor made the choice to destroy both races. This condemned him to a lifetime as the last of his kind, a particularly lengthy punishment given how Time Lords age. Essentially without any surprises, mistakes, or accidents a Time Lord can live forever. When a Time Lord hits old age or an illness or mortal injury strikes, they will regenerate – a process of rebirth causing complete physical and psychological change. Unless they are killed too quickly/violently to allow for regeneration, killed in the process of regeneration, or willfully decide to not regenerate from a fatal wound, a Time Lord will live forever.
Eternity is a long and lonely road to walk alone, even when you can go anywhere in time and space. To be alone forever breeds an unimaginable darkness and an unbearable pain. As such, it’s the Doctor’s companions who keep him company; keep him grounded; and keep the all-important lights of life, love, and compassion burning within him. Yet they always bring a special sort of sadness too. While the Doctor can live forever, his human companions can’t. In the Doctor’s words, “Some left me. Some got left behind. And some, not many but some, died.” No matter what happens, he will ultimately lose them all.
Over the years (and regenerations) the Doctor has had many great friends and a few important loves travel with him in the TARDIS but there’s only ever been one Amelia Pond – “Oh, that’s a brilliant name! Amelia Pond, it’s like a name in a fairy tale.” She’s always been my favorite of the Doctor’s companions, even though Eleven isn’t my favorite Doctor (if you’re curious, Ten is with Thirteen being a close second (and if Jodie Whittaker’s run continues as brilliantly as it began, she may take the title)). It’s not just the way Amy balances the Doctor nor what she adds to his adventures that makes her so remarkable in my eyes. It’s how Amy Pond – “the mad, impossible Amy Pond” – refuses to accept anything less than the life she wants, no matter how complicated or unattainable it may seem.
As we grow up, we tend to accept more and more limitations, things we never would have seen or yielded to in our youth. Our dreams become just that – dreams. In The Alchemist Paulo Coelho, speaking as our hearts, writes, “Everyone on earth has a treasure that awaits them…[but] people no longer want to go in search of them…Most people see the world as a threatening place, and because they do, the world turns out, indeed, to be a threatening place…We never stop speaking out, but we begin to hope that our words won’t be heard: we don’t want people to suffer because they don’t follow their hearts” (131). Not Amy Pond. And what can be more fearless than having the courage to never deny the desires of your heart, no matter how complex or contradictory they may seem?
The Doctor first meets Amelia Pond when she’s only seven-years-old, crashing the TARDIS into her garden after having just regenerated. As she ventures outside alone to see what’s landed in her yard, it’s clear she’s already a bold, curious, inquisitive, and brave young girl. Talking with the Doctor over fish sticks and custard (the only meal to appeal in the moment to his freshly regenerated taste buds) she tells him, “I’m not afraid.” The Doctor replies, “Of course you’re not! You’re not scared of anything! A box falls out of the sky, a man pops out of the box, man eats fish and custard…and look at you. Just sittin’ there.”
Needing to quickly run the engines so the damaged TARDIS doesn’t explode, the Doctor leaves Amelia promising to be back in five minutes to take her on a trip and help her deal with the mysterious crack in space and time on her bedroom wall. The Doctor returns, slightly missing the mark…twelve years later. Amy has grown up but, despite more than a decade passing and four therapists who insisted her childhood friend was imaginary, she’s never fully abandoned belief that her “raggedy doctor” is real. Along with her “kind of boyfriend” Rory (Arthur Darvill), Amy helps the Doctor save the Earth from an intergalactic police force bent on planetwide incineration. The Doctor takes his newly restored TARDIS on a quick spin, returning to take Amy on a proper trip…two years later, missing his mark once again. So, fourteen years after first landing in her garden, “the girl who waited” goes in search of adventures through space and time with her “madman in a box.”
As the closing shot of that first episode shows, Amy has run off with the Doctor on the night before her wedding. One of the subplots in those early episodes was whether Amy wanted to be with Rory, the man she was about to marry, or the Doctor, the spaceman who’s captivated her imagination since childhood. In the poignant episode “Amy’s Choice” (S5E7), the mysterious Dream Lord forces Amy to choose between Rory and the Doctor. While she ultimately realizes Rory is the man she loves, she doesn’t chose between Rory and the Doctor. She chooses both. The Doctor is her best friend, Rory her lover and eventually her husband. She never sacrifices one for the other. She manages a life of time travel and planet hopping adventure alongside getting married and living a “normal” life. Rory quickly becomes part of their adventures too! Amy makes her worlds fit together. She wants it all. It’s all the life she’s chosen and because she won’t abandon her heart’s desires, it all fits.
Amy – “Hey, look at this. Got my spaceship. Got my boys. My work here is done.”
Rory – “Uh, we are not her boys.”
The Doctor – “Yeah we are.”
Rory – “Yeah we are.”
Despite narrative clichés and our cultural default presumption of Twilight-inspired love triangles, women and men can naturally have incredibly strong, life-affirming friendships without ulterior romantic motives. And after the first flush of a crush on her space-faring adventurer fades, that’s exactly what Amy finds with the Doctor. With Rory, we see a strong marriage. With the Doctor, an important friendship. Both those relationships exist harmoniously in her life, each enriching the other. (Bringing Rory into the TARDIS and the Doctor’s adventures is another reason Amy Pond is my favorite companion! I love Rory so much too!) In addition to presenting a healthy depiction of female-and-male friendships, this also opens up more interesting narrative possibilities as well, freeing the stories from the sort of narrative loop that can come with yet another companion pining – unrequited or not – over the Doctor.
Through their adventures, Amy’s wit, compassion, and resolve always impressed me. Her will always felt as strong as the Doctor’s too and she was every bit as courageous as he was. Of all the Doctor’s companions, she’s the only one I always felt could handle everything on her own as capably and competently as the Doctor. From the far-flung past to the distant future to all manner of alien races, worlds, and wars, she shares the Doctor’s life but she refuses to give up a “normal” life either. She and Rory still hold regular jobs on Earth which they go to in between their travels with the Doctor. They have “regular” friends. They have a “normal” routine. Amy even eventually has a child. This, as with everything else in her journey, only serves to expand her world in powerful ways. As the outlaw Dr. Kahler Jex observes in “A Town Called Mercy” (S7E3):
Jex – “You’re a mother, aren’t you?”
Amy – “How did you know?”
Jex – “There’s kindness in your eyes. And sadness. And a ferocity too.”
Kindness. Sadness. Ferocity. Wit. Compassion. Enthusiasm. Trust. Faith. Love, in all its forms. Amy Pond shows us the magic our lives will hold when we have the courage to always follow our hearts and refuse to accept anything less than their greatest desires.
As you may’ve gathered, I’ve joined forces with some other charismatic and exciting bloggers and YouTubers (in Rob’s case, as he’s cool enough to know how to work YouTube) – Nancy and Kathleen of Graphic Novelty2, Rob of My Side of the Laundry Room, Kiri of Star Wars Anonymous, Kalie of Just Dread-full, Jeff of The Imperial Talker, and Green Onion of The Green Onion Blog – for a little blogging salute to some of our favorite fearless female characters in all of fiction. It’ll be fun and it alliterates! Starting on International Women’s Day and going forward or the next couple months, a different blogger will be featured each week saluting one of their personal favorite female characters. Be sure to follow these amazing blogs (if you don’t already) and be sure to check back each week to soak in all the excitement of the latest installment of this EPIC TEAM-UP.