Dejah Thoris, John Carter of MarsThis week’s Danger Gal Friday profiles Dejah Thoris as portrayed by classically-trained Lynn Collins in Disney’s new movie “John Carter.”

Before we get into discussing what’s so great about Dejah Thoris, let’s start with the elephant in the room: A lot is being said right now about “John Carter” flopping as a movie solely because it hasn’t made back Disney’s investment in its first week at the box office. To this I say: “Pshaw! Lalalala can’t hear you!”

IO9 ran an article on this topic, but at the end of the long list of reasons why the movie has supposedly flopped, this quote jumped out at me:

“Everyone is quick to point out that John Carter did not make any money. It is a flop, a failure. Domestically, the opening of John Carter is indeed very soft for the budget. However, big event movies like this are international affairs and a $70 million opening outside of the USA is no small feat. As a popular book series, the Carter adventures have a global fan base. This cowboy might have some legs underneath him in the long run, which is the only run that matters. Titanic did not break all box office records in the first weekend – it ran. And ran. And ran. For weeks into months. It stayed in theaters, pulling in money week after week. Stanton’s film has a long road ahead of it, but pulling in $100 million in the first weekend is a decent first step towards recouping the budget.”

As Pyr’s editorial director of science fiction/fantasy Lou Anders noted on Facebook, the movie scored an over 70 percent favorability rating by fans on Rotten Tomatoes, but only about 50 percent by critics. “John Carter” breaks the mold of what we typically get from science fiction movies, while also maintaining that “sense of wonder” so evident in turn of the century fiction, since it’s based on the John Carter series by Edgar Rice Burroughs.

I, for one, found “John Carter” to be a fun way to spend a few hours and was pleasantly surprised to discover so many great female characters in not only Thoris, but also the Thark Sola. I do agree with some critics who thought the movie dragged in places. The slow pace affected mostly the beginning as the writers spent a huge amount of movie time setting up the story. As amusing as Malcolm in the Middle’s dad (Bryan Cranston) always is, I would have been happier to see less of Col. Powell if it meant seeing even a glimpse of Thoris’ laboratory.

Having said that, Joseph Robert Lewis sums up my own feelings on the movie when he says:

But the best part by far was the Princess of Mars herself, Dejah Thoris (Lynn Collins). In fact, it almost feels like Dejah and John are in two completely different movies. John is on a personal journey for peace, or redemption, or escape, or revelation. Meanwhile, Dejah is the big adventuring hero, saving her people with much derring do. She’s passionate about science, she’s passionate about her people and culture, and she’s passionate about her personal freedom and destiny.

When she’s not wearing pretty dresses and inventing the all-powerful Ninth Ray machine, she’s wearing armor and crossing swords with entire armies in her solar-powered airship. She’s Princess Leia, only better. She’s the bright shiny jewel at the heart of the movie, and frankly I’d have rather seen her as the title character and central focus of the whole thing.

One of the ways this story breaks the mold is in its representation of female characters. I’m glad the movie didn’t follow the books too closely when it came to costumes — in the books the red and green Martians don’t wear much at all. However, Collins evidently requested that the original costume designs be scaled back: “I knew they were going to be small. And I am actually the one who put them on and said, ‘The cut’s going to be weird, they should probably be higher.’ There you go.”

Aside from how Collins’ fashion sense may have affected the costume design, I was just happy to see women and men alike similarly clothed. Few things peeve me more than seeing men in long sleeves and long pants while their female counterparts are sleeveless and leggy. I’m not sure how a red-skinned race of Martians might fare wearing very little in such an unrelentingly sunny climate, but at least it was no only the women having to be concerned with skin cancer or being injured in battle because vital organs weren’t protected. This is an example of both genders in a movie being shown as sexy characters as opposed to merely being sex objects.

Also, we’re not just told that Thoris is a great warrior and super-smart, we’re shown it. As I said above, I would have loved to have seen Thoris’ laboratory, but at least we are shown her not only demonstrating her Ninth Ray device, but also solving the story’s problems. We also get to see Thoris in battle including some cheeky flirty dialogue with Carter about whom should stand behind whom doing the protecting. Collins also bulked up for the role on top of her already considerable martial arts skills, something that always lends an aura of credibility to female and male action heroes alike.

“John Carter” doesn’t stop with showing us only one great female character, though. Fulfilling the usual sidekick-type role we have Sola, an individualist barely surviving in a hive-type society. Sola is tasked with joining Carter and Thoris on their quest to find the river Issus and in so doing means that for a good portion of the movie two-thirds of the cast were female (I’m not counting the dino-hound…). Sola even gets her own character arc, abbreviated to fit the story, but not shallow. I was also happy to see that the creature designers did not give Thark females breasts, which makes sense because they’re not mammals (we know they lay eggs– and don’t start in on the platypus, please). When science fiction creature designers include breasts on non-mammalian alien species it’s gratuitous and insulting to the audience since the assumption is that we can’t tell the difference without them.

I hope “John Carter” — they should have kept the original title “John Carter of Mars” or better yet the original book title of “Princess of Mars” — sticks around for a while and earns out Disney’s investment because I’m already looking forward to the sequel.

More on Dejah Thoris:

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Fiona GlenanneI’m switching up the usual Danger Gal installment this week for some excellent conversation about women in television dramas in general and Burn Notice’s Fiona Glenanne in particular.

Earlier this week, I tweeted an article by Amanda Marcotte for The Good Men Project called “How to Make a Critically Acclaimed TV Show About Masculinity.” The Good Men Project endeavors to show us “a glimpse of what enlightened masculinity might look like in the 21st century” and analyze “what does it mean to be a good man in these modern times?”

I wish more of us were having these types of discussions about how in flux and often confusing gender roles can be in today’s world. While we have an unprecedented opportunity to redefine how women and men relate to one another and to the world at large, many people are scared silly not knowing what are “the rules.” The old rules might have been draconian, but at least everyone was on the same page. Still, I’m optimistic that all we need to do is keep sorting through it all with endeavors like The Good Men Project because we’re all re-evaluating each other and ourselves regardless of gender. Oh yeah, and Feminism isn’t just about women, it’s about all of us.

Now that I’ve gotten that soapbox moment out of my system, Marcotte’s post on television and masculinity made one particularly interesting point regarding the perceived lack of strong female protagonists in television dramas:


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Audrey ParkerThis week’s Danger Gal Friday profile is of the Audrey Parker from the Syfy Network show Haven. Portrayed by actress Emily Rose, the series is based on Stephen King’s mystery short story The Colorado Kid.

Audrey Parker came to Haven, Maine, as an FBI agent investigating the disappearance of federal prisoner Jonas Lester. After the investigation into his death ended, Parker stayed on in Haven, a town whose people are suffering “a plague of supernatural afflictions that occurred in the town at least once before” called The Troubles. (Wikipedia, Haven)

I missed Haven’s first season and have been catching up on it as I watch season two. Like Fringe, Haven showcases a female main character with a supporting ensemble cast. Last season the focus of Fringe shifted away from Olivia and became the all-about-Peter show. The storylines not only featured Peter more than any of the other characters, but his “otherness” started to trump Olivia’s. Now, don’t get me wrong, I kind of like Peter Bishop. He’s an interesting character, but the appeal of Fringe for me was the centrality of its female lead. Take that away and it’s just another paranormal TV show.


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Steam & SorceryThis week’s Danger Gal Friday post profiles Caroline Bristol from Cindy Spencer Pape’s new steampunk release from Carina Press, STEAM & SORCERY.

From the book’s description:

Sir Merrick Hadrian hunts monsters, both human and supernatural. A Knight of the Order of the Round Table, his use of magick and the technologies of steam power have made him both respected and feared. But his considerable skills are useless in the face of his greatest challenge, guardianship of five unusual children. At a loss, Merrick enlists the aid of a governess.

Miss Caroline Bristol is reluctant to work for a bachelor but she needs a position, and these former street children touch her heart. While she tends to break any mechanical device she touches, it never occurs to her that she might be something more than human. All she knows is that Merrick is the most dangerously attractive man she’s ever met—and out of reach for a mere governess. When conspiracy threatens to blur the distinction between humans and monsters, Caroline and Merrick must join forces, and the fate of humanity hinges upon their combined skills of steam and sorcery…

Cindy Spencer Pape has described this story along the lines of “Mary Poppins meets Van Helsing,” which is interesting on its own, but I also enjoyed the Arthurian elements and “easter egg” references to other period books (can you find the PRIDE & PREJUDICE nod?). While she blends all three elements well, what really drew me into the story was Caroline “Caro” Bristol and young Winifred “Wink” Carter.

With Caro, Pape managed to create a very ladylike character of the Mary Poppins mold who carries a mean umbrella and knows how to use it. Caro learned of necessity to defend herself against unwanted male advances and is also a crack shot with a revolver. Sixteen-year-old Wink, on the other hand, debuts in the story kicking vampyre arse and taking names. Then we find out what a genius engineer she is. During the course of the story, Wink creates three clockwork animals: a mastiff, a monkey, and a lark.

I liked that Merrick never feels the need to out-compete Caro. He respects her talents and never wants her to diminish herself in any way. I also liked that Caro turns out to indeed be “something more than human.” Merrick may be descended from Artorius himself, but Caro has her own otherworldy aspect not to be taken lightly.

A steampunk Mary Poppins with an otherworldly twist, I thoroughly enjoyed the world-building and strong characters in this story. STEAM & SORCERY is the first of the Gaslight Chronicles, with a free novella sequel called PHOTOGRAPHS & PHANTOMS available from Carina Press in April 2011. I’m really hoping to see a grown-up Wink in a future story.

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