Beautiful freelance covert operative Mallory Kane is hired out by her handler to various global entities to perform jobs which governments can’t authorize and heads of state would rather not know about. After a mission to rescue a hostage in Barcelona, Mallory is quickly dispatched on another mission to Dublin. When the operation goes awry and Mallory finds she has been double crossed, she needs to use all of her skills, tricks and abilities to escape an international manhunt, make it back to the United States, protect her family, and exact revenge on those that have betrayed her.

“Actress,” “model” and “mixed martial arts fighter” are not adjectives we often see put together to describe one person, but that’s how Wikipedia describes Gina Carano, the star of the upcoming movie HAYWIRE. According to Wikipedia, Carano “appeared as the Gladiator ‘Crush’ on American Gladiators” and “…has been referred to as the ‘Face of Women’s MMA.’”

Media coverage is comparing HAYWIRE to THE BOURNE IDENTITY, minus the memory loss angle. While I’m an advocate of more female leads in action movies, historically those actresses aren’t willing to put on the muscle required to suspend disbelief, probably because it’s a sad stereotype that strong women aren’t beautiful. Carano shows us how wrong this thinking is as someone who not only looks the part, but actually has the skills in real life that make her acting stunts seem that much more realistic. Carano is the first actress I’ve seen since Linda Hamilton in THE TERMINATOR to back up an action role with some real muscle.

The movie’s summary starts right out of the gate describing Carano’s character as “Beautiful freelance cover operative…” because it’s paramount to make sure audiences know that while she might be able to kick ass, she’s still beautiful. Looking back, Matt Damon’s character in THE BOURNE IDENTITY wasn’t described as literally, just a man: “[A] man is picked up by a fishing boat, bullet-riddled and without memory, then races to elude assassins and recover from amnesia.” By contrast, the trailer voice over starts off right away describing her as “[S]He’s our nation’s most valuable weapon…”

So, I’m torn. I’m glad there’s a movie coming out that showcases a woman who can show us what a woman in a single combat situation would really look like and I’m glad that her strength is also seen as something beautiful. However, I’m annoyed that her beauty is the very first thing that seems most important before her job expertise — or even THE BOURNE IDENTITY example her just as a human being in a tough situation. Hopefully, Carano’s performance can twist these two together in a new way.

Also, Wonder Woman casting…hello? Click on that link to check out a great drawing by Matt Roscetti with Carano as Wonder Woman.

Many thanks to M.R. for cluing me into this movie.

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:

But for all the feminism on TV, high quality dramas about women haven’t taken off. Women get plenty of meaty, complex roles in these top tier shows, but only as supporting characters in shows centered around men’s gender drama. . . I blame the nation’s inability to deal directly with women engaged in complex, dramatic struggles that call gender roles into question. . . perhaps the absurdities of being female in this modern era don’t lend themselves well to drama, but have to be approached sideways, through comedy. Women do very well heading up some of the best comedy on TV: 30 Rock, Parks and Recreation, The Sarah Silverman Show.

Hmmm. While Marcotte makes great a point about comedy, she misses the boat on strong heroines in television. I commented with this:

“I’m glad someone mentioned Buffy, Veronica Mars, The Good Wife, and Battlestar Galactica. While Battlestar Galactica was an ensemble cast, it definitely offered some fantastic female characters whose arcs were fundemental to the overall plot of the show. Starbuck, Boomer, and President Roslin were more than just water-carriers for the male characters.

“The point about women in comedy holds true also for female characters in genre television, but aside from True Blood no other genre shows were mentioned. Here are a few that were overlooked:

• Myka Bering from Syfy’s WAREHOUSE 13
• Dr. Helen Magnus from Syfy’s SANCTUARY(and also Amanda Tapping’s other role as Col. Samantha Carter in Stargate)
• Audrey Parker from Syfy’s HAVEN
• Echo from Joss Whedon’s THE DOLLHOUSE
• FRINGE’S Olivia Dunham

“ven if genre TV isn’t your cuppa joe, several non-genre characters weren’t mentioned either: Annie Walker from COVERT AFFAIRS (and also her boss Joan Campbell — although I wish someone would give that woman some sleeves once in a while) and Mary Shannon on IN PLAIN SIGHT. I write a weekly blog highlighting strong female characters in movies, TV, and books and have been wondering if I should keep doing it. This article just convinced me that, yes I should, because clearly people aren’t hearing about some great female characters out there.”

Despite the ongoing angst in science fiction circles over the lack of women writers being included in various anthologies and the treatment of heroines in general, overall I do think that science fiction and fantasy provide an avenue toward creating great strong heroines because, like comedy, genre fiction comes at the issue “sideways.” Genre fiction elicits readers to imagine a world with women filling roles they might currently not have access to today and by doing so chips away at the roadblocks to those paths for women right now. The list I provided shows that genre fiction definitely doesn’t share Marcotte’s idea of mainstream television’s seeming issue with strong female protagonists.

One of the other commenters brought up the character of Burn Notice’s Fiona Glenanne portrayed by Gabrielle Anwar. On the one hand, Fiona is an “explosives expert, precision marksman, and arguably the team’s most skilled precision driver,” but she doesn’t seem to have the confidence to do more than sit around and wait for Michael to commit. I’m not looking for a perfect character — that would create a whole slew of other problems — but really, I said:

“Much like Sam Axe, Fiona is simply a foil for Michael, while his mother has a much more developed backstory. We also get a better sense that Madeline has a life outside of her relationship with her son. [While] Fiona, on the other hand, is one mean fighting machine, she’s also the stereotypical woman waiting around for Michael to get his romantic act together. I’m tired of her being tired of Michael’s inability to commit. When Jesse joined the cast, I thought she might move on from Michael, which would actually teach him a lesson and create an opportunity for character growth instead of simply rehashing the same Michael-Fiona commitment conflict over and over again.”

I’m not saying Fiona should jump from one romantic interest to another, but rather, have the confidence to walk away from Michael if he can’t meet her emotional needs. Back in 2009, Ginia Bellafante made a similar point about Fiona in a piece for the New York Times:

“Fiona is a character with no memorable precedent: a genius joke-take on girls with gun lust, the joke being that above all else she is every woman who needs to be sent a copy of “He’s Just Not That Into You,” next-day delivery. . . Fiona has never been able to get over Michael despite his persistent and explicit reminders that he is not made of the ordinary stuff of human need. Still, she keeps pushing for the dream, dating other people solely to try to make Michael jealous, interrupting stakeouts and shooting sprees and manhunts to ask for a key to his apartment or to tell him that what she would really like for her birthday is a teddy.”

And then excuses her behavior because Fiona is unapologetic about the whole thing:

“Ms. Anwar gamely carries herself as a goofball who has never passed a mirror and had a look. And she locks right into the real source of Fiona’s masculinity, which has less to do with her Glock fetish, than her refusal to regard her romantic pursuit as a pitiable behavior in need of reform.”

Meh. I don’t get it. Sure, owning what you want — even, I suppose, if what you want is a man who can’t fulfill your emotional needs — is a good thing, but I’ve never quite been able to buy Fiona’s character because of this. Plus, it bugs me that nine times out of ten Fiona is dressed in daisy dukes, a tank top and sky-high heels while Michael is in a full-on suit and long sleeves. In Miami.

Then again, maybe it’s more about me, who’d much rather hang out by the pool with a cocktail, a massage, and Sam Axe than cracking Michael Weston’s stubborn emotional exoskeleton.

What do you think? Does Fiona Glenanne fulfill the definition of a Danger Gal despite my issues with her character? What do you think of the reality or perception of the lack of strong heroines in mainstream television dramas? Do you think science fiction and fantasy presents a unique opportunity to explore gender roles?

UPDATE: June Thomas elaborates on Bellafante’s point:

Fiona has no time for the “He’s Just Not That Into You” meme. She has always been the boy in the relationship with Michael. She’s prone to violence while Michael is the gentling, moderating influence who makes sure that no one gets hurt when she shoots and bombs. He’s the home body who wants to keep his loft and his yogurts (the only thing he eats) to himself. She’s the more sexually aggressive of the pair.

I can see this, sure, but it’s negated by how Fiona seems to always be pointing out how emotionally unavailable Michael is. If this is the direction that Fiona is headed, then the writing has been uneven.

Resources:

Magpie’s Nest: Burn Notice: The Fall of Sam Axe

XX Factor: It’s OK Not To Go Gaga for Kids

“Kate Beckinsale, star of the first two films, returns in her lead role as the vampire warrioress Selene, who escapes imprisonment to find herself in a world where humans have discovered the existence of both Vampire and Lycan clans, and are conducting an all-out war to eradicate both immortal species.”

Via Wikipedia.

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.

I hope Haven doesn’t follow suit. Parker’s backstory hints that she’s irrevocably tied to the last appearance of The Troubles, which binds her tight to the show’s main focus. Parker remembers growing up in an orphanage, but we learn in season two’s “A Tale of Two Audreys” that her memories are, in fact, not her own. When the “real” Audrey Parker — sometimes referred to as “Fraudrey” in an Fringe homage — comes to Haven, the two women soon realize they share not only the same name, but the same memories. Also, Audrey’s FBI superior Agent Howard, who sent her to Haven in the first place, is also an imposter. Since I’m watching seasons one and two at the same time, it’s interesting how blatant this intentional placement of Audrey is Haven is in the series pilot, which ends with Howard in Haven, watching Audrey, and telling someone on his cell phone that “She’s staying.”

Photos of Lucy Ripley, a woman deeply involved in the last appearance of The Troubles in the 1980s, bears a strong resemblance to Audrey Parker. The discovery of Fraudrey, however, I think weakens the case that Lucy is Audrey’s mother. When Fraudrey’s memories are wiped after seeing something in the “Tardis Barn” (see Detective Jane’s super recap of “Love Machine”) it became clear to me that someone/something in the Haven universe can erase, write and rewrite memories. In her interactions with Fraudrey, we learn that Audrey knows how to play the piano, something Fraudrey never learned. It stands to reason that Audrey’s ability to turn off or be immune to many of the affects of The Troubles is likely tied to her earlier visit to Haven as Lucy Ripley. Her memory loss and/or switch is also probably tied to the Tardis Barn.

So far, I’m very much enjoying season two of Haven and wish I’d been watching the series from the beginning. I loved the dialogue between Audrey and Nathan Wuornos when they first meet in the pilot:

Audrey Parker:    [both pulling guns on each other] FBI. Who are you?
Nathan Wuornos:    MPD. Who are you?
Audrey Parker:    FBI. Are you deaf?

It’s interesting to note that both times when Audrey Parkers came to Haven, Nathan pulled a gun on them. While we’re talking about Nathan, we have to note that the writers haven’t shied away from giving Audrey a love life. This aspect of her character is just that, a facet of her, not the character in toto. Audrey’s love life has been important to the ongoing plot of the show, but is balanced with other aspects of her life. Moreso, Audrey hasn’t settled on one man yet, either, and there have been no negative consequences of that indecision.

In Haven, Audrey has not only one, but three significant other possibilities: Detective (and now Police Chief) Nathan Wournos, town bad boy Duke Crocker and marine biologist Chris Brody, a man whose personal charisma — his Trouble — holds ultimate sway over everyone except for Audrey. Kate Linnea Welsh has a great recap of season two’s “Audrey Parker’s Day Off” at Televixen, where she aptly points out that:

At the very end of the episode – over a mellow cover of “Will You Love Me Tomorrow?” – Audrey looks in through the open doorway of the Gull at her three guys drinking together. She certainly looks contemplative, and it occurred to me that she got an opportunity that virtually no character in a love triangle polygon ever has. She got to experience the death of each of her three suitors and gauge her own emotional reaction to each situation. We see her turn away, looking slightly shocked – did she have some sort of revelation about her own (repressed?) feelings? We (and Nathan) can only hope.

True to my Shipper leanings, I’m rooting for Nathan Wuornos. He’s a man who can’t physically feel anything, but his emotions run deep. The only respite he gets from his Trouble-induced idiopathic neuropathy, is when Audrey touches him. He does evidently have a sense of smell, however, and Audrey brings him orchids and lillys. She also tastes his coffee for him to test the temperature. In “Audrey’s Day Off” during the time loop when Nathan lays dying in Audrey’s arms he says:

“It doesn’t hurt. The only thing I feel is you.”

That kind of clinched it for me.

Other fun resources about Haven:

The Troubles (Tumblr)
The Troubles (LiveJournal)
TV Rage Haven Episodes Gallery

Not too long ago, I lamented the lack of strong heroines in children’s movies, citing Harry Potter’s Hermione Granger as a rare example and sidekick (although a great one) to boot. A few days ago I found out about an upcoming release from Pixar titled BRAVE. The official synopsis:

Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. In Brave, a new tale joins the lore when the courageous Merida (Kelly Macdonald) confronts tradition, destiny and the fiercest of beasts. Merida is a skilled archer and impetuous daughter of King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: massive Lord MacGuffin (Kevin McKidd), surly Lord Macintosh (Craig Ferguson) and cantankerous Lord Dingwall (Robbie Coltrane). Merida’s actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (Julie Walters) for help, she is granted an ill-fated wish. The ensuing peril forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it’s too late.

Initially conceived and slated to be directed by Pixar’s first female director, Brenda Chapman has since been replaced by Mark Andrews. Still, Merida is the first female main character in a Pixar movie.

UPDATE: The winners have been chosen and will be notified shortly. Thanks everyone for participating!

In celebration of my first RWA as a published author, I’m giving away two audible.com copies of my book The Spiral Path. There are two ways to enter:

1- In the RWA Goody Room, fill out a card with your name and e-mail (or use your business card) and drop it in the Danger Gal Box.

2- Online, leave a comment on this post by Saturday, July 2.

I’ll choose one winner from each group and announce them on my blog here. If you’re also attending RWA and mention to me in person that you saw this in the Goody Room or on this blog, you’ll receive my electronic trading cards that were previously only available to those who participated in the Out Of This World Blog Tour.

That item is Shakespeare’s Romeo and Juliet. At first, I assumed Chloe would be reading this book in school, but that its themes would somehow relate to the story overall. Unfortunately, she’s not reading the story in school, but the themes do in fact relate to the premiere.

Spoilers follow if you haven’t yet watched the pilot.

A more in-depth recap will follow in the next day or two, but I did indeed notice the “forbidden love” theme between Chloe and Brian. They meet at the vintage clothing store where Chloe works every afternoon after school, where he bought a “kitty cat hat.” They have in common a missing parent: Chloe’s dad left her and her mother when she was very little and Brian’s mother died five years prior.

Oh, and Brian’s father is trying to kill Chloe.

That truth will be difficult enough for Chloe to learn, but I won’t be surprised if we discover that the Rezza family (I assume that’s Brian’s surname) will turn out to also be of the Mai. Alek said something along the lines of how humans and the Mai split was up to interpretation. It’s possible that the Mai themselves argued about their future with humans and wedged into two main groups with the Rezza family heading up the opposition.

This would actually be a boon to Chloe in the long run if her relationship with Brian goes anywhere. With him also being Mai, she could at least kiss the guy without killing him — unlike the Xavier’s sorry fate.

Overall, I definitely enjoyed The Nine Lives of Chloe King, plan to continue watching it, and if you haven’t seen it yet — fire up that Tivo. Chloe is the possible Buffy heir apparent. Jasmine kicked butt too.

Stay tuned…

The Mai sent a protection charm along with a note to beware of The Foe (at left).

I also received a creepy postcard from Batko (see gallery below). When you follow the URL to Batko.me you see a photo of Chloe with that dreamy dude from the Fifth Path video. What’s up with that dangerous looking red arrow pointed right at Chloe? Also, what does the broken arrow drawn on the postcard mean?

The photo on the postcard intrigued me. I ran it through both Tin Eye and Google Goggles with no luck, but good ‘ol regular Google turned up something interesting: a Cafe Press t-shirt that describes the photo as “Coit Tower at Night.” The post card was also created using Cafe Press. According to Wikipedia:

Coit Tower is a 210-foot (64 m) tower located in the Telegraph Hill neighborhood of San Francisco, California. The tower, located in the city’s Pioneer Park, was built in 1933 at the bequest of Lillie Hitchcock Coit to beautify the city of San Francisco; Coit bequeathed one-third of her estate to the city “to be expended in an appropriate manner for the purpose of adding to the beauty of the city which I have always loved”.

If you want to know the significance of Coit Tower, you can click here for a spoiler from the book.

Don’t forget to go to abcfamily.com/ninepaths and enter the code “deception” to get a protection charm of your very own.

The Nine Paths to Chloe King Free Gift offer (“Offer”) is valid from 5/24/11 at 8:00 AM Pacific Daylight Time (“PDT”) to 6/14/11 at 11:59:59 PM PDT or until supplies last, whichever is sooner. Offer open to residents of 50 US & DC, 13 & older who follow a participating blogger in The Nine Paths to Chloe King Blogger/Journalist Program (“Blogger”) at time of redeeming free gift (“Free Gift”). Each 1 of 3 Free Gifts available is tied to a different code word which will be revealed by Blogger at 3 separate times (estimated to be 5/24/11, 6/6/11, and 6/10/11). To redeem a Free Gift (while supplies last), go to abcfamily.com/ninepaths & enter code. Expect Free Gift within 8–10 weeks from 6/13/11. Limit: 1 Free Gift/person. Void where prohibited.

NO PURCHASE NECESSARY. Open only to persons who are, as of entry, 18 years of age or older, legal residents of, and physically located within, the 50 United States or D.C. and who are bloggers or journalists specifically invited to participate by Sponsor. Starts May 24, 2011 once game boxes are received and ends on June 14, 2011 at 11:59:59 PM PDT. Void where prohibited. Click here for Official Rules Terms and Conditions and complete entry and prize details.