Showing posts with label Empowered female characters. Show all posts
Showing posts with label Empowered female characters. Show all posts

Monday, 28 June 2021

Goodreads feminist reviews - All Hail the Queen (Frozen short story)

Book: All Hail the Queen, by Erica David.

  2/5. Goodreads review also here.

I do really like Frozen and Elsa in general (I'm generally pretty obsessed with Frozen 2 xD), so I dislike rating anything Frozen less than 3 stars, but this one is a solid 2/5 for me. I found the writing to be a bit two-dimensional and bland and well yes, obviously it is a short story aimed at children, same as many other Frozen comics I've read this year, but I do think the characterization could be a bit better anyway. However, that isn't the reason why I gave this a 2. 
 
The main reason is that its treatment of social class and monarchy, a general pet peeve I personally have with Disney in general, is particularly atrocious in this story. I kept mentally ranting at the ebook nearly every single page because my gods, it's terrible.  And the fact that it's a short story aimed at children kinda makes it worse, because well, making something 'easier' for children to read means that the writing style and the storyline are generally more simple to follow, it doesn't mean that they should be learning about backward gender roles (not an issue in this story, Frozen actually was a big improvement in this respect, thankfully), or about romanticized ideas of monarchy and class imbalance (which is a Disney trend). More of this below, because wow did this book deliver on this respect.
Social criticism incoming xD
This review contains spoilers
 
+1 The story has sisterly female bonding going on and Elsa's icy powers appear, two of my fave Frozen things. But that was pretty much it 😕

-1 But even when it comes to Elsa's powers the story showcased them as wrong, in a way! Like, Elsa tries to make the villagers like her (or rather, does her job as queen for a couple of days until she falls ill from the exhaustion :S) by helping them out with her powers (the villagers themselves ask for her powers specifically for various needs), and Anna insists that she's exerting herself too much and that she should offer alternative solutions without using her powers so that the villagers like her for what she really is, not just her powers. But isn't the general idea of Frozen that Elsa learns to accept and love herself as she is, and hopes that Arendelle will do that as well, and a sizeable part of who she is *are* her magical powers, which she has had to repress and hide for so long?? To say that her powers don't define her is almost like the opposite thing, because that's like the main symbolism in the whole Elsa arch :S 🙃.
 
-1 And then there's the social class issue. I'm just gonna list a few examples of how it goes in this story, because wow:
  • Elsa and Anna are royals living in a huge castle with servants and minimal obligations, right? Well, Anna spends the whole story being a quite insufferable entitled brat (I generally quite like her in the movies, but wow, I couldn't stand her here 😬). She insists that Elsa works too hard in her role as queen and should take a lot more time off to be with her and go on picnics and adventures and gallivant in the village eating pastries for free. 
I did enjoy the description of the desserts they ate xD Puff pastry with cream, chocolate and fruit? Sign me up xD
 
Elsa wants to be more focused on 'helping' the villagers to come to ask her for help in the audience hall (it's rather called 'doing your job', but hey, royals need to feel good about themselves by saying they're helping the poor peasants out, I guess). But Anna keeps enabling her to 'take more time off' and go off with her on picnics, visits to local bakeries, and so on, because they need to bond and stuff and she works too much (yay for female bonding, but how entitled and irresponsible can you be lol). At the end, Anna decides on the following timetable, and I kid you not, this is it: Elsa does her job as queen (aka listens to the needs of the locals, aparently that's mostly it here) for 3 days a week, and the rest of them they have 24/7 free time to do all the fun things in Anna's bucket list. Um 😐🤪.
 

  •  Anna spends the whole story insisting on the idea that Elsa is exhausted for minimally doing her job as Queen for a couple of days, right, so she needs a lot of breaks from you know, her glorified royal job (why do we have royals again? I question this notion everyday). So, she says, 'she has given the villagers the day off' *so that the Queen can rest* 😨. Oooh, the benevolent princess has given the villagers the day off in spite of them not being able to do that because they have to work daily for a freaking living, be they shop owners, merchants, ice gatherers, sewists or what have you! 😑

And do you know what Elsa replies to this? Literally that 'The villagers don't need a day off' 🙃 (but, Anna, says, Elsa totally does because she worked herself to exhaution for two days while helping them out in the audience hall with her powers!). I was just facepalming so hard at that moment. The royals who live in a castle with servants and nice clothes and food they don't have to sweat for are saying the villagers who work daily for a living don't need a day off, but they sure do!! Do Arendelle's working classes even have days off, then?? Seriously, WTF. Am I the only one who thinks children shouldn't think these concepts are OK??

 

  •  There's also this emphasis on the fact that the villagers keep queuing up in the audience hall to ask Elsa to use her powers to help them with various things, and they frame this, I kid you not, as if the villagers are exhausting Elsa by asking her favour after favour all day, but she doesn't want to say no because she doesn't want to let them down. So it's almost like the Queen is doing them 'favours' and being super benevolent by wanting to 'help them out' (it's her job!) while the villagers are being too 'greedy' and 'taking advantage of her' because she has magical powers....I don't know, the setting was really, really cringy for me, the fact that these villages don't only not need a day off, apparently, but they're also exerting their Queen with their uncontrolled wishes to help them have working plumbing systems, iceboxes and efficient transportation. How greedy the working classes are! (but not the royals living in actual castles 🧐).

And I mean, it seems to me that Disney often seems to have this conception with monarchy where their role as "benevolent providers of the people" is focal, be the story set in the Middle Ages or the 1830s (a conception that seems a bit obsolete to me in the 1830s - I mean, there's little mention of a Council of State, a Privy Council or a Cabinet in Frozen, right? I mean, there must be one, and if I remember correctly, Cabinet members or similar do appear in some comics when it comes to treaties, delegations, visits of state and such. But Elsa in her throne working as Queen by 'granting favours' or 'looking after her people' in this way kinda reminds me more of feudalism (which isn't all that great, but theoretically) or 'ring giving' thanes of Anglosaxon society, more than anything else :S xD Granted that I'm not a monarchy expert either xD). So, with this conception in mind, wouldn't it be, like, Elsa's 'job' to also help organize and/or provide all that, and not just benevolent favours you do a couple of days and that's it? (in exchange for, you know, your whole life in a luxurious castle with super nice clothes, good food and riches). And why are the villagers suddenly queuing in their dozens to ask for all that two days in a row when the Queen should be working on that kind of stuff more or less routinely as part of her freaking "job"?? 🤔

Like, I get it that Elsa doesn't have a calling for ruling and queendom and tries hard to make people accept her and her powers and so on and forth and the whole thing is just not for her (she's still privileged af because of her social class status and position, tho), but this sends a whole different message. And Anna's supposed to be way more into caring about the ruling parts and the village, so much more that she ends up being the queen in Frozen 2, but that most certainly doesn't show here at all either. 
  • The story does mention that Elsa has been working on some plans for a more functional plumbing system and she offers that as an alternative solution to her magic near the end of the story (yeah, that theme that using her magic is not as good or something). Which involves she, the Queen, in her dress, and Anna, the princess (also in her royal clothes, I guess), actually working elbow deep in setting it up 🤣. What? Like, yes, we have magic in this universe, so why am I talking about things being realistic xD, but talk about realistic. This is extra cringy because it's one of the classic Disney moves glorifying just how good royals and rich people are, willing to dirt their hands and clothes *one day* (mind you) so that the whole village cheers for them and all the things they do for them (it's.their.freaking."job" and it comes with a hugely unfair class imbalance all the same!). And so the royals work hard one day, and gain the everlasting adoration of their subjects and all is well, and we continue to romanticize the redundant institution that is monarchy and the social class imbalances. In stories for children of the 21st Century 😕. 
Olaf and Elsa's powers are more realistic than this scenario, tbh

An accurate depiction of my reaction

  • But this is not all. I'm not letting this go (lol 🤣) just yet. Because a major storyline of this book is Anna taking Elsa on fun outings, like I said, and these involve the whole team (Anna, Elsa, Olaf, Kristoff also appears) literally messing everything up for the hard working locals. And of course, because they're the royals, the locals laugh it off, and actually thank them in adoration when they "help them" out of messes *they themselves created in the first place* by butting into working people's businesses!! This was so frustrating to read 😑.
Let's play at being working people for a day!
 
Like, they get pastries for free in a bakery (because the royals get everything for free, of course, paired with special treatment in everything, salutations and adoration). And then they dabble in trying out what it is to be a baker (for a day, mind you) and Anna - who's just too obnoxious in this story, complete with loud belchs wtf 😣 - freaking destroys the whole kitchen. But the baker, although rightfully angry, has to laugh it off because it's Anna, the princess, and she's so charming and good with people no one can stay mad at her anyway! 🙃
 
Still thinking you shouldn't teach children that this is OK
 
This trend continues a lot. Elsa accidentally makes a fisherman drop all his fish on the ground, and then the fisherman has to literally thank her for helping him to pick them up instead of her being angry at him for being in her way (wtf 🤨). They also make a huge mess at the ice gatherers' and go on a lot of stupid shenanigans trying to 'help them out' (maybe don't interfere in the first place with people who are working for a living) until Elsa realizes she can easily do so with her powers. Cue all the cheers and adoration from the ice gatherers, and Elsa the day afterwards still feeling the high of having 'helped' them save the day's work, conveniently forgetting that she and her friends were the initial reason why they nearly lost a day's work. And so on and forth. Also, isn't Kristoff supposed to be a professional ice gatherer? Because he sure seemed pretty inept at it in this story :S xD Like, they favoured *Olaf* trying to lift heavy ice blocks (and obviously failing) as a first option over Kristoff or Elsa doing it! 🤦‍♀️ Where are everyone's brain cells?  

 
The story does specify that there are women working as ice-gatherers and fisherwomen and so on, so I guess there's that another one for the (kinda scarce :S) pros list.
  • And finally, there's this scene when Anna is having a picnic with several female friends, who are middle class (daughters of merchants, fisherpeople, farmers, etc), and said friends are commenting on how Anna lives on a big palace with servants and probably doesn't even have to make her bed ever (I mean, true), and how that's amazing (it's 100% correct to call out class imbalances, but can we also stop glorifying monarchy and high aristocracy as the ultimate goals thanks). And Anna retorts with something along the lines of 'Living in a castle is not so different as living in a farm, I guess. It's not the house that counts, it's the people that live in it' 🙄🙃 (aka 'Oh no, I don't have it better than you'). Also, she says, their servants 'help us take care of the castle, but we still have big responsibilities'. Sure thing, Anna, sure thing, keep on not being aware of your privilege. Sigh.
 
And in this scene it is interesting to note that Anna totally sidesteps and derails the comments of her middle-class friends on how she lives in a castle and has servants with the classical Disney theme of 'It's not the actual house that matters, or my social standing, it's the people who love me and my family that make the castle a home, so *we are equal after all*'. To which her friends readily reply that yes, they wouldn't envision their boats, farms and middle-class homes without their families either. That's all very well (apart from the fact that we're now in the let's glorify the family unit area now as well, another classic Disney staple xD), but this way Anna has successfully navigated the conversation and surfaced victorious without having to address her class privilege at all, with the result that the story makes it seem like this way they're all equal because they all value their families and 'a home is just a home when your family is in it', so it doesn't matter if huge class and wealth imbalances exist as well. 

 
So yeah, I began reading this series as a way to catch up on my Goodreads yearly books with some short, light, simple reads (lol), but yeah, this wasn't a lot of fun. I'm really hoping the rest of short Frozen stories are not like this, tbh, although quite a lot of the comics did veer in this direction :S

Monday, 22 February 2021

Goodreads feminist reviews - Warhammer Fantasy: Blood of Aenarion (Tyrion & Teclis I)

Tyrion and Teclis (©Games Workshop)

Book: Blood of Aenarion. A Tyrion & Teclis novel, by William King.


3.5-4/5. Goodreads review also hereThis is the first part of the Tyrion & Teclis Warhammer Fantasy trilogy, telling the story of the famous High Elf twins Tyrion ('unparalleled swordsman and tactician') and Teclis ('greatest natural sorcerer of the age'). Some (lengthy xD) thoughts below, as always focusing on a feminist pov and tackling points such as representation and female characters, social criticism and other intersections, and other issues that interest me. This review contains spoilers of the plot of this book.

+1 Rereading for the second time, I still found this book to be well-written with an engaging plot, focusing on the teenage years of Tyrion and Teclis, their beginnings as the famed warrior and sorcerer they will become, and their first encounter with Demon N'Kari.

Tyrion leads the forces of Ulthuan (©Games Workshop)
  • Epics, war and the Good/Evil binary

+1 Anti-war and Good/Evil binary critical content: Even though this is a Warhammer epic book focusing on a fantasy society with a heroic ethos and including plenty of battle scenes, some parts of this book also challenged the Good/Evil binary and included some anti-war content:

-"Too many people kill without thinking in this world." White Lion (the elite guard of the Phoenix King) Korhien Ironglaive has more than one conversation with protegé Tyrion about the dangers of idealizing war and battle, the concepts of glory and prowess, and how killing people is not something to be enjoyed. I personally really appreciated these scenes in the context of what is basically a very binary, epic genre which often disregards these matters and amps the glory and honour of battling your enemies. In spite of these pep talks, though, Tyrion - the good guy protagonist with a charming personality - turns out to be one born for war who actually claims to enjoy battle and even killing the ones who oppose him or his country, and will end up conforming more to the epic ethos of the genre :S.

-Dark Elf assassin Urian also offers some critical content of the Good/Evil binary when he muses on the centuries-long feud between the High and Dark Elves and how masquerading as a High Elf noble for decades and living among his enemies has made him see that both groups are not as dissimilar or as black and white as they think they are.

  • Female characters: Representation, roles and sexism

Concept of a high Elf female mage (©Games Workshop, Warhammer Online)

+-1 Warhammer is not the best genre for a lot of (good) female representation, to be honest, as most in-universe societies, and the stories and authors, are overtly male-dominated and sexist tropes and sexualization are often to be found both in the miniature and online game designs/roles, and in the books.

+(-)1 This particular book is still quite male-dominated, but I found to be a bit better regarding positive female representation, even though many women in interesting, subversive and proactive roles are still little more than mentions. Still, contrary to other Warhammer books and *ahem* the miniatures Warhammer Fantasy's range of High Elves offered (which was minimal and literally extended - if I recall correctly - to the Everqueen, her guard, and a mage), there are mentions of female (arch)mages and loremistresses, sailors and captains of ship, huntresses and rangers, archers and warriors, priestesses, and women taking part in political circles. Like I said, most of these roles are little more than mentions, but the bar is so low sometimes in this genre that it's still a refreshing sight :S xD

+1 Female characters with interesting and proactive roles that I enjoyed: The main one is Lady Malene, a mage and loremistress who is also active in political circles and the leader of her House of Emeraldsea apart from her father, and is described as serious, capable, powerful and intelligent. She is the aunt of Tyrion and Teclis and mainly acts as Teclis' mentor in matters of magic. I also liked that she is in a relationship without losing any iniciative or her role being ever reduced to a love interest trope.

 Another character I liked is Joyelle, a ship captain who answers to Malene and is described as capable, tough and stern (in a good way, although Tyrion first wonders at the fact that the captain's answering to Malene instead of her (male) lover and bodyguard Korhien - sigh - and then remarks on the sterness of both women, feeling relieved at seeing smiling sailor girls in the ship as well *le double sigh*). There's also sailor Karaya, who acts as kind of a love interest for Tyrion but is seen as capable in her job and shows plenty of iniciative of her own during her scenes with Tyrion. 

High Elf female mage

-1 Female characters with problematic characterization and tropes: Enchantress Morathi, the Dark Elven Queen, is always a character that's super sexualized in the Warhammer world (often wearing little more than a metal bikini and loincloth), and who follows a lot of femme fatale tropes (even though she is also an intelligent and powerful leader). Her appearance in the intro also included the love/hate relationship with Aenarion, which is not my fave thing. N'Kari the demon is also super sexualized and male-gazey when in female form. And characters such as Lady Malene's daughter Liselle followed the trope of the shallow, vain female character more than anything else and was there mainly to be one of Tyrion's love interests.

-Bechdel test: Pass. Malene and Joyelle talk to each other, and I remember conversations between Malene and Liselle, and between Liselle and another noblewoman called Lady Melissa (although they were talking mainly about Tyrion there, so maybe that conversation doesn't count :S).

+-1 Male characters and their treatment of women: To finish talking about the treatment of women in this book, there's also the theme of how men treat and think of women. Some thoughts -


-Lady Malene's relationship with Korhien the White Lion is quite refreshing and healthy, and she's always seen as the authority figure in her group without question (the ship's crew and her entourage answer to her, for example). Teclis and Lady Malene also get on well in a mentor/pupil dynamic.

-Tyrion is written with the intention of being charming and likeable, but he also revels in violence quite a bit and is quite a womanizer, sometimes bordering on dudebro material. His one-off relationship with the sailor Karaya is a pretty healthy example of a casual encounter, but the one he later has with his cousin Liselle showcases his entitlement and internalized sexism more, as he clearly views her as vain and shallow and later thinks of her in a quite disparaging way, showing he was using her more than anything else. Lady Malene also tells him to make and effort not to extend his womanizing to his close kinswomen, but there he went anyway and with Malene's own daughter no less lol (le sigh).

-Dark Elf assassin Urian is probably the most blatantly misogynistic character in the book alongside fabled ancestor Aenarion (who clearly hates his second wife Morathi but still lusts after her and is quite abusive in the way he goes about it :S). Urian may give us some anti-binarism commentary which makes us relate a bit to him, but he's also a creep who's proud of the "harem of slave girls" he had back home to do as he pleased with (ugh), and who fantasizes about making stern Lady Malene, who dares distrust him, succumb to his (violent) charms. Eww.

-1 A bit related to this, even though I have a higher tolerance for it in reading form than visual, I personally find the gorier and more graphic side of Warhammer so not my cup of tea. Especifically the sections in which the writers indulge and focus too lengthily in torture scenes or anything related to the cult of pleasure of Slaanesh (which is always a good opportunity to also include sexualized women or sacrifice scenes, yay).

  • Poc and LGBT+ representation. Colonialism and xenophobia.

-1 No representation of poc except for very brief mentions of poc humans from the Warhammer equivalents of North Africa and China (merchants, traders and people who live in the foreigners' quartet of the High Elven capital Lothern). As per usual fantasy white-centrism, it is assumed that all High Elves are white (something that in my opinion doesn't make a whole lot of sense if we're talking about a whole species :S, but OK), and all Elves whose appearance is described have fair to very pale skin (Tyrion in book 2 has tanned skin from his journeys, but yeah).

Ulthuan and its colonies in a map of the Warhammer version of the world (©Games Workshop)
 
+1 Some critical content tackling racism and xenophobia between High Elves and humans is explored. Ulthuan (the Elven insular continent) is a nation with a colonialist history which now trades with other races but at the same time is politically aislacionist (more than once this goes hand in hand with the colonialism bit), and consequently off bounds to anyone who is not a High Elf everywhere in the country except in Lothern's "foreigners' quartet", where humans and even some Dwarfs are permitted to live (with the main aim of trading). When Tyrion visits said quartet and sees humans for the first time in his life, these topics of Elven aislacionism, xenophobia and prejudice come to play in the narration. Tyrion's first impression of the humans is coloured by the xenophobic and racist prejudice he has been taught in his society, seeing them as inferior in all things and comparing them to 'apes' and 'monkeys', to the extent that he is then surprised to meet humans who are more intelligent that he and many Elves gave them credit for. He in turn also experiences xenophobic violence and slurs ('elfie', 'cat-eyes' - because of the High Elves' almond-shaped eyes) from some drunken humans, so there's also a bit of that other side as well.

-1 Practically no representation of LGBT+ people. Demon N'Kari can easily be seen as genderfluid, as many demons often are, but is portrayed in a quite problematic light. N'Kari uses 'he/him' pronouns the most, but also appears in female form at least twice. The problem is, when N'Kari is female she is incredibly sexualized and cast in the 'seductive femme fatale' role as per male-dominated fantasy standards. The fact that N'Kari is a demon who serves Slaanesh, the Chaos deity of pleasure and all things lascivious and perverse, is not helping any matters. 

  • Other intersections: Class and ability

+1 There's also some social commentary regarding classism, the hypocrisy and snobbery of the aristocratic classes and the difficulty of learning how to navigate and survive in a world full of protocol and courtly intrigues, as rural-raised Tyrion and Teclis find out when they go to the capital to live with their wealthy relatives for a while.

Teclis (©Games Workshop)

+1 Ableism critical content: While Elves see themselves as the superior race for their beauty, longer life, and the fact that most never get ill, Tyrion's twin brother Teclis is frail and disabled (he gets ill often to the extent of being in the brink of death, has a severe limp and mobility problems, and is considered to be less canonically beautiful), and thus he has experienced constant disapproval and insult from his Elven fellows, who look down on him for being 'inferior'. Compared to his able-bodied, beautiful-even-among-the-Elves brother Tyrion, he feels insecure and bitter, but relies on his intelligence, acerbic wit and remarkable magical ability to shine.

Thankfully, the treatment of this issue was pretty positive, being critical of the classism and ableism of the High Elves from the pov of Teclis, who is never seen in a negative light by the narrator because of his health problems and disabilities. Teclis will also end up being the High Elven character who seems most understanding of humans (also seen as frail, uglier and inferior by the Elves) and one of the few Elves more interested in helping them and sharing his knowledge with them. There's also the fact that even though Teclis ends up gaining more health and mobility that allow him to do adventuring of his own and live a long life to perfect his lore and magic powers, he ultimately also gains a more able-bodied lifestyle mainly by his own agency, choice and powers (as well as receiving help in this book, for example, which is also a positive thing, of course).

+1 And finally, I also like that Tyrion and Teclis maintain a pretty healthy and supportive brotherly relationship in this and other respects, which is a refreshing subversion of the often competitive, love/hate trope dynamic based in jealousy issues of the 'golden, athletic brother pitted against the dark, bitter brother' (hello, Thor and Loki xD - that particular relationship also has its character development and is really interesting, of course, but I could not let that reference slide xD

 And finally, the IG storytime with more or less the same text content, but including direct quotes and a bit more specifics sometimes (also here)

Sunday, 11 September 2016

Goodreads feminist reviews - Time Lord Fairytales (Doctor Who)


I've been reviewing the individual stories of Time Lord Fairytales (a series of whovianized versions of traditional fairytales) on my Goodreads account, but I thought I'd post the full review here as well.

Warning (kinda): Long post! Also, there's a lot of snarky bashing of traditional fairytales, because I take special pleasure slaughtering them, seeing as it's where children actually learn a lot of damaging stereotypes and constructs.

1. The Garden of Statues: 4/5
A Weeping Angels story read by Joanna Page aka Elisabeth I :) 

+1 Engaging plot

+1 I loved the fact that the two main characters, Izmay and Tarmin, seem to remain friends in a platonic relationship all through their lives, rather than fall in love and get married once they became a 'handsome man and a beautiful woman', as it would happen in most fairytales - and in most of the media as well -, where apparently a man and woman can't just be friends, they always have to end up in a romantic relationship of some sort (thank you, heteronormativity!) The children actually seem to think that the old man and woman are married ('the old couple', 'her husband'), but I'm hoping they just assumed that because they lived together, seeing that in the end it's nowhere stated that Izmay and Tarmin are a couple ('it semeed the most natural thing for the two friends to stay in the house'). Male/female friendship is woefully under-represented, and I loved that this tale did something about that :) 

-1 Taking risks just because of peer pressure and being dared. Not a sufficient reason or motivation to face danger. 
  • Feminist infographic;
-Number of women (named): 1- Izmay/Old woman
-Other women (unnamed): Female children
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  Izmay is active and participates in the action alongside Tarmin. However, she's the one who's described as 'gasping' or 'crying out'. Both are scared, but it's the female character the one who's most vocal about it (traditional 'feminine' behaviour).
-Subversion: Male/female platonic friendship
-Problematic stereotypes or relationships?: No

2. Frozen Beauty: 2/5

This whovianized version of Sleeping Beauty has some interesting twists and progressive elements ('Sleeping Beauty' being a renowned starship commander, for example), but the cringeworthy element of the tale kind of remains. Even though the non-consensual kiss has a slightly more acceptable reason this time -intended to make her breathe instead of the creepy 'true love's kiss' these sleeping women in fairytales are never asking for -, the sleeping, passive position of the woman is still glamourized and objectified by the male gaze. The male captain (aka 'the prince'), forgetting his professionalism in his quest to rescue and revive his fellow captain, stops to think just how beautiful she looks in her 'frozen beauty' more than once. I find this glorification of the passive (and unconscious!) female as 'beautiful' and 'alluring' nothing short of problematic. Especially when opposed to the reaction of the female character, who thinks his active, conscious smile is as beautiful as 'her frozen beauty was to him'. 

+1 'Sleeping Beauty' is actually a commander of a starship renowned for her bravery and abilities, so that's a huge progressive element as opposed to the original character.

-1 However, she remains unnamed, and her brother, who impacts on the tale less, is given a name. The male captain (aka 'the prince') also remains unnamed, but the detail about the brother being given a name while the female protagonist remained unnamed was jarring to me.
Come on, you knew I had to include this gif xD!

-1 She also remains in her passive, frozen position for 99% of the tale, and her passive state is glamourized as 'alluring' and 'beautiful' by the active male gaze of the male captain who comes to rescue her.

+1 The kiss has a slightly more logical and less 'non-consensual' reason (mouth to mouth resuscitation) as opposed to the 100% free-access 'true love's kiss'. The male gaze still remains, though.  

-1 Cringeworthy last sentence where the male gaze is glorified and the female feels attracted to his active, conscious self instead: 'his smile was as beautiful to her as her sleeping, frozen beauty had been to him'.
Even though the 'kiss' is kind of more justified than the original textbook harassment, the male captain has like 0% professionalism when it comes to waking up his female fellow captain. He behaves like an entitled creep with a degree in male gaze and dubious intentions :/

+1 Female crew in both starships (it's to be assumed, only one female crewmember appears).

-1 The only female crewmember mentioned is the one described as less active with 'her voice taut with nerves'.

-1 No Bechdel or female bonding
  • Feminist infographic;
-Number of women (named)0
-Other women (unnamed): 2 - The female captain and a crewwoman
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?: There seem to be crewwomen in both starships, and the tale's 'Sleeping Beauty' is a renowned captain, but she remains passive for the entire tale.
-Subversion: Sleeping Beauty as a starship captain.
-Problematic stereotypes or relationships?: Male gaze. Glorification of dubious consent situations. Passive and unconscious women as 'alluring'.

3. Cinderella and the Magic Box: 2.5-3/5

As a long-ish disclaimer, I want to say that Cinderella is one of the Patriarchal traditional fairy tales I dislike the most: It equates 'beautiful' (regarding a woman, that is) with 'valid' and 'good' (Cinderella is beautiful and 'good', her stepsisters are 'selfish' and 'evil', so they're ugly); it equates 'good' with being practically a pushover who puts up with everyone's rubbish (she might have no other choice in that kind of society, but that doesn't mean she has to sell her position as a happy one just because she's 'good'); there's a nearly complete lack of female bonding (mother who dies, 'evil' stepmother and sisters as competition regarding other men), apart from the fairy godmather, who pretty much supports patriarchy and only helps her by giving her a makeover so that she can attract a man who will support her (where was she when she was miserable and toiling away in the house before the ball??); meanwhile, the father figure, who actually pretty much neglects her 'kind' daughter, is forever glorified; On the other hand, a man is the woman's recompense for being good (and beautiful!) -practically the only choice for a woman lacking her own means in those times, but definitely not the ideal 'happy ending' or even a 'choice', as it's exalted in such an anachronistic way today; the man is interested in her mainly because of her good looks, and the ball was there in the first place so that he could choose a (pretty) bride - and he's also so stupid he needs the freaking slipper to recognise her in the first place when she's not in her make-overed ball look. I could go on.







So why 2.5-3 stars? Well, apart from the fact that it's Ingrid Oliver aka Osgood reading :), I have to admit that the Whovian and less traditional twists of this tale were refreshing, compared to the stifling patriarchy of the original one (although nothing beats the feminist rendition of Ever After, in my opinion, and even that one is still traditional in many aspects), so, although the general idea of the tale remains the same, there are some interesting changes:

-The fairy godmother is the Eleventh Doctor, and that's pretty cool (wink, wink), and also pretty subversive :D. 
I enjoyed the descriptions about the TARDIS' bath (time-locked so that you can take as long as you want in your bath without any time actually passing outside) and wardrobe. And although Cinderella ends up wearing the Whovian variation of glass slippers ('Midnight crystal', a softer variation which adapts to the shape of your foot), I enjoyed Eleven confirming that 'glass shoes would just be silly', something that I've always thought xD (also, HIGH-heeled glass slippers? So obvious these tales were written by men who don't have to wear such shoes!!) 
Empowerment means not being able to walk. Thank you for your simplistic hypothesis, choice feminism.
-The ball is hosted by Lord and Lady Darke, and it's not meant to search for a bride for any prince, it's just a masquerade ball. The Doctor actually sends Cinderella on a mission against the  actually vampire nobles (he's unable to do it himself because they'd instantly notice the artron energy in him). So the 12 a.m deadline does not involve Cinderella escaping from the prince, but actually beating the vampires with the sonic screwdriver, and saving the story's prince and everyone else in the process. A more proactive Cinderella, which I appreciate.

-The prince is not seeking a bride (he was a guest at the ball, lured by the Darkes), and, while Cinderella ends up getting engaged to him in the end, in the typical we-have-just-met-but-who-cares way of (heteronormative) traditional fairy tales, at least he doesn't do the stupid stunt with the slipper (he just gives it back a short while after she loses it, and doesn't chase her without her consent, as in the original tale), and thanks her for saving his life. Not enough reasons to actually immediately want to marry someone (I guess he thinks she's pretty and she still has no other way out in that kind of society), but ah well.
  • Feminist infographic;
-Number of women (named): 2- Cinderella (kinda named) and Lady Darke (also kinda named)
-Other women (unnamed): 3 - Stepmother and stepsisters
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?: A more proactive Cinderella.
-Subversion: Eleventh Doctor as the Fairy Godmother, Cinderella sent on a mission.
-Problematic stereotypes or relationships?: Instant heteronormative relationship and marriage.

4. The Twins in the Wood: 2.5/5
Even though Anne Reid's reading is pleasant to listen to, I didn't find the plot of this tale very engaging, to be honest...

+1 A female character (the sister, Ella) ruling alongside her brother
+1 Gallifrey makes an appearance
+1 No romantic sublot anywhere, quite refreshing when it comes to most fairytales

-1 Exaltation of monarchy
-1 As usual, the children's mother does not appear in the tale
-1 No female bonding or Bechdel
-1 Plot was not very engaging imo
  • Feminist infographic;
-Number of women (named): 1 - Ella
-Other women (unnamed): No
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  Both characters, male and female, are pretty passive, to be honest, but we could argue that both manage to subsist in the wild on their own.
-Subversion: Female ruler alongside her brother
-Problematic stereotypes or relationships?: No

5. The Three Little Sontarans: 1.5-2/5
Really liked the Sontaran impressions by Dan Starkey (who plays Strax), but not a fan of war, binarism and violence à la Sontaran style. 

6. Jak and the Wormhole: 2-2.5/5
+1 Additional female character who doesn't appear in the original tale (Jahanna) and who turns out to be reasonably proactive a couple of times, shouldering a Nimon off a window and turning off the wormhole creator with her technological knowledge.
+1 Nimon instead of that creepy giant.

-1 Emphasis on Jahanna being a 'princess': classism (the importance of status) + sexist stereotypes associated with the damsel in distress trope and her beauty (male gaze) - 'You don't look like a princess' (because she was in prison wearing rags) ; 'How do I look?' 'Like a princess' (when changing into another dress at the end of the story).
-1 Awkward romantic subplot wannabe?
-1 Damsel in distress trope
-1 No Bechdel or female bonding
  • Feminist infographic;
-Number of women (named)1 - Jahanna
-Other women (unnamed)1 - Jak's mother
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  Jahanna shows some agency and wits a couple of times. Not much, though.
-Subversion:  Not really
-Problematic stereotypes or relationships?: Awkward romantic subplot revolving around Jak evaluating Jahanna's appearance, and how much she looks 'like a princess'.

7. Snow White and the Seven Keys to Doomsday: 4/5
This whovianized Snow White is an improved, less sexist version of the original tale, in my opinion. The Queen, who thankfully this time at least has got a name (Queen Selima), is still 'evil' and 'power-hungry', but there are mentions of male cruel kings as well, and, most importantly, there's no problematic (step)mother-daughter female competition and the (usually male) mirror hasn't got the function of determining 'Who is the fairest of them all'. No apple. A more proactive Snow White. No romantic subplot! No prince! No sexual assault of a sleeping Snow White by the random prince! - Really, really happy about that, and wish they would have done the same about the male-gaze problematic issue in Sleeping Beauty (Frozen Beauty).
There's nothing of this :D!
Or this :D! 
+1 No patriarchal notion of female competition to see who's more beautiful.
+1 No non-consensual kiss of an unconscious woman.
+1 No prince! No romantic subplot! See, it isn't necessary.
+1 A more proactive Snow White who comes up with the plan to find the keys and who destroys them.
+1 The minesmen (aka the Dwarfs) are just comrades of her father who help her, instead of being random dudes who let Snow White stay in their home provided she cleans it.
+1 Snow White as daughter of castle staff instead of being made into a servant Cinderella style. Her mother actually being alive and having a name (Elsa)!
+1 No creepy huntsman chasing anyone's heart.
+1 Mention of a cruel tyrant king before the reign of Queen Selima (not only the women with power are the 'cruel' ones).
+1 The Queen actually having a name.
+1 Ace aka Sophie Aldred reading.

-1 The Queen still being depicted as the stereotypical 2D cruel female monarch who has power and is therefore 'evil'. The appearance of a former tyrant male monarch may alleviate this sterotype, but still.
-1 Idealized realm where classism isn't disputed and the rulers and aristocrats 'generally' want the best for the people.
-1 The woman who poisoned the former tyrant king being depicted as her 'treacherous lover'.
-1 No female bonding or Bechdel.
-1 Emphasis on Snow White's beauty. A bit just because.
  • Feminist infographic;
-Number of women (named): 3 - Snow White, Queen Selima, Elsa
-Other women (unnamed): No
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  A more proactive Snow White who saves the day.
-Subversion: No romantic subplot!
-Problematic stereotypes or relationships?: No romantic relationships. Healthier relationship between Snow White and the Dwarves.

8. Little Rose Riding Hood: 3.5-4/5
This whovianized version of Little Red Riding Hood is much improved as opposed to the original tale, in my opinion:

+1 Red Riding Hood as Rose (Tyler ;) ). Described as 'brave, fearless and clever' as well as just 'beautiful'. A more proactive and less naïve character: She doesn't fall to the deception of the Zygon (who plays the part of the Wolf here), finds where her real grandmother is and successfully escapes the Zygon in the cellar in order to get help instead of just cowering (or being swallowed up by the wolf as in the original tale).
+1 No Wolf who creepily stalks and deceives Riding Hood. Instead, we have references to the Bad Wolf, a legend 'scrawled across walls and daubed on pavements in the town'.

+1 Ninth Doctor as the woodcutter, complete with shed (aka the TARDIS). Fantastic!

+1 Affection and female bonding between women: Rose, her mother and her grandmother.

-1 I thought the Doctor' method of dealing with the Zygon (shouldering the Zygon down the steps of the cellar, which supposedly killed it) was a bit too violent and out of character...He says 'I cut out the dead wood (...) I weed out the poisonous, strangling vines'. That's not what the Doctor does, he helps people, not kills enemies (and the Ninth Doctor, toughness aside, talks openly about appreciating life). Too much binarism. 

-1 Rose and her grandmother are saved by the male, but this Riding Hood was way more proactive and less of a naïve damsel in distress. Also, it's the Doctor's 'role' to help people, so... 
  • Feminist infographic;
-Number of women (named)1 - Rose Riding Hood
-Other women (unnamed)2 - Rose's mother and grandmother
-Bechdel: Yes
-Female bonding: Yes
-Proactive female characters? Empowered traits in at least one female character?:  Rose is more proactive and less naïve than the original character.
-Subversion: A more proactive Little Red Riding Hood. The idea of  'Bad Wolf' instead of the wolf.
-Problematic stereotypes or relationships?: No

9. The Gingerbread Trap: 1.5/5
+1 The (sexist) cliché of the jealous (step)mother who manipulates her husband into abandoning his children (who vie with her for the love of the man) fortunately does not appear. This tale's Hansel and Gretel (aka Markus and Everlyne) simply set out after a fallen star (spaceship) without being abandoned and without leaving any bread crumbs behind.

+1 Everlyne shows some wits-
-1 but in this version of the tale it's Markus who does most of the action (while in the original tale it was the sister)

-1 Sexist cliché of the woman who is old and thus 'ugly', evil and a 'witch' (a Krillitane in this tale, but same idea). Elderly men tend to be kindly in many tales (wisemen, wizards, etc), but older women are too often seen as 'evil' and 'ugly'.

-1 No female bonding or Bechdel

-1 Fragile masculinity: Markus doesn't want to admit that he's tired, hungry and scared when lost in the woods. He feels relieved when Everlyne mentions it and proceeds to comfort her, basking in his active, virile role and façade.

-1 I'm biased because I'm not a fan of Danny, but I did not enjoy the reading a lot either.
  • Feminist infographic;
-Number of women (named)1 - Everlyne
-Other women (unnamed)2 - Krillitane (old woman), Markus and Everlyne's mother
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  Not really.
-Subversion: Not really.
-Problematic stereotypes or relationships?: Fragile masculinity.

10. The Scruffy Piper: 4/5
I quite enjoyed this Whovianized version of the Flautist of Hamelin with the Second Doctor (and his recorder/tin-whistle) against the cybermats. 
+1 Nicholas Briggs narrating
+1 Second Doctor and his recorder
+1 Engaging
-1 No women

11. Helana and the Beast: 0/5 (or, if I have to choose anything from 1 to 5: 1/5)
As with Cinderella, here's a longish disclaimer of why I don't like this fairytale (and thus my first 1/5 rating in Goodreads): 'The Beauty and the Beast' is probably the fairytale I abhor the most alongside Cinderella and all the problematic shit in Sleeping Beauty and Snow-White.
-First of all, 'Beauty and the Beast' in all its variations (regrettably this whovianized version is not an exception) is full to the brim with double standards: The male character is allowed to be 'ugly' *and* loved, but the female character is always young and beautiful and must prove her lack of shallowness and her kindness by putting up with the Beast's very problematic behaviour and actually falling in love with him. 

-It also includes the ever-present clichés of the invisible (dead) mother, the idolized father figure, and, most importantly, the daughter who would sacrifice anything (including her life and freedom) for her father, supporting the problematic idea that a woman's life and freedom goes after the one of the males around her (father, husband, etc) and that this kind of (gendered) sacrifice where the woman loses her freedom is somehow necessary and even 'empowering'. 

-But the most cringeworthy and very, very problematic aspect of this kind of tale is that it glorifies and romanticizes abusive relationships and controlling behaviour, and it's pretty much an exaltation of the 'romantic' aspects of Stockolm Syndrome (she's a prisoner, for heaven's sake). That anyone, and especially a woman, view sacrifice, abusive behaviour and Stockholm as 'love' and/or 'empowering' is something beyond my comprehension. Seriously. Sue me.

-Also, the infamous and very problematic cliché of the woman who has to put up with a man's abusive and controlling behaviour because she knows there's a 'sliver of kindness deep inside', and it's somehow her job as a woman to 'make him better'.
This whovianized version has it all and it's not progressive or subversive at all.

----1: All the aspects I mentioned above
-1 Also the fact that the Beast is a whiny, egocentric, selfish individual who wants to have someone prisoner in their home just in order to have company, and because 'if he's miserable, then others must be too'. He's also shallow as hell, suddenly becoming oh-so-gentle-and-loving when he's pretty again. I personally don't think Helana's life will be so different, though. Still stuck with this dude alone in his house *shudders*

-1 And also the fact that many people actually believe that Helana/Belle is oh-so-empowered just because she likes reading and goes off on her own to search for her father. OK, but she still willingly puts up with all kinds of problematic abuse in the relationship, so...Just, sorry, I can't see anything empowering in Helana/Belle. She justifies abusive relationships, for heaven's sake. That's not empowering. The fact that someone (a woman) makes a 'choice' 'willingly' doesn't mean that choice is 'feminist'.
-1 And, of course, no female bonding or Bechdel. What a surprise! Isolation and Patriarchy are the order of the day here.

+1 The only thing I actually liked was the presence of the Twelfth Doctor, who's one of my fave Doctors. I also felt like Helana had a bit of decent, non-abusive support while the Doctor was around, and felt like she was left pretty much defenceless when he left at the end leaving her with the transformed Beast, which speaks volumes for the kind of relationship she got herself into. Helana mentions the way the Beast scares her quite a lot of times, and when she gives him the antidote and the Beast thinks he's being poisoned, she actually has to escape in terror to the library to find the Doctor because the Beast wanted to freaking hurt her. So damn romantic.
...for not helping Helana escape such an abusive relationship!
+1 The way the Beast transforms - thanks to Twelve's potion and not because of Belle's 'teary declaration of love' when the Beast is dying (you didn't know when you were well off, girl) - is pretty much the only slightly improved thing in this tale.
  • Feminist infographic;
-Number of women (named)1 - Helana
-Other women (unnamed): Haha! No.
-Bechdel: Hahahaha! Nope.
-Female bonding: Still nope.
-Proactive female characters? Empowered traits in at least one female character?:  Hahahahaahahah! More nope.
-Subversion: *Hikaru Sulu's voice* 

-Problematic stereotypes or relationships?: EVERYTHING. 

12. Andiba and the Four Slitheen: 4/5
+1 Proactive female protagonist, described as 'brave' and 'intelligent' (instead of just being 'beautiful': Her appearance is actually never even mentioned).

+1 Vash seems to treat Andiba in a reasonably egalitarian way, appreciating her intelligence and resourcefulness, and doesn't steal her proactivity. Reasonably realistic and healthy relationship from friends to lovers without Andiba loosing empowerment because of it (gains a job at the factory and doesn't revert to a more traditionally passive role).

+1 Andiba is treated in a reasonably egalitarian way by Vash's father as well.

+1 She's given a job as coordinator in the factory as a way to thank her for her resourcefulness

+-1 Compulsory (heteronormative) love plot, but it's pretty secondary and it's pretty much the most equal relationship in this book.

-1 No Bechdel or female bonding
-1 Potential fat shaming (Slitheen skin suits)
-1 Death of the Slitheens is treated a bit lightly. Bit of binarism.
  • Feminist infographic;
-Number of women (named)1 - Andiba
-Other women (unnamed): No
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  Andiba is proactive and shows agency, wits and resourcefulness.
-Subversion: Active female protagonist who saves the day
-Problematic stereotypes or relationships?: No. Actually quite a healthy relationship, considering.

13. The Grief Collector: 3.5/5 (and a 5/5 to Michelle Gomez reading)
Tale based on Rumpelstiltskin. It has quite a lot of traditional and idealized messages revolving around marriage ('the happiest day of her life') and the 'love conquers all' cliché (as in 'we can be happy even though we're poor because we love each other' and so on) - These kind of glorified gender-roles, the systematic glorification of the marriage system and heteronormative messages are one of the reasons why I tend to dislike traditional fairytales, but I can never say no to a whovianized tale, and it's always nice to hear Michelle Gomez reading. Also enjoyed Ten's cameo :).
The problem I have with many fairytales is that Romance=Glorifying financially dependent women married with guys who are mainly interested in their looks...in the freaking 21st Century, when women's only choice isn't to marry a man in order to survive.
Traditional messages aside (also, there isn't any female bonding and this doesn't pass the Bechdel test), I did like the fact that Melina - the female protagonist - showed quite a bit of agency, has a reasonably proactive role and ended up saving Varan, the male protagonist (who doesn't even have any lines in the tale). And she did most of the work, too, because the (Tenth) Doctor just gave her info and encouragement (and made her tea xD).
  • Feminist infographic;
-Number of women (named)1 - Melina
-Other women (unnamed): Village women
-Bechdel: No
-Female bonding: No
-Proactive female characters? Empowered traits in at least one female character?:  Melina shows agency and saves the male character.
-Subversion: Woman saving the man
-Problematic stereotypes or relationships?: Glorification of the marriage system in a traditional village. The idea that being poor is unimportant when a couple can be together.

14. The Three Brothers Gruff: 2/5

+1 Paul McGann (aka the Eight Doctor) reading.
+1 Siblings (in this case, brothers) not being competitive and helping each other.

-1 Some hypermasculinity ('bravery'='taking great risks to bring glory and honour', and the like). However, Naze fights the Sontarans' hypermasculinity with his wits in a subversive way.
-1 The brothers 'laughing and joking' about the Sontaran's death. He did imprison and torture them, but not a fan of 'chuckling' about anyone's death.
-1 No women

15. Sirgwain and the Green Knight: 2.5/5
+1 Whovianized version of Sir Gawain and the Green Knight featuring an Ice Warrior 
+1 Plot was reasonably engaging

-1 Male-dominated society with a lot of hypermasculinity values (bravery, strength, 'honour')
-1 Monarchy
-1 No women