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#but this was why i wasn't fundamentally against making root a woman in the film (if only the film hadn't thrown out the rest of the book)
pippastrelle · 3 months
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The misogynistic pitfall of anti-misogyny morals (ATLA and Artemis Fowl)
[Note: everyone both suffers from and upholds misogyny no matter what. It's everywhere and in everyone's subconscious biases. People of all genders make the world a better when they take that effort to listen to others' experiences and recognise we're all human.]
‘Show, don’t tell’ is one of the most fundamental rules of writing because nothing takes you out of a story like battling with what you’re reading for the right interpretation. It forces you to back out of the reading experience and re-process everything.
This is where the pitfall of anti-misogyny morals lies in otherwise very well-written media like ATLA and Artemis Fowl.
In the Book 1 finale of ATLA, the protagonists arrive in the Northern Water Tribe where Katara is told she cannot learn martial Waterbending because she is a girl. Katara and the other protagonists revolt against this and the episode ends with Katara being able to join the boys’ class. Similarly, in Artemis Fowl (Book 1), Holly Short is the first female Recon officer. She revolts against surrounding male officers who tell her she should not be in Recon because she is a woman and she continues despite it.
Surely, the interpretation is meant to be “Don’t exclude or look down on people just because they’re girls/women”. However, what do they actually say about girls/women at large?
In ATLA, we don’t see any other girls discuss their inability to learn martial Waterbending, either for or against. We don’t see any other girls join Pakku’s lessons even after he acknowledges Katara as a master. When the Fire Nation invade, we don’t see the women’s healing or general Waterbending skill come in handy. The interpretation you could reasonably come to is no girl or woman in the Northern Water Tribe wants to learn martial Waterbending or has anything to contribute with their Waterbending.
In Artemis Fowl, we learn of one other female officer in the LEP: Lili Frond. But Short balks at the idea of her being in Recon because she’s a “bimbo”. In other words, Frond cannot be Recon because she is unintelligent in a specifically feminine way. Of course, this could reveal Short’s biases. She’s been so degraded for being a woman, she’s internalised that femininity is not appropriate for her profession. However, Frond only ever appears in reference to her rising ranks because she’s an attractive woman riding her family’s coattails. We never hear of other female officers trying to follow Short’s lead or involve any other female fairy. The other prominent female characters in the book are Juliette Butler, who’s a distractable teenage maid that Short mind-controls, and Angeline Fowl, who spends the book catatonic in grief over her husband’s disappearance. Minor roles. The interpretation you could reasonably come to is no woman advances in the LEP on her own skill or has anything to contribute in the central kidnapping plot.
When you set up an anti-misogyny plot in a piece of media that doesn’t lend much agency or interest to other girls/women, it becomes an issue of ‘telling’ not ‘showing’. “Girls can do anything” becomes “Well, Katara and Holly Short can do anything”.
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