#war heroine

[scotianostra]

Marion Patterson nee Chalmers, was born on August 26th 1911 in Aberdeen.

Marions parents emigrated to canade in 1919, where she lived for 20 years, in August 1939, she, her husband Guthrie Patterson, (who hailed from Dundee,) and their son Douglas moved back to Aberdeen.

War broke out shortly after moving back to Aberdeen, Scotland in 1939, and Marion enlisted as an ambulance driver. She really enjoyed her job and attended classes when not on duty to become more proficient in her work. She became a lifetime member of the Order of the Eastern Star and belonged to the White Shrine. Marion was Queen in the order of the White Shrine for two years and was also Prelate in the Order of the Amaranth for a number of years. In the summer of 1942, an emergency bulletin was issued, "All Canadian children and parents wishing to return to Canada, should apply to a steamship office in Glasgow." Marion did not think the War would last very long, but, the thought of taking Douglas to the shelter every night, effects on his schooling and his health, made her decide to send him to her mother in Toronto. She wanted to stay with the ambulance service until the War was over so that she and her husband could return to Toronto together. The next day, two Red Cross ships carrying Canadian children and 200 wounded, were torpedoed in the Glasgow harbour. Her son Douglas was not injured. The damaged ships returned to Glasgow for 10 days for repair and eventually made their way safely to Toronto.

The War raged on, the damage to Aberdeen was indescribable and times were bleak. Marion decided to open her own Hairdressing salon, which had been a dream of hers for many years. She did this with enthusiasm and was very happy to be working at hairdressing again after such a long while. Marion wanted to contribute in some way and in October of 1942, became a Senior Fire Guard for the Civil Defence in Aberdeen, Scotland. One day, while on duty, Marion was using a stirrup pump to extinguish a burning building on South Market Street, when she heard cries for help coming from the building. With stirrup pump in hand, she could see a way to start burrowing under some walls that had collapsed. It took quite some time, but she managed to get to the sailor who was trapped below. Unfortunately, his legs were trapped under some timber beams and Marion could not free him. He was too weak to help. She looked around and found some loose pieces of wood and by pushing on the loose pieces, had enough leverage to partially lift the timber. At that point, the sailor was able to wiggle himself loose. Marion kept calling above for help and finally a rope was lowered through the damaged walls. She was able to tie the rope around the sailor's waist and with help got him out of the burning building. They were both exhausted, but safe. One minute after escaping from the building, it collapsed.

The incident was written up in the London Gazzette on December 4, 1942. Marion was invited to attend at Buckingham Palace on the 12th of February 1943 to receive a presentation of the George Medal by King George VI. During the presentation, it was announced that Marion was the first street Fire Guard to win a medal while engaged in fire duties. As part of the award, Marion was also selected for portraiture in a special section of the National Gallery of England set aside for heroes and heroines of the blitz. She was also invited to be a guest at Balmoral Castle so as to be able to visit at any time she wished, for the remainder of her life. The famous Scots Artist, Mr. Robert Sivell, R.S.A. had been commissioned by King George VI to paint Marion's portrait. Mr. Sivell worked at the Aberdeen College of Art and Marion was scheduled to meet with him for several sittings.

Marion kept the portrait a secret from her family because it came as such a surprise to her; she wanted it to be a big surprise to them too. She was able to dash away from her hairdressing shop to attend special sittings for the portrait. When it was finally completed, Marion again attended Buckingham Place for the presentation. The original painting was hung in the National Gallery, London, England and was shown in a Special Wing for Heroes and Heroines of the 1939-1945 War. Her portrait had the honour of hanging between General Eisenhower and General Montgomery. Two replicas were also created and a sketch in black and white. One replica is in the Ottawa, Ontario War Museum in Canada and was part of the Women at War Display in 1985. The black and white sketch was sent to the Gallery in Aberdeen, Scotland. Just under 40 women in UK were awarded the UK George Medal. Marion was awarded another 5 medals during WWII for her actions as a Civil Defence Senior Fire Guard. Her medals are on display at the Aberdeen Art Gallery having been purchased in 2005 by the Aberdeen City Council and the Friends of Aberdeen Art Gallery and Museums. They form part of the Artists at War display.

Marion moved back to Toronto after the war where she worked as a hairdresser and lived with her family until her death. She enjoyed traveling and was able to make many trips to Scotland and England. She faced many challenges throughout her life during and after the war, including breast cancer in 1975, which she also battled and conquered. She had three grandchildren, five great grandchildren, and four great-great grandchildren. She is shown below in August of 1982 with husband Guthrie and great grandson Darryl James Wannamaker.

[idiosyncraticrednebula]

The more "empowered" Disney tries to write their heroines as, the less interesting and charismatic they become, ironically.

[illustratus]

Judith holding the Head of Holofernes by Jean-François Godefroy

[wonder-vixen]

Bri as Wonder Woman

[alcida-auka]

Omega's Heroine's Journey prediction

Here's my current prediction for Omega's story from season 1 to season three using the Heroine's Journey as a model.

Separation from the Feminine. Omega leaves Kamino behind, and with it her central mother figure, Nala Se, a woman who is Creatrix of her many brothers, benevolent and ruthless, Creator/Destroyer. Nala Se represents an ambivalent figure to Omega. She is loved by her, but she lived in a cloistered lab, and likely saw Nala Se's ruthlessness, as well as her love. In Murdock's Heroine's Journey, the heroine is unhappy in the world that represents her feminine origins.

Identification with the Masculine and Gathering of Allies. Most of our story of the Bad Batch, is Omega's journey with her younger big brothers. They are aspects of her animus, the masculine side of her, and she identifies with them, learns from them. They are the Muscle Man [Wrecker], Hunter [Literally, the Hunter], The Professor [Tech], and eventually, the Psychopomp [Crosshair]. Allies include Cid, Echo (a Reg brother), Phee, and many more.

Road of Trials, Meeting Ogres and Dragons. Many stories of rancors, dragons, scoundrels, battles. Season 1 and season 2.

Finding the boon of success Pabu. After many trials, (we see bits of vice in Omega at the start of season 2, a little of the potential for avariciousness we see in Jango and Boba, mostly ameliorated with influence of her brothers and the old Serennan man). But Pabu is the success, the utopia well-earned, a life with her brothers.

Awakening to feelings of spiritual aridity; death The life of adventure with her brothers, brings Omega the absence of one brother striking off independently, the other brother dead (maybe). Season 3, Omega will realize that her life with her brothers that she emulated and desired leads to their danger. She will question herself and what she means to them.

Initiation and Descent to the Goddess Omega will meet a Dark Shadow of herself--Emerie, the version of herself raised by a malevolent father figure, Dr. Hemlock. He is neither the benevolent paternal figure of Hunter, nor the neutral Creatrix like her mother. Dr. Hemlock is a malevolent Creator/Destroyer and perversion of that mythic figure. Omega will come to understand her Shadow in Emerie, and what could have been an aspect of herself down another path. In addition, she will also meet the Goddess that can help reconcile her place in the galaxy, and her place. This could be represented by Asajj, a woman who has been raised and tutored by multiple people, kind [Jedi] and dark [Sith], and found her own way, her own power, not completely defined by simple dichotomies, embracing what she has learned of Jedi, Sith, Witches.

Urgent yearning to Reconnect with the Feminine Omega will revisit what it means to be Nala Se's Creation and Daughter, to be Emerie's sister. That Feminine is represented in this story by cloning itself, and Omega's former (and current Mt. Tantiss) life of medical research of being assistant and aide to Nala Se -- the life that had been intended for Omega. This does not mean Omega will be Nala Se's assistant in her future adult life. But it does mean reconciling with her Mother Figure's legacy of the clones, and how she can help them herself, using her own knowledge gleaned from working on Kamino and on Mt Tantiss.

Healing the Mother/Daughter Split We have never seen Omega and Nala Se hold a conversation with each other. It will be time for a maturing Omega to confront her Creatrix, to understand or reconcile her ambivalent feelings towards her. This may also be represented in having EMERIE, Omega's Shadow, reconcile with Nala Se, the Mother figure she might perceive as having abandoned her to Dr. Hemlock.

Healing the Wounded Masculine This was always going to be Crosshair. He represents the psychopomp, the final state of the Animus, the masculine that is the guide, who has gone to death, and out of it. He has been symbolized by the Ice Vulture [remember the sacred symbolism of the vulture], and Joel Aron talked about the "angelic" lighting above Crosshair in his cell. Angels and vultures are all psychopomps. Omega will heal her inner psychopomp, the masculine guide, the part of her broken masculine, and in need of flying again, soaring above with sharp eyes.

Integration of the Masculine and Feminine Omega's final stage in the Heroine's Journey. She will combine and integrate the positive Masculine in her life (of which there is much!) of her warrior brothers, that have helped her to reach out in the world and fight, with the Feminine of her origins, the clever clone, assistant to the Creatrix of them all. Like Nala Se, she can be clever creator and destroyer (she was trained to do Nala Se's work after all), but she will destroy what harms her Mother's creations. She is the Omega, the last Clone. She is the Legacy of Jango Fett, a man who gave his own blueprint to create millions of doomed boys that will destroy and be destroyed in turn, and the Legacy of Nala Se, the woman who used that DNA to create them. Jango and Nala were always mirror characters in the story--both seemingly dispassionately, created millions of doomed children for a war machine. Yet neither were wholly evil, both loved fiercely and were/are honorable. Both loved one clone (the Alpha, and the Omega, respectively). Omega will embody the positive aspects of both these complicated legacies.

[a-titty-ninja]

[chicademartinica]

The Eighth Sense inspired Top BL characters who were drunk drunk on screen ( played by actors who did it so well I think they woke up in a ditch at least once in their life.)

Taiwan : Gao Shi De in We best love 2. This man was drunk AND desperate AND horny. Sam Lin does everything well.

Thailand : Mark in Love Mechanics. Lord that boy had a drinking problem. War knew what he was doing.

China : Bai Luo Yin. Chinese teenage binge drinking so realistic you need to look away. Timmy Xu murdered his drunk scenes.

Korea : JAE WON. Errybody and their mommas has a drinking problem on that show but that hoe is a classic Korean terror.

[memoria-99]

Forever wip 😂😂

[sspacegodd]

CAUTION. Drugs will drug you.

[sincerelymarner]

10/24/22 | jeff bottari via getty images

[dirtytransmasc]

Holy hell spiders collecting dads like Pokémon…but shit imagine the papa bear rage Tsutey would feel when Quaritch came back and learning he TOOK Spider…his child was taken and I think he would scorch earth to get him back

if spider hadn't begged him on his hands and knees not to kill quaritch, he would have slit his throat; at that point, it wasn't because of who he was, who he worked for, none of that important stuff, it was because of the fact he put his hands on his kid, aggressively, and he got hurt.

the second he realized spider had been taken he was hunting down quaritch, he doesn't give two fucks what jake says, he's looking for that little shit. (context for the next part, I HC within this concept that tsu'tey was injured in the battle, but didn't die, so he's like disabled, and not in the best shape for a whole rescue mission, especially against the RDA). jakes trying of et him to stay home, offering to go out himself and tsu'teys like "oh, so now you care, know that you have to worry about me? why weren't you that willing to volunteer when a child was being held by those demons. I am going jake, I am getting me boy, and you will not be stopping me."

he almost cuts jakes throat out when he hears him worry more about spider giving up information then he is about spider's safety.

and then when he does track down spider (when the recoms are out in the field) he is wrapped up in both his relief and anger that he just scoops the boy up, baring his teeth to the team. he needs to hug his boy (and ease his own heart) before he can go about slaughtering them like animals.

though, I think if spider aked him to spare the team, to give them a chance to prove themselves as redeemed, to give them a chance to fight for The People, tsu-tey would, only cause he trusts and has a soft spot for the boy. does not quell his rage though ("I don't care if they changed, jake changed, and I still haven't stopped giving him shit. they hurt you, I get to be angry, skawng.")

[futureless]

hate when pro-lifers are like “what if ur mom would’ve aborted you?”

bro does it look like i wanna be here right now?

[tantive404]

Leia Organa as the Gothic Heroine

“Through a dream landscape, . . . a girl flees in terror and alone amid crumbling castles, antique dungeons, and ghosts who are never really ghosts.

She nearly escapes her terrible persecutors, who seek her out of lust and greed, but is caught; escapes again and is caught; escapes once more and is caught . . . [and] finally breaks free altogether, and is married to the virtuous lover who has all along worked (and suffered equally with her) to save her."

-Leslie A. Fledler, Love and Death in the American Novel

The gothic novel is a genre of literature that has grown increasingly compelling to me. Defined by its mixture of romanticism and horror— or “wonder and terror”, with a “loose literary aesthetic of fear and haunting”— these stories are known for their forbidden castles, ghostly mysteries, and, most centrally, their heroines, fleeing terrified into the night in a flowing white gown…

Over the years the gothic has become a genre dominated by the feminine and by women writers. And even though the first example of gothic literature, Horace Walpole’s The Castle of Otranto, was written by a man, the story is largely focused on its heroines. The central plot thread sees a corrupt tyrant prince pursuing a much younger princess for the sake of marriage and her desperate attempts to escape him, as she flees through his castle, through twisted corridors, trap doors, and all manner of danger.

I began to think of the relation between the archetype of gothic heroine and Star Wars’s female lead, Princess Leia Organa. After all, she is typically clad all in white and on the run from a dastardly Imperial villain of some sort. And it would not be so difficult for the Death Star to serve as an old manor, filled with secrets and danger… trap doors (garbage chutes), gaping chasms, masked phantoms (Sith Lords) and terrible, power-hungry old men.

The gothic heroine is a young woman often characterized by her virtue, innocence and beauty. She may be born into a position of high social status, with a wealthy or aristocratic family, or even be full-fledged royalty. Some time early in the story, however, she loses her privilege and power… orphaned, imprisoned, or otherwise inconvenienced. In Ann Radcliffe’s The Mysteries of Udolpho, for instance, our protagonist Emily St. Aubert lives an idyllic life with her well-to-do parents, only for both to die and her fortune to be lost in the first act, where she is then given into the power of her aunt and eventually her villainous uncle-by-marriage, Montoni. Leia, too, was a happy and beloved child as the Crown Princess of Alderaan, even with the shadow of the Empire looming overhead… but is captured on a fateful mission for the Rebellion and sees her planet destroyed for her troubles.

And while a gothic heroine may be physically frail she has the mental fortitude and agency to be the one who drives the plot forward. Leia, too, subverts being placed the box of “damsel in distress” with her strong will and her active fierce participation in the rebel cause.

The consistent pattern of “escaping and being caught” is another that Leia follows quite clearly throughout the original trilogy… when we first meet her, she is fleeing from her Imperial pursuers, only to be overpowered and captured. She’s taken aboard the Death Star, endures torture, and gets rescued… only for the next movie to involve yet another game of pursuit between her and Vader where she’s eventually caught yet again at Bespin. After another escape, she opens the subsequent film with an attempt to rescue her (not-so) “virtuous lover” from his prison… and she is made a slave. She escapes with her own ingenuity to rejoin the Rebellion, is nearly defeated in the perilous final battle at Endor, but with the help of her allies, wins the day and all is made right. A typical fairy tale ending.

And then there are her villainous persecutors, of which there are primarily three— Vader, Tarkin, and Jabba.

The gothic heroine is often menaced by a powerful man,?usually bearing misogynistic or patronizing sentiments. He is dark and threatening, yet can also be alluring… and the heroine strives to escape his oppressive power. So too with Leia, as representative of the Rebellion, seeking to destroy the oppression of the Empire.

In short, Star Wars is a very melodramatic, archetypal tale, and Leia’s journey both illuminates and subverts that.

[wonder-vixen]

Bri as Wonder Woman

[selenekallanwriter]

When I see people complaining about so-called Mary Sues, this is what I imagine them being like:

[ao3-anonymous]

Fastest Growing Fandoms on AO3 This Week (06/13/2022)

Every week I pull data on how many fics are in each fandom and compare to the previous week, then calculate the percentage increase to determine fastest growing fandoms.  Since this naturally skews towards smaller fandoms, I have included the same data filtered to Over 1k, 5k, & 10k fics.

Overall:

Over 1,000 Fics:

Over 5,000 Fics:

Over 10,000 Fics:

Source: AO3 Fandom Dashboard