More Deadly Than the Male: Difference between revisions

m
clean up
(→‎Live Action TV: Added Music section with example)
m (clean up)
Line 11:
This is when men are physically strong and quite capable of violence, but females are characterized as having a [[Beware the Nice Ones|hidden, but apparently bottomless capacity for lethal mayhem]].
 
Remember, this does ''not'' describe a situation where men are weak and women are strong. This is when females are depicted as far more ruthless, more cunning and ultimately more bloodthirsty than their [[Spear Counterpart|Spear Counterparts]]s, despite--ordespite—or because of--beingof—being smaller and weaker. While males are visibly larger and more aggressive, they tend more toward forms, codes and displays of power; meanwhile, the wily female [[Combat Pragmatist|bothers not with such things]].
 
To help this trope along, expect the bad guys to totally ignore the female, [[Genre Blindness|dismissing her as a threat]]. She may even appear to [[Double Agent|capitulate or collude]] with the enemy, suffering indignities no one would expect her to tolerate, all in order to get a better [[Best Served Cold|shot at revenge]].
Line 42:
* ''[[Discworld]]'': Sybil has hints of this. She was raised properly, but that basically means that she almost ''never'' has a chance to let off steam, and is occasionally very interested in violence...
** Also, compare the male wizards and the female witches (ESPECIALLY Granny Weatherwax).
** In particular amongst the witches we have [[Granola Girl|Magrat Garlick]], who is compared to a small furry animal in overall demeanor, and she isn't easily angered--butangered—but as ''Witches Abroad'' and ''Lords and Ladies'' prove, sometimes a cornered small furry animal turns out to be a mongoose
* ''[[Blood and Chocolate]]'': The male fights for alpha are planned meticulously and widely announced. The fights for the alpha's ''mate'', on the other hand, begin with no ceremony and are expected to be lethal.
* Madame DeFarge and Miss Pross in ''[[A Tale of Two Cities]].''
Line 57:
* ''[[In Death]]'' series: ''Rapture In Death'' has {{spoiler|Reanna}} brag about this trope to Eve. Eve refutes it, however, saying that she thinks ruthlessness and viciousness have no gender.
* The [[Rudyard Kipling]] line is referenced quite a few times in the works of [[P. G. Wodehouse|PG Wodehouse]].
* The works of [[James H. Schmitz]]--to—to whom the [[Dark Action Girl]] heroine was a signature trope--featuretrope—feature this quite a lot. The most notable one may be [[Federation of the Hub|Telzey Amberdon]], a telepathic teenage genius who unrelated adults find frankly terrifying.
* In [[Mercedes Lackey]]'s ''[[Heralds of Valdemar|Owlsight]]'', the local lord and his son head out into the field to assist in commanding the defense against a possible barbarian invasion, leaving the lady of the keep behind to oversee the village evacuees. This is for two reasons: she can keep the refugees busy helping plan her son's wedding, and she's as good or better at castle defense than her husband, "and that's why I married her." Their son is rather surprised to hear that one.
* Ruth from ''[[Someone Else's War|Someone Elses War]]'', full stop.
10,856

edits