In the Patriarchal model, the focus is on Glamour Girls, who are, in essence, sexed up Fairy Princesses. The Patriarchal does not understand women any other way. She is either a good Fairy Princess, an embittered former Fairy Princess, a Fairy Princess fail, or a bad Fairy Princess (id est, a self-entitled diva who is brazen about her single goal in life), or an anti-Fairy Princess who would be one if she actually knew how.
The good sexed up Fairy Princess is the Glamour Girl. She is young, nubile, fashionable, gullible, and on the prowl for a man with money. Her Prince Charming conveniently is a man in power who is loose with his wallet when it comes to her expensive shopping sprees.
However, that part of the equation is only implied at the end of Happily Ever After. The good Fairy Princess never overtly states she is looking to marry a bank account. She just so happens to be a poor girl just so happens to love the man way out of her league who just so happens to love her once she wiggles and jiggles for him! Nice amazing convenient coincidence, Fairy Princess!
She isn’t too bright, and as a result, gets herself into scrapes, often debauched ones that serve show us she knows her way around a bedroom, and is often cornered by the lecherous villain to reiterate the point that her magic powers of sexuality work on even people who are devoid of morals and opt to reside at the bottom of the barrel, as if that were an accomplishment and compliment to her beauty and desirability, and not a calculated act of brutality and control on the part of the bad guy. She has no real ambition. She is not a doctor, but usually a model, singer, dancer, actress, or fashion designer. She is not a musician who can play a mean guitar. She is not a carpenter who can build things.
She is pretty with make-up and tight clothing. We see Glamour Girls in countless war propaganda posters.
Because her defining trait is using her sexuality as bait and weapon to get the man.
They do not age well. Once she gets married to her primary financial resource, her story as a leading lady or love interest is over.
She is a woman without a future, ambition, or vision.
She has no second act unless she is a victim or villain who somehow miscalculated and her man turns on her or exchanges her for a younger model.
The Matriarchal has no use for the Glamour Girl as heroine.
The Matriarchal is about truth and exploration. It is about phases of life. The Glamour Girl does not have legs to carry epic stories. Once she ages, she has no value as a character because she is myopic in scope, limiting her story.
The Patriarchal cannot deal with an awakened, radicalized Glamour Girl once she faces reality.
The Matriarchal has other ideas.
Such as the Feminsita.
The feminista is a woman with ambition, dreams, vision, and a heart that travels through time and space. She wants to explore life and the truth. She may be gorgeous and stylish, but she has a graduate degree and an exciting job in business, journalism, the sciences, philosophy, academia, politics, engineering, or even carpentry.
She loves work. She loves being active with a purpose. She has a global, even universal focus.
She is not a frump or a passive damsel in distress. She is aware of the world events because she actively participates in them.
She is not a martyr or some ditz looking for a saviour.
She is a feminist, and a feminista.
She may be single. She may be straight, but she can be gay. She may be married or divorced or have children with or without a marriage.
She may have several exciting careers over the span of her lifetime.
She makes her mark on the world and lives on.
Because her story doesn’t end.
She lives different lives, but she progresses and grows as a person, always learning new things about the world and herself.
Career is very important to her, but so are her friends and family.
At a Dangerous Woman, most of the characters have phases of their lives, from Dr. Verity Lake to the flagship character Magnus Lyme. The feminista arrives, delivers, and comes back for numerous encores, but not always as the lead character, but just because she may be a supporting character for a spell, it does not mean she won’t come roaring back front and centre, and often she will be in more than one series simultaneously, one where she is the star, and one where she is part of an ensemble. She is not the spotlight hog as the insecure and selfish Glamour Girl who only thinks about herself.
The Feminista thinks about herself, and equally about others. She is a visionary, and she understands how people think. She can make plans and strategize, but does not scheme or plot with deception.
The Matriarchal is about liberation and breaking the shackles of expectations. It is about being unpredictable and testing your own limits. The Glamour Girl is all about rules and predictable tropes, while the Feminista can thrive in anarchy.
The Glamour Girl’s story ends when she settles down and reaches the simple goal of finding someone to marry and support her. The Feminista always has bigger goals and relies on herself, making her the character who is built to last and have a legacy long after she takes her final bow with her last breath.