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"During the meeting, Lance was calling the shots but Thom and Mark did not seem surprised when the conversation turned to the need for a backdated prescription to excuse the corticosteroid positive," she claims. "It was my impression that Thom and Mark were aware of what was going on with the U.S. Postal Service team's doping program, but I had no further discussions with them about the doping program after that evening."
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Sophia McDougall mentions briefly the racialization of the strong female character cliché and the dangerous ways it can intersect with the âÂÂstrong Black womanâ stereotype. Jumping fandoms for a second, Joss WhedonâÂÂs work is sadly a great example of this. Buffy the Vampire Slayer, the quintessential strong woman character, is actually super multidimensional. Hers is the story of someone who is pushed into the strong woman role by big, patriarchal forces (âÂÂIn every generation, one Slayer is born, because a bunch of men who died thousands of years ago made up that rule.âÂÂ) and would love to get to be/actually is âÂÂjust a girl.â As a vampire with a psych degree tells her, âÂÂYou do have a superiority complex. And youâÂÂve got an inferiority complex about it. Kudos.â Buffy is impossibly strong, which actually creates some room for her to be complex. But then compare her to Zoe from Firefly, who I love (especially because Gina Torres is the shit), but who doesnâÂÂt get to be much besides strong, even when her husband is a leaf on the wind. Here, the strong female character intersects with WhedonâÂÂs standard Black character archetype: the morally conflicted soldier (Gunn on Angel, Truman in The Cabin in the Woods, Boyd Langton for the first season of Dollhouse, anyway. I also find it interesting that when Buffy dates this archetype heâÂÂs white â and many Buffy fans have called Riley boringly one-note).
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