Editing Xenia Onatopp (section)

==Analysis==
Anna Katherine Amacker and Donna Ashley Moore suggest that Onatopp is a "direct throwback to the earlier style of Bond girl, complete with an innuendo-laden name and a blatant sexuality."<ref>{{Cite book | first1 = Anna Katherine | last1 = Amacker | first2 = Donna Ashley| last2 = Moore| chapter = "The Bitch is Dead": Anti-feminist Rhetoric in Casino Royale | title = James Bond in World and Popular Culture: The Films are Not Enough| chapter-url = https://books.google.com/books?id=pq0wBwAAQBAJ&pg=PA150|publisher=Cambridge Scholars Publishing|location=Newcastle Upon Tyne, England | page = 151 | date = 2012 | isbn = 9781443843843 | access-date = 25 July 2015}}</ref> Robert A. Saunders suggests that she "personifies the [[hypersexualized]] archetype of the [[post-Soviet]] [[Women in Russia|Russian woman]]."<ref>{{Cite book | last1 = Saunders | first1 = Robert A. |chapter-url = https://books.google.com/books?id=rimpAgAAQBAJ&pg=PA53| chapter = Brand Interrupted: The Impact of Alternative Narrators on Nation Branding in the Former Second World|title = Branding Post-Communist Nations: Marketizing National Identities in the "New" Europe|publisher=[[Routledge]]|location=Abingdon, England | date = 2011 | access-date = 25 July 2015|isbn=978-0415882750| page = 53 }}</ref>

Helena Bassil-Morosow suggests that Onatopp is "visually [[Code (semiotics)|coded]] as a stereotypical [[dominatrix]]: dark hair, bright red lipstick, smoky eyeshadow and sharply defined eyebrows,"<ref name=Bassil>{{cite book |last1=Bassil-Morosow |first1=Helena |title=From Blofeld to Moneypenny: Gender in James Bond |date=2020 |publisher=[[Emerald Group Publishing]] |page=99 |chapter-url=https://books.google.com/books?id=Ft7WDwAAQBAJ&pg=PA99 |access-date=10 November 2022 |chapter=The Soviet Woman in Bond Films|isbn=9781838671655 }}</ref> while Monica Germanà suggests that "Xenia's glamour encapsulates the sadistic quality of her excessive appetite".<ref>{{cite book |last1=Germanà |first1=Monica |title=Bond Girls: Body, Fashion and Gender |date=2019 |publisher=[[Bloomsbury Publishing]] |page=170 |isbn=9781350124714 |url=https://books.google.com/books?id=d7ijDwAAQBAJ&pg=PA170 |access-date=11 November 2022}}</ref>

Bassil-Morosow goes on to note that Onatopp "also sees violence as a broadly defined sexual act in which she gets to dominate and ultimately decide people's fates," and argues that she "poses a threat to Bond's status as a dominant male as she consistently outdoes him in all his favourite activities: driving, killing, risk-taking and having sex with multiple partners." In this way, she "has to be eventually killed by him because not only is she ruthless and unstoppable but also metaphorically as a punishment for refusing to admire him." Bassil-Morosow concludes that "Onatopp's character, masculinised, independent, domineering and sexually liberated, can be read as a bitter parody of feminism."<ref name=Bassil />