#adora meta

[chaoticbug]

do you ever think about how Adora was raised in a extremely controlled environment that greatly limited her ability to gain information about the outside world, and that as soon as she leaves she is thrown into a completely new culture that she knows nothing about and she is expected to be a leader?

Do you ever think about the dramatic culture shock Adora faced when she left the Horde?

In Princess Prom Adora is so set on learning everything she can because it's one of the first big cultural events she has to prove herself in as Adora, not She-Ra.

Adora is someone who grew up with strict rules and suddenly every rule she knew was wrong. And because of her role as a leader in the Rebellion, everyone expects Adora to know things about Etherian culture she never learned.

Do you ever think about how Adora's culture shock greatly affects her as a character?

[tippenfunkaport]

[source]

I was delighted to find this because, while everyone is obviously welcome to headcanon whatever, I always knew that was intended to be Glimmer's knife!

The first time we see it is even in Glimmer's room in No Princess Left Behind.

[n7punk]

Design details for the 2019 She-ra dolls from toy designer Annalise Lao's portfolio!

[candyskiez]

rewatching she ra is a wild ride man like damn I forgot how obviously traumatized adora is in retrospect. how she acts around angella? "People like me better when I'm she-ra"? running to get some sort of validation from any adult figure the second everything in her life goes to shit? her first reaction to a perceived fuck up is to self punish and leave glimmer and bow entirely since she "ruined" their lives by being "irrational" in shadows of mystacore? the fact everything is her fault in some way somehow since season one??? holy shit she was seriously considering staying behind with light hope and never leaving because she thought her friends were better off without her. I forgot how much she self punished. whoever thinks adora didn't suffer in she ra has never watched the show istg

also just. the fact she sleeps with a *knife* is so telling. what happened to her in the horde that made her feel the need to start? she was fully prepared to fight shadow weaver the second she woke up. she *sleep fights.* what the fuck did they do to her. this kid has been through so much.

[maxiemumdamage]

What makes me sad is that there are very few RWBY crossovers — in general, but in this case specifically — that explore the hilarity of their weapons.

Like. The fandom has gotten so used to it to the point where we’re shocked when the melee weapon isn’t also a gun. We’re desensitized to things like “sniper-rifle-scythe” or “shotgun-gauntlets” or “katana-chain-scythe-handgun.” Non-RWBY characters, even those from an action series, will not be.

Luz Noceda would be alarmed if someone pulled out a seven foot tall sniper-scythe (though she’d fangirl before she’d panic in most circumstances). Percy Jackson will not know how to respond to a gun when he’s been fighting with a sword from antiquity. Adora She-Ra…is probably not gonna react that strongly, actually, but she’s a child soldier who unlocked magical girl powers and is friends with Entrapta, and as such is uniquely suited to cope with the insane bullshittery of RWBY weapons being thrown at her.

Anyway. Missed opportunity for comedy is all.

[mara-defense-squad]

I think the thing that really appeals me to catradora is the fact that they weren't supposed to make it.

Think about it for a second. Their whole lives they were pitted against each other, because Shadow Weaver wanted Adora and Catra only ever interfered with that. But they still built up their friendship. They made The Promise. They had each other, throughout their time in the Horde, despite Shadow Weaver desperately trying to drive a wedge in between them. They were never supposed to last, but they did.

And then when Adora finds the sword, becomes She-Ra and joins the rebellion - well they definitely weren't supposed to make it then. They were enemies, on opposite sides of the war. Yet, in early season 1 (pre-Promise) Catra still defends Adora in her absence. She lies to Shadow Weaver, lies to everyone about Adora being She-Ra and when SW finds out, she says "She's just confused". Still protecting Adora, despite her leaving. And Adora doesn't stop trying to convince Catra to join the rebellion, even though the rebellion would likely prefer it if she did. They weren't supposed to be fighting for each other - but they did.

And then Promise happens. Like Shadow Weaver, Light Hope sees Adora's friendship to Catra as a threat. So, she takes that wedge SW jammed inbetween them and drives it all the way home. She convinces Catra to cut Adora off, and convinces Adora to let go of her. And Light Hope succeeds where Shadow Weaver failed - they are now enemies. And they stay that way. This is how it was always supposed to be.

Then Catra opens the Portal. They get each other back for a second, but it only serves to prove they were never meant to last. Catra completely turns on Adora, and when it's over, Adora completely gives up on Catra. Any hope of reconciliation is shredded.

Catra continues on her downward spiral. Adora moves on. The war rages on, and they keep walking their separate paths. This was how it was supposed to end.

But then - then, in the rubble after the Heart of Etheria, at the moment Adora expects it the least, Catra saves Glimmer, and she apologises. She does this with no hope of seeing Adora again, and Adora doesn't know how to deal with it at first. If she was following the path laid out for her her entire life, she would have left Catra to die on Horde Prime's ship, grateful for her sacrifice, and grieving what could have been. That was how it was supposed to go, and it was exactly what Catra expected from her. But she defies it. She puts aside the greater good, and she storms Horde Prime's ship, for no other reason than that she wanted to. This is not what's supposed to happen.

In Save the Cat, Catra was supposed to serve Horde Prime. She's completely stripped of her autonomy, forced to fight Adora. She's supposed to break her. When she manages to break through - just a little bit - she is supposed to die. She falls off that platform, into the abyss, no hope left for her. Adora is supposed to let her. Instead, she summons She-Ra, and brings Catra back to life. They were never supposed to make it this far.

And it doesn't get easier. For a while, in Taking Control, they still don't really know how to act around each other. They have to learn it again. But they keep trying, against all odds. Catra starts to heal. Adora watches. They get to rekindle what they lost.

But then Shadow Weaver comes back, and the Failsafe happens. All their old wounds are raw again. SW is pressing all of Adora's old buttons, desperately reinforcing that wedge between them, so that Adora will take the Failsafe. At first, Catra resists this - she eavesdrops on Adora and SW conversation, and she seas her manipulation for what it is - and she tries to convince Adora to do the same. Ultimately she fails when Adora accepts the Failsafe. Catra knows that Adora is going to die being the hero, and she can't face that so she leaves. They are separated once again, and it doesn't look like there's any way back. It could have ended here too.

But in Heart, Catra sets down her hurt and her fear and she goes back to warn Adora of the new danger as Horde Prime hacks the planet. She finds Adora fighting for her life, and losing. Catra saves her, and allows SW to take Adora on to the Heart. She tries to sacrifice herself again. They both should have died there.

Only Adora comes back for her, once again. She rejects her destiny to save Catra. SW dies instead.

They've reached the final hurdle, the Heart itself. Adora can't transform into She-Ra, so she's doomed to die saving the world. Catra is supposed to let her.

But against all odds, they confess their love and it works. They both get to live.

This wasn't how it was supposed to go. At every turn the cards were stacked against them but they still won. They still made it. And I love that for them.

(sidenote but this is also why i love catra as a character and her whole arc. She was supposed to live a miserable life and die a miserable death but she got to live and change and grow as a person. Ugh I love this show)

[direquail]

The way Mara looms over Adora

S2 and S3 really play up the "haunted" sense of Etheria, and I think it's really all about this, here--this relationship, between Mara and Adora. Adora is haunted by Mara.

Mara looms over her, overshadows her. The way she's so present, and Adora can touch the things she touched, and see her touch on the land and on Light Hope, she holds Mara's sword and knows that a thousand years ago, Mara touched that sword, too. But she can't touch or speak to Mara, when she desperately needs to.

Her existence here is predicated on Mara's absence; if she is here, then Mara is dead, and therefore out of reach. Mara is dead long before Adora ever touches the Sword.

This silent image, Mara behind her and before her but out of reach forever, while they both try to reach across time to each other. Adora saying "This isn't it," because there has to be more, she knows in her bones there's more, and Mara, when Adora finally reaches her, saying, "I'm making this not knowing if you'll be there to receive it, but I know you'll be there, Razz said you'd be there, and if you are, then you need to know this."

Saying, "I will reach forward through time to you. You are not alone and you never were."

It's a McFucking prayer, dude.

[that-ari-blogger]

"Do you want to know a secret?" (The Portal)

I think that the rules of writing are overblown.

Don’t get me wrong, there are things you should and shouldn’t do when telling a story, but those are more guidelines than actual rules.

Case and point, She-Ra is a story predicated on repetition, which shouldn’t be as entertaining as it is. The “bad ending” is effectively another season, which is a unique premise, and a threat that the story absolutely delivers on multiple times.

But, to me at least, the story is enthralling, and keeps me coming back to it. It works, not despite its repetition, but because of it.

Although, that isn’t exactly true. I’ve described the story as cyclical before, but it isn’t entirely. It’s a spiral, because the cycle of abuse is an innately unstable dynamic, and will only end in tragedy if it isn’t broken.

If you don’t want to take my word for this, I give you the season 3 finale, The Portal, which spells out the series’ thesis in about as blunt of a way as is possible.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power, Watchmen, Batman: The Killing Joke, Superman: For The Man Who Has Everything, Justice League Unlimited)

I grew up reading Alan Moore comics, and if you don’t know who that is, I both pity you and envy you. Alan Moore is one of the most misrepresented writers of the modern age, and its entirely his own fault.

Moore is known for writing V For Vendetta, The Killing Joke, and Watchmen, all of which have a distinctly grim tone. He is one of those writers who seems to care more about the story he is telling than how much people enjoy it, and so he usually has a point to make.

Unfortunately, we end up with the Cyber Punk dilemma, in which Alan Moore’s genuinely unrivalled literary talent leads to people really enjoying his stories, which means they unintentionally miss the actual themes of those stories. In the case of Watchmen, this led to people seeing the gore and the violence and the depression and trying to replicate that.

This is where we get The Boys from, shallow sadness and spectacle. If that’s your thing, go for it, but it isn’t mine.

But I bring up Moore in a discussion of She-Ra for a reason, and that is the relentless hope inherent in his writing. In Moore’s stories, hope prevails every single time, with the only exception being extremely subjective. The Killing Joke focuses on the idea that everyone is one bad day away from becoming evil, and that gets proven wrong. Watchmen is about how small humans are and how annihilation changes people, yet the characters are able to find joy and an escape from their trauma, and show kindness to each other even when the sky almost literally falls on their heads.

The Boys isn’t very good as an adaptation of Moore’s themes (In my opinion). If you want one that actually understands the source material, watch The Incredibles, or Justice League Unlimited, or She-Ra and the Princesses of Power.

I have praised She-Ra for its animation and pacing, as well as its overarching story, but I think its greatest strength is its humanity. Characters in She-Ra are incredibly fragile, psychologically, and yet they are incredibly resilient.

Catra and Adora’s development gets methodically and efficiently destroyed by Shadow Weaver, and yet Adora becomes a hero and Catra… well, we’ll see how that works out in later seasons.

One of my favourite Moore stories is a superman story from 1985 called For The Man Who Has Everything. This was adapted into an episode of Justice League Unlimited, but I prefer the comic.

The story follows Superman being forced to live out his greatest desire. It doesn’t sound that bad, but the point is that he is kept happy and therefore out of the picture while villains can do villain things. It’s very much a story from its time, and I love it.

Interestingly, however, Superman’s dream takes him back to Krypton, where he isn’t Superman, and he is happy. He has a wife, and a son, and he never lost anything. He can spend time with his parents.

Even with the shenanigans that ensue (because this is a comic), his time in this dream is fun, and relaxing. Until he works out he’s dreaming, and has to let it go. Superman gets the choice of happiness, or duty, and he takes duty.

The scene in which he says goodbye to his “son”, who does not exist and therefore does not matter, is heartbreaking, and if I ever do comic reviews, I’m talking about this one first.

I now turn your gaze to queen Angella, from whose perspective this story is being told.

The episode actually does a bit of a bait and switch with the point of view, convincing its audience that it is about either Glimmer or Bow, and it kind of is, but not entirely.

Angella has everything she could possibly want, her daughter, her husband, her city. There is no war, there is nothing. Everything is perfect.

“This is perfect, my love, but it’s not real. I remember now. I miss you so much, but Glimmer needs my help, and I can’t stay with nothing but memories. Goodbye Micah”

Does this ring any bells?

I want to point out that this is still Catra’s hallucination, the thing that she wants. So why does she want Angella and Glimmer to be happy?

Catra wants Adora, and arguably loves her, but in an extremely dysfunctional way that says "if I can't have her, nobody can". She is petty, and fully the villain in this episode.

So, the way that she gets Adora to be hers is by ensuring that the people who accepted her would have no space for her in their lives. Why would Glimmer want to spend time with Adora? She has her father. Why would Angella accept Adora? She has her family.

What Catra doesn’t understand is that love isn’t transactional, and that these people are genuinely kind and accepting.

There's the idea of "what you are in the dark." The concept of what a person does when there are no consequences. Characters in this episode keep getting moments like this, when they know that they are fading from existence, and are given moments to show their true colours. Entrapta chooses to be grateful, Bow chooses to be reassuring, and Glimmer chooses to be emotional.

The thing that breaks people out of Catra’s reality is the unexpected. Its Catra’s lack of understanding of people that leads to those people being themselves and instinctively breaking free.

Case and point, Angella and Glimmer help Adora, and because this world was completely unprepared for that minour act of kindness, it can’t keep them contained.

Now, I know what scene you are expecting me to talk about, so I’m going to make you wait, and talk about Catra instead.

Catra is the villain of this episode. If it wasn’t for this being set in her mind, she would have zero nuance. By which I mean, everything about her as a character here is done externally, the way she acts makes her seem like a generic, abusive partner.

Because let me be clear about Catra’s actions here. This is abuse, and it is treated as such by the story. The show doesn’t make apologies for her in this episode, or try to justify it here. Subtlety be damned here, Catra is abusive.

And so, I will read her this way, for this episode. We have seen the nuance leading up to this moment, and we will see a redemption arc. But this is Catra at her lowest, and so I will put aside the past and future to examine the present and the present only. Catra is abusive.

There are two ways you could read this drop in subtlety. One, there are parts of this character that you aren’t seeing, left blank. This episode is presenting you with a character and not showing you the whole thing. Or two, this is a character who has been broken by the story, almost as if parts of her have been removed or lost. Catra is now a fragment of her former self.

I wonder if any of this is reflected in her character design.

“If you hadn’t gotten captured, your sword wouldn’t have opened the portal. If you hadn’t gotten the sword and been the world’s worst She-Ra, none of this would have happened. Admit it Adora, the world would still be standing if you had never come through that portal in the first place.”

This hurts Adora because it’s true. Ok that’s unfair, and inaccurate, but it’s not entirely wrong, and that’s the kicker.

Catra isn’t making this up, she’s just leaving out important details. Because of course, if Adora hadn’t been captured, things would have worked out better, but who was it that captured her? Who was it that made the choice to pull the switch? Who was it that destroyed the world out of spite?

Catra blames Adora for her own actions, and that is, once again, abuse. Which is why it’s so satisfying when Adora stands up for herself.

“I didn’t make you pull the switch. I didn’t make you do anything. I didn’t break the world. But I am gonna fix it.”

Hope is relentless.

But I also want to point out the claiming of agency here. Catra was weirdly insightful at the start of her monologue.

“It's always the same with you, Adora. ‘I have to do this. Oh, we have to do that.’”

Adora’s word choice is a flaw. I looked back at the past few seasons and did a word search through the scripts. I don’t think Adora uses the word “want” more than once at all up to this point.

Essentially, Catra sees things, but extrapolates exactly the wrong message from it. It’s almost as if she’s only seeing half of the world, like her vision is impaired or incomplete somehow.

I wonder if that is reflected in her character design.

In any case, Adora frequently says that she “has to” do things. “Need” is also something she says a lot, and this has the effect of making her an extremely passive character in her own story.

Like I said, this is a moment of agency, but the entire story is a story about that agency. The characters are making choices to either get out of or go along with the downward spiral that the tragic form has set out for them. Catra made the choice to follow, but Adora didn’t. Adora’s word choice makes her look like she has made no choice, but a lack of action is still a decision.

So here, when Adora declares she is “gonna fix it", she takes her agency and decides to walk in a different direction.

This reminds me of an earlier episode, that being Promise.

Hey, look at that action. Looks familiar, right?

This is the only episode I found where Adora says she wants something, although her actual wording is “I never wanted to leave you” when talking to Catra. Go figure.

The moment in question was the episode’s namesake.

“It doesn't matter what they do to us, you know? You look out for me, and I look out for you. Nothing really bad can happen as long as we have each other.” “You promise?” “I promise.”

Agency. Adora is making a decision to stay with Catra and protect her. She is knowingly choosing to do something.

It’s telling that the two most prominent times Adora has done this have been to protect people. It’s almost as if she wants to be useful, or helpful, or protective. Almost as if she wants to be wanted. It would seem Adora is just as addicted to the highs of Shadow Weaver’s programming as Catra, she just has a better support group.

Although this isn’t a full victory, she doesn’t want to save the world, she is just going to, – we still don’t know what Adora wants – this is a partial success. Hold onto that idea, it will come back later.

“Do you want to know a secret? I am a coward. I've always been the queen who stays behind. Micah was the brave one. And then Glimmer, oh, Glimmer. So much like her father. And once again I stayed behind, letting her make the hard choices, letting her be brave for me. I told myself I was being responsible, but, Adora, I was just scared. And then I met you. You inspired us. You inspired me. Not because it was your destiny, but because you never let fear stop you. And now I choose to be brave.”

Queen Angella is voiced by Reshma Shetty. She doesn’t get much praise, but for this monologue, I think she deserves so much more than she got.

In my fourth post about She-Ra, I discussed Adora’s ability to inspire and linked her to Batman, something I stand by to this day.

In universe, She-Ra isn’t important because she’s a warrior. She exists as a leader, to protect people and pull them into a greater tomorrow. She shines a light for others to follow.

That is what happens in The Portal, Adora succeeds not by fighting the enemy, but by being herself. She only becomes She-Ra to destroy the portal at the end. To save Etheria, the giant sword lady isn’t important.

I mentioned earlier that humans are fragile and resilient at the same time, and I give you Angella as evidence for that claim. Here is someone who has lost her husband, and makes decisions based on that fear and trauma. But when push comes to shove, the fear is secondary.

Reality falling apart lets directors get away with true nonsense. Micah's staff has no reason to be here, other than the fact that it makes a phenomenal metaphor for Angella's trauma. But that's all you need.

Jon Pertwee was the third doctor, and while he isn’t nearly as iconic or influential as some of his predecessors and successors, he did deliver the line that defined the whole series.

“Courage isn't just a matter of not being frightened, you know. It's being afraid and doing what you have to do anyway.”

I started my discussion of this season by claiming that this is the season in which the characters put a dent the tragic cycle, and I have mentioned several times that the cycle of abuse is unstable. So, here is my thesis.

Catra’s arc fails, not in a story sense, but in a personal one. The idea that every character has a single story arc is something is a specific bugbear of mine, and Catra is kind of my case and point for that. She has a redemption arc up to this point, and she ends up as a villain. Then the story continues and she has to start again and decide where to go next. She has no choice but to move in a different direction from here.

But she tasted redemption already. The crimson wastes gave her a taste of what she is missing, and it offered her an out. It gave her a choice, she made one, and consequences were served. I can’t help but imagine that for the entirety of the next season, she is considering running off to the wastes again.

That idea of consequences comes back with Adora, who makes a good decision, and is rewarded for it. Or rather, she makes a decision to actually do something. Adora becomes an active character, and that is what starts to break the cycle. Because now the motion is halted, and the puppets are pulling the strings.

But, this isn’t a complete victory. Angella is lost, Entrapta and Micah are still gone, none of the villains actually get defeated. For an episode with lasting consequences, not much actually happened.

This episode is big on the fact that this is all a dream, which should destroy the engagement. But it doesn’t. In reality, it preserves the status quo physically, but lets all the characters spontaneously experience character development. The victory of this season is that growth, but it came at a cost.

I want to briefly talk about that final shot, before I go, because this is how you introduce a villain. Sure, the voice acting is impeccable, and the cinematography gives an air of mystery and menace to this threat, but the showstopper is the reveal that this villain can destroy a moon with ease.

You see a fleet of ships, there was no battle here, just a villain showing off for nobody but himself. He gets interrupted by the plot, and he’s busy DESTROYING A MOON.

Horde Prime is f***ing terrifying.

This scene is in this episode too. It's meant to show how reality is falling apart, but I actually have a reading of why it's here. I think Catra wanted to preserve who Adora was, hence why she is the source of all the paradoxes. But Catra doesn't understand that Mara's legacy and Razz's teaching are a big part of Adora.

Final Thoughts

I’m going to talk about the implications for later seasons for a moment here, so if you’re avoiding spoilers, now you know.

I think Catra being the villain here makes her redemption so much more compelling, because she actually needs it. There is a difference between this and, for example, Hunter from The Owl House, who doesn’t really need redemption because he hasn’t done anything wrong.

Catra here has very much done wrong and is evil as defined by the show. But the show’s message is that anyone can change, and that the cycle of abuse isn’t set in stone.

So, Catra will redeem herself, and she will struggle, and fall back, and try again. Forgive her or not, the redemption is the effort to be better.

Next week (or whenever the next post is released, I have a terrible work schedule), I will be discussing The Coronation, so stick around if that interests you.

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[yourhighness6]

The catradora ship has completely taken over my life and I know this because today I went to this farmer's market thing with my roommate and there was this girl with aggressively dyed messy hair and a leather jacket and combat boots and a bunch of emo jewelry and another girl with her hair in a ponytail and utility boots and the cutest old sweatshirt who was slightly taller than the other and my first thought was "OMG modern AU"

[catras-breakup-song]

i’m not gonna lie… i’m lost here. is this supposed to be an 4nt1/cr1t1c4l post? if so, i genuinely don’t understand the point being made.

is it that playful banter is a bad thing? is it that being too hands-on violates unspoken boundaries? the message is so unclear to my autistic ass…

oh, wait, OP provided tags:

so aside from the fact that they are absolutely not sisters by default, least of all canonically (even if you do interpret them that way somehow), nor was it ever intended by nate stevenson, i’m still having trouble figuring out how this is problematic.

in which ways is lighthearted touch totally contradictory to passionate kissing/caressing? why can’t partners who are dating do both, especially in different cultural environments such as the horde where intimacy is discouraged and friendly sparring with familiar peers is a safe expression? if it’s so different, what are we as the audience supposed to interpret from their style of physical affection by the final season? side note, but aren’t we supposed to consider the latest version of anything in general as the most accurate?

now i have a question lol, did you take this moment literally at her word, and all the other times she repeated it?

also, my friend just pointed out that this is the classic homophobic talking point of "they seem to just be very good friends! they were roommates!" lmao. i've never agreed with accusing anyone who cr1t1c1z3s catradora of lesbophobia, which i'm not doing necessarily, because that's simply not how it works, however i found this funny and partially true so i'm keeping it in.

the lip bite was included unintentionally 👀

anyway, as i’ve discussed on this blog before, i’m very arospec and it’s inseparably intwined with my identity itself; i also project that onto catra. something we often bring up in that community, is romance-favorability (as its own spectrum of range all the way to blatant repulsion btw) — which is a personal preference that’s defined as exactly as it sounds like and occasionally revolves around fictional depiction as separate from one's own reality — and arguably more importantly, amatonormativity — which is an arbitrary set of rules for romantic expectations set up by an alloromantic society. this is typically thought of as common denial of the idea that someone could actually want to separate themself from needing a life partner in marriage, but can very much be applied to an annoying list of what draws the line between romantic & platonic relationships. that line is very individualistic and is to be decided on such a level only, and it doesn’t even get into what queerplatonic means, a concept saved for another day!

my point is, the OP seems to be trying to claim that catradora objectively cannot be read as romantic because their dynamic growing up & early-on in the story doesn’t perfectly meet socially-constructed standards of what that should look like. i say we need to eradicate those standards altogether! it’s up to catradora to decide what they are, if anything specific at all, not us as the audience — assuming they could’ve had the words at their disposal to knowingly describe it. going back to my earlier paragraph above about how limited they were in the fright zone, i’ll borrow a quote from a comment i made on one of my recent reblogged posts (which is a great meta on how their mutual desire was uh... definitely not platonic):

"Catra and Adora’s desire for one another is shown in a variety of ways, mostly indirect. There are a lot of glances - until season 5, not the kind of open leering at one another that we’d seen between other characters. Mostly it’s fairly playful - wiggled or cocked eyebrows, glances at each other while smirking, that kind of thing, or really intense and somewhat angry glares when they’re fighting."

it's really bothering me that i can't recall where i read this from before, but someone analyzed before how, growing up, catra & adora didn't have a good sense of how to label their relationship with accurate terminology despite being subconsciously aware that they, whether they knew the other reciprocated or not, loved each other "like that." unfortunately, they couldn't further explore it because such love & affection was seen as a punishable weakness in the horde, so they resorted to the only safe option they seemed to have, which was subtle body language and play-fighting as [testudoaubrei-blog] described above.

also, since this screenshot is included in that post... i would be amused to read an explanation of how THIS LOOK from catra is "platonic with a capital P", because i'm not even sure if it's up for debate to be quite honest with you:

ESPECIALLY with the "i always have!" line (which 4nt1s like to doubt, but i don't care, it's official!):

[foolforshera]

You know, Adora fanon is that she's an idiot but here's the thing. She isn't. She's more naive, sheltered, and not real people smart. In other words, she's like every kid I've met, including myself, who grew up heavily involved in the church who gets confronted with the world. They don't know how to relate to people who aren't from their insular group and it's confusing.

Because of this, you end up looking, well, like an idiot because you don't know how things work. You have a different frame of reference for how you approach everything. Things that were off limits are no longer so and things that didn't used to be are suddenly off limits. This may be a simple cause for laughter or it might be a huge problem. That's Adora's character as I see it. She's a church kid who is having to deal with the world and is so confused by the whole thing. Knowing what I know about ND Stevenson and what he put into the show, this can't be entirely coincidental in my opinion.

[ericas-spop-blog]

This is a scrap - and should be read as a criticism of the story telling moreso than of the (fictional) characters - but...

One of the results of Season 4 framing Adora as purely a victim of "crazy ex" Glimmer - Presenting it as if Glimmer was reacting to nothing, that Adora wasn't controlling or jealous or secretive - is that it deeply undercuts the idea that Adora treats Catra badly because She Just Doesn't Know Better.

If Adora treats Glimmer in the same (bad) ways she treated Catra, then it tells us she has flawed assumptions about what a "good" relationship looks like; that her behaviour (if not innocent) is at least sincere, and that she is continuing to apply bad models even in a situation where it does not benefit her(or anyone but Shadow Weaver). Having these models fail her would drive the character towards self-examination and personal growth.

But if Glimmer was the core problem in Season 4 - if Adora was nothing but supportive, even when the circumstances of her youth are recreated nearly 1-to-1 - then we're saying that Adora is already perfect, that actually she does know how to have normal, healthy relationships even under trying circumstances.

Which makes her refusal to extend that care to Catra incredibly suspect. Does she think that Catra is uniquely unworthy of respect?

Or does she just know that other people think Catra is unworthy of respect, and aren't going to say shit (especially when they still need She-Ra to save them)?

========================

Look, obviously none of this is the intended read; And fwiw, I think that at least the script of Season 4 actually does show Adora replicating her bad behaviours -

being high-handed, controlling, jealous of Glimmer's relationship with Shadow Weaver, and unhealthily invested in her role as The Hero -

and then has those flaws drive personal growth - reflecting on if she is making things worse, recognizing that her idea of being A Hero is to be a weapon in someone else's hands and explicitly rejecting that -

but that this is undermined by the directorial lens overwhelmingly framing Glimmer as The Villain (and thus Adora as In The Right/The Victim/Smol Bean), and that this conflict drives these really ugly implications.

In absolving Adora, the story inadvertently validates her beliefs - even the ones that it set up as false and harmful. Which, yeah, creates the implication that Adora knows when she's acting badly, but just doesn't care (and that we shouldn't either). That her status as "Good" protects her from criticism, and allows her to cast any opposition as defacto "Bad" and not worthy of acknowledgment or examination.

[tippenfunkaport]

something something, visited by three spirits that push you to reinvent yourself

and meanwhile, the three mother-type figures in Adora's life were all key to her to figuring out what she really wanted and who she wanted to be but literally...

Light Hope "died" trying to right a wrong from the PAST

Queen Angella died trying to preserve Adora's PRESENT

and Shadow Weaver died to give Adora a chance at a FUTURE

[n7punk]

doesn't look like my own screenshot, so i must have find it here on tumblr or maybe on twitter

thank you! (for context to other people: we were talking about this is the replies). for further context:

season five she-ra and hordak next to each other (i don't have hordak's character sheet on hand unfortunately - though i do have prime's and he's Stupid Tall). about the same height, which means about 6' 9"

[candyskiez]

rewatching she ra more and I completely forgot about adora saying "I'm useless, no matter what form I take" and I am officially: Fucking Concerned! holy shit! she thinks she's useless without the horde, without someone to give her orders. without praise she falls apart. her entire self worth is based almost solely on outside approval because that's what she was conditioned to be. shadow weaver taught her to be dependent on her praise and instructions. she rushes to razz to try and get her approval and instructions because that's what she was taught. she was never taught she was allowed to think for herself or to be her own person.

she thinks she's useless the second she can't be what everyone tells her to be because that's what she was taught to base her self worth on. she was taught to base her worth on how well she can follow orders. holyyyy fuck.

I forgot how obviously traumatized this girl was holy shit. I want to fistfight shadow weaver in a dennys parking lot

[leajoyrambles]

I should be doing homework rn but anyway I’m maybe a little bit obsessed with characters who wear uniforms everywhere for whatever reason.

Because they’re not comfortable in anything so why not. Because it’s easier and everything seems so hard. Because they don’t have an identity outside of their association to something else. Because there’s too much to be done and this is what they have. Because it makes them feel safe. Because they can’t let themselves seem human and fallible and fragile and flawed. Because it’s their armor.