#she-ra analysis

[catras-breakup-song]

x / x / x

original thread 1

original thread 2

[grahminradarin]

SPOP And Queer Joy Tw for transphobia, the Daily Wire, and getting kicked in the nuts

I was watching the most recent video from Some More News about a deeply stupid and bad and transphobic film from the daily wire called Ladyballers, and there was a scene they talked about where one of the main characters who was a guy that has been disguised as a woman for a couple weeks in order to win a woman's basketball tournament realizes he might actually be trans, and confesses this to the basketball coach who is his old friend and came up with the idea. The basketball coach then tells the trans character that she doesn't understand her own feelings and that the coach will help her figure it out. When she continues to insist that she's a trans woman, the coach kicks her in the nuts. And this made me realize the whole conservative mindset is based on an authority figure convincing people under them that they don't understand their own feelings and they don't know who they are, but the authority figure does. And the point of it all is to make someone never trust themselves or their own feelings ever.

And then I thought of the ending of She-Ra.

And I finally get why it felt so right and so triumphant and so different. Catra and Adora have been living with Shadow Weaver their whole lives, and Shadow Weaver has constantly been telling them who they're supposed to be, and it hurts both of them so much over the course of the series because Adora keeps trying to fit herself into that mold better (is helped in this endeavor by light hope) while catra is trying to break out of her mold to put herself in Adora's as the golden child

And then hoard Prime shows up as the ultimate example of an authority figure insisting that you don't understand yourself with the chips, which are literally a direct physical implementation of that idea!

And in what both of them think are their final moments alive, they kill the shadow Weaver in their heads, trust themselves to know who they are, and do what they've wanted to do the whole time. Catra stops trying to prove herself and admits that she cares and wants to just be enough without having to try. She stops caring about whether she's weak and says she loves someone. Adora stops trying to be the self-sacrificing hero and acknowledges that she can care about other people differently than just having to save them and she finally takes something she wants without worrying about the consequences.

They both say "screw authority, I know who I am and I'm going to let that out" because they both think they're about to die. And that one tiny moment of rebellion and understanding saves the entire goddamn universe. It terrifies Prime to the point that he can't even comprehend what's happened, and then it obliterates him and frees everyone he's ever hurt. It fixes everything

That one moment of queer Joy, even at the very end of the world, is all that it took.

[tropicalcryptid]

Ok so She-Ra pulled such a great hat trick with Hordak's characterization, and I LOVE it

One of my favorite things about 2018 She-Ra is Hordak's story and development (and Entrapdak cough but that's not the point of this particular post), and the cleverest thing is that so much of it is actually being set up and told to us in seasons 1 and 2 before we even realize that that's what's happening.

When we first see Hordak in the show, he's giving "generic evil overlord" vibes. Garden-variety baddie. Maybe a little more reasonable than some and clearly capable of long-term thinking, but that just serves to make him intimidating. Everything about him--the way he runs his empire, his armor, his color scheme, his minion, his Villainous Eye Makeup(TM), even his name--are all projecting to the audience "yup, Acme Bad Guy here. Move right along."

But then, backstory. And everything snaps into focus. Not only is it one of the first big oh SHIT moments of the show, where we suddenly zoom out and realize that there is SO much more going on than we realized--it's also the start of the audience seeing Hordak as a character rather than an archetype. Suddenly we realize that he's not conquering Etheria because he wants power, or hates happiness and sparkles, or whatever--he's doing it out of a desperate attempt to prove his worth to his brother/creator/god. This moment where Hordak lets Entrapta in is also the moment the show lets us in on what makes our favorite spacebat tick.

On top of that, we've also seen him bonding with Entrapta and opening up to this person that he respects and trusts...probably the only person he's ever respected or trusted apart from Prime. And she's Etherian--someone of a lower species, someone he's supposed to subjugate, someone who he has been raised and trained and programmed and mind-controlled into believing is below him in every way.

But instead she's brilliant and creative and mesmerizing. She's not afraid of him, and she's fascinated with his work. For the first time since being abandoned by Prime, Hordak finally has someone that he can talk to, who is on his level and both understands and cares about the science! (because he is a giant nerd). She's kind to him, a mere defect. And it just sends his whole worldview into a spin, and that's all before--

Bam, mans is a goner. Entrapta's "Imperfections are beautiful" comment punches right through all the toxic bs that Hordak has been steeped in his entire life. You can see on his face here--I think it's the moment Hordak fell in love with Entrapta, but this is also the face of a spacebat reevaluating his entire worldview. If Entrapta, who is amazing, believes something different from Prime...what does that mean? If Entrapta, who is brilliant, believes that he is worth something, and that she herself is a failure...

Well. We know what happens after that, and how Hordak begins to doubt, and eventually fights back against Prime (and remembers his love for Entrapta after TWO mind wipes help my heart ack). But we also get to see what life in the Galactic Horde looks like: the only life Hordak ever knew before coming to Etheria.

It's not nice.

It's really not nice.

Prime operates in a very specific way, and we learn a lot about it in season 5. Prime expects complete obedience, devotion and worship from his clones. He allows no individuality from his subjects, not even a name. Failure or deviations are punished, mind-wiped, or destroyed. We even learn from Wrong Hordak that facial expressions are considered a privilege reserved for Prime (apart from, presumably, expressions of rapture caused by being around Prime).

And once we learn all of this, suddenly thinking about season 1 Hordak becomes very interesting indeed. The time we spend with the Galactic Horde and Prime throws absolutely everything that we know about Hordak into a whole new context. Now all those traits that made him a generic villain are actually hugely effective characterization! And what that characterization is telling us is that Hordak had already moved much farther away from Prime than we (or, probably, he) had realized, even long before he met Entrapta.

Horde Prime does not allow his underlings to have names, personalities, or any differences of appearance. Not only does Hordak allow this among his own troops, he chose a name for himself as well! Season 5 tells us that his very name is an act of blasphemy against his god. And yet Hordak took one for himself, and that name is part of the core identity he is able to hold on to when rebelling against Prime.

Horde Prime cast Hordak out when he showed signs of physical imperfections. Hordak not only keeps Imp (who is by all appearances a failed clone or similar experiment) around, he treats Imp more gently than we see him treat anybody or anything before Entrapta. Imp is not simply "generic evil guy's minion," he is proof of Hordak's capacity for compassion, and evidence that Hordak cannot bring himself to cast aside "defects" as easily as Prime. Considering where Hordak came from, Imp's existence is a huge, flashing neon sign telling the audience this guy here is better than the hell that molded him, and we don't even realize it until 4 seasons after it's been shown to us!

Very cool, ND.

There's more, though. Hordak's red and black color scheme? His dark eye makeup and lipstick? Very Evil Overlord chic. But nope! Actually these are actually expressions of individuality on a level that Hordak knows would be abhorrent to Prime!

Reading between the lines, I see this as Hordak desperately trying to reconcile two diametrically opposed beliefs in his head: (1) devotion to Prime, whose approval he desperately craves, and (2) maintaining some degree of unique personhood, of Hordak, from which to draw strength. Because a failed, defective clone cannot survive on a hostile world, cut off from the hivemind and from Prime's light. A failed clone cannot create an empire to offer Prime as tribute, nor build a spacetime portal from scraps and memory to call Prime back. A failed clone cannot create cybernetic armor to keep his hurting, weakened body alive; to force himself to keep going no matter what, to fight through the pain and the doubt by sheer force of will.

But maybe Hordak can.

And so there it is. Hordak had plenty of time to gain and explore his individuality while separated from Prime, but I think the reason he did it so effectively (while still deluding himself that Prime would forgive him for these little sins, if only Hordak could prove his value) is because he had to.

Wrong Hordak gained his individuality surrounded by kind, quirky people who took care of him; Hordak was ripped from the hivemind by Prime himself and had to fight for his survival against all odds. And that produced a dangerous and damaging foe for Etheria. But it also produced the one clone with the strength of will to defy Prime himself.

This is long and rambling, but ultimately my point is that 1) I love Hordak, and 2) I love love love love that the show was so clever about his characterization. We learn so much about him and how much progress he's already made in breaking from his psycho abusive cult upbringing, and we don't even recognize it until the show wants us to. Hordak had come so far, all on his own, before he met Entrapta. She just helped push him over the edge and finally realize (at least consciously) that Prime's worldview might not be the correct one.

Idk, I just don't know if I've ever seen all the trappings of Basic 80's Villain(TM) so successfully subverted, where looking back 4 seasons later is actually a smack in the face with the "effective character building" stick. Amazing.

[everythingcatradora]

this was so fucking peak…like okay doomed romance

[stardvstbby]

i love how Adora’s second She-Ra headpiece mirrors Catra’s silhouette and that her hair retains the style she wears as Adora. it’s like now that she’s relying on her own strength to become She-Ra, her appearance reflects her authenticity and what she’s fighting for (her loved ones)

[sappho-biohazard]

Both Catra and Adora defying death at the height of their character journeys in such a powerful and subversive way. Whenever I think about it deeper, both deaths were very traditional and demeaning ’feminine’ deaths. Catra had a man literally controlling her body and mouth to fight against her friend (and lover) for seemingly his own amusement, and when she resisted, he disposed of her by throwing her off a cliff (the gwen stacy method), she was barely present in the entirety of the episode, her agency stripped (not for the first time), the emotional stakes were felt, but by Adora not catra and how bad she felt to see catra this hurt, even though catra was the one in pain, we don’t focus on catra’s perspective at all during it, so if she did die at the end of it, she would have just been another name to add to the list of female love interest violated and killed by the hand of men for the development of the main character’s story. Except she didn’t die! that wasn’t her end, but her beginning, that part was just a step on the rest of her life that she grew and recovered enough to have power to control. To change.

As for Adora, there’s no shortage of self sacrificial women and female martyrs both in history or fiction, it’s been romanticised and encouraged since the dawn of the patriarchy for girls to grew up being conditioned into giving up their own needs, desires and even lives and health for the convenience and goals of others, and when they obey that to the extreme (like with the failsafe) they’re celebrated as the ultimate heroes. The perfect women are dead women after all. but instead Adora doesn’t die not just because of her power or sense of duty but because she learns to be selfish and choose something for herself for once and that’s what ultimately saves her. She rejects her conditioning and the message of what a hero must be and choose to live for her own self. Self love is radical.

[thestargayzingetherian]

I think Entrapta works best as this weird mysterious cryptid like figure who raises more questions than answers yet is still an adorable science gremlin. why does her hair move? Idk. Why was she raised by robots? idk. Where'd she hire the kitchen staff? I don't know, maybe she kidnapped them, maybe she put an ad for them on Etherian Craigslist.

I don't mind giving lore to the other She-Ra characters like Mermista and Perfuma and Scorpia.... but Entrapta, I think it might be best to deliberately leave it vague because it's just waaaaay better that way.

[spop-romanticizes-abuse]

connie vs catra: falling in love with a hero

so one thing in SPOP that reminded me of SU is when Catra gets upset and angry at Adora for needing to sacrifice herself in order to save the world. something very similar to this happens in SU where Connie gets upset at Steven for turning himself in to the Diamonds, so that he can prevent everyone else from getting hurt.

and i wanted to compare these two scenarios and talk about why this kind of conflict worked with connverse, but not c//a.

1. Past Relationship And Hypocrisy

Connie and Steven had a healthy relationship prior to this incident. Connie was always supportive of Steven and quite honestly, was one of the very few people who had no expectations for him based on his mother.

the Crystal Gems constantly talked about Rose and knowingly or unknowingly put pressure on Steven to live up to her image. Greg often mentioned Rose too, and while he may not have intended to make Steven feel pressured, that was the outcome.

Connie, on the other hand, saw Steven for who he was - a 14 year old kid who had way too many expectations to live up to. she served as Steven's rock and his connection to human life, letting him goof off and relax like he should. she listened to him when he was feeling troubled, and assured him that she would always be there to support him. Connie made Steven feel loved and understood.

they also made a promise to always fight together after Pearl tries to pressure Connie into sacrificing herself for Steven. Steven is clearly uncomfortable with this and doesn't want Connie to act like his bodyguard and put herself in danger.

so it makes complete sense that Connie felt hurt and betrayed when Steven decided to do exactly that and sacrifice himself to save her and the rest of beach city. it makes sense that Connie was worried sick about Steven after he surrendered himself.

Connie feeling upset about this situation makes sense because she actually cares about Steven. she always has.

meanwhile Catra constantly used Adora's fears and insecurities against her, even when they were on the same side and especially when they were enemies. Catra made Adora feel worthless for existing, she made Adora feel like a failure.

Catra actively and knowingly contributed to Adora's self-sacrificial complex and her habit of putting everyone else's safety above her own. and then she's surprised that Adora wants to sacrifice herself to save the world. wow. who would have thunk it?

Catra has absolutely no right to act like she cares about Adora after all this. and she certainly has no right to get mad at Adora for doing something Catra herself conditioned her to do.

it makes no sense especially because the show acts like the previous seasons never happened. neither Catra nor Adora nor anyone else brings up the fact that Catra was one of the main contributors to Adora's hero complex and her insecurities. the show just glosses over that and acts like Catra being upset about all this is tragic and sympathetic.

2. Expressing Anger In A Healthy Manner

Connie is upset but she communicates her feelings to Steven in a calm manner. she tells him that what he did hurt her feelings. she is obviously angry and upset, but she's also visibly trying to keep it together and not let her anger get the best of her.

i also think that Steven kinda messed up when he replies to Connie's "i'm hurt" with "no you're not". he decided that as long as no one was physically hurt, there was no problem. he didn't stop to think about how this might have affected Connie emotionally. (i'm not hating on Steven btw, he was in a pretty tough situation himself and was just happy that everyone was safe and alive. this is a situation where both of them were in the right and it was just a complicated issue to navigate.)

basically, Connie deals with this situation more maturely than some adults might have. she felt hurt and betrayed, but she didn't use that as an excuse to hurt Steven. she said what she wanted to say and then she left to give her mind some clarity.

also she does this AFTER Steven returns home safely.

Catra, on the other hand?

she screams at Adora, accuses Adora of picking favorites and pushes her to the ground. Catra is supposedly in her 20s at this point, and she still hasn't learned to express her anger in a healthy manner. she says once that she was working on her anger issues and that's it. we never see her try, we never see any improvement.

and then Catra just abandons Adora because “she couldn't bear to watch Adora sacrifice herself”. Catra didn't just leave because she needed some time to cool off, she was basically willing to abandon Adora and let her die.

3. Clear Motives

Connie's feelings and motives are clear from the get-go. she was worried about Steven putting himself in danger, and she was angry and upset that he broke their promise and her trust.

Catra though?

first she's mad that Shadow Weaver called her a distraction. then she's concerned about Adora's choice to sacrifice herself. and finally, she's upset that Adora doesn't like her in a romantic way.

two of these were very self-centered motives. it's hard to believe that Catra was just concerned about Adora's safety when she's whining about how Adora chose Shadow Weaver over her, as if this was some kind of competition. and it just comes off as the writers shoving in as many reasons as possible for the viewers to sympathize with Catra, rather than writing an organic conflict.

in conclusion, if you want to write a relationship involving a self-sacrificial hero, do it like Steven Universe did. make it make sense instead of shoving in hypocritical conflict.

[clfixationstation]

catra is like. the type of person who sees and understands all the social patterns and hierarchies, but can't interact properly herself

while adora is the type of person who interacts well with others but is somewhat oblivious to the social patterns, hierarchies and harm (until they're made obvious to her)

[manic-sapphic]

gonna pretend i'm sorry for this cause tbh- it's just a string of spop gifs where i rant for way too long about the feels i get from each scene~

(-hey - i said sorry, ok ... sure, i openly admitted it was a lie - but i guess i just hoped you'd appreciate the slight effort of the pretense-)

this moment obviously kills me- just like i know it does for alotta you- but i just gotta call attention for a sec to what exactly kills me the most about it: up until this point, we've constantly been shown brief moments of catra's expression betraying her true vulnerable state - even if it's just a close-up of her eyes - during which less than a second passes before the look in them transitions from sad/hurt or disappointment/self-hatred (anything of the sort, really) to anger/ resentment/ rage. her brow usually falls quite quickly as her eyes narrow, refusing to allow her real feelings to continue just being felt - (& tbh, for most the show, i think she's just so fucking afraid of what might happen if she does let herself feel them- esp s4 after the portal)

but in this scene - that's changed. it's completely turned around, flipped upside down - she starts off w her usual habit - a display of resentment and rage - that dissolves into the most heart-breaking freaking expression i think i've ever seen. because you can see just how heart-broken she is- and it kinda seems like she's tryna admit, w/o having to say it- that she was already heart-broken for a really long time, and is tryna make one last attempt at getting adora to understand- not to choose catra- that's not the point, that's not what catra's after, even if it is what she wants and needs to know (for her own peace of mind) if the feeling is mutual-

rn, all catra is desperately tryna get adora to even just think about - is herself. take away every single person she feels responsible for - which is literally everyone.. everyone - a feeling, btw, catra now understands to be an unconscious reflex born of the trauma shadow weaver had caused adora. she's finally able to see it was never just her - adora was just traumatized far more secretively & in ways that would be harder for others to notice (which i'm sure was very much on purpose)

- the weird convos w shadow weaver, disguised as personal pep talks, looked as if they only took place when shadow weaver had adora alone - but in failsafe, catra hangs back to listen & make sure there's no bull shit going on- just like she said she would- "i'm only going to make sure shadow weaver doesn't try anything - it's not because i like you-" (yeah yeah we get it- u DoN't LiKe HeR ~ duuuh, that's cuz u luv her u dummy <3)

oh but now- now i gotta talk about THIS look right here- as if the expression they give catra when/after she asks "what do you want, adora?" isn't enough to see me out in the backyard digging my own goddamn grave- then they throw this shi on my tv screen just seconds later ?! tf. i mean- the way catra's eyes shift up- no longer able to keep looking at adora after the only answer she can give her as to what she wants is "i have to do this, catra - i'm the only one who can" ... FUUUUUUU THO OK

for so many reasons, too many for me to get into in a post i already feel bad about cause dude i ain't near done ranting on scenes and moments annnd i see how long it's already gotten- my bad, fr- so i'll just try (and fail) to narrow it down and keep it brief- catra's questioning what adora wants is definitely aimed most importantly at her hope that maybe she can still get adora to even just think about that- to realize that she's allowed to and should think about it.

but i also read it as, once again, these two knowing each other so well that they don't always have to say exactly, word for word, what they wanna ask or tell each other- the emotional stuff is weird and hard for them to even put into words still, tbh; cause i mean, ya know- orphaned child soldiers discouraged from even showing any signs of illness when sick, cause asking for medical attention would be a real loser move for a kid to make, right.. like, wtf? dude- they can take on so much and handle the gnarliest situations that require strength and skills and abilities i couldn't ever ever fucking fathom facing - but feelings? tf? all i can ever hear them thinking in response to those: "ohhh fckfckfck what is this, why is this & how do i make it stop -???"

so when catra asks adora what she wants, i mostly hear her begging adora to be a little selfish - just this once, at least - and let herself think about herself, but i also hear catra's most vulnerable, desperate, & honest ask of adora so far. what i hear woven in what catra actually says aloud, is another quiet question she's still too scared to put into words, but that i kinda think she hopes/knows adora will hear if she's really listening- "do you want me?"

uggghh and the way that after a moment of an outward, unfiltered display of grief over adora's answer (or more accurately, lack of an answer), catra wipes her eyes and turns away. the switch flipped. back on her bull shit. emotional defense mechanisms she's once again starting to feel are the right idea & always were, and is prob feeling like a fool for ever thinking she might actually get to have a life where she doesn't have to feel them as necessities - where it doesn't feel like that's the only way she'll ever survive.

cause maybe by now, she's seen that some people get to have that - but it's just not the life that was ever meant for her. just like adora was never meant to have a life of her own - at all - period. they're both still so easily fcking convinced of what they've been conditioned to believe about themselves, their lives, and the inevitabilities associated w their existence - (FUCK OFF FOREVER SHADOW WEAVER)

and the quick little moment of adora shown just after catra disappears - possibly gone from her sight forever - the shorter close-up of her reaction before the shot goes waaay back and she cries out for catra - i feel like it def doesn't get enough recognition (prob mostly due to the fact that the clip of adora yelling catra's name comes only seconds later and is portrayed far more dramatically, & in a way that crushes tf outta ur soul, ofc)

but that lil bit there- that brief second of adora's initial reaction- the moment she starts to process that catra just left- that catra's gone, and that this time- adora thinks it's probably for good- her short, shuddering intake of breath followed by what seem like more hurried, forced breaths that kinda appear difficult for her to take- sound like the first seconds of a fcking panic attack to me dude.

and it certainly hurts to watch just as much as when she calls out after catra - although yeah, tbh, that bit stings a lil extra in its own way- i mean, knowing catra had to have heard adora pretty much scream out her name seconds after she disappeared w melog- fuck. (idk how tf catra didn't come right back tbh. i'd be visible again so quick, rushin to adora like "omg bb i'm so sorry- pls don't cry, never ever, ily so much, won't ever hurt u again ok- ilysm omg omfg ily i'm so sorry" & btw, that's a totally normal thing to think when watching that scene ok-)

oh but then - omfg - adora gets a swift slap in the face from the crystal castle - the haunting of a sudden, unexpected vision of catra. all the catra's. catra in so many of the different forms adora's known her through, even if it was as enemies. it reminds me a bit of an excerpt out of the "don't go" fanfic - "catra hasn't been in her life for a long time - but she hadn't known how unbearable it would be to lose her for good until that moment" -

neither of these bitches ever wanted each other gone- catra (very sadly so) def spent most the series tryna convince herself that's how she felt about adora- tho it's just cause her conditioning taught her to think needing someone makes you weak and easy to hurt, and tbh, i think catra knew she needed adora for most their lives, even if she could never admit it to herself in even the form of a full, conscious thought--

but i think she also believed that, after the promise, that need was confirmed to be mutual. and in that way, it was something catra never needed to say but also never felt the need to be ashamed of/embarrassed by- until adora left. and her belief that the feeling of needing each other for support & protection (and let's be honest, care & affection) was mutually shared between them was shattered - & in such a way that i imagine catra musta felt like she was the actual idiot all along - adora had never needed her, and now she needed to figure out how to achieve that same independence - she needed to figure out how to not need adora.

omg tho dude - pretty sure i've said it before but i can't not say it (aka rant on it tho tbh- sorry lol) again and prob every time i ever share anything that features this couple seconds of what i kinda feel to be adora's most honest, selfish, & vulnerable moment we see up to this point- & without her needing to say a fucking thing- just tears that fall from her eyes after catra basically says "uhh yeah ok so- fuck that nonsense- i'm not leaving, idc wtf happens- i'm staying with you"

--(cause yeah, maybe she spent the last few years too prideful and stubborn to admit that was always what she wanted to do and where she loved being the most- and after so little time spent back by adora's side- it was breaking her fucking heart all over, knowing her chance at having time w adora was going away again- but regardless, catra gets now- that part's not up to her; it's never been her choice to make- & not even adora's, really- but deciding to stay w adora no matter where she goes- that's always been up to her- and she's not ever fucking making the mistake of choosing not to stay right beside that silly sweet dummy ever, eeeever again)

BUT duuude tho - the way adora cries a bit but says nothing - doesn't attempt even once to try n convince catra to go, to push her to leave and get somewhere safe - i just can't help but figure catra staying with her is exactly what she wanted, but never would've asked for in a million years. never would've even let herself form the question in her head.

but in spite of that, when catra states it unequivocally and clearly adds w confidence - "no matter what happens" - adora can't argue. she can't insist. much like catra hasn't really been able to do for quite a while now - adora can't fake it anymore. she's just too tired and she finally has to recognize she wants someone to take care of her, too - just like she's felt compelled to do for everyone else for so long. and in that moment, i feel like she's finally wordlessly admitting to catra, not only does she want her to be the one to take care of her - she needs her to be (and always has)

ahhhh but oof-baboof bro - then there's all this.

somehow, catra straight up delves deep into the abyss currently consuming adora & pretty much says - "fuck no. plsss wake up - you can't just die like this, not before you ever get a chance to live your own fcking life, good god dude - i get now why you couldn't before, but please, this time - STAY."

(huh- stay.. another way of saying "don't go"... hmmm :) <3)

these gurls literally got so much love for each other that catra is able to straight up force open an entryway into adora's fading subconscious (which seems to be the only part of her that's still alive) - just by talking to her - barely above a whisper there in the heart, but in adora's mind, she's screaming at her.

the desperate, hopeful sentiments uttered, urging adora to keep going - to push through this and come out the other side alive - to please survive because you deserve to - are just that much stronger when they come from catra- it's that loud to adora when catra is the one saying it- cause she's finally freaking realized, catra's the one she most hopes to hear it from. knowing catra feels that way about her is something she's never really had, and vice versa ofc, even when they were both in the horde. it wasn't the kind of thing they were taught to say or even acknowledge feeling - but hearing catra beg her to just stay alive - and then hearing why catra so desperately hopes for her to - adora's made certain that it really is true -

she does deserve love, and there's someone whose love she's realized she wants- and they're holding her, telling her she has it & always has. and suddenly staying isn't a hope, isn't a plea - it's an inevitability. adora ain't going nowhere--

and, so reminiscent of adora's line to catra near the end of save the cat: "c'mon catra, you've never listened to anyone in your life - are you really going to start now?" we hear catra imploring adora: "you've never given up on anything in your life- not even on me- so don't you dare start now!"

they both know each other so well, they know the best buttons to push that might just work when tryna reach each other, even when one of them is lost to the point of nearly being gone for good - they don't find a door to open - they take a saw to the fucking wall and make one. and pull the other back through. cause everything will be ok if they just stay together. and once they've both finally accepted the truth to that - that's all they wanna do, to the point of refusing to allow each other to die when faced with that possibility. and likewise, refusing to die- just knowing the other is there waiting for them, wanting them, is enough to bring them back -

wanting the life they haven't gotten to share yet, and straight up refusing to let anything take the hope of that future away - even if it means unlocking their true, innate she-ra form (and beginning to understand that they are magic & it was never about the stupid sword) - or if it's wielding some strange, mysterious power w/o prob even knowing they are- like reaching through a metaphysical doorway into the mind of the love of your life and grasping as far and as desperately as you can for their hand, trying- and succeeding- to pull them back from the brink of death.

their story is literally so lovely. & individually, they are truly such honest, raw, complex and thought-provoking characters - presented in a way that offers viewers a fairly rare experience, even these days, of seeing a story written by people willing to honor the honesty everyone deserves to see and may kinda need to see - things aren't always shiny, happy, good times & people aren't perfect- quite literally, no one is- but that doesn't mean there's no point trying. that doesn't mean there's no hope of a happy ending - or that you don't deserve one. it's literally all just part of life, part of living that you'll find yourself faced w figuring out along the way- whether the answers are good or bad. and that's an insane idea to thread into a freaking cartoon dude - wuhhh tf

oh and ps- catradora are canon. (almost wanna end every rant w this reminder lolol) ~~ they cannot be stopped, this shit won't ever be undone lmao. & that makes me wanna say- "hell yes!" and for anyone who it makes wanna say "hell no" - all i got in response to that isssss "more catradora for us then - hell yes x2"

:) <3

[poeticlark]

"Owl house is just deliberately subversive harry potter clone"

What are you talking about?

"The Dragon Prince is just an avatar clone"

What are you talking about?

"Catra's just an azula clone"

What are you talking about?

"Everything is just copying steven universe"

What are you talking about?

"Hunter is just zuko"

What are you talking about?

"Luz and Anne Bunchoy are just the same character"

What are you talking about?

You guys do a disservice to everything you like because you want to compare them by trying to fit them into incorrect quotes and alignment charts. You want to sort things into boxes and you think its analysis?

[catras-breakup-song]

something that i've always found really funny is catra's s5 plot armor, or rather, design armor i suppose.

to start with, adora (and bow and entrapta) had no idea catra was with glimmer on the velvet glove.

so they rescue her, and surely her chipped outfit, which she's wearing, is the only one she has after prime discarded her former horde uniform.

but then we see her in the same pajamas that she wore in the fright zone, just without the horde symbol, and remember that adora's looks different.

in the next episode, she's wearing an alternate version of her previous red & black uniform, which there's no way could been packed on the journey to save only glimmer, and they wouldn't have cared about leaving replaceable clothing behind on the ship.

also another thing i want to point out is that the back of the torso is mostly removed, likely by catra's claws due to the fact it had the horde symbol on it and she was now part of the rebellion. but i'm not counting this part since it makes sense.

anyway, she gets a whole space suit made for her by entrapta, who, again, wasn't aware catra wasn't on etheria anymore, let alone would want to leave prime.

and here's a bonus just because i can't tell: was this cloak made with a place for her cat ears to fit into, or is she just poking through the original fabric?

overall, this isn't a plot hole and i don't actually care about these inconsistencies since it's not a serious issue, if one at all. but this has always been something i wanted to share with the fandom since i love details!

[sundropcass]

my friend and i were talking about glimmer from she-ra and i mentioned how i love the season 4 parallel between glimmer and catra. it’s so intentional and all i could think about is how the entire fandom hated glimmer during that season. it’s probably the fandom’s most hated character arc. but it is SO CRUCIAL to who she is as a character. idk i think people who didn’t understand that glimmer arc just didn’t get her at all.

[that-ari-blogger]

"Do It" (Destiny Part 2)

When you interact with a lot of similar media, you tend to notice patterns and recurring tropes. Most notably in this example is the final season darkest hour.

Typically, when a series wants to ensure that the stakes are higher for its final arc, it will end the previous in a very dark place. Avatar: The Last Airbender does this, and I just covered The Owl House doing a very similar thing.

But She-Ra has a lot more to it than just the singular convention. This is an incredibly cerebral series with a ton of moving parts. So, for the season four finale, I would like to examine a few of them, and what they do for the story.

Let me explain.

SPOILERS AHEAD: (She-Ra and the Princesses of Power, Marvel’s Cloak and Dagger, A Christmas Carol)

Context is important, and stories have an understated ability to draw together disparate elements into a cohesive entity through a consistent theme.

Here, that is twofold. The series as a whole has been about the cycle of abuse as portrayed through tragedy, specifically in its antonymic relationship with genuine love. But Destiny Part 2 zeroes in on the chronological geography of this. As in, there is a distinct sense of time in this episode, and a discussion of the past and future and their impact on the present.

Everything in this episode revolves around these two ideas, and so everything must be analysed through those lenses.

Starting with the runestones, which are an idea original to the 2018 reboot.

“It’s like…”

“…connection.”

Throughout this season, we have seen the princesses glow when they achieve camaraderie, and that glow is near identical to that of the planet balancing itself. Near identical. The runestones are shown to be more powerful than regular camaraderie.

We don’t actually know the origins of the Runestones, with the exception of them being native to Etheria. The Legend of the Fire Princess graphic novel has one in it that was created by the first ones, which implies that the others were not. But I am here to talk about the main series. (If you want me to discuss the book or any other supplemental media, my ask box is open).

As such, I find it important that the power of the Runestones, much like that of She-Ra, predates the First Ones, which means that it was not theirs to use.

In my previous post about She-Ra, I commented on the First Ones as colonialists, and this adds to that symbolism.

The First Ones co-opted something that was, by all accounts, sacred to the people of Etheria, or at least of significant cultural value. It was repurposed into a weapon that would, as a side effect, wipe out the planet. Cruel and uncaring. The First Ones viewed Etheria as a tool that could be cast aside when it was no longer of use, a worthy sacrifice.

In terms of our themes, this is most definitely abusive behavior, and that continues into the cyclical nature of that abuse.

I have also discussed how it doesn’t matter if the First Ones were the aggressors in their war or not. If the First Ones were under siege, then they felt the only way to defend themselves was to inflict more suffering on bystanders. The abuse they received turned them into the villains of this season. But I think the most important moment for this part of the episode is this:

In her desperation and powerlessness, Glimmer tries to destroy the Runestone.

The anger at being used has been turned against the First Ones, but they are using the culture of the people they have colonized as a shield. To get to us, you need to stab yourself.

It’s forcibly disconnecting the people from the symbol of their culture, metaphorically and literally breaking their connection and leaving them weak and in a place of vulnerability.

This wasn’t even intentional. I don’t think the First Ones sat down and schemed about how, when this master plan goes off, there will be one princess who tries to break the runestones. It was a side effect. All of this was a side effect.

The main role of this was to destroy a different force entirely, Etheria was never part of the equation. The First Ones were fighting a war with someone else, and Etheria was just a sacrifice that could be made.

Glimmer is technically surrounded by the corpses of her enemies here. That is the context for her statement that "we are the good guys". Yes, they are robots, but Emily is sentient, so...

Abuse is fundamentally selfish. To the abuser, it isn’t about the victim, it’s about the anger and often pain that needs to go somewhere. It’s about the power and control. The victim was just there. My feelings matter, my heart, my obsession, my anguish. You are a convenient scapegoat.

It is important to understand that this mindset is built on a misunderstanding.

There is a reason for it. Of course there is. Everyone has a reason for their behavior. That’s what the cycle of abuse is. You get so wrapped up in your own mind that other people stop existing, and you are left with empty shells around yourself. But having a reason does not make you right.

There are real people around the abuser and the abused. She-Ra is a series about those real people, hence why it is so human in almost every character. It is about the real people who are hurt by someone else’s drama, the real people who get burned by being too close, the real people who get caught in the crossfire.

The Runestones are symbolic of those real people en masse. Used as pawns, corrupted, and destroyed.

In that sense, they also relate to the episode theme of time. They are monuments of a distant past and a history even greater.

At the risk of oversimplification, Runestones in the real world are a Scandinavian concept that emerged before the Viking age but gained traction during it. The vast majority were dedicated to the fallen, but a fair few discussed everyday life and stand as monuments.

They also look nothing like those in She-Ra.

In She-Ra, the Runestones are aesthetically just gems and crystals that are big and look cool. So, why go with the name?

First and most obviously, it sounds magical. Runes sound magical and as any architect will tell you, a large part of any creation is the emotions it inspires. If you want a story about magic, saying “this is a glowing crystal called a runestone” is an easy way to do that.

Although, that does bring up an interesting meta question of why there is magic in this story? As in, what does it do for the themes?

I plan on delving into this question in more detail in a later post, so you have that to look forward to.

For the moment, however, the She-Ra has made a point of connecting magic to nature, and so the name “rune-stone” entangles magic to the ground itself. It is the bedrock of these civilizations.

The other reading is that the stones themselves serve as runes, which are in turn a form of written language and communication. They are the words of people long gone, although crucially, their descendants are still there.

This is how culture exists in a very real sense. Not merely through written words, but through the language and communication itself. Mythology and religion, history and philosophy. Word of mouth and art. Culture is not a static thing of aesthetics but a dynamic manifestation of shared ideas, and sometimes it dies out, but usually it just continues and evolves into new forms. It is everything that has come before and every word that is spoken.

I mean that literally. Every single word has a history and evolution that makes up its current form. The word "Silhouette" comes from a French who didn't like to spend money. Language is the manifestation of history and how it informs the present day. It’s part of everyday life, it is context.

The Runestones are that language as a physical manifestation that literally grants power, and the First Ones use them to destroy people. In this way, what the First Ones did was cultural appropriation, and I don't think my opinion is unpopular that this is, in fact, bad.

Moving on to Light Hope.

“Mara. Mara would not want me to… Mara was a traitor. She turned against her people.”

We have seen two sides of Light Hope. The one who Mara befriended, and the one whom has manipulated her way through half of the series. The weapon of war who couldn’t escape. The cycle of abuse come full circle.

We have seen Light Hope get humanised, and then cast that away. But as best we could tell, it was the system itself that overrode her free will.

This line, however, muddies the waters, because it reminds me of another in the same episode.

“People have hurt you, haven’t they? They didn’t believe in you. They didn’t trust you. Didn’t need you. Left you.”

Of all the people to draw a connection to, Light Hope’s dismissal of Mara is strangely reminiscent of Catra’s antagonism towards Adora.

The cycle of abuse hasn’t just happened before on a grand scale with the She-Ras themselves being destined for tragedy, but this specific plot has happened before, and look how it ended up.

Catra has spent the entire story addicted to power like a safety net. She craves being the highest ranked one in the room because it’s safer, but there isn’t much room at the top of the pyramid. You end up alone, and isolated, and with further to fall.

Catra has been trying to claim power like Shadow Weaver taught her, but has ended up like Light Hope. Alone in her tower, scheming, reminiscing, caught up in memory and spite.

This is a warning to Catra. Most obviously, change your ways. But just to be safe, don’t ever cut your hair and don’t ever start wearing white.

Once again linking back to the themes. The cyclical nature of this series is best exemplified by the threat of another season. This is a story that wants to end, to be free, but it keeps coming back to a song and dance.

I mean this as a compliment. This is the only series that makes me fear another season, but stay glued to my seat as I watch and love every moment. The screen protects me from what is happening inside, and the fact this is a story means that I can stop at any time. That isn’t a luxury the characters are given.

The aim of the series is to end.

And it will, that’s the key thing here. Everything ends. The cycle of abuse is not a true circle but a spiral that winds in on itself until disaster.

Light Hope and Mara are the emblems of a previous cycle. Their story ended in tragedy they couldn’t avert and that left naught but shattered people and places in its wake. Light Hope was Catra, she was someone who was happy. But now she is an instrument of the system that drove them apart, unable to understand or take comfort from Adora until the end, begging for Adora to "do it", begging for death. This is who Catra will be.

Don’t believe me? There is only one other person who uses the words “do it” in this episode. Can you guess who that is?

“What are you waiting for? Do it. Looks like we're both alone, Sparkles.”

There is, however one majour difference between the old story and the new. This rendition isn’t over yet.

I haven’t seen nearly as many Marvel films and TV series as I should have. I saw Infinity War and End Game, I saw Thor: Ragnarok, and I watched Moon Knight, but other than that, I mostly never cared for the series as a whole. I didn’t dislike the films, I just never cared that much.

Which is honestly weird, because I read comics on the regular, and got into comics through Marvel. I started with a Spiderman one shot in the Clone saga, and while I wouldn’t call myself a comic nerd by any stretch of the imagination, I was enough in the spaces to know who Jeff the Land Shark was before Marvel Rivals was a thing.

The reason I bring this up is to recommend a series I left out of the above list, Joe Pokaski’s Cloak and Dagger, which ran from 2018 to 2019.

I had read a few comics featuring the eponymous heroes before I saw the series, so I knew vaguely who these people were, but this was one of those series that got me at just the right time to leave a lasting mark on my psyche.

Most notably, this is the place from which I get the phrase “There’s always a point of no return. It’s called the end.” But there’s a little more to it.

The premise of this series is that Luisiana is always saved by two kids, and that one of them will always die in the process. Tyrone and Tandy (Cloak and Dagger respectively) spend the series trying to find a way to escape this cyclical tragedy.

The season one finale will always break me, because we see the moment when Tandy comes the closest to being the one to die, and it’s not in an overly violent fashion, it’s in a phone call.

The two are trapped in a surreal, timeless landscape, and Tandy is presented with a phone using which she can call her deceased father a moment before he dies. She picks up the phone, has a brief conversation, and then the line goes dead. She picks up the phone again and has the same conversation. Again, and again, and again. Just one moment.

Tyrone asks her to leave, she refuses, so he asks her how long she has been there, a question to which she has no clear answer.

If Tyrone hadn’t rescued her, Tandy would have as good as died there and then. Lost to a memory. Lost to the trauma of losing her father playing back to her over and over again.

Cloak and Dagger are played by Aubrey Joseph and Olivia Holt, and while Holt's performance as Tandy in this scene is the showstopper, it would be remiss of me to not mention Joseph's portrayal of Tyrone as he realises what is happening and tries to stop it.

There is always a moment of no return. It’s called the end.

You lose when all hope is lost. You lose when you give up. You lose when you let everything consume you. You lose when you stop trying to escape.

Cloak and Dagger keep getting told that one must live and one must die, and their response is “how about no?”.

Light Hope lost. She became the monster that created her. But that cycle ain’t done for the here and now, Adora and Catra can fix this.

This actually moves really nicely into the third and final element of this episode that I would like to discuss. The title.

Destiny and fate are funny things, aren’t they? They don’t actually mean anything. Not tangibly, anyway. Yes, yes, your fate and your future are one and the same. But that isn’t a fair metric, is it?

Is fate inescapable? Was I fated from birth to write this post? Was my future laid out for me? Or does it work slightly differently?

I am partial to the dichotomy between fate and free will. That being, a person with free will has the autonomy to make their own way in the world and decide their own fate, whereas everyone else is just pulled along by the strings of time. I think this is sweet.

In practice, I have found one way of writing destiny that I like. Nature.

For the record, I am including nurture within this. A person’s nature is just who they are, their history and goals, their fears and hopes.

Specifically, life experiences make up a person. If I find an arachnophobe and I give them a spider, I can be pretty sure how they will react. That is your destiny. It is the path set in front of you by yourself. There is freedom to wiggle within that, but everyone has a set of key components that make up their personality, and in the right circumstances, this can be manipulated.

I could go for the obvious here and talk about how God Of War: Ragnarök leverages this to talk about trauma. I could. It would certainly fit with She-Ra’s discussion of that concept through the cycle of abuse.

But instead, I am going to recommend you the video by Overly Sarcastic Productions (@comicaurora) about that very topic (link) and go further into the past with Charles’ Dickens’ A Christmas Carrol, or more photogenically, the Muppets film of the same name.

“Are these the shadows of things that will be? Or are they the shadows of things that may be only?”

A Christmas Carrol delves into themes of redemption and capitalism, and I will die on the hill that Charles Dickens had a wicked and very dark sense of humour that was brought about by the time in which he was writing. But for the purpose of this post, the book wields the future like a threat.

“Your chains are forged by what you say and do.

So have your fun, when life is done, a nightmare waits for you.”

In A Christmas Carrol, fate is just consequence. Cause and effect. The book is about three ghosts appearing to a miserable old man who thinks he is alone and unimpeachable and showing him multiple occasions when his life was directly impacted by others, for better and for worse, and the effect that his life is having on others.

It opens with a warning from the ghost of Scrooge’s business partner/partners. Cause: Greed. Effect: Chains. Easy one two punch.

It is crucial to me that when Scrooge finds his grave and asks if the future can be changed, the spirit gives no response. It doesn’t give him comfort, but it also doesn’t tell him his future is set. You can try and change your fate. Go for it. If you don’t you will end up here. Alone even in death, but still buried like every other man. There are no coins in your coffin, just memories.

The point of no return is called the end. You decide what that will end up being.

Adora and Catra have been thrust into this story by their natures, and they have been positioned in such a way that can only lead to destruction.

It was in Catra’s nature to take Adora leaving as badly as she did, because she has grown up being told that affection is exclusive and that a person can only care about one other person. She has been taught love in an incredibly dysfunctional way, and she is just a traumatised child, but she’s a traumatised child who is actively wrecking other people’s lives.

Similarly, Adora is a hero in the most self-destructive way possible. She has to save everyone, has to destroy herself for everyone else’s happiness. She is a pawn in a war and she will burn herself to the ground to feel any kind of warmth and it will kill her.

It is these two’s destinies which clash. The cycle of abuse is a spiral that leads to destruction. The tragedy is tragic. So, what do?

To change your fate, you make the decision to change your nature. An arachnophobe can overcome their fear, Scrooge could become a charitable man, Adora and Catra can escape.

If we lean back into the path metaphor. Your nature is a road that itself is moving towards a destiny. If you try and get off it, you will fall over. But you can reach the edge. You can break free. You can start moving in a different direction.

It is always possible to change.

Before I finish up, I want to discuss Horde Prime’s introduction, because he is fantastically incurious in a way that leans into what I have been saying about the inherent self-centredness of abuse.

“You have forgotten who you are. You truly think you are worthy to stand beside me, could be equal to me?”

If Horde Prime was reading Hordak’s mind, he would have seen the portal and the source of the energy reading. He would have been curious as to its use. But no, he projected.

It didn’t matter what Hordak did, it would never have been enough. The fact that he gave himself a name was sufficient to warrant animosity. Prime didn’t need a reason, he needed an excuse to show off his power to Glimmer, but also to himself.

Side note here, Horde prime is played by Keston John, who also plays Darius in The Owl House, and has a voice that can melt butter.

I say this because he turns that off like a switch as he shouts down the powerless Hordak. That grace and smoothness is gone for a horrible growl.

This tiny little gesture as Prime draws back his hand before he strikes. He's deliberately offering Hordak grace and kindness, deliberately making it clear that they were an option and he chose violence. He is giving hope so that it stings even more when he takes it away.

Which presents a question: Is Horde Prime actually put together? Is the snarling monster a tool that he uses? Or is it the real man? Does the distinction matter?

Prime has to be told about the weapon. He doesn’t think for himself, he just coasts off everyone else’s misery.

This man is a physical threat, sure. We have seen that in previous episodes. But here he establishes himself as a thematic force in the narrative. He is an abuser, he is a manipulator, he is selfish.

Horde Prime is terrifying.

Final Thoughts

I had meditations about Arcane and Shakespeare in this that I had to cut because this is one of the longest posts I have ever written.

I want to stress that She-Ra as a series didn’t go places. It didn’t cover new ground as it progressed. Episode two of series one shows a home destroyed by the trauma of a war and the psychological damage that the cycle of abuse can do to a person. She-Ra started here, it just got blunter as the characters got more and more wrapped up in their own heads. Eventually, the show literally wrote its themes on the walls.

This is a tragedy desperately trying to happen. That’s what’s so compelling about the final season yet to come. The character’s have one last moment to get their arses off that road to the end of the world.

Last chance. Last stop. The point of no return is called the end.

Next week we are diving straight into season five, so stick around if that interests you. Let’s do this thing!

Previous - Next

[everythingcatradora]

underrated part of catra’s arc is her having to relearn to have faith in humanity, like she knows the horde is wrong and the rebellion is objectively right but she’s so deep in self-preservation mode from type of systematic as well as interpersonal abuse that she can’t look outside herself to do the right thing for the sake of it. At her core her actions stem from being a horrifically physically abused child soldier in flight or fight mode trying to escape said abuse as well as prove her abusers wrong. her tunnel vision is what causes her view of adora and their relationship to be warped, aka the one positive thing she had growing up so it’s so good that through that she allows herself to fight for good and believe that the world can be good despite all of the pain she’s suffered through.

[inthretis]

Glimmer from She-Ra and the Princesses of Power (2018) is a shounen anime protagonist. Here is my proof:

She solves all her problems with brute force and force of will and sheer determination. How she breaks out of the anti-teleport field that is incredibly painful? Just teleport harder. (Season 1 episode 9 “No Princess Left Behind”)

Simple but incredibly useful power (seasons 1-5, it’s shooting magical blasts and teleportation)

Missing dad (Season 1, episode 4)

Dead mom (Season 3, episode 6)

Has to fight her evil parent (Season 5 episodes 11-13)

She gets a character redesign and outfit upgrade and a power up after a loved one dies (Season 4 episode 1)

She has weird eyes, a little sparkle in each of them. That’s anime as heck. (Seasons 1-5)

Her season 1-3 hairstyle is reminiscent of characters from Studio Trigger anime. Notably, the short-haired tomboy type ala Ryuko from Kill la Kill.

Her fantasy in the season 2 episode “Roll With It” is inspired by Cowboy Bebop.

She has a super special heritage, being half angelic being and half “the most powerful sorcerer alive”.

Despite this, she still considers herself an underdog by being “the weak princess, needing to recharge” and had a lonely childhood, with one childhood friend. (Seasons 1-2, notably “The Sea Gate” and “The Frozen Forest”.)

Her tactical strategy in fights is to punch first, ask questions later. (Seasons 1-3, seasons 4-5 to a lesser degree but still present)z

She has a temper, an age old trait in anime protagonists. She was notably upset when she thought Entrapta was being tortured so she attacked Catra. (Season 2 episode 2 “Ties That Bind”)

Like a lot of anime protagonists, she undergoes a dark and edgy phase. (Season 4, episodes 4-13)

For her, violence is the answer, and great for bonding. (Literally the entire show. Speaking of…)

In season 1, Glimmer is the first person to trust Adora, earlier than Bow, trusting her with the sword to turn into She-Ra to protect Thaymor. In “The Sea Gate” she bonds with Sea Hawk more than any other main character, giving him a pep talk that leads to them fighting together to defeat the Horde.

This does lead to problems, trusting in Shadow Weaver to Adora’s own warnings, but she also makes up for that by buying out Double Trouble with cash, and then of course later on despite much bad blood and Adora disavowing Catra in season 3 “The Portal”, Glimmer still bonds with Catra. It was her words to her that convinced Catra to turn on Horde Prime. She did what Adora couldn’t, the freaking main character.

She works via the power of friendship, more so than any other character. She made the Princess Alliance, an ensemble cast of quirky characters. She convinces former enemies to her side using talk no jutsu, in the same vein as Goku and Naruto.

The funniest thing about Glimmer is that she is a shounen anime protagonist in a show that is neither a shounen anime nor is she the protagonist.