#she-ra 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!

[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)

[thestargayzingetherian]

Angella's Not Dead! - A Ramble

Okay, so lately I've seen a weird trend of people misremembering SPOP and thinking Angella is dead. Like, on those panels Nate, Aimee, Karen and AJ did a while ago or PrincessWeekes's recent essay where she mentions Catra.

Like I'm not calling anyone out here, like I get most people don't rewatch or think about She-Ra as much as I do so they just forget but like it is something I couldn't help but notice. Because like… yeah losing Angella is played like a character death… but she's not dead! Angella is trapped between dimensions, she's still alive in some way. Heck, I remeber Nate saying at some point that if the finale was a bit longer, like three parts instead of two, they'd have probably brought Angella back there. (My theory on that one is that the release of energy from the Heart of Etheria would have caused a tear between dimensions to bring Angie back) But yeah it's just… something odd that I've noticed lately the last few months because no, Catra didn't kill Angella because Angella's not even dead. HELL, Catra doesn't actually kill anyone in the show (though it would have been hot if she did).

That all being said, it gave me this funny mental image.

Angella: "STOP TELLING EVERYONE I'M DEAD!"

Micah: "Some days I can still hear her voice."

Alternatively, it works equally well the other way around xD

[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.

[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.

[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.

[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.

Previous - Next

[manic-sapphic]

catra comes back

and not cause she thinks maybe adora does love her after all. that shit isn't part of the equation to her anymore. mf'er just knows she loves adora. and adora's life is in danger. that's it. that's enough.

end of sentence, end of story. catra loves tf outta that bitch and always has. it's honestly astounding the way expressions of hatred and love can get their wires crossed

(consult symptoms for borderline if you'd like specifics. i don't say that cause i necessarily think catra has it; i think it's likely she doesn't. this pretty kitty is just traumatized af and tryna navigate the world that way.. but if you know anyone kinda like that, i just cordially ask on their behalf - maybe give em some grace? if you can, if they arguably deserve it, but specifically tho: if it doesn't hurt you to do so..)

i think it's kind of an old trope even, though. can't love em? life won't let you, world won't let you? aight ok fuck it. hate em instead. and then watch yourself unravel.

[catras-breakup-song]

i think there are a couple things about catra's designs that people tend to get wrong (in my opinion at least, these could just be interpretations):

catra's s4 outfit is actually just a force captain uniform, not necessarily a second-in-command horde ranking above one (not that it's any less hot on her!). despite having been a force captain for most of the earlier seasons, she was actually still wearing her cadette uniform. you know, 'cause she was always skipping force captain orientation and whatnot! and then she finally started taking that power much more seriously after the portal arc. you'll notice catra's design looks much more similar to scorpia's now bc boob window lmao, who was always a force captain since her first debut, save for personal customizations to support their animal hybrid body types.

also, bonus, the reason why catra's arm sleeves are uneven is to match her appearance while she was corrupted by the world falling apart, although that wouldn't explain why she still has part of her left arm covered in black. this was something i saw someone theorize a while back, but i'd never be able to find the post again.

anyhow, it also parallels glimmer's queen design pretty well (i hate that this image is mirrored):

they both have one arm covered by a sleeve, while the other is bare, yet still wear gloves on each hand. they both wear a headpiece. they both make room in their clothes to show their chests. they both have the V-curved waistband to divide their setup into torso and waist/thighs.

...moving on now...

2. catra (along with adora, glimmer, and bow)'s future wish designs were only supposed to be temporary for scorpia's ball that they were getting ready for. i see a lot of fanart that depicts them in these outfits as their main future designs overall, but i don't believe that's the case. they would definitely appear much more settled-down without a doubt, but in my headcanon adora isn't always wearing such a long dress and catra may wear shoes more often but usually not all the time. admittedly, this is just my own take and isn't entirely relevant to the point. also, mind you, that ball wasn't even canon to reality; we don't know if it actually ever happened. it was just something adora imagined she would be able to see if she were to live.

in addition to that, nate also said this, implying that adora does not stick with dresses as casual wear and by extension the same most likely applies to catra about covering her feet instead of wearing leggings that make movement more free, although this may change as time goes on after the war and they grow to find comfort in peace:

EDIT: i found this post

[red-l1ke-roses]

Their dynamic is everything to me.

I can genuinely say this is like my favourite ship ever. You will never guess that this relationship would work so well, and yet it does. Not just in a romantic way, they are genuinely friends that genuinely care for each other (Thought I think they’re are definitely more than friends). Entrapta was a big step in Hordaks arc, I think Hordak was definitely already questioning some of his actions and horde-primes but Entrapta really helped push him forward in his arc. Hordak had only ever had really two types of relationships either the relationship he had with horde-prime, a servant who genuinely cared and worshipped horde-prime even though he treated him terribly and didn’t care about him at all, or the relationship he had with the members of the horde they feared him as he was their leader. but I feel like Entrapta was the first person that ever treated hordak like an equal like a friend. He told her about his past and his ‘defect’ and she didn’t treat him any differently in fact she helped him and they grew to trust eachother. I think that was one of the major things that made him realize maybe he didn’t have to go back to horde-prime.

I’m going to do a longer thing on some other dynamic soon but this is done for now!

[unityrain24]

ok people here's my essay. (also note that this was for my english class so it is written in a different style than i usually would. it had to be all formal and grammatically correct and such)

2212 words, analytical essay

She-Ra and the Princesses of Power: A Queer Allegory for Religious Trauma

ND Stevenson’s She-Ra and The Princesses of Power is an animated Netflix original series rebooting the classic 80s show Shera: Princess of Power. This time, however, the show is chalk-full of diversity, varied body types, queer representation, pleasing colour palettes, and a friends-to-enemies-to-lovers lesbian romance. The first four seasons follow Adora (aka She-Ra) and the princesses of Etheria’s fight against the Evil Horde, using their magic to try bringing peace and justice to the planet. A portal is opened at the end of the fourth season, however, bringing the planet of Etheria out of the isolated dimension of Despondos. No longer separated from the rest of the universe, Horde Prime arrives at Etheria- not only bringing higher stakes than any season preceding it, but an entirely new layer of symbolism to the series. The final season was a clear allegory for religious trauma, an especially relevant topic for the show’s majorly queer audience.

When his armada arrives at Etheria, Horde Prime sends his army of clones and robots down to take the planet by force. Unlike the Evil Horde that had been trying to take the planet before Prime’s arrival, who were disorganized, messy, and industrial, everything under Prime is sleek, elegant, efficient, and most importantly: white. Horde Prime’s ships are white, Horde Prime’s robots are white. Horde Prime’s skin is white, his hair is white, his clothes are white, as are all his clones. Pure, unblemished white, with only sparing accents of grey or green.

In colour theory, white has a few meanings. The colour can represent purity, cleanliness, innocence, and even righteousness. This colour theory is heavily incorporated into biblical verses, metaphors, and artwork (and some might even argue that our modern idea of white comes from the Bible). In art, God and angels are almost always depicted wearing white, as is Jesus in his resurrection. Halos of white or light yellow are shown adorning holy figures' heads. Several bible verses use white robes or other white objects as a metaphor of the wearer’s purity. White is still used in several Christian rituals/customs today, such as weddings, baptisms, and more. White is one of (if not the) most important colour in Christian lore. Even in instances where pure white isn’t used, there is a clear correlation between light versus dark and good versus evil. 

White has more than one meaning, however- on the opposite side of the coin, white can also represent coldness, blankness, emptiness, and loneliness. The most interesting thing about the show’s use of white is that it encapsulates both facets of its representation. Horde Prime uses white to represent his purity and perfection, but to the people of the colourful, messy world Etheria, this is a cold, eerie colour. As are Horde Prime’s ideals. His perfection and purity is synonymous to coldness. The white represents both- not only simultaneously, but as the same thing.

Horde Prime’s empire being entirely white is no coincidence- neither in-story by Prime, nor in real life by the writers. Horde prime uses white to represent everything he stands for, and the writers use white to represent everything Christianity stands for.

Horde Prime is a being that has lived an amount of lifetimes beyond comprehension- every time his body starts to grow old and fail, he selects a new clone of his to insert his memory and very essence into. So even though he has a new body, he is still him. And the reason for this? To fulfill his self imposed purpose of bringing peace and perfection to the universe. To thousands of planets he has been, one at a time, to reach this. Horde Prime believes there is only one right way to do things, and that humanity cannot be trusted to govern themselves.

Every planet he takes goes the same: he arrives with his ships, and slowly implants chips into the neck of each and every being on a planet. These chips take away the autonomy of the host, and they are left blank. No personality, no choices, no person. All their actions are perfectly automated and controlled by a hive mind, and Horde Prime can take specific control of and see through the eyes of any individual at any given time. With Horde Prime in control, there is no war, no famine, no pain. There is only peace, perfection, and purity. And anyone who does not conform, does not accept his gracious rule, are dealt with accordingly. Entire planets have been left desolate and barren, entire peoples subjected to genocide for not accepting Horde Prime. All dead in the name of peace.

These ideals upheld by Horde Prime are strikingly similar to Christianity. Perfection and purity are two of the main ideals of Christianity, in hand with righteousness. Christians strive to “be like Jesus,” to be their idea of a good person, to be loyal to their religion, and to make it into Heaven. Several rituals to “repent” exist when they feel they have not upheld these standards correctly- including prayer, confessionals, sacrament, and baptism. Even though true perfection, purity, and righteousness are typically seen as unattainable to everyone but the Godhead, it is common belief that constant trying will at least get you as close to it as possible. Conformity is another key aspect of Christianity, though it is not advertised, and to the exact extent it is upheld depends on the sect. In general, though, Christianity pressures every one of its followers (and even those who aren’t) to behave a certain way, to think a certain way, and to only associate with others among themselves.

Horde Prime’s way of upholding these ideals isn’t dissimilar to Christianity’s either. Much like Horde Prime’s Galactic Empire, Christianity has had a long history of forced assimilation. From the Spanish conquistadors to the pilgrims and other colonial settlers of North America, death and pain has come in the wake of the spread of Christianity for hundreds of years, amongst various sects of the religion. Native peoples have been murdered for their loyalty to their “savage” non-Christian ways, land has been stolen, and indigenous religions and other important cultural traditions have been changed past recognition or completely erased, all in the name of “saving,” all in the name of “love,” all in the name of “what’s right,” all in the name of God. Christianity is the only right way, Horde Prime is the only right way.

Its likeness to Christianization isn’t the only resemblance Horde Prime’s ways share with Christianity, however. When Horde Prime arrives at Etheria, three people are brought aboard his ship- Queen Glimmer, one of the Etherian rebels that had been fighting against the Evil Horde (and now the Galactic Empire), Catra, a high-ranking member of the Evil Horde that had been taking over Etheria before the Galactic Empire arrived (but is in love with Adora, who is one of the rebels), and Hordak, the leader of the Evil Horde. Hordak was a clone of Horde Prime’s that had been stranded on Etheria, which was in an isolated dimension. He spent his time in isolation trying to take the planet so that if he was ever reunited with Horde Prime, he would be seen as “worthy”. Horde Prime, however, is displeased by Hordak’s actions- claiming that Hordak was trying to take the planet for selfish reasons rather than for Horde Prime, and for giving himself a name. As such, Hordak must be “purified.”

In this purification process, Hordak’s mind is wiped, and he begs for forgiveness and to complete the process. He is then dressed in white and walks into a circular pool with liquid that reaches his waist. The liquid is electrified for several moments, and his screams can be heard, and then it stops. He is left blank, and Horde Prime and the other clones watching praise him for being the purest among them. Later, Catra is subjected to the same process against her will, and is now a mindless servant of Horde Prime as well. This process is almost identical to the Christian concept of Baptism. While exactly how baptism is carried out varies between sects (full submersion under water versus just a sprinkling, infant versus child, etc), the purpose remains the same- to purify past sins.

A more abstract similarity between Horde Prime’s empire and Christianity is the use of titles. Prime’s clones refer to each other as “brother” (and to Catra as “sister,” once she has been “purified”), and Horde Prime as “big brother.” Not all sects of Christianity use such titles to refer to each other, but some do; notably Catholic nuns or members of the Church of Jesus Christ of Latter-Day Saints (Mormons). But even those sects who do not refer to each other as brother and sister often view Jesus as their “older brother” and God as their “heavenly father.” 

Horde Prime himself has many more titles than simply “brother” or Emperor of the Galactic Horde, however. Other titles given to him include Ruler of the Known Universe, Regent of the Seven Skies, He Who Brings the Day and the Night, Revered one of the Shining galaxies, and Promised one of a Thousand Suns. In Christianity, Jesus also is referred to by many names. The Saviour, the Redeemer, the Son of God, the Son of Man, King of Kings, Lord of Lords, the Prince of Peace, the Lamb of God, and several more. In addition to titles, some of the phrases in general used by Christians and the Galactic Empire are common. Both use the word “rejoice” when telling of their faith. Amongst Christians, “glory to God in the highest” and “[God] is the same yesterday, today, and forever” are not uncommon phrases. “Glory be to Horde Prime” is a common phrase expressed by the clones, and even more so, the infamous mantra “Horde Prime sees all, Horde Prime knows all” repeated so many times throughout the season.

The titles used for each other perpetuate a feeling of conformity and a feeling of “otherness” concerning those who do not conform. The titles used for their leaders perpetuate subservience, power imbalances, respect, and devotion. The phrases used in relation to their leaders perpetuate devotion and omnipotence. These are true of both Horde Prime’s Galactic Empire and Christianity.

Horde Prime was a genuinely disturbing villain who represented every painful thing Christianity is made of- toxic perfectionism and purity, conformity, obedience, control, and omnipotence. Loss of expression and individuality. The fear of being constantly watched. These are things that anyone with religious trauma may deal with, but it’s especially true of queer people. Queer people have had a long history of oppression at the hand of Christianity (and colonialism in general). From outright murder to conversion therapy and other abuses, from abandonment to dismissal, Christianity has perpetuated all of it for centuries. And it’s still something that happens today.

She-Ra and the Princesses of Power has a majorly queer audience, due to both the creative process of the show and the representation within the series itself. Not only is the creator of the series (ND Stevenson) queer, but so was practically every character- whether they were a main character, side character, or background character with only a few seconds of screen time. One of the main plots of the show is the complicated lesbian romance between Adora and Catra. As such, the series attracted a good number of queer fans, and religious trauma (or at the very least, religious fear) is a topic that hits uncomfortably close for many.

Other pieces of media that incorporate religious imagery have a tendency to be unclear about how it is framed. Is the imagery shown to be wrong and the victim is right and prevails? Is the imagery shown to be right, and the pained victim in terrified denial? Is the imagery shown to be truly wrong but inevitably triumphant anyways, no matter what the victim tries? It is so muddy in so many pieces of media. The important thing about the fifth season of She-Ra and the Princesses of Power was how it was framed. Perhaps it was because it was a kids show, or perhaps it was the queer creators’ spirit and defiance, but the series was clear in their framing of Horde Prime. The perfect white make the audience uneasy. Horde Prime’s retelling of his victories fill the audience with dread and then hollowness. The “baptisms” of Hordak and Catra are disturbing. Every aspect of Horde Prime and everything he stood for was presented as wrong. Without any doubt.

 And even more importantly, the people of Etheria were able to prevail. She-Ra and the other princesses were able to defeat Horde Prime and his empire, and free those forced into subservience by his chips. Catra (and Hordak) were saved. The ships were destroyed. The people of Etheria were allowed to be free and express themselves and be people. This message was something very important to the queer audience. Not only was the fifth season an expression of queer pain, but an expression of queer hope. Neither thing should be ignored. Pain is valid. Hope is needed. To be healthy, both need to be recognized. To have a series that expressed both, and in such a queer way, was extremely important to so many people.

[sapphic-biohazard]

catra’s fashion style in the real world

A metal and punk-y twist on femme fatale

It’s rebellious and risqué, edgy and sharp with a touch of femininity, definitely non-conformist.

She prefers figure-hugging and skin-tight silhouettes, like a gymnasts, or a tiger. Oversized clothes make her feel small, like a child playing dress up.

Evert must outfit include fur (a homage to her etherian species) or leather. Either as jackets, sleeve or hem trims, or shoes. Black florals. She’d like animal feline print like leopard and cheetah, if it weren’t for the dead animals.

Her centric colors are either deep reds, deep purples or deep pinks. With black or brown as complimentary. She hates white and gold (until adora).

Almost all her clothes are ripped/torn, mostly intentionally. she liked cutouts too, but not too many, just a flair.

All her tops are either sleeveless or strapless or backless or with a low cut neckline.

she prefers low rise pants instead of high waisted. Not skinny jeans but also not baggy, a secret third thing (bell bottoms). She draws or sews patches on the knees or ankles.

She prefers shorts almost always, anyway.

She’s picky when it comes to skirts, she doesn’t like poofy or restrictive ones, she likes something that allows for mobility, where she can also add her own touch to it. Either leather or pleated skirts.

She doesn’t wear shoes until she absolutely have too, which usually means formal settings, so heels. But not something too high. Pointy toe shoes. Thigh-high boots. She adores stockings though.

Angel bites/fang piercings are non negotiable.

Nails are always long and sharp and red-black.

Playsuits, she owns too many, for when she wants to doll up but doesn’t want to wear a suit or a dress.

Matched sets. Top and skirts or top and pants. 

She prefers suits when it comes to her formal look, she still adds her own flare and touch to it, unbuttoned buttons and untied ties, cutouts at the blazer, ripped pants or replacing with shorts, absolute creative freedom when it comes to the undershirt (from bralette to cropped button up to vests to nothing). She doesn’t usually prefer dresses, but when she does she prefers ones that are sleek and tailored towards her body, ones that make her look mature.

Significant accessories: spikes and studs, fingerless gloves, fishnets, metal chains, lace holes, buckles.

Visual examples:

[stardvstbby]

Some thoughts on Catra’s childhood and how it affects her relationship with Adora in episode 11, “Promise”

In the beginning of the episode the Beacon deems Catra as an unauthorized presence and Adora says to Catra “Those things see you as a threat. And as long as I’m protecting you, they’ll see me as a threat too.” This plays into a belief that Adora associating with Catra will only harm her, that Catra is an intruder in Adora’s life. Adora intends to prevent both of them from being harmed but to Catra this is an example of Adora being hindered because of her.

In the flashback fight, Adora gangs up with Lonnie on Catra, which makes Catra feel alienated from Adora and presents a reality where Adora succeeds due to Catra’s failure.

Right after this the Beacon separates Catra from Adora, paralleling that she isn’t meant to be with Adora. Catra then saves herself (solidifying that she’s better off fighting alone) only for Adora to swing in at the last moment to claim victory. This cements the idea that Catra is unworthy of being recognized for her own accomplishments.

Adora then tells Catra “You don’t belong with the Horde” meaning that she wants Catra with her, but Catra has been told her whole life that she isn’t worth being Adora’s friend. And if she doesn’t belong with the Horde or Adora, then where does she belong? She’s alone as she’s always been. Even when they were still friends Adora was accepted and praised while Catra was treated as disposable.

During the later flashback, Catra was singled out in her physical abuse by Shadow Weaver, which leads Catra to believe she is inherently deserving of it.

All of these moments play into the manipulation Shadow Weaver subjected them to throughout their childhood, creating a false dichotomy between Adora who deserves success and recognition and Catra who is doomed to fail, so that the two had an ever-present underlying conflict and therefore could play right into Shadow Weaver’s hands. Her obvious mistreatment of Catra ensures that she will be hesitant of accepting any good treatment from Adora, driving a wedge between the two that would last into their adulthood.