Thursday, October 11, 2018

Voltron: Legendary Defender (Re)Watch 7.7, "The Last Stand, Part 1"

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The Paladins return home to find that home is not so homely.

7.7, "The Last Stand, Part 1"

Written by Joshua Hamilton
Directed by Rie Koga


The Paladins make their approach to Earth. Pidge attempts to make contact with her father, finding only an automated message calling for help from Voltron against a Galra force that has besieged Earth.

No, it's not good.
Image taken from the episode, used for commentary.

Four years prior, when Sam Holt had returned to Earth, he had been subjected to testing and investigation by the Earth military before being allowed to see his wife, Colleen, and asked to report. Contact with the Paladins is restricted against the concern for Earth's safety. Sam's freedom is curtailed, as well.

Sam's report is presented to the higher military. There are some troubles accepting the report, given its nature and the audience, but it is given, nonetheless, recapping many of the events of the first several seasons of the series and integrating them into the broader context of events. Sam calls for fortification of Earth, which is rejected against a lack of specifics. Sam tries to make contact with Pidge and cannot. The decision is made to keep matters quiet--and to prepare some defenses. Work to that end is demonstrated as in progress, and the potential linchpins of that defense introduced.

Four bright and promising stars...
Image taken from the episode, used for commentary.

Work on Earth's defenses continues, assisted greatly by Sam's involvement. His experiences pay off as Earth builds its new fighters, and the four promising officers train. Attempts to contact Voltron also continue, albeit with less success throughout a passing year. but contact comes from Matt, who reports the disappearance of Voltron in the wake of the fight against Lotor. Matt warns him to stop broadcasting against the Galra's efforts to eradicate the allied forces.

Sam calls for an increase in efforts to defend Earth against the Galra, only to have his proposal rejected. Sam and Colleen reveal the truth to the world, imperiling themselves but successfully marshaling the world to the effort against the Galra--who arrive all too soon and begin laying siege to the planet.


Given the long-standing Arthurian overtones present in the series, the parallel that suggests itself is Arthur's return to Logres after the abortive siege against Lancelot. In Malory, Arthur, having left Guinevere and Mordred to rule in his absence, is declared dead and his kingdom suborned; he returns to find it in disarray, havoc having been wrought through it. While the parallel is not exact, there is much the same at work in the present episode; the Paladins return to Earth to find what had been a peaceful place in disarray after having been wracked by hardship in their absence. The scale and scope are grander, of course, and the complications of the life left behind less unsavory--but that is not unexpected from what remains a program aimed at a younger United States audience. (Indeed, there are some motions toward dystopic tropes that seem calculated to resonate with such an audience; the military leader verges on an unhealthy despotism.) How matters will play out will be well worth seeing...

Thursday, October 4, 2018

Voltron: Legendary Defender (Re)Watch 7.6, "The Journey Within"

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Matters seem to improve for the Paladins as they progress through the seventh season of Legendary Defender.

7.6, "The Journey Within"

Written by Tim Hedrick
Directed by Eugene Lee


The Paladins, Coran, Romelle, and Cosmo continue their journey through space, strain clear upon them. Efforts led by Shiro and Pidge continue to try to make contact with others, unsuccessfully, and the estimated remaining time of travel becomes a contested issue--again. Shiro calls for calm, Keith for discipline, and Lance for a backhanded optimism.

You can just barely see them there...
Image taken from the episode, used for commentary.
At length, the Lions enter a darker area of space. Shiro advances an idea for how to re-power the Lions, calling back to the fight against Zarkon. Allura expresses self-doubt, which Shiro sets aside. Emboldened, the Paladins are about to proceed when Pidge spots a strange phenomenon in and lightening of the surrounding darkness. The Lions are enveloped in a radiant energy field and seek unsuccessfully to flee it. They are rendered powerless and adrift once again, waking only later and in some confusion--with their companions frozen. And they are drifting apart.

Keith decides that keeping the group together is their priority; Allura moves to that end, joined by the others. Coordinated action is needed and begins--when the energy emerges again, knocking them further apart. They manage to come together in their persons--but far adrift and out of view from the Lions. Lance's backhanded optimism resumes.

Much easier to see than the Lions.
Image taken from the episode, used for commentary.
Some time passes with the Paladins adrift. Keith does what he can to keep the others focused and sharp as more lights appear--luminous space creatures, in the event. The Paladins make to follow--only to have the creatures vanish, calling the Paladins' sanity into question as their ordeal continues. Hunk voices reservations about his worth as a Paladin.Another energy envelops them, actively tearing them away from one another. Keith fights it, experiencing his own break; it was not real.

The isolation tells on them as it continues. Lance, somehow, remains the most optimistic as talk of fathers and old grievances emerges. Hunk works as a peacekeeper, with Keith acting out in anger as another light--a planet--appears. It seems to be Earth, and the Paladins rush toward it--until Hunk voices reservations and tries to stop the others, dispelling the illusion--evidently caused by a massive, hungry space creature.
This might not be in good taste...
Image taken from the episode, used for commentary.

The creature attacks, and the Paladins evade as they can. Hunk's manifestation of his weapon is questioned, and he puts it to good use; the extravagance of his display evokes its power. Their team identity is reaffirmed and apologies made for words spoken in anger. And with that, their powers return; the fight goes better for them in the wake thereof. The reactivation and return of the Lions helps, as well, and the re-formation of Voltron enables the Paladins to face another energy wave with aplomb.

After they pass through, their companions awaken--and they find themselves near the Sol system at last and proceed towards home.


The idea of visions appearing to the Paladins as an artifact of encroaching insanity voiced in the episode harkens back, if somewhat obliquely and unhappily, to the dream-visions of "The Feud." There is thus a bit more than usual of the continuity of the series's medievalism in the present episode, which is to the good for the kind of work the Society does. After all, if the property will continue to do such a thing, it means that the work of identifying and explicating that medievalism can also continue, giving those of us on this side of things more to do. Working through such puzzles as sources and antecedents present is a source of joy in addition to aiding understanding of the continual construction and reinterpretation of cultural touchstones.

Something else medievalist evoked in the episode is the hellmouth, the gaping opening to the netherworld that appears in much medieval art--suggested in the episode by the maw of the gigantic, illusion-inducing space creature. The use of lures to deceive prey is a natural phenomenon--note the anglerfish--and one commonly deployed by people--as witness fishing tackle sales. But it is also something traditionally associated with medieval conceptions of the underworld; foul spirits seek to lure nobles to their doom through deceit. Indeed, the deliberately medievalist Faerie Queene presents such things assailing the Redcrosse Knight, and Arthurian knights in more traditionally Arthruain works get similar treatment. While there are other possible antecedents for the imagery, the fact of the medieval and medievalist predecessors for the presentation does help to secure the long-established medievalism of Voltron: Legendary Defender as a whole.

Thursday, September 27, 2018

Voltron: Legendary Defender (Re)Watch 7.5, "The Ruins"

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Effects of the Paladins' absence are explored as the seventh season of Legendary Defender continues.

7.5, "The Ruins"

Written by Mitch Iverson
Directed by Michael Chang


The Lions continue through the cosmos, evidently on autopilot as their pilots and passengers--save for Keith and Krolia--sleep until Keith calls them to wakefulness. He asserts that they cannot allow themselves to lose their edge along their journey and begins battle drills with them. They do not go well, with even Keith falling in it. Krolia notes that the simulation was designed to be unbeatable; the rigged test does not please the Paladins.

He seems to be enjoying himself.
Image taken from the episode, used for commentary.
Hunk practices his culinary work, preparing food for the others and sending it via the teleporting wolf. Keith rejects naming the wolf as the others agree to call is Cosmo, and there is some commotion as Hunk explains how he made the food he's served. Amid the meal, though, Pidge picks up a signal, finding it to be a broadcast sitcom. The others, save Coran, are not amused. Hunk hears interferences, which Pidge isolates and Krolia identifies as a Blade of Marmora distress signal. The Paladins move to investigate.

It's never a good sign.
Image taken from the episode, used for commentary.
As they do, they find ruins but no life signs. The ruins, though, show the result of battle--and there are watchers. Cosmo confronts one such, followed by the Paladins; they take the watcher and question him amid decay. The source of the message is revealed to be on site, and the watcher reveals that the Paladins are thought dead. There is something of a memorial to the Blades of Marmora who fell in battle, and the watcher relates the sequence of events that followed Voltron's disappearance. Galra civil war had allowed Haggar's druids to fight the Blade; a final stand was called for, and the druids attacked in force, taking them at great cost. The watcher's people were slaughtered, as well, and the watcher alone survived. Krolia knows the fallen, including the Blades' leader--but there is suggestion that the leader yet lives.

The watcher reveals himself as one of the druids, using the Blades' base to draw other Blades in and kill them. A trap takes all but Keith, whom Cosmo teleports away. A cat-and-mouse game with the Druid ensues, interspersed with melee between the two. As they fight, Allura's own power begins to work against the Druid's trap, and Keith comes upon the Blade's leader. The Druid's motivation is clear--revenge and return from exile to Haggar--and melee is joined again.

This is usually a better sign.
Image taken from the episode, used for commentary.
Allura frees the others, taking the power from the Druid's trap into herself at some cost and discharging it to move to Keith's aid. Battle is joined and the Blade's leader freed, in the end, by Keith alone.

After, they regroup and learn that the Blade is gone, save for a very few. Krolia returns to the Blade, leaving the Paladins in favor of rebuilding the group. Her parting from Keith is bitter, but necessary. They promise to see one another again, and the Paladins depart.


The present episode follows on the exploration begun in earnest in "The Way Forward," doing more to plumb the effects on the universe of the Paladins departure and what they will face as they return. It additionally presents something not unlike the Christianization narratives of the earlier European medieval. In such narratives, there are pockets or holdouts of pagan practice against which knightly forces array themselves in an explicit effort to eradicate the earlier forms of worship. The connection of Haggar's Druids to their medievalist antecedents has already been discussed, as has the connection of the Paladins to medievalist Christian knighthood. (That neither is an "accurate" representation, although both accord with popular conception, has also been addressed.) For the Paladins to fight against a hold-out Druid, then, smacks of some of the less fortunate parts of the medieval, in which perceived-as-always-evil indigenous practices are fought against by outside forces with a different, "good" orientation--and that matters are cast in such a light also speaks to ongoing legacies of medieval European belief that have unfortunate resonances with their own contemporary cultural contexts.

Thursday, September 20, 2018

Voltron: Legendary Defender (Re)Watch 7.4, "The Feud!"

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A surreal experience punctuates the ongoing seventh season of Legendary Defender, offering strange retrospectives of the series so far.

7.4, "The Feud!"

Written by Tim Hedrick
Directed by Eugene Lee


Strange that this would be a common cultural reference...
Image taken from the episode, used for commentary.
The episode opens as if a game show, complete with recording irregularities. The Paladins find themselves playing upon it--to their confusion. They appear to have been dislocated from their previous experience, and their progress through the show explicates their circumstances. Keith purposes to leave, and the Paladins find themselves made captive to the suddenly sinister show host.

The contests begin, following  what the audience is likely to recognize as familiar formats, and the Paladins do reasonably well. And they find themselves in opposition to Galra forces they had thought destroyed. The latter are introduced strangely, entirely out of character with their earlier actions--but befitting a game show. Play proceeds, with more recording irregularities showing up.

It is a disturbing disjunction.
Image taken from the episode, used for commentary.
After a strange in-show commercial, Lance is singled out for continued play. It does not go well; Lance is evidently bad with names. The stakes are increased for him, as well, and Lance actually manages to score before the Galra are sent away.

Play continues, still focused on Lance, with still-high stakes. He stumbles into some degree of success, but not enough, and another in-show commercial punctuates the action.

As play resumes, Allura pleads for release but is denied. Pidge is called up to play. As she does, more recording irregularities show up, and she attacks the sinister host, prompting them being called into a choice of who to release in favor of the other four. In the event, each of the Paladins receives a vote for release, with reasoning revealing much about their mutual regard. That all vote for another to leave receives comment--and the Paladins are released before the show is turned off.

Quite the change of setting.
Image taken from the episode, used for commentary.
After it is, the Paladins are revealed to be adrift in space. Hunk wakes from what he perceives as a strange dream--one that is revealed to be shared among all the Paladins. Coran confirms that their sinister host is something of a legendary god-figure, one who judges warriors' worthiness. None of the Paladins look kindly on the experience they had, however.

Another recording irregularity evidences itself, turning to Luxia's kingdom and presenting it as a vacation destination in disturbing game-show fashion as the episode ends.


The episode plays with narrative reality, partaking of the "it was only a dream" trope that tends to annoy modern readers but forms a significant portion of medieval literature--and some of the most prominent works thereof--as dream visions. Described by Chris Healy of the University of Louisiana at Lafayette as "medieval sci-fi" (which seems particularly apt in the current context), dream vision allows for manipulation of norms with less threat of potential censure; after all, dreams are strange, as all who have them know. And such tend to inform much of the conception of medieval literature, if the persistence of such works as Dream of the Rood and Pearl are to be believed. The knights of the Round Table, after whom the Paladins of Voltron follow, also experience no few dream visions; Malory's depiction of Lancelot's on the Grail Quest come to mind as convenient examples, as does Arthur's in the Alliterative Morte Arthure. (Indeed, Lancelot's dream vision highlights his faults--not unlike Lance's in the episode.)

For the episode to treat in dream vision, then, when the series does so much to invoke and evoke the medieval, reads not so much as a narrative cop-out, as dream-work often does, or as a non-canonical aside, but a callback to perhaps less recognizable medieval antecedents that are not the less valuable for being less familiar. They enrich, rather than detract from, the episode.

Thursday, September 13, 2018

Voltron: Legendary Defender (Re)Watch 7.3, "The Way Forward"

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Things grow darker around the Paladins as the seventh season continues.

7.3, "The Way Forward"

Written by Mark Bermesderfer
Directed by Rie Koga


The Lions are held in a Galra ship, de-powered and under guard, with their pilots imprisoned, along with Romelle and Krolia. Lance unsuccessfully seeks a way out of captivity as Krolia plots more effectively. Coran's fate is uncertain, offering some small hope.
Very small.
Image taken from the episode, used for commentary.

For his own part, Coran struggles against inadvertent imprisonment, meeting with limited success but cheering himself before being startled by the Castle mice. They effect the escape he seeks and release him, in turn--along with the teleporting wolf, which is injured. They progress usefully, clearing a way for Coran to make his own exit from the hold where the Lions are held, clad in the uniform of one of the Galra guards.
It's not a bad look for him.
Image taken from the episode, used for commentary.

Zethrid confers with Ezor, who is worried that Lotor yet lives and will pursue them. Zethrid makes to comfort her, reminding her of their accomplishments to date. Ezor then determines to torture the prisoners.

Coran continues his escape attempt. It does not go well for him. At all. Acxa's intervention saves him. Meanwhile, the Paladins are confronted by Ezor and Zethrid, who have questions about Lotor's disappearance and their own absence. Coran and Axca proceed, with Coran questioning Axca's motivations and noting the situation. Plans are determined and begin to be enacted as the questioning continues. Lance tries to intercede, albeit unsuccessfully. And the Galra become aware of Axca's actions, requiring her to defend herself.
She seems to be doing it well.
Image taken from the episode, used for commentary.

Coran's own adventures go less well than Axca's, but they offer a useful cover for the mice to make their way forward. Acxa's plans begin to bear fruit, and Ezor and Zethrid leave off their questioning to see to it. The Paladins are subsequently rescued by the mice, who report events to Allura. Exflitration ensues, albeit with some difficulty, and Acxa faces her erstwhile comrades. Keith deputizes Lance to lead and makes to retrieve her; the rest make for their space-borne Lions, doing so under fire as Axca's fight continues, assisted by Keith. A desperate escape plan follows, and Keith and Axca are retrieved.

In the wake of their escape, the Paladins rest on a bleak planet and confer about their diminished status. They find that much more time has passed than they had realized; the universe believes Voltron has been gone, and the Galra have been fractured. Axca expresses contrition for her misdeeds and pledges herself to help Voltron's allies amid the tumult that has surely reigned.


If the Arthurian themes that have announced themselves throughout the series are to be followed in the present episode--and there seems to be something of the "did not die, but went into another place" at work--then the current situation seems to be an imagining of Britain after the fall of Arthur. The prophesied legend gone after briefly holding back a period of chaos following imperial rule seems to describe both the presumable aftermath of the legend and the previous seasons of the series, making the current episode something of an interesting bit of medievalist work. Many such works assume a medieval stasis (a term I borrow from TV Tropes, and it fits); Tolkien's works have their heroes in mail and wielding swords across millennia and more, and the many derivatives do much the same. Robin Hobb's Elderlings corpus does, as well, although it does at least work with the idea that technological development is not uniform and shows some developments as the works progress. And Legendary Defender is not immune; the few scenes depicting the pre-Empire Galra show technology not less advanced than what they wield in the main series.

Part of the prevailing medieval stasis inheres in not looking at the medieval/ist that would follow the medieval works being adapted and appropriated. Not much is said about what follows the return of the king (and even Tolkien's appendices are light compared to the rest of the corpus). The current episode suggests a subversion of that--and one very much in line with what is seen of medieval literary practices, which often read as a series of tagged-on "And then he [and it's almost always a he, unfortunately] did this." We are getting to see some of the fallout of the heroic exertions from previous seasons, which is a good thing. Looking at what comes next promises to be worth doing.

Thursday, September 6, 2018

Voltron: Legendary Defender (Re)Watch 7.2, "The Road Home"

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Matters grow more serious as the Paladins of Voltron attempt to return to Earth.

7.2, "The Road Home"

Written by Joshua Hamilton
Directed by Michael Chang.


Pidge attempts to make contact with Earth from the planet where the Paladins have been in the wake of the Castle of Lions' destruction; she is not successful. Hunk considers the Yellow Lion, and Romelle asks about his connection to it before Pidge reports on their current limitations. The Paladins confer about the return to Earth. The difficulties in effecting that return are noted.

Enumeration of difficulties in progress.
Image taken from the episode, used for reporting and commentary.
Among the challenges is that of transportation. The few animals present have difficulties traveling together by nature, and the Lions are not designed to be passenger vehicles. Lance offers a solution that seems to work--for most--and the Paladins set out, if slowly. The trip gets off to a mixed start, with some of the Paladins having an easier time than others. Passenger changes are effected, and travel continues.

As they proceed, Krolia suggests a layover at a Blade of Marmora holding. As they approach, they find the redoubt silent and empty of life; it has obviously been attacked and reduced--and it comes under attack again, Galra forces presenting a problem to the understrength Lions. Keith's wolf teleports among the Lions amid the battle, redistributing passengers again. And ships seeming to be of Lotor's design begin to take the Lions captive; the Paladins attempt to form Voltron in response, but they cannot do so, and they seek to retreat. It does not go well for them; they are clearly facing an unorthodox, superior commander.

Lime green is never a good color in these.
Image taken from the episode, used for reporting and commentary.
The Paladins seek to regroup amid a more dangerous area of space. Galra forces follow, continuing their harassment of the Lions; Keith leads them along a merry chase through geysers, thinning their numbers, though there is retaliation. He and Lance enact a dangerous plan to secure their escape; it is successful, though there is still pursuit, and the Paladins split up to evade it. Another attempt to take the Lions ensues, and Krolia makes to repel it from the Black Lion--successfully, in the event. Hunk has his own difficulties, unlocking a new ability in his personal weapon as he faces them. Romelle assists Allura in keeping the Blue Lion secure. Pidge and Lance are saved by Keith's wolf, which teleports again but is injured in the fight.

As the Paladins proceed, they are hit with a gravity weapon and knocked to the ground. Their attacker is revealed: Lotor's erstwhile lieutenants, Ezor and Zethrid, have led the assault against them.
It is a decidedly bad sign.
Image taken from the episode, used for reporting and commentary.


The present episode does not do much to introduce new medievalisms into the series; those that have been part of the show throughout its run remain in place, of course. There may be something of an oblique gesture towards the Anglo-Saxon elegiac in the episode, however, with the enumeration of troubles, the vagaries of travel, and the inability of the now-more-itinerant Paladins to deploy their strongest weapons as a result of their loss of home, but if there is, it is not a strong one. So while the episode is an enjoyable watch and a useful piece of the overall narrative, it is not one that appears to offer much to medievalist study.

As has been noted before, though, not every episode need offer a new piece of medievalism to ready view. The underlying elements remain in place, and there are other episodes to come that might have more of such showing in them.

Thursday, August 30, 2018

Voltron: Legendary Defender (Re)Watch 7.1, "A Little Adventure"

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The seventh season of Voltron: Legendary Defender opens with useful background explication and a diverting secondary narrative that helps its new arc start afresh.

7.1, "A Little Adventure"

Written by May Chan and Mitch Iverson
Directed by Eugene Lee


In an evident flashback, a young Shiro gives a guest talk at the school Keith attends. Keith is unimpressed and inattentive at first, attracting Shiro's attention. Shiro runs a recruitment drive involving a flight simulator, at which Keith excels once he is persuaded to try. Keith continues to impress through his exercise of delinquency, and Shiro takes an obvious liking to the young man, offering him a chance to sign on with the Earth's space force.

Clearly, if Shiro is willing to bail Keith out of kiddie jail.
Image taken from the episode, used for reporting and critique.

In the narrative present, with the Lions on a strangely lit world, the Paladins, Coran, Krolia, and Romelle confer about what to do with the rescued clone of Shiro. They are incommunicado and short on resources after the fight against Lotor, and matters are grim though not hopeless. Coran outlines a plan, and Keith and Allura make to resume aiding Shiro as best they can--and they are interrupted by Romelle recapitulating the events of the previous few episodes of the series. They proceed as best they can.

Some challenges are more easily surmounted than others.
Image taken from the episode, used for reporting and critique.
The flashback resumes with Keith following up on Shiro's offer to him. The two confer about Keith's future. Meanwhile, Coran and the others search out the materials they need to get off of the strange world where they find themselves. It is a place of beauty, to be sure, and it offers them what they need--though not without challenges. As they face them, Keith resumes remembering his instruction by Shiro as a pilot--alongside Lance and Hunk, among others. His exultation in his proficiency lands him in trouble, however--as does his rancor over his parentage. And Shiro once again steps in to assist him, counseling him as he can--while Coran and his group continue to face their own difficulties, and Hunk and Romelle find points of wholehearted agreement. Lance ends up saving the group from their immediate peril--but they still have troubles to face.

Keith continues to recall earlier times with Shiro and their shared camaraderie. Some of Keith's history is noted--including his previously-understood orphanage. And the others work against their predicament as more of Shiro's background and experience emerges--as do his romantic life and his medical difficulties. At length, the extravagance of Keith's emotions reaches Shiro, who returns to them as the others rejoin--and matters look much improved.


When I wrote the previous entry, I had not known that the series was set for another season. I am not saddened to see that it got one--or, indeed, that it got a fuller run than any season since the first. And when I sat down to watch the present episode, I did so with some hope; I was not disappointed.

Experience reading the Arthurian literature from which Legendary Defender has borrowed and teaching it to students has shown the heavily homoerotic overtones of the work--and the present episode presents those overtones strongly, both in Shiro's recalled relationship and in the close bond between him and Keith. So, while there will doubtless be reactions to the episode complaining of the "forcing" of "social justice" issues, the episode but expands upon tendencies already present in its antecedents--and, indeed, foregrounded in Pidge's trans presentation. (The potential arguments that Shiro's illness and his close relationship with Keith have problematic implications have some merit, however.) Nor yet does it stray far from its antecedents in the secondary plot, which rings of fairy tales in its particulars and has something of the smart-alecky Maledisant about it in Romelle's comments. So the series returns to its medievalism as its seventh season begins; how much it continues to do so will be good to examine.

Thursday, August 23, 2018

Voltron: Legendary Defender (Re)Watch 6.7, "Defender of All Universes"

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The Paladins conclude a battle and find a new purpose as the sixth season of Voltron: Legendary Defender comes to an end.

6.7, "Defender of All Universes"

Written by Tim Hedrick
Directed by Rie Koga and Chris Palmer


The battle from the previous episode continues, Lotor and Voltron facing off as a shuttle arrives at the Castle of Lions. The Paladins are hard-put to it, with Lotor's evident skill showing. The difficulty of coordinating five fighters against one is clear, as well, and the Paladins seek to strategize, using their surroundings to advantage. The attempt is successful, at least in part, but Lotor displays additional, surprising abilities.
No, Voltron does not have an easy time of it.
Image taken from the episode, used for commentary.

Meanwhile, Coran and Krolia tend to the retrieved Shiro clone. And the battle continues to go poorly for Voltron. Allura explains his strange abilities, accepting responsibility for them. Lotor exults in his triumph and presses his attack, and Voltron is disabled, temporarily. The Paladins follow Lotor into the quintessence field, guided by Allura.

In the field, the Paladins face Lotor again. Battle is joined, and the effects of the quintessence begin to manifest in increased capabilities for Voltron. Increased aggression also begins to manifest; Allura recognizes psychosis as an effect of the field. They make to escape while under attack by Lotor; Allura determines to overwhelm Lotor with energy; to all appearances, it works, and Lotor is defeated. The Paladins must flee before being destroyed by the field; they leave Lotor behind them as they return to normal space.
For varying definitions of "normal"
Image taken from the episode, used for commentary.

After, Allura explains what she knows of events. The others thank Allura for her efforts, and Coran notes the destabilization of local space in the wake of their battle. Work to repair the damage begins under great pressure. Coran notes that the Castle will need to be sacrificed against the rifts, and work to use it in such wise proceeds. The Paladins retrieve what they can and evacuate, and Coran bids his family's handiwork goodbye--but not in vain, as the efforts to rebuild reality succeed. A single crystal remains of the Castle; Hunk retrieves it.
Appropriate that the Lion associated with earth retrieve a stone.
Image taken from the episode, used for commentary.

The Paladins proceed to find a safe haven where they can tend to Shiro. Allura is able to retrieve his spirit from the Black Lion and return it to the cloned body. Shiro returns, although he is somewhat changed by the experience. And the Paladins purpose to return to Earth.


There is much going on in the episode, and no small part of it partakes of the medieval and medievalist. Lotor's resonance with Mordred is one such thing. He describes himself in the episode as offering a "new Altean defender" as he assails the old one--Voltron--that has done much to bring freedom from Galra tyranny to the universe; in so doing, he continues to refigure Malory's Mordred, who presents himself as offering a new order to supplant that of Arthur. And his actions do result in the final ruin of the Altean kingdom, though, as in the late medieval work, hope remains for the Paladins.

Allura continues, too, to exhibit saintly qualities--not so much in beatific patience, as contemporary usage often associates with the term, as in the miracle-working depicted throughout medieval hagiography. She effects a transition into and return from what might well be called heaven; the quintessence field is a luminous realm that fills people with power that mortal flesh cannot endure, and Dante's Paradiso comes to mind as one of many antecedents. Too, it is through her that Lotor--in demonic guise--is defeated, with clear parallels to the stories of holy people that were popular in what we now call the Middle Ages. And Allura brings Shiro back from the dead, corresponding to what has often been regarded as among the holiest of works.

There is also an echo of an earlier medieval in the episode, an elegiac thread that brings to mind Old English poetry. Allura is clearly saddened at having to leave Lotor in the quintessence field; it is clear that, despite his perfidy, she has some feeling for him. Coran must destroy the work of his forebears, work in which he takes no small pride. The Paladins have to give up what has been their home. Each is ample cause for sadness, and it is evident that the Paladins feel that sadness. But they also look to hope to come as they propose to return to Earth, and "Deor" comes to mind: "Þæs ofereode; ðisses swa mæg."

As a special note, this appears to be the 250th post to the Tales after Tolkien Society blog. Thank you for reading! We hope you'll keep doing so!

Thursday, August 16, 2018

Voltron: Legendary Defender (Re)Watch 6.6, "All Good Things"

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As the sixth season of the series nears its end, matters appear to worsen for the Paladins, although some things begin to become clear.

6.6, "All Good Things"

Written by Joshua Hamilton
Directed by Steve In Chang Ahn


In an astral experience, Keith hears Shiro. Keith calls out in confusion, and Shiro appears. He reports that matters are well with the other Paladins and that he, himself, has been in another realm--not alive as had been thought. The Black Lion retains his essence, Shiro explains, and he has tried to warn others against the impostor, but he has not the strength, and he cannot maintain his current projection, fading away.
Better to burn out?
Image taken from the episode, used for reporting.

Keith wakes on the damaged Black Lion, his impostor opponent unconscious nearby. And the Paladins and Coran slowly work to restore power to the Castle of Lions. Allura is downcast as she begins to restart the Castle, and Lance looks on with some concern. Krolia and Romelle move to assist Coran, and Lance voices his concerns to Allura. She rebukes herself for not stopping Lotor and Shiro. He works to ease her conscience--and Keith returns with news. Lotor's ships are on their way back.

Allura briefs the other Paladins as they make for their Lions and seek to destroy the access to the quintessence field. And as Lotor and his lieutenants approach, he briefs them on his plans. Efforts to hinder Lotor ensue despite problems--including those Coran faces with the Castle.

Lotor and his lieutenants attack after Lotor makes a plea for understanding. The Paladins resist. It does not go well. And Coran fares little better, though his plan succeeds.
Setting off bombs in castles is usually not a good thing.
Image taken from the episode, used for reporting.

The Castle enters the fight to some effect, but the repairs made to it prove insufficient to turn the fight. And Lotor rages as he continues to fight Allura directly. Madness is in him, and his lieutenants abandon him. Lotor moves against them, taking control of their craft and ejecting them into open space. The ships combine into what amounts to an anti-Voltron, and prospects are poor, indeed.
The tail is almost as good as a goatee for indicating evil.
Image taken from the episode, used for reporting.

Melee continues, with the Paladins faring badly, and Lotor's lieutenants flee. Coran tries to help, but his intervention has little effect. Lotor's retaliatory stroke is telling. Keith continues to rush to aid, hearing the travail of his comrades and pleading for aid; his extravagance puts him back into communion with Shiro amid the astral. The older Paladin coaches the younger into more effective use of the Black Lion, and his progress is accelerated greatly. He arrives to aid his colleagues, who are left adrift by Lotor in advance of the final blow.

Voltron is formed, and battle re-joined.


There seems little overtly medievalist about the episode, as has been the case more than once throughout the series. But there may be something of note in looking at the numerology at work; the Paladins, being five working as one in an avowedly defensive position, call to mind the blazon of Gawain's shield in Sir Gawain and the Green Knight (as the University of Michigan's Corpus of Middle English Prose and Verse has it, with some layout changed for ease of reading):
THEN þay schewed hym þe schelde, þat was of schyr goulez
Wyth þe pentangel depaynt of pure golde hwez.
He braydez hit by þe bauderyk, aboute þe hals kestes,
Þat bisemed þe segge semlyly fayre.
And quy þe pentangel apendez to þat prynce noble
I am in tent yow to telle, þof tary hyt me schulde:
Hit is a syngne þat Salamon set sumquyle
In bytoknyng of trawþe, bi tytle þat hit habbez,
For hit is a figure þat haldez fyue poyntez,
And vche lyne vmbelappez and loukez in oþer,
And ayquere hit is endelez; and Englych hit callen
Oueral, as I here, þe endeles knot.
Forþy hit acordez to þis knyȝt and to his cler armez,
For ay faythful in fyue and sere fyue syþez
Gawan watz for gode knawen, and as golde pured,
Voyded of vche vylany, wyth vertuez ennourned
in mote;
Forþy þe pentangel nwe
He ber in schelde and cote,
As tulk of tale most trwe
And gentylest knyȝt of lote.

Fyrst he watz funden fautlez in his fyue wyttez,
And efte fayled neuer þe freke in his fyue fyngres,
And alle his afyaunce vpon folde watz in þe fyue woundez
Þat Cryst kaȝt on þe croys, as þe crede tellez;
And quere-so-euer þys mon in melly watz stad,
His þro þoȝt watz in þat, þurȝ alle oþer þyngez,
Þat alle his forsnes he feng at þe fyue joyez
Þat þe hende heuen-quene had of hir chylde;
At þis cause þe knyȝt comlyche hade
In þe inore half of his schelde hir ymage depaynted,
Þat quen he blusched þerto his belde neuer payred.
Þe fyft fyue þat I finde þat þe frek vsed
Watz fraunchyse and felaȝschyp forbe al þyng,
His clannes and his cortaysye croked were neuer,
And pité, þat passez alle poyntez, þyse pure fyue
Were harder happed on þat haþel þen on any oþer.
Now alle þese fyue syþez, for soþe, were fetled on þis knyȝt,
And vchone halched in oþer, þat non ende hade,
And fyched vpon fyue poyntez, þat fayld neuer,
Ne samned neuer in no syde, ne sundred nouþer,
Withouten ende at any noke I oquere fynde,
Whereeuer þe gomen bygan, or glod to an ende.
Þerfore on his schene schelde schapen watz þe knot
Ryally wyth red golde vpon rede gowlez,
Þat is þe pure pentaungel wyth þe peple called
with lore.
Now grayþed is Gawan gay,
And laȝt his launce ryȝt þore,
And gef hem alle goud day,
He wende for euermore.
It is possible, given the already-noted elemental resonances of the Lions and the long associations of the classical elements with temperaments, to read them as being in much the same mode as the multiple resonances identified with the multi-colored five-fold emblem on Gawain's shield. And, against the long-established Arthurian overtones of the series, it might well be useful to read them in such a way, tying each of the Paladins to one or another of the classical elements, Galenic humors, or traditional attitudes.

How they would interact, then, with the interestingly trinitarian anti-Voltron that Lotor pilots becomes a point of interest. Formed from three ships that Lotor can commandeer rather than from five that are independently but collaboratively piloted, and partaking of extra-natural energies, it does seem to have something trinitarian about it--but inverted, with the craft taking on an appearance that reads as demonic (in opposition to the pseudo-angelic Voltron). As such, the craft reinforces the notion of bastardization that it actually is--as a product of having perpetrated fraud on Allura--and presents trinitarian ideas as devolved darkenings of prior, fuller patterns of behavior. The religious overtones invite attention--hopefully from those more thoroughly versed in matters of faith.

Thursday, August 9, 2018

Voltron: Legendary Defender (Re)Watch 6.5, "The Black Paladins"

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More revelations shake the Paladins as the sixth season of Voltron: Legendary Defender approaches its end.

6.5, "The Black Paladins"

Written by Joaquim Dos Santos
Directed by Eugene Lee


Not good.
Image taken from the episode, used for commentary
The fight between Voltron and Lotor's lieutenants continues, with Voltron faring less well than could be hoped. Shiro continues to flee with Lotor. The Castle intervenes, helping Voltron, and the battle continues, with the Galra seizing Voltron and permitting Shiro to escape through a wormhole created by Haggar. Voltron breaks, and Keith leaps to pursue his former leader, following narrowly. the other Paladins are left behind.

Keith emerges into a Galra fleet, which opens fire on him. He evades the attacks and continues his pursuit--until Acxa intervenes. They fight, and Shiro delivers Lotor to his lieutenants. They deliver him to Haggar, who orders Shiro to lead Keith away from the fleet.
The plan seems to be working.
Image taken from the episode, used for commentary

The other Paladins confer on the Castle until its systems begin to shut down as a result of being hacked. Pidge tries to intervene, isolating the problem--temporarily. Pidge realizes the source of the problem and moves to make repairs.

Lotor is brought before Haggar, who claims him as her son. He rejects the claim again as she tries to explain herself. She orders him confined, and Axca attacks Haggar, who flees. The conspiracy between them is noted, and Lotor and his lieutenants flee, making to return to the Castle.

This kind of thing rarely leads to a good place.
Image taken from the episode, used for commentary
Keith continues to pursue Shiro, following him into a cave that leads to a Galra facility. Entering, he finds it full of clones of his former leader--with the one he had pursued ready to fight. Melee ensues between them, and it goes badly for Keith for the most part--until his Galra heritage begins to become visible. Keith pleads with Shiro, to no avail. And the facility begins to collapse around them, pushed by Shiro's artificial arm.

Meanwhile, Pidge explicates the nature of the problem afflicting the Castle and works to correct it. She succeeds, narrowly, and remarks on having planned for Shiro's betrayal--sadly.

At length, Keith disarms Shiro. As the facility continues to collapse, Keith recalls his earlier interactions with Shiro and finds strength in sudden purpose.


The title of the episode calls back to the first-season finale, "The Black Paladin." The episode reveals that Zarkon had been the Black Paladin earlier in the show-universe's history, a wicked black knight from whose grasp and twisted minions more noble warriors must rescue an imprisoned princess. And it sends the Paladins drifting apart, cast across the cosmos--from which separation they reunite in the succeeding episodes, to be sure. But it is a decidedly medievalist piece within a series that makes much use of the medieval, and recalling it in the name of the present episode sets up an expectation that it will, in turn, be heavily medievalist.

In the event, the episode does not meet that expectation (which is not an indictment; the episode was entertaining). It does seem to echo parts of Return of the Jedi, to be sure, but how much of that resonance speaks to the medieval in anything other than the most oblique ways is not at all clear. Of course, not every episode need make much of the medieval, and there are other sources that are well worth pursuing in any wide-spread media item.

Thursday, August 2, 2018

Voltron: Legendary Defender (Re)Watch 6.4, "The Colony"

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A revelation returns the Paladins and the Galra to their former tension--and more is added on--as the sixth season of Voltron: Legendary Defender continues.

6.4, "The Colony"

Written by Mark Bemesderfer
Directed by Chris Palmer


Not an auspicious opening...
Image taken from the episode, used for commentary

The Castle of Lions approaches the ruined Daibazaal, carrying with it the ships made from the interdimensional comet Lotor had purloined. Lotor and Allura confer about current circumstances and purpose to harness immense energies from the interdimensional rift that had ruined the planet. The two pilot a craft to begin efforts to that end, the other Paladins and Coran looking on with skepticism and voicing concerns.

There's no doubt when that door opens.
Image taken from the episode, used for commentary
The pilots breach the gate between Daibazaal and an energy realm, vanishing from sight of the Castle and emerging into a seemingly endless sea of light. Subtle structures reveal themselves--and an alert sounds on the Castle as a craft approaches--an Altean shuttlepod carrying Keith. Keith asks after Lotor and expresses angst that the latter is amid the energy field.

Allura and Lotor confer about their findings, Allura voicing concern as Lotor collects samples. Keith returns to the Castle of Lions and is challenged--briefly. Keith claims Lotor has been lying--with Krolia and the Altean woman they found--Romelle--confirming his claim. Shiro stalls for time as Allura and Lotor continue in the field, taking in power--and Haggar watches from afar, through Shiro. News is exchanged, with Coran noting his own doubts as Romelle explicates the history of her people; they are something of a pet project of Lotor's, collected by him and hidden on a colony in the quantum abyss.

It seems too good to be true.
Image taken from the episode, used for commentary
A second colony was spun off from the first, one selecting Alteans with particular characteristics and isolated utterly from it. Doubts of Lotor soon emerged, and Romelle learned that the second colony was, in fact, meant only to harvest quinetessence from the taken Alteans. The arrival of Keith and Krolia allowed her to prove her allegations and to escape from the colony. And the revelation stuns the Paladins, who cannot act against him until Allura is secured.

Lotor is changed as he and Allura return to the Castle and kiss. The Paladins confront him, and his perfidy is revealed. He tries to explain himself, but Allura rejects him. His erstwhile lieutenants take the chance to attack, and Haggar psychically assails Shiro, turning him against the other Paladins. A melee ensues, with Shiro absconding with Lotor and damage being inflicted on the Castle. In its wake, Keith resumes both command and the Black Lion, and the Paladins move with dire purpose against their suborned comrade.

Battle resumes, and Keith tries to restore Shiro--to no avail--as the latter seeks to escape with Lotor to Haggar. Voltron is formed, and the battle rages on.


That Lotor is revealed to be perfidious is not a surprise, nor yet is it a surprise that Haggar's machinations conduce to him. Given the long-established Arthurian resonances of the story, it is easy to read the two--Lotor and Haggar--as Mordred and the Morgan/Morgause amalgamation that pervades late 20th and later Arthurian presentations, but that is also not a surprise. That the revelations in the episode and the readings they suggest are not surprises does not mean they are not interesting, however, or that the Arthurian reading does not reinforce the prevailing medievalism of the series.

And there is some interest in the specific form of Lotor's perfidy. He is described as exhibiting a messianic figure to the scattered Alteans, offering a great many who would otherwise be adrift in a diaspora a chance at a new home and offering a select few an even more reified one. That he is so described--and that the promises made are as patently false as they are--evokes ideas of heretical religious movements springing up, something with which orthodox institutions were necessarily concerned. Since, in Voltron: Legendary Defender, the Paladins are as close to an orthodox institution as seems to exist, that they would swiftly align themselves against the perpetrators of such heretical acts makes sense. Whether they will act to free those led badly remains to be seen--but it would be very much in line with their knightly forebears for them to do so.

Thursday, July 26, 2018

Voltron: Legendary Defender (Re)Watch 6.3, "Monsters & Mana"

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Something of a diversion presents itself as the Legendary Defender presses on in the quest to save the universe.

6.3, "Monsters & Mana"

Written by Mitch Iverson
Directed by Steven In Chang Ahn


Pidge and hunk run through a fog-shrouded forest, arrayed strangely and chased by what appears to be an ogre. After a fraught chase, they are able to defeat their pursuer, gaining a reward and continuing on a quest to save Hunk's village. They come to an inn, finding it full of fantasy medievalist tropes.
This scene looks familiar...
Image taken from the episode, used for commentary.

The Paladins confer with the innkeeper, finding information about an evil wizard, Daken, whom they must defeat. And they find a dark stranger who seems willing to help: Shiro, a Paladin. They confer about their circumstances and backgrounds, with Shiro explicating his instruction in a knightly code and mission for revenge. He joins them in a bit of a rush, only to have an attack from a giant rodent follow immediately.
It does seem to be of an unusual size...
Image taken from the episode, used for commentary.

A fight ensues, and the scene shifts to the players rather than their character--and discussion of the game itself. Coran explicates his history with the game, bringing the other Paladins into the experience as he explains the concept of the role-playing game. The circumstances allowing them to play are explicated, and play resumes with an expanding party.

New characters are introduced, with Allura saving her compatriots and introducing herself in a dramatic monologue. Lance follows similarly, with Pidge's character background emerging, as well. The quest continues, with no few role-playing game tropes (arguments over equipment, puzzle-solving, out-of-character references, metagaming, and game-master hijinks) pervading the continued action.

After an adventuring montage, the characters come across a treasure hoard that offers them much of use.
Among the offerings is a strangely familiar sword...
Image taken from the episode, used for commentary.

But it is at that point that the party is attacked--by the putative innkeeper, who reveals himself as Daken. Battle is joined in fine role-playing game style, with the players facing great difficulty in their efforts but ultimately prevailing--and realizing solutions to their immediate circumstances in the resolution to the game.


Medievalist, not medieval, to be sure.
Image taken from the episode, used for commentary.
As a loving and evidently well informed call-out to Dungeons & Dragons, the episode is inherently medievalist; the game referenced is itself noted for its medievalist origins, borrowing extensively from Tolkien and from various military and political histories of the Middle Ages. Borrowing from it, in turn, is a continuation of the trope it embodies--one that itself pervades medieval literature and art, with the frequent appropriation and refiguring of characters and whole stories by other creators in other times and places. (The retelling of Chaucer's Miller's Tale in Heile van Beersele, per Frederick M. Biggs's 2005 Review of English Studies piece, "The Miller's Tale and Heile van Beersele," offers one example. The accretion of myth around King Arthur, beginning in Gildas and Nennius and extending through Geoffrey of Monmouth through Malory, offers another and more extensive. There are any number of others.) And that medievalism is evident even from the beginning of the episode, with Pidge's armor and Hunk's monk-like attire (and tonsure!), as well as in no few other touches throughout the episode. Shiro's seven-fold knightly code is an obvious one, evoking Malory's Pentecostal Oath (which can, itself, be read as offering seven commands).

Older guy, hooded and in the dark. Looks like Aragorn to me...
Image taken from the episode, used for commentary.
Similarly, like Dungeons and Dragons, the episode borrows tropes from Tolkien--in this case, from Peter Jackson's Lord of the Rings movies. The oversized innkeeper and the shadowy introduction of Shiro both call back to the Prancing Pony in Bree. And they, themselves, call to mind an idea, admittedly romanticized and with some anachronism, of the tap-rooms and taverns that inform not only medieval literature (Chaucer's Tabard comes to mind), but also medieval (and later!) histories. In so doing, the episode connects itself to long narrative traditions, situating itself and the series in which it exists within them, linking a fictional story of the far future to a historical and legendary past that continues to enrich all who would attend to it.

Thursday, July 19, 2018

Voltron: Legendary Defender (Re)Watch 6.2, "Razor's Edge"

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Love looms large as the Legendary Defender continues its sixth season.

6.2, "Razor's Edge"

Written by Joshua Hamilton
Directed by Eugene Lee


In the wake of their previous adventure, Keith and Krolia continue to travel through the cosmos, Keith barraging his mother with questions. She defers answering against current exigencies--and over Keith's objections. She has intelligence on a fuel source for a superweapon--and the "quantum abyss" that seems to give rise to it--and directs them thither.

Aren't they sweet?
Image taken from the episode, used for reporting.
Aboard the main Galra ship, Lotor confers with Allura again, prevailing upon her to replicate her father's work for his Empire. She believes his stated hope for peace, and there is some romantic tension between them broken by the arrival of Lance, Pidge, and Hunk. Lance views the situation amiss.

Keith and Krolia proceed to the abyss. The initial foray into it goes as smoothly as could be expected until local fauna makes itself known. Evasive maneuvers ensue, but the fauna continue to prove problematic--and the two abandon their ship. They are stranded amid the field, but they proceed--only to encounter more trouble as an energy wave approaches and envelops them.

It does seem strange.
Image taken from the episode, used for reporting.
Keith finds himself alone amid an energy field--and in civilian clothes. He sees his parents and confers with a distorted Shiro before returning to himself and asking Krolia about what he saw. She explains his visions as effects of the local distortions.

Lance, Pidge, and Hunk continue their work to integrate Galra technology into Altean. Lance remains disturbed, and the others tease him for it.

Keith and Krolia continue to navigate the abyss. It does not go well, and another vision presents itself to him. He sees Krolia's approach to Earth and her betrayal of her then-commander prior to her arrival on-planet. The Blade of Marmora's interference in the early search for Voltron's component lions is noted, and another energy wave reveals the continued secrecy of the lions, as well as the burgeoning involvement of Keith's parents. Krolia notes her regrets.

Lance continues to fret about Allura and Lotor. He considers his own emotions and his own inadequacy (along with his Cuban origins).

Keith and Krolia continue their progress toward the abyss. Difficulties are noted, and more local fauna presents itself--benignly. Another energy wave recalls the time after Keith's birth to him--and Krolia's return to service. Keith's father is injured amid a sabotage attempt, and Krolia interdicts the other Galra. The incident spurs her to return to the Galra to halt their progress toward Earth. After, the two of them use the local fauna to navigate toward the abyss, finding that the local fauna offer enough biosphere to sustain life. And more visions of the past present themselves as the two proceed, their time strangely dilated.

Allura continues her work, exhausting herself in it. The romantic tension between them emerges again, and Allura is advised by the Castle mice of Lance's feelings.

Keith and Krolia emerge to find a Galra base, which they investigate. It reveals a strangely bucolic scene, in which they find an Altean woman.

*insert dramatic music here*
Image taken from the episode, used for reporting.


While the dominant narrative thread of the episode is that between Keith and Krolia--and it deserves more explication and analysis than can be readily applied to it here--that with what seems the most obvious medievalist overtones is the romantic triangle among Allura, Lance, and Lotor. Lotor demonstrates romantic longings for Allura, in no small part because she is the heir of the magic Altean kingdom, not unlike his antecedent Mordred's covetousness of Guinevere (although without the overt incestuous overtones in play). Lance has long been infatuated with Allura, although much of that infatuation has been adolescent (generously) and/or partaking of the kinds of toxic masculinity that are rightly decried. For Lotor to act as though he has romantic feelings for her has the predictable results shown in the episode; Lance grows angst-ridden and acts out of sorts. And in doing so, he mimics his medieval Arthurian antecedent, Lancelot.

To a modern reader of Malory, Lancelot acts as a moody teenager writ large with regards to Guinevere. He does outsized deeds in the hopes of impressing her, despite the social mores that ought to bind them both (and the violation of which effectively enables the downfall of Logres), and when she expresses displeasure with him, he mopes and swoons in ways that far too closely echo those I recall from my own adolescence to be anything like comfortable reading. (I wonder how widely shared the sensation is of being embarrassed by the reminder of teenage folly offered by a book.) This is particularly pronounced at the end of Malory's text, when Guinevere rejects Lancelot's advances in favor of atonement for their misdeeds; in essence, Lancelot whines himself to death. And while Voltron's Lance is more comedic and less "heroic" than his medieval antecedent, he is clearly following the same pattern--and with possibly similar results, since a romance gone awry could imperil the continuing function of the Legendary Defender itself.

Given the context, it is not likely that Lance will lead Voltron to ruin--at least, not from thwarted lust. It can be hoped that the showrunners have learned from what has come before and will offer more satisfying endings for the characters than that.

Thursday, July 12, 2018

Voltron: Legendary Defender (Re)Watch 6.1, "Omega Shield"

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The Paladins of Voltron begin their work to unite the Galra as the sixth season of Voltron: Legendary Defender begins.

6.1, "Omega Shield"

Written by Mitch Iverson
Directed by Chris Palmer


This sort of thing never bodes well.
Image taken from the episode, used for reporting.
With the Castle of Lions still near the Galra mothership, Lotor reaffirms his peaceful intentions to the Paladins, citing Allura's role. She commends him in turn, prompting sour expressions from Lance. As they continue to confer, returning to the Galra ship, they are confronted by a Galra disciplinarian, Lotor's former governess, Dayak. Lotor makes introductions all around, and Daia notes spread of news of Lotor's ascent through the Empire, exulting in the triumph of her former charge. Lotor commends her to the Paladins for instruction about the Galra--and she reveals the intensity of her belief. Hunk is tasked with undertaking the instruction, and the rest proceed to a briefing on the current state of affairs among the Galra. Sendak is noted as leading the most threatening splinter group, and Lotor purposes to address the issue of the splintering Empire via providing unlimited quintessence.

This also does not bode well.
Image taken from the episode, used for reporting.
Meanwhile, Hunk's instruction proceeds. The methods are much as one would expect for a people who were, even before their former leader's descent into evil, rigidly stratified and bellicose. He does, however, learn about the Galra history of conquest and genocide. Their combat-centric society is explicated amid the beginning stages of his training.

Lotor and Allura continue to confer about the need for her to follow her father's work. She is unclear of how to proceed, and is left to work as Lotor makes a speech to his people, claiming his throne openly and calling for their loyalty in exchange for receiving unlimited energy. There is resistance among the various Galra groups, and Sendak works to capitalize upon it, attacking those who would pledge to Lotor.

Hunk progresses in his training as Sendak's attack progresses. The Paladins intervene in the attack, expressing concern over Sendak's return. Shiro experiences some distress amid the conversation, which is noted by the others as their intervention proceeds.

It's a kind of magic.
Image taken from the episode, used for reporting.
Elsewhere, Haggar proceeds along the path to Oriande that Allura and Lotor had followed--and the interferes with Shiro as Voltron forms and joins battle with Sendak's forces. Sendak strikes at the civilian population and flees; Shiro continues to suffer from Hagar as efforts to protect the planet from natural phenomena begin. Voltron separates so that the individual Paladins can work to their strengths simultaneously, and repairs commence--as does a mutiny. Hunk's training emerges, and the Galra fall into line, averting the conflict. Hunk also awakens new abilities in the Yellow Lion, speeding progress. But Shiro's connection to Haggar also continues to cause problems; he experiences the assault of the White Lion, and the shield fails. Lance is injured, and Allura and Hunk respond. Allura heals Lance as Hunk tries to make a stopgap repair--that narrowly succeeds.

In the wake of the event, matters are eased, and the Paladins return to the Castle--with Shiro yet suffering. And Haggar emerges from Oriande greatly empowered and restored to her Altean self.


There is not necessarily much of the medieval in the present episode, aside from the long-established patterns the Paladins. A bit may emerge in the (admittedly brief) cross-training program Hunk undertakes (reluctantly, it must be admitted--but then, yellow is associated with cowardice, and Hunk has frequently been described as fearful). There is something that echoes, if quietly, the practice of fosterage--the exchange of children across households, done as a lesser peacemaking gesture than marriage and in the interest of easing feudal succession. The cultural competency Hunk displays--which suggests that his training went on for some time; spans between scenes are not always clear--and that results from his training becomes useful to him in carrying out his work int he episode.

It also, by explicating some of the Galra history, serves to depict them as having been nobler warriors than they now are. That depiction is complicated, however, as are all warrior ethics, by the necessity of violence to them, and further complicates through the open admission of early genocidal practices among the Galra. That is, Dayak openly asserts that the Galra homeworld hosted multiple sentient species early in the Galra history--but those species do not seem to appear in the series, evidently wiped out long before. But that necessary, even horrific violence is not without its medieval--and earlier--antecedents; the knights of old were necessarily killers, and if the best of them pretended to be restrained by such codes as Malory's Pentecostal Oath, the pretense was thing and not engaged in by many.

Perhaps more fortunate a medievalism is in the interactions between Lance and Allura in the episode. While he still remains a lecherous adolescent, his unthinking, headlong rush to get her clear of an energy discharge bespeaks the best parts of the chivalric idea his name evokes--Lancelot readily and repeatedly entered into seeming danger, doing so because he knew at an intuitive level that it was his place to do so. Similarly, Allura's evidently magical healing of Lance's injuries speaks to the wondrous fantastic so often couched in medievalist settings. As the putatively virginal monarch, and one who has been empowered through a journey into a paradisaical realm, she is an amalgamation of no few tropes prevalent in medieval art and literature--Marian overtones abound in her, and the royal ability to heal is evident, as well.

As such, the sixth season of Voltron: Legenday Defender seems poised to continue to deploy the medievalisms that have populated the series previously. What will happen with them will be interesting to see.