Galavant Rewatch 2.4, "Bewitched, Bothered, and Belittled"

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The series ruminates on relationships in the present, aptly-titled, episode.

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2.4, "Bewitched, Bothered, and Belittled"

Written by Maggie Bandur, Luan Thomas, Julia Grob, and Joe Piarulli
Directed by John Fortenberry

Synopsis

They're not the most likely-looking bunch.
Image taken from the episode, used for commentary

Galavant, Richard, and Roberta continue to try to marshal forces to rescue Isabella. Richard offers the Jewel of Valencia against the aid, and the aid is hired--until Richard opens his mouth and provokes an attack. Amid it, Richard realizes that Roberta is a childhood companion of his. They reconnect amid the fight and make their escape; after, Galavant commends Richard on smuggling the Jewel out of Valencia and offers gentle rebuke for his error negotiating with the prospective fighters. His thoughts turn to Isabella in Hortencia.

There, Isabella persists under Wormwood's spell, preparing for the event. Gwendolyn notes the changes in Isabella's demeanor before being dismissed. She and Vincenzo then discuss their own changed circumstances, particularly their economic elevation; she cannot let go of the habits of poverty, while Vincenzo seems to relish the opportunity to "be wasteful as the fine folk." A musical number explicates the improved conditions.

It is, understandably, not a happy memory.
Image taken from the episode, used for commentary

In Valencia, Madalena prepares for an event hosted by eminent royals. She reflects upon her earlier meeting with them, remembering the humiliation dealt to her. She cites it as a motivating factor in her development and reaffirms her intent to attend the event.

In a roadside camp, Richard and Roberta continue to reconnect, with Galavant excluded due to lacking their shared history. Richard continues to falter, and Galavant proposes again to leave Richard behind--urging him to take up with Roberta. Richard demurs, and Galavant purposes to throw the two of them together.

Saccharine, Isabella continues her wedding preparations. Vincenzo comments on her changed attitudes and marks with fear her violent reaction towards anything approaching the enchanted tiara she wears.

One almost pities Madalena. Almost.
Image taken from the episode, used for commentary.

Madalena attends the event hosted by the eminent royals. It is a roast after the model of the Friar's Club, and Madalena is obliged to sit through a series of insults for which she was unprepared. As she leaves, the same trick played on her in her childhood is enacted again, and she walks back to her stronghold.

In Hortencia, Vincenzo returns to his home to find Gwendolyn sleeping in a cupboard drawer. She notes her continuing discomfort with her and Vincenzo's improved circumstances and makes to leave; he goes with her (neatly inverting Madalena's ascent to power along the way).

Galavant's plan to throw Richard and Roberta together gets underway. He is heavy-handed in giving musical advice. Richard manages to set himself on fire and exits, Roberta following. The next day, though, Richard indicates that the efforts were for naught--though Roberta seems dispirited at the revelation. The trio presses on.

Madalena returns to Valencia to find Gareth and Sid besotted. She returns to her chambers and contemplates having emotions. Gareth looks on, developing greater sympathy for her as others in the series are shown in passing. Gareth delivers a grisly gift, for which she thanks him tenderly as the episode ends.

Discussion

The musical number in which Gwendolyn and Vincenzo explicate their improved circumstances highlights the interplay of in/accurate medievalisms at work in the series. That Hortencia is a more Mediterranean, nation-state than Valencia or Richard's kingdom is clear, as is its Islamicization; the climate, the architecture, and the attire of Prince Harry and those in his service speak to it. It evokes Al-Andalus to a large degree (albeit without explicit reference to Islam and in the caricaturish fashion too often on display in mainstream media generally and Disney properties more specifically). As commonly understood, the medieval Mediterranean was more technologically advanced than the more northern regions of Europe at the same time, and there is a long recognition of more focus on scholarship and learning in such places as Al-Andalus than in the more northern regions normally thought of as "medieval."

Hortencia seems to evoke that in its description in the shared musical number. There is toilet technology, if primitive, and the standard of living being described is clearly better than was previously enjoyed--something commonly linked to higher technological levels. The availability of medical care also seems to connect to it--even if there is a strange inaccuracy in the presentation. While leeching, mentioned in the song, was a current practice, the "fattest leeches" described would seem to be the least useful; those leeches take more blood, enacting more of the perceived treatment, that are thin than fat. It is a small thing, but it seems to mark out the response of the series to its own time of production more than to its putative medieval antecedents.