She-Ra and the Princesses of Power Rewatch 1.9, "No Princess Left Behind"

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For the Halloween 2019 piece on She-Ra and the Princesses of Power, neither tricks nor treats seem apt to be found.

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1.9, "No Princess Left Behind"

Written by Noelle Stevenson, Sonja Warfield, Katherine Nolfi, and Josie Campbell
Directed by Stephanie Stine

Synopsis

She's a happy kitty.
Image taken from the episode, used for commentary.

Catra exults in possessing She-Ra's sword and having captured Glimmer and Bow. Shadow Weaver is not impressed, though Hordak congratulates her for the efforts. Catra is incredulous, and Shadow Weaver is dismissive. But she is far more interested in Glimmer, restrained by magic in her lair.

Adora approaches Angella, who unhappily considers her prospects: self-surrender or the death of her child. She accepts self-surrender, and Adora rejects the idea; Angella opposes a rescue mission, though Adora forges on with it. The arrival of the allied princesses--Perfuma, Mermista, and Entrapta--buoys her.

It's always Kyle.
Image taken from the episode, used for commentary.

In the Fright Zone prison, Kyle tends to Bow--ineptly. Bow takes the chance to make some inroads with his captor.

Adora and the other princesses confer, if erratically, about how to rescue their friends. The plan proceeds in similarly erratic fashion, with some hiccups along the way (and not all of them are the fault of the princesses, though their eccentricities come to the fore). But it does largely succeed, if not entirely as expected.

Glimmer attempts to effect her own escape, unsuccessfully, as Shadow Weaver expounds current plans. Shadow Weaver taunts her before leaving.

It is a triumphant moment.
Image taken from the episode, used for commentary.

The rescue continues, with the princesses retrieving Bow with some struggle. In the meantime, though, Bow learned Glimmer's location; he reports it to the princesses. Adora proceeds thence, sending the rest to escape as she surrenders to Shadow Weaver to retrieve Glimmer. Shadow Weaver dismissed Catra and works on Adora. Seeing the struggle spurs Glimmer to escape, and she releases Adora.

The other fleeing princesses proceed--but Entrapta is caught behind. Meanwhile, Adora and Glimmer continue to flee, and Catra confronts them--with She-Ra's sword. She surrenders it to Adora and tells them to leave. Adora transforms to more easily effect their departure.

She is not a happy kitty.
Image taken from the episode, used for commentary.

The group, sans Entrapta, reunites and makes to return to Bright Moon. Adora is confronted with a compounded failure, and the outlook is bleak.

Discussion

The episode marks something of a turning point, both in the season and in the series as a whole. While the previous episode ended in capture, the present ends in an apparent Pyrrhic victory; the stated goal of the mission to retrieve Bow and Glimmer is realized, but at the cost of another princess. It is a decidedly more somber thing than might be expected of a children's show--and certainly more somber than the kind of children's show from which the present series emerges; though I did not watch much She-Ra in the 1980s, I did watch He-Man, and victory was assured in every episode.

The somber tone, however, is not one unfamiliar to other works typically assigned to children--such as retellings, bowdlerized and sanitized as they typically are, of Arthurian legend. There is a hopeful note held out in such legends, that the titular hero will return in the hour of need--rex quondam rexque futurus and all. But the hero is not present; Arthur dies, and his kingdom does not long outlive him. And that is a message that needs teaching, even in days such as these that prize the grimdark and look to the cynical (not without cause). There are risks, and they do not always match the rewards--or, if they do, neither risk nor reward is what was thought to be. But there remains some hope.

We do not see the body, after all...

She-Ra and the Princesses of Power Rewatch 1.8, "Princess Prom"

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What promises to be an enjoyable interlude proves anything but.

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1.8, "Princess Prom"

Written by Noelle Stevenson, Josie Campbell, and Katherine Nolfi
Directed by Jen Bennett

Synopsis

They do seem happy about it.
Image taken from the episode, used for commentary.

A confused Adora receives an invitation to a ball that Bow and Glimmer call the "princess prom" in jubilation. They explain the event to Adora, which causes her no small consternation. Glimmer also notes the opportunity to recruit the hosting princess, Frosta, into the rebellion. And tensions arise between Glimmer and Bow over guest lists.

In the Fright Zone, Catra rages about Shadow Weaver and tries to recruit Scorpia to a plot against her. Scorpia notes her own invitation to the prom--and her status as a princess, one attached to the land that would become the Fright Zone. Catra likes the idea, persuading Scorpia along with her.

Who's more excited is clear.
Image taken from the episode, used for commentary.

Glimmer and Bow discuss the latter's plans to attend the upcoming ball with Perfuma, and it is clear that Glimmer feels for Bow in ways Bow does not entirely reciprocate. Adora pulls Glimmer in to consult with her about the ball. She demonstrates both intense study for and deep anxiety about the event. Glimmer, however, focuses on aesthetics--to Adora's disgust. Catra and Scorpia prepare themselves, too, as do Bow and Perfuma in a montage reminiscent both of 80s teen movies (the homage is clear) and, to a lesser extent, medieval blazonry.

The gang's all here.
Image taken from the episode, used for commentary.

When Adora and Glimmer arrive, there is some difficulty with the release of She-Ra's sword before they tour the grounds. Glimmer explains more of the ball, and she and Adora greet their hostess--embarrassingly poorly, in Adora's case. Adora and Glimmer find Entrapta, and Glimmer watches with some angst as Bow and Perfuma enter. Mermista joins them, as well.

Adora sees Frosta alone and tries to engage her. It goes poorly.

Afterward, Adora notices Glimmer's unease at Bow moving in a different social circle and makes to comfort her until she sees Scorpia and Catra enter. She tries to intervene, but is rebuffed. Catra and Scorpia proceed to distract Adora and Glimmer, and Adora is led into shameful behavior again and again. Glimmer is distracted by her personal concerns and loses track of Scorpia. Bow, however, notices her planting bombs shortly before she steals She-Ra's sword and abducts Bow.

Formal proceedings continue at the ball, and Adora continues to distinguish herself as a poor guest, breaking the peace of the ball and finding herself expelled from it. Then the bombs go off, and pursuit of the Horde infiltrators begins. Frosta secures her palace against the damage done to it, and melee ensues between Catra and Adora. Catra escapes dramatically, revealing the capture of Bow, Glimmer, and She-Ra's sword.

Discussion

The episode has attracted no small amount of negative attention, it must be noted. (I'll not link to it here, as most of it is heavily misogynistic even when it makes are otherwise sensible critiques--an adage about broken clocks comes to mind. But that's not a reason to keep such a clock on the mantel.) Even so, the root premise of the episode, that there is a gathering of otherwise antagonistic royals in relative peace, following ancient tradition, has antecedents that go into the medieval and earlier. Various medieval parliaments are, in effect, such ritualistic gatherings, given the antagonisms between nobles that pervade both record and legend. Arthur's knights seat themselves at feasts and attend other recreational gatherings no few times, not only in Malory, but also in other sources--and while they may leave their individual grievances outside, acting on them less overtly, they do not set them aside entirely. So while the specific form of the episode might seem somewhat silly--really, how does Eternia know what a "prom" is?--it is not without parallel in other, more "serious" work.

And on the topic of silliness:

1. The show is a children's show. While it is done poorly to assume that children have less need for engaging storytelling--and I am borrowing from others for this, though I forget which of the many people smarter and more eloquent than I whom I've read give this; my apologies, but things blur together after so much time away from the pleasures of study--it is also the case that they are more open to more possibilities of narrative than older folks who've grown ossified in their expectations.
2. There's a damned lot of silliness in a lot of the works and bodies of work that get paraded about as exemplary. Arthuriana has no shortage of it, for instance. So does Huck Finn. So does Shakespeare. To condemn a thing because of silliness alone, even silliness that is at odds with a prevailing tone, is folly and disingenuous. It is to be avoided therefore, as are many other things that too many, wrapped up in poorly conceived notions of supremacy, still cling to.

She-Ra and the Princesses of Power Rewatch 1.7, "In the Shadows of Mystacor"

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Adora suffers the strains of her role, and a new ability shows itself.

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1.7, "In the Shadows of Mystacor"

Written by Noelle Stevenson, Rich Burns, Katherine Nolfi, Sonja Warfield, and Josie Campbell
Directed by Lianne Hughes

Synopsis

Of course, wearing the same clothes day after day might be part of it.
Image taken from the episode, used for commentary

Adora wakes from sleep in the field, hearing Shadow Weaver's voice. Later, Glimmer and Bow awaken to find that Adora has wandered a bit off, having been unable to return to sleep. She complains of her unease and suspicion, betraying substantial strain. Glimmer suggests visiting Mystacor, which Bow endorses; Adora expresses confusion, and Glimmer explains the attraction and her connection to the place. (Glimmer's aunt, Castaspella, governs it.) But as they get underway, they are pursued by a shadowy creature.

Not the best way to treat the one you want to keep you safe...
Image taken from the episode, used for commentary

Shadow Weaver works her magics as Catra reports in. She notes Adora's destination and has Catra stand guard over her chamber while she moves more directly against her. Catra finds herself intimidated by the exercise of power, looking on in fear at the workings until Shadow Weaver seals her chamber.

Adora, Glimmer, and Bow arrive at Mystacor. Adora hesitates at entry and glimpses the shadowy creature that pursues her as she enters the realm behind her friends. She remains apprehensive as Castaspella greets the three and relating embarrassing anecdotes about Glimmer. Adora marvels at the surroundings, and Castaspella invites the three to observe an upcoming ritual.

A tour ensues, with Adora marveling at the surroundings as Castaspella explicates Mystacor's situation. Glimmer tries to pry them away from her aunt, and Adora continues to see shadowy forms that others do not. Explication continues, including of the familial relationship between Castaspella and Glimmer. Adora recognizes an image of Shadow Weaver's former persona, receiving more information about her.

It's worth being angry about, Castaspella.
Image taken from the episode, used for commentary

Glimmer and Bow prevail upon Adora to try to relax as Shadow Weaver works more fully. Adora is unable to do so, despite repeated attempts; when she nearly succeeds, Shadow Weaver assails her, though no others can see it. Adora reports her experiences, to the disbelief of Glimmer--though Bow tries to offer some comfort. Adora asks for solitude, allowing more machinations against her. And though Adora tries to fight against Shadow Weaver's machinations, she is unsuccessful, but is led into wreaking havoc on Mystacor. She is confronted in anger for her actions and retires.

Ain't that a kick in the head?
Image taken from the episode, used for commentary

While alone again, Adora suffers more of Shadow Weaver's machinations in advance of the ritual meant to protect Mystacor. Shadow Weaver also interferes with the ritual, assailing it in Adora's absence. Adora reluctantly returns to fight Shadow Weaver's expression of power and, as might be expected, emerges victorious, completing the ritual. Apologies are tendered for disbelieving her, and Adora is able, at last, to relax. Catra, meanwhile, purposes to assail Glimmer and Bow to get to Adora.

Discussion

As Glimmer and Bow lead Adora into Mystacor, the soles of their boots show--and they show emblems present elsewhere on the characters' outfits. Too, in the "steam grotto," Glimmer displays small wings, evocative of Angella's on her shoulder blades. They are small details, each seen only for a moment, but they speak to a continued iteration of heraldic tradition--of "riding for the brand," as it's often put in the part of the world where I live, or of showing affinity for or loyalty to colleges, universities, and professional sports teams. It's one more little bit of medievalism at work.

Another such bit might appear in the manifestation of Adora's shield in the episode. While her sword, as a sword, occasions surprised comment and causes trouble during the episode, her shield is the means through which Adora manages to defeat Shadow Weaver's projection. Given the already-noted Arthurian resonances of the series, the efficacy of the shield brings to mind the scabbard Arthur receives from the Lady of the Lake more than the sword commonly conflated with Excalibur, the scabbard Merlin points out flatly is a better thing to have than the sword. Even one of the more violent actors in the turbulent late English medieval recognizes that the ability not to suffer harm exceeds the ability to inflict it, and even as actively as Adora uses her shield, its primary function is to restore a protective measure. Though it might not typically be recognized as such, it is a quietly authentic reflection of medieval antecedents, and something that might be taken to heart by a great many more than do so now.

She-Ra and the Princesses of Power Rewatch 1.6, "System Failure"

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Still another princess joins the rebellion, though there are some hints that things may not go so well with this one...

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1.6, "System Failure"

Written by Noelle Stevenson, Katherine Nolfi, Sonja Warfield, and Josie Campbell
Directed by Stephanie Stine

Synopsis

Looks stereotypically evil...perhaps foreshadowing?
Image taken from the episode, used for commentary.

In a foreboding castle that stands hard by a mountainside, servants work to meet the demands made upon them--namely the delivery of small foodstuffs to their mistress, who secludes herself amid her work and an army of robots. And, as might well be expected, the work goes awry, the robots turning on the one who built them.

Adora, Bow, and Glimmer make their way to the castle, hoping to recruit its princess, Entrapta, to the rebellion. Bow sings her praises and trumpets his own make-work--to some ridicule from his companions.

When they are confronted with a rockfall, Adora charges forward to handle it. Bow rebukes her impetuosity before they arrive at the castle--which displays signs of trouble and defensive mechanisms. Adora and Glimmer reconnoiter, finding only the malevolent robots at work. A melee ensues, and the party is soon separated.

This is not a good way to meet people.
Image taken from the episode, used for commentary.

Adora and Glimmer fall into the labyrinth that Entrapta has constructed within her castle. Their attempts to navigate it go poorly until Entrapta herself greets them.

Bow, meanwhile, has been taken by the castle's living servants. They reveal to him that the marauding robots are sound-driven, and they feed him. He tries to marshal them against the robots as the robots attack.

Red eyes are generally not a good sign.
Image taken from the episode, used for commentary.

Entrapta lays out events to Adora and Glimmer as they move through the labyrinth together. Entrapta inadvertently summons the robots against them, and Adora begins to suffer from the noise. As she makes to save them, she is herself affected by the technological problem that has afflicted the robots, going berserk until Glimmer disarms her, and she reverts to her regular form.

The robots press the attack on Bow and the servants. They execute a successful defensive plan, fending off the attack. They then head out in search of Entrapta, Glimmer, and Adora--who acts drunkenly despite not having imbibed. Entrapta articulates the problem facing Adora. Glimmer stumbles onto a solution to the robot problem, but enacting it proves challenging, given Adora's condition and Entrapta's navigational difficulties. The robots are also a factor.

Bow makes his point.
Image taken from the episode, used for commentary.

Bow's group fares better, though the castle servants are initially reluctant to fight. Bow motivates them, though, and battle is joined--helpfully for Adora, Glimmer, and Entrapta. Reunited, they press on to Entrapta's lab, where they manage to use the robots to disable the robots. And Entrapta agrees to join the rebellion, while Adora expresses concern about having been afflicted.

Discussion

Something in the nomenclature of the princesses' realms, as described in the series, attracted my attention as I rewatched this episode. With the exception of Angella in Bright Moon, there are no reigning kings or queens; the princesses seem to be the heads of their states and governments (small as they are). Yet the realms are described as being kingdoms--which is a strange point of disjunction from the expectations of medievalist properties. Typically, it would be expected that kingdom would have a queen or a king ruling it, while a realm ruled by a prince or princess would be a principality--of which the medieval Italian states are perhaps the most prominent examples, though they are hardly the only ones. It may be a simplification for what is, at root, a children's program, certainly, but it still attracts notice.

Perhaps of more moment for a medievalist discussion is the echo of Robin Hood that appears in Bow and the kitchen staff. Bow's resonance with the Sherwood archer is not much muted by the garishness of his clothing, neither in choice of weapon nor in their opposition to an invading government--nor yet in their reliance on the common folk. Indeed, the ability of non-princesses to combat hostile forces receives much attention in the episode, just as the common folk's effectiveness against a hostile government factors heavily into the traditional Robin Hood stories. While it may seem unusually egalitarian for a medievalist property, and Robin Hood is not exactly a democratic icon, there is some antecedent to be found for it.

She-Ra and the Princesses of Power Rewatch 1.5, "The Sea Gate"

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The rebellion brings in another princess.

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1.5, "The Sea Gate"

Written by Noelle Stevenson, Sonja Warfield, and Josie Campbell
Directed by Jen Bennett

Synopsis

Yes, there is something of Han Solo about him.
Image taken from the episode, used for commentary.

Angella dispatches Glimmer to recruit the sea-princess Mermista, albeit with some reservations. Their expedition swiftly takes them to a shady sea-port, where they recruit Sea Hawk. And they are observed; Shadow Weaver dispatches Catra and Scorpia to retrieve Adora. The over-ocean trip sits ill with Catra.

She does seem to have things in hand.
Image taken from the episode, used for commentary.

The trip Adora, Glimmer, and Bow take with Sea Hawk goes better, though annoyingly for all involved, given Sea Hawk's self-aggrandizement--and his driving them off course in the name of adventure. The problem that faces them in their off-course shenanigans is swiftly dispatched, however, and they proceed to their intended destination with no further incident.

The Horde forces arrive at the Sea Gate Mermista guards. Catra purposes to go through the gate, rather than around it, earning a bit of admiration from Scorpia.

Not thrilled, indeed.
Image taken from the episode, used for commentary.

Adora, Glimmer, and Bow arrive at Mermista's kingdom, Selenias, finding it largely empty. They are escorted to Mermista, who does not seem thrilled at the intrusion. Glimmer introduces herself and states her case; Mermista notes that the Sea Gate is weakening, and that people have left her kingdom because of it, and that the Horde is attacking. Adora offers to help with the Gate, recognizing the Gate as ancient technology she can affect. Glimmer and Mermista strike a deal.

Adora makes her attempt to reinforce the Sea Gate, if somewhat slowly, channeling power as She-Ra until distracted. Meanwhile, Sea Hawk makes to leave; Glimmer confronts him, and he confesses the prevailing ill-regard in which he is held. She recognizes their shared problem and makes to aid him.

Victory is thrilling.
Image taken from the episode, used for commentary.

The Horde forces attack at that point, Catra appreciating the serendipity of finding Adora along her route. Mermista and Bow move to interdict the attack. A melee ensues, with Glimmer and Sea Hawk assisting, and Catra moves on Adora, trying to persuade her back to the Horde and attacking her when she refuses. The Horde forces are repelled, and Adora restores the Sea Gate. In the wake of the victory, Sea Hawk persuades Mermista to join Glimmer.

Discussion

If it is the case that there is much of the Arthurian in the series, if perhaps buried under other trappings or mixed in with other motifs entirely, then it seems to me that Sea Hawk is in some ways an echo of the Malorian Sir Kay the Seneschal. I've had opportunity to go on about Kay before, and I remain secure in my assertion that he instantiates several forms of bullshit, particularly in boasting about capabilities he purportedly has but then does not display--much. Malory's Kay claims to be one of the mightier knights, and at one time, he was, but he is quickly overshadowed by others in the narrative, even if he seems never to realize that he has been supered. Similarly, Sea Hawk reports an inflated sense of his own skills and worth, although he does prove to be of some particular use, if only now and again. And, somehow, both characters retain positions they should not, recurring in the narrative (as will be demonstrated for Sea Hawk in later episodes; it is a rewatch) despite the clear disdain that many within the milieu feel for them. As in earlier episodes, it may be a thing that strikes modern audiences strangely, but it is still a thing that has ample antecedent, including in the medieval.