She-Ra and the Princesses of Power Rewatch 2.3, "Signals"

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Hints of a far wider world emerge as Hordak comes further forward in the series.

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2.3, "Signals"

Written by Noelle Stevenson and Katherine Nolfi
Directed by Lianne Hughes

Synopsis

Is lime green ever a good color to glow?
Image taken from the episode, used for commentary.

Hordak works on a strange project in his laboratories in the Fright Zone. It fails, to his annoyance.

Glimmer, Adora, and Bow proceed through the Whispering Woods as they confer about Entrapta. Bow tinkers as he walks, explicating the peril of their circumstances. Swift Wind joins them, announcing their approach to their destination. Glimmer reinforces the need to reestablish contact with an outlying outpost, Alwyn. The approach leaves Adora uneasy, however.

Entrapta continues work, finding problems with her workspace and making to solve them. Catra calls on Hordak. He is displeased with her interruption and her lack of progress, and he voices that displeasure emphatically. But he also offers her a chance to redeem herself.

Nope, not scared at all.
Image taken from the episode, used for commentary.

Swift Wind notes strangeness as the group approached Alwyn, which they find deserted. There is no sign of struggle, and scans taken are inconclusive. Glimmer reports stories of the area being haunted, which puts the group on edge--the more so when Adora contributes similar information.

Catra ponders Horde logistics, aided somewhat ineptly by Scorpia. The demands of managing the forces tell on her, not aided by Entrapta's interruption as she looks for a tool she needs--ranging to Hordak's laboratories, over Catra's objections.

Glimmer, Bow, Adora, and Swift Wind investigate Alwyn, finding no people but signs of sudden departure. Further searching finds more of the same, and tension mounts. They also find a standing obelisk.

Entratpa enters Hordak's lab as another experiment fails. She takes the tool, and she works on Hordak's materials. He is initially displeased, but after seeing the results of her work, he changes his opinion of her. He also lays out his plan to open a portal to other worlds.

Catra calls on Shadow Weaver for information. The latter takes the chance to pry at Catra's insecurities. Catra also notes the disappearance of Entrapta. Following her, she arrives at Hordak's laboratory; he repudiates her, commending Entrapta. The rebuke stings.

It's one way to test a theory.
Image taken from the episode, used for commentary.

Meanwhile, apparitions begin to appear in view of Glimmer, Bow, Adora, and Swift Wind. Adora investigates, finding little, but Bow begins to piece together the mystery of the place; it is an active, if defective, transmitter, and the apparitions are holograms. He enlists Adora to translate and deactivate the facility. With some sorrow, she does, but matters return to normal--with the exception of a single message Bow picks up and puzzles over.

Elsewhere, something else awaits...

Not ominous at all.
Image taken from the episode, used for commentary.

Discussion

The Exeter Book poem "The Ruin" comes to mind as a particularly apt point of reference for the present episode. The poem, easily accessible in edited early English and modern English translations, describes a city as enta geweorc or "the work of giants," fallen into disrepair and neglect. It is an old place, formerly splendid, but now decrepit due to the work of wind and weather and unkind hands--and even the poem itself exists in fragmented fashion, words and lines and letters burnt and branded away. For an episode that focuses in large part on degraded messages recorded long ago and never transmitted by equipment that has long since fallen into quiescent disrepair, the text makes an eerie parallel, and I have to wonder if the writers had the poem in mind, somehow, when they drafted the episode.

Related, at least tangentially, is the idea hinted at in the episode that Etheria is a backwater, disconnected from a vibrant celestial life outside. The "work of giants" in "The Ruin" is, at times, asserted to be a Roman ruin, likely in Bath, England--and the British Isles were something of a backwater to the Western Roman Empire, not removed from it entirely but effectively abandoned by the receding Empire in the decades before the city, Rome, was sacked. Given the admittedly muddled but certainly present Arthurian overtones of the series and the linkage between Arthuriana and the years between the withdrawal of Rome from the British Isles and the beginnings of the English, as such...the idea seems to push itself forward a bit.

She-Ra and the Princesses of Power Rewatch 2.2, "Ties That Bind"

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Progress in some areas meets problems in others as the second season of She-Ra and the Princesses of Power presses on.

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2.2, "Ties That Bind"

Written by Noelle Stevenson, Laura Sreebny
Directed by Stephanie Stine and David "DWooman" Woo

Synopsis

Conquest seems to agree with Catra.
Image taken from the episode, used for commentary

Horde banners rise as Catra looks on, the Horde having formally assumed command of Entrapta's kingdom. Some of the locals flee.

Elsewhere, Adora fights against encroaching Horde robots as part of her ongoing training. Light Hope urges her to incorporate Swift Wind into her training, citing a connection with the horse shortly before he introduces himself. Light Hope stalls out before completing her message.

In Bright Moon, Glimmer reacts to Bow's news that Entrapta lives. They purpose to rescue Entrapta, thinking her a prisoner. News that Entrapta's kingdom has fallen gives them an avenue of attack--and Glimmer intends to go without additional support.

It's a common enough story.
Image taken from the episode, used for commentary.

Light Hope resumes operations and directs Adora and Swift Wind to repair some of her outlying systems. She stalls out again as Adora and Swift Wind depart.

Glimmer and Bow infiltrate Entrapta's castle, finding it difficult to navigate. They overhear Entrapta's work, and Glimmer rushes in. Melee ensues, and Glimmer and Bow flee, occasioning pursuit. They are able to escape--with Catra taken prisoner.

Adora and Swift Wind proceed on their errand, albeit with some difficulty occasioned by Adora's stubbornness. They do find their target, however, and proceed to work on it. Meanwhile, Glimmer and Bow debate what to do with Catra. She works upon their uncertainties as they purpose to take her to Bright Moon. Neither pair makes good progress.

Horde reinforcements join Catra; Glimmer offers to trade Catra for Entrapta, and Catra threatens to kill Entrapta. Glimmer struggles against her desire to finish Catra, and Bow reminds her that they are not the villains. It does not help, and Entrapta reports a desire to stay with the Horde, demoralizing Glimmer and Bow.

Equatorial rings always signal something big.
Image taken from the episode, used for commentary.

Adora despairs of her mission and her duty as She-Ra. She and Swift Wind arrive at an understanding, and they return to the work of repairing Light Hope with renewed purpose--and more success. The restored system affords greater capabilities.

In Bright Moon, Glimmer and Bow confer about their exploits. Adora joins them, exuberant until she learns their news.

Discussion

What comes to mind for me in the present episode, in terms of how the series embodies and presents medievalist tropes, is the subversion of expectations of feudal structures. As typically depicted in medievalist media, loyalty flows reciprocally up and down feudal hierarchies, particularly in their upper reaches. Redirections of those flows are generally significant, and they almost always betoken evil intent on the part of those who shift. The examples late in Malory of those lords and knights who align to Mordred despite having been awarded lands and titles by Arthur point it out, although even that example is somewhat nuanced by the fact that, in milieu, Arthur had been reported dead, and it is not a bad thing to leave off loyalty to a dead king in favor of a living one that might well be thought his heir

Similarly, in the present episode, there is a nuanced treatment of Entrapta's shifting loyalty. While it is as disheartening for Glimmer and Bow as might be expected, it is not a repudiation of them, as is typically the case in shifts of feudal loyalty, as commonly depicted. It is, instead, something of a happenstance; Entrapta is more worried about being able to conduct her research and experimentation than about the political overtones of that work and where she does it, so that her falling in with the Horde is almost incidental. (It is easy to read it as a comment on the work of STEM absent solid humanistic education; the dissociation of work in the sciences from an understanding of that work's implications and the ramifications of who has the ability to do what with that work is a substantial problem, and one that does not get nearly enough recognition from those who do the work--to the peril of all.)

Strangely, Entrapta's shifting loyalty is more akin to the actual shifts in loyalty observed than most of those depicted in traditionally medievalist media. Loyalty was rarely a strong force among ruling classes, unless it was loyalty to power--as measured by access to and command of resources. Entrapta aligning herself with the Horde as a consequence of receiving materials support is therefore more "real" than many depicted realignments, even if it scans strangely against them...

She-Ra and the Princesses of Power Rewatch 2.1, "The Frozen Forest"

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As the series moves into a new season, it begins to shift in tone--helpfully, as it happens.

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2.1, "The Frozen Forest"

Written by Noelle Stevenson and Katherine Nolfi
Directed by Jen Bennett

Synopsis

It is a small force, but destructive.
Image taken from the episode, used for commentary.

The Whispering Woods remain frozen as Horde robots press through it. The princesses fight to maintain position, destroying the robots is easy enough, but restraint without destruction is far more challenging. Frosta approaches the task with substantial, if off-putting, enthusiasm.

Meanwhile, Adora trains to gain greater command of her sword and its powers. Catra remains a distraction for her, and Adora cannot strike a final blow against her, despite a month having passed since the Battle of Bright Moon.

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

In the Fright Zone, Horde troops continue to train, as well, if not necessarily usefully. Catra presses the trainees, demonstrating methods. Authority sits well with her, though she is not pleased to see the defensive efforts of the princesses. Entrapta purposes to enhance the offensive forces.

Swift Wind greets Adora and returns her to Bright Moon, where she confers with Glimmer and Bow. Bow voices concerns about their defensive position, and Frosta makes herself obtrusive again. Tensions increase during a larger meeting. Bow advances the idea of capturing a robot to allow useful research; Angella affirms the idea, assigning Glimmer to that end.

Adora reports progress to Hordak. Entrapta's presence becomes problematic until she reveals the improved offensive robots. They plan to acquire more ancient technology to allow more of the new robots to be constructed.

It's another bad sign.
Image taken from the episode, used for commentary.

As Glimmer sends personnel out on the recovery mission, Frosta emerges again. One of the new robots emerges, displaying its superior abilities; battle is joined, going poorly for Glimmer's patrol. Frosta joins the fight, faring similarly poorly until the robots depart on their own mission; she earns rebuke from Glimmer, and Bow despairs of the mission. The group puzzles out that the robots are on a search mission, headed towards Light Hope's location.

Glimmer moves off to retrieve Frosta. The two resolve some of their tensions in conversation before proceeding back to the rest of the group at Light Hope's beacon. They interdict the attacking robots, ultimately helping Bow to secure one. Catra gloats over Shadow Weaver, who is imprisoned. Shadow Weaver intuits that Adora remains a thorn in Catra's side. And Bow realizes that the robots are Entrapta's handiwork--and that Entrapta is still alive.

Discussion

The present episode looks back to a pair of previous ones (here and here) in addressing the non-death of Entrapta. It is only belatedly that those opposed to the Horde realize that they have, in fact, abandoned one of their own--though they had reason to believe her dead, certainly. Still, the abandonment has ramifications that will take quite some time to fully emerge, and it is not certain they will ever be fully addressed.

That said, it is not entirely clear that the present episode introduces much in the way of new medievalisms. That is, it carries forward the ones already established in the series, particularly (to my mind) its Arthurian overtones, but it does not seem to do anything it was not already doing. Such was true at several points in Voltron: Legendary Defender, as well, and now, as then, the lack of specific new medievalisms in an episode of a series that makes much of its medievalism is not something for which to condemn it. There will be others, and there will be more to say about them, certainly.

She-Ra and the Princesses of Power Rewatch 1.13, "The Battle of Bright Moon"

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As the first season of the series draws to a close, battle is joined--and won!

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1.13, "The Battle of Bright Moon"

Written by Noelle Stevenson, Katherine Nolfi, and Laura Sreebny
Directed by Stephanie Stine

Synopsis

Target acquired.
Image taken from the episode, used for commentary.

Cold winds blow through the woods, freezing all they touch as a storm spreads from the Fright Zone outward. Adora, Glimmer, and Bow race back to Bright Moon to secure it against the coming threats. Catra looks over her handiwork and its devastation with no small joy. Entrapta is enraptured by her own efforts, and Catra plots how to capitalize on the situation: an attack on Bright Moon.

In Bright Moon, Angella uses the rune-stone's power to repel the storm and summon aid. Adora, Glimmer, and Bow return, and they assess their status. Adora realizes an attack is imminent, and planning to resist it begins. Matters look grim, indeed; allies are not coming, and Glimmer still suffers her strange malady. Adora volunteers to stand in defense alone, knowing that Catra will be leading the incoming attack. Light Hope's earlier comments about endangering her friends ring in her ears.

It is a touching moment, if an unfortunate one.
Image taken from the episode, used for commentary.

Glimmer opens her personal armory to Adora and Bow. Angella confronts her, initially, and confers her father's weapon on her. The attack comes then, and the Bright Moon forces rise to meet it as best they may.

Battle is joined, but it is clear that the Horde anticipated the defenders' likely reactions. Adora's efforts are blunted, though she struggles valiantly, the more so after Catra presents her self directly. Still, the fight goes poorly for the defenders; they slow the assault, but they cannot stop it. Not alone.

The cast shot seems obligatory.
Image taken from the episode, used for commentary.

It is fortunate, then, that they are not alone; the other princesses join the fight, relieving the siege and repelling the Horde. Catra escapes, coming to be appointed to a higher position in the Horde, but in the wake of the battle, the princesses are reconfirmed in their alliance. Clearly, more is expected to follow.

Discussion

Regarding the present episode, comments I made here and here suggest themselves as needing further consideration. In the earlier commentary, I note that "there is not necessarily a one-to-one correspondence between characters in the series and antecedents in the romances," while in the latter, I remark that "While it is the case that Adora evokes Arthur in many details, in her conduct, she tends to be more of Lancelot or Gawain." In that same commentary, I point out--in insufficient detail, to be certain, but I am not so much an academic now as once I was--that there are parallels between Adora and Lancelot; the present episode seems to point out more parallels to Gawain, particularly as he is presented later in Malory and in some others such as Chrétien de Troyes. Both characters are powerful, yes, and possessed of both notable swords (whether Excalibur or the Malorian Galatine for Gawain); both also notably have special horses (Gringolet for Gawain, Swift Wind for Adora). Both are also headstrong and intemperate, given to excess anger and to charging in without considering the ramifications of their actions. (Victoria L. Weiss's 1976 "Gawain's First Failure" stands out in my mind as one useful discussion; Gawain's first expedition as a "dubbed" knight in Malory presents an example, too, here.)

In some ways, having Adora presented as such a pastiche of characters--borrowing from Arthur, Lancelot, and Gawain in Malory, as well as other sources--is a frustration. It would be far easier to make arguments about the medievalism of the series were there a direct correspondence between her and a single figure or even a relatively restricted group of them. (And, lest it be noted that "Round Table Knights" is a "relatively restricted group," there are 150 of them in Malory at any given time, so while it is a restricted group, it is still far larger than admits of easy analysis in such a medium as this.) That I have not been able to point one such out is something that might well be used to argue against the position that the series is more than minimally, nominally medievalist, and that such scholarship as I might still perform should be directed to other ends (or that the fact I write as I do justifies the refusal of institutions to accept my applications for tenure track positions, back when I still sent them in). And I have to accept that there is some (small) merit in such critiques--as in the refrain I have often heard when discussing this kind of work: "It's just a cartoon; it's not worth getting so wrapped up in."

At the same time, the fact that there is not a direct, one-to-one alignment of characters is representative of medievalism, generally. That is, works that make use of the medieval rarely do a straight lifting of the medieval into other settings; there are almost always refigurings and adjustments. Some may have to do with translations across languages; some may have to do with translations across media. More, though, lines up with Paul Sturtevant's assertions in The Middle Ages in Popular Imagination (about which more here) and which I end up noting here--namely that the broader "popular" audience does not come to medievalist materials with a particularly informed understanding of the medieval (because they are not, themselves, scholars of the material--which is not meant as a slight, though I recognize it might be taken as such), and that even those members of it who do, following Kavita Mudan Finn, are not always using good sources. It is the kind of thing that leads to the woeful misapprehensions about the medieval that permit presentist bias, and it is the kind of thing that allows execrable racist jackasses to ground the filth that they claim as their rhetoric in a pseudo-intellectual justification that too many scholars who damned well ought to know better will not even bother to repudiate with feeble, pallid words--though they will happily lambast those with the audacity to rail against evil. (I am echoing Cato in some ways, I know. Carthago delenda est, with racism as Carthage.)

When they are not taken to foolhardy or outright evil ends, though, medievalist works tend to work in an amorphous amalgamation of what is perceived of as the medieval. Characters are compressed together, as are centuries and nations and continents. Adora borrowing from so many characters as she does does not make her less medievalist; it makes her more typically so. And given that the medieval sources themselves often borrow from, compress, and amalgamate their own antecedents, rather than necessarily following a one-to-one correspondence, she and the series in which she presently appears find themselves in abundant, long-lasting company.