She-Ra and the Princesses of Power Rewatch 3.5, "Remember"

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Despite claims, everything is not perfect as the third season of the series hastens towards its end.

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3.5, "Remember"

Written by Noelle Stevenson, Josie Campbell, Katherine Nolfi, and Laura Sreebny
Directed by Roy Burdine and Mandy Clotworthy

Synopsis

Quite the alarm clock, this.
Image taken from the episode, used for commentary

Adora wakes from a dream to Catra's face in the Fright Zone. After startling, she begins to situate herself, with Catra affirming that all is well. Adora is not entirely convinced.

Adora continues to try to situate herself, finding herself in an exalted position in the Fright Zone due to her successes in battle. Her memories are not entirely stable, but her relationship with Catra seems to be repaired. The environment seems to be changing around her.

You'd flee, too.
Image taken from the episode, used for commentary.

Accolades for Adora continue, as do strange gaps in the surrounding environment and situation. Shadow Weaver even seems to be pleased. Adora is assigned a new mission, and when she reports for the briefing, Scorpia upbraids her. Adora's memories and the environment continue to shift around her, and Adora flees.

Catra rejoins Adora, slapping her to startle her. Adora continues to experience strange gaps, frightening her and prompting her to question her surroundings. She realizes that Scorpia seems immune to the oddities, confronting her. Scorpia initially rejects her ideas, but she relents when confronted with Catra's behavior.

It takes a bit, yes.
Image taken from the episode, used for commentary.

The two proceed to Hordak's sanctum somewhat awkwardly. The environment continues to change around them, and they press on for answers. Reaching the sanctum, they find it empty, and Adora realizes that Catra is to blame for the current situation. They are soon after forced to flee, and the degradation of reality proceeds, taking Scorpia and driving Adora onward in terror. She finds Razz, who prompts her to find her in the woods as everything continues to fall apart.

This is a pretty bad sign...
Image taken from the episode, used for commentary.

Adora makes to flee with Catra, but Catra refuses, her own memories shifting. Adora abducts her and flees from the Fright Zone as it vanishes. Catra wakes and fights, and their progress is halted. They debate, and the fight continues. Catra finally accepts the nihilistic implications of her actions, and Adora flees in tears, finding Razz, who counsels Adora that things can be repaired--as they had been before. She advises her about how to proceed and sends her on her way--to Bright Moon, Glimmer and Bow. But she is not the only one pressing onward...

Discussion

The refrain in the episode that "everything is perfect" attracts attention early on. Coupled with the obviously apocalyptic action of the main line of the episode, the refrain calls to mind once again the "Þæs ofereode; þisses swa mæg" of "Deor" that seems echoed in the similar Voltron: Legendary Defender, even if it serves an opposite function; while the Old English speaks to hope, the refrain that punctuates the present episode is itself the indicator that something is very, very wrong in Etheria.

Another bit of Old English is evoked, if perhaps less clearly, in the changes that afflict Catra after her nihilistic declaration--being happy to let all fall to waste if another can but be made to suffer is hardly the most affirming perspective. Nearly fifteen years ago, now, while I sat in a graduate Beowulf seminar, the late professor James E. Anderson commented that Scyld Scefing is, in effect, the dragon of the later portion of the poem. In that long-ago lecture, he cited their common possessions of a golden standard and their jealous possession of lucre, as well as linking the Danes of the poem to fratricide and Scyld as an ill predating either fratricide (linked to the "scion of Cain," Grendel) or its progenitor (Grendel's mother, whom we might well call "Aglæcwify McAglæcwifface" after an excellent Twitter thread)--hence the initial evil of Satan (often linked to dragons, symbolically). Catra's transformation is not unlike those of the earlier figures, and it bodes ill for those who must face her--even as it promises the hope of her defeat, even as the earlier figures were bested.

She-Ra and the Princesses of Power Rewatch 3.4, "Moment of Truth"

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World-ending consequences begin to emerge once again.

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3.4, "Moment of Truth"

Written by Noelle Stevenson, Katherine Nolfi, Josie Campbell, and Laura Sreebny
Directed by Dwooman and Diana Huh

Synopsis

She does seem rather emphatic about it.
Image taken from the episode, used for commentary.

In Bright Moon, the allied Princesses confer about recent events and their current situation. Glimmer calls for an assault on the Fright Zone to retrieve Adora; Angella demands answers from her wayward daughter.

In the Fright Zone, Hordak continues his work to complete his portal machine, aided by Entrapta. She tries to delay him; they are interrupted by the arrival of Catra with the captive Adora and the sword of She-Ra. The sword occasions some interference with Hordak's technology and which Entrapta recognizes as the needed component for generating a portal.

Glimmer continues to press for an attack on the Horde, with Angella demurring from concern for losing anyone else. The discussion between the two grows heated and personal, and Glimmer suggests using Shadow Weaver, which Angella rejects. Angry words are exchanged, and Angella storms out.

It's even worse when he smiles.
Image taken from the episode, used for commentary.

Preparations for the portal continue. Entrapta asks Adora for information, and Adora tries to dissuade her from continuing. Hordak seeks to silence her; she rebukes him for interfering in her early life. He rejects the idea and proceeds with his plan--until his body fails him. The sword, unsurprisingly, has ideas of its own.

Glimmer and Bow approach Shadow Weaver without authorization. Shadow Weaver recognizes the danger and offers to augment Glimmer's teleportation abilities. Glimmer demurs for a time, but she is attracted by the prospect of greater power and the pressure of circumstance, and she releases Shadow Weaver from captivity despite Bow's objections.

What is it with cat-women and whips?
Image taken from the episode, used for commentary.

In the Fright Zone, Catra works to reestablish her position. She notes looking forward to Hordak's impending triumph and flatters Scorpia. Elsewhere, Adora attempts again to persuade Entrapta to refuse to open the portal. It slowly begins to work; Entrapta begins to doubt the plan and conducts more research.

This is the kind of thing that would give a parent pause, yes.
Image taken from the episode, used for commentary.

Glimmer and Shadow Weaver begin to enact their plan. The other princesses insert themselves into the plan, despite Shadow Weaver's protests. Angella seeks to reconcile with Glimmer, finding her gone and speeding to where she suspects her daughter is. She is unable to arrive in time to halt her daughter, but can only watch in fear as Glimmer and the others teleport away.

The princesses, Shadow Weaver, and Bow proceed through the Fright Zone towards Hordak's lab. They are seen, and a running fight begins, with individual princesses staying behind in sequence to cover their advance against incoming reinforcements.

Entrapta's continued research reveals that the portal will destroy Etheria. She and Scorpia determine not to open the portal, but Catra determines to proceed, regardless. She incapacitates Entrapta and intimidates Scorpia into compliance.

That'll just about do it, yeah.
Image taken from the episode, used for commentary.

Glimmer, Bow, and Shadow Weaver reach Hordak's lab, where the portal is in process. Catra betrays Entrapta, and, after a brief fight, Catra throws the necessary switch to open the portal.

Discussion

I confess to not seeing much in the present episode that furthers the medievalism of the series, though there is something that matches ideas I have about the medieval as is typically presented. In essence, I have the notion in my head that many of the characters presented in medieval/ist works suffer from a combination of factors that lead to substantially impaired judgment-making abilities. After all, many of those who feature in medieval/ist works are teenagers, riddled with hormones and without the parts of the brain that handle the most rational thinking fully developed. Too, many of them suffer repeated head injuries, suggesting concussions and their concomitant problems. Further, alcohol use is typically seen as typifying medieval/ist life; even academic conferences that focus on the medieval, or scholarly meetings of learned societies that do that take place in larger conferences, focus to a comment-provoking extent on strong drink. And more general trauma afflicts protagonists as a matter of course. So it is not to be wondered at that medieval/ist figures will display astonishing lapses in judgment at times.

That basis for poor judgment seems to be in place for Catra in the present episode. Despite being told by a source noted for being accurate in making evidence-based claims that the plan she proposes will doom the world, she proceeds along that plan--acting out of what appears to be a need for revenge upon Adora. While an argument can certainly be made that Catra is justified in raging against Adora continually benefiting from privilege that she has not necessarily earned,* it is harder to argue that she is justified in killing the planet in pursuit of retribution. It is not so much of a challenge to posit that she falls into the same kind of thought-trap that leads to any number of follies in medieval/ist works--so I suppose that is where the present episode finds its way into furthering the series's medievalism.

*It can. The blonde-haired, blue-eyed Adora is treated better by most everyone than is the darker-skinned, wilder-haired, more savage Catra, even though Catra is demonstrably Adora's peer in her performance. This is not to say that Adora sought privilege or failed to work hard with what she was given, but even that can be taken as commenting on social privilege and its effects. Others might write on the topic more eloquently than I, however; I rather expect that they would do so. And my own positions of privilege doubtlessly make it difficult for me to see some aspects of Adora's privilege; I do not claim to have an authoritative perspective, though I will certainly claim to see no small merit to such critiques of the series.

She-Ra and the Princesses of Power Rewatch 3.3, "Once Upon a Time in the Waste"

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Catra follows and darkly mirrors Adora as the third season progresses.

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3.3, "Once Upon a Time in the Waste"

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

Synopsis

This is never a good sign.
Image taken from the episode, used for commentary.

Catra and Scorpia venture into the Crimson Waste on Hordak's orders. Catra is not pleased to have the company, but she begrudgingly accepts it. The two find their way to the settlement where Glimmer, Adora, and Bow had encountered Huntara. They venture there, and Catra is again displeased at finding people there.

Going in, Catra makes something of a scene, asserting herself formidably and intimidating information out of others after overhearing talk of She-Ra. She reasons She-Ra is bound for her own target, and she finds the information useful.

It does seem quite the sight.
Image taken from the episode, used for commentary.

Out in the Waste, Glimmer, Adora, Bow, and Huntara look upon Mara's ship with awe. They confer briefly before heading in and investigating. It appears empty to initial searches, but interactions with Adora's sword reveal hitherto uninvestigated spaces within.

That's Tung, there, in the mouth. Obviously.
Image taken from the episode, used for commentary.

Catra and Scorpia proceed through the Waste, preceded by a pair of the toughs from the establishment. They realize that they are enjoying themselves as they travel together and that they work well together--grudgingly on Catra's part. At length, Catra and her party come upon the headquarters of a desert gang led by one Tung Lashor, led there in an abortive ambush attempt.

Glimmer, Adora, Bow, and Huntara investigate the revealed spaces somewhat fearfully, coming at length upon the ship's control center. Activating systems, they uncover a repeating message from Mara, the previous She-Ra. Adora frets for a bit at the lack of useful information and rages at her circumstances before stumbling into useful data. Another message emerges, one that begins to reveal uncomfortable truths about She-Ra.

Things are looking up for Catra, it seems, at least for a bit.
Image taken from the episode, used for commentary.

Beset by the gang, Catra mocks its leader, fighting and defeating him handily. She assumes control of the gang and is lauded. They proceed in short order to confront--and capture--Adora after they have heard as much of Mara's message as survives; at Adora's urging, Huntara escapes with Glimmer and Bow. In the ensuing celebration, Scorpia tries to persuade Catra to remain away from the Horde, but after confronting Adora, Catra determines angrily to return to the Fright Zone to take what she believes should be hers.

Discussion

Watching the episode, I am somehow put in mind of the pseudo-medievalist sword-and-sorcery fantasies of Robert E. Howard. (Yes, I know the title calls back to a 1968 Western--but Westerns are also often medievalist in strange ways, as I have argued.) It is a thin veneer of medievalism for the episode to take on, admittedly, but I have noted several times before that a series does not have to roll around in the medieval every episode to make good use of it.

That said, I can also see something of perceptions of the early medieval Northern European warbands and petty kingdoms in Catra's assumption of power in the Waste. Her reign, as such, begins abruptly "by the dignity of her hands," to borrow a phrase from Malory and elsewhere, with her followers--save Scorpia, who remains a special case--falling into line based mostly upon the presentation of her martial prowess. The truth of such places is, of course, more nuanced than that; while there were certainly usurpations by force, there was also continuity based in part on consanguinity and camaraderie. Despite the assertions by many who would seek--wrongly, for several reasons--to wrap themselves up in mantles of "pure" and "manly" medieval European practice, matters were not quite so bestial as that, at least not always so. In such a system, little to nothing gets done, and things clearly did get done.

Too, the earlier-established medievalisms of the series remain in place. The powerful resonances of She-Ra's sword continue to sound. Adora continues to function as a strange amalgamation of Arthurian knights. Scorpia seems to commit even more fully to her courtly-love-evoking infatuation with Catra--though Catra gives some indication of moving towards reciprocation in the present episode. So the series seems not to be less medievalist at present than it has been, which is good to see.

She-Ra and the Princesses of Power Rewatch 3.2, "Huntara"

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Adora finds a foe in a false friend and a friend in a former foe.

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3.2, "Huntara"

Written by Noelle Stevenson, Laura Sreebny, Josie Campbell, and Katherine Nolfi
Directed by David Woo

Synopsis

Looks downright homey.
Image taken from the episode, used for commentary.

Glimmer, Adora, and Bow begin to travel across the hostile desert known as the Crimson Waste. Adora thanks her friends for joining her as they consult regarding their situation. It is not good, but they press on optimistically--despite the Horde corpses easily seen.

In the Fright Zone, Entrapta and Hordak continue working on the portal technology. Their work seems to be progressing decently, though a stable portal still eludes them. Hordak shields Entrapta from injury, and Entrapta puzzles out that a key is needed. Hordak angrily dismisses her.

The formidable titular character
Image taken from the episode, used for commentary.

The continued travails of the desert-going are pointed out. Bow suggests that preparation is needed, and Glimmer sees what appears to be a settlement. They make for it, finding it populated by a rough-looking bunch. Their introduction does not go well, and Huntara makes her presence known--emphatically. She offers advice and warning that the trio does not heed; Adora makes to enlist her, and Huntara agrees to aid her.

Back in the Fright Zone, Entrapta considers her encounter with Hordak. She also sees him in a state of disrepair, accidentally announcing her presence as she makes to leave. She rushes to his aid.

Huntara leads Adora, Glimmer, and Bow through the desert. They approach some understanding of one another as they press ahead, Glimmer and Bow doing so only with difficulty. They also point out problems with the trip--not long before being ambushed and despoiled.

Hordak wakes to find Entrapta tending to him. He confesses his nature as a clone of Horde Prime and glosses the history of the Horde and his own arrival on Etheria.

The trio escapes captivity. Adora berates herself for her folly. They proceed to retrieve their belongings from Huntara and her compatriots.

There's no way this will be a problem later, right?
Image taken from the episode, used for commentary.

Entrapta augments Hordak's armor, and some clear attraction between the two emerges.

Glimmer, Bow, and Adora come upon Huntara and her companions where they are exulting in their spoils. Melee is joined, and Glimmer and Bow dispatch their foes with ease. Adora has a harder time of it, but still emerges victorious; her ensuing transformation into She-Ra prompts Huntara's surrender. Huntara confesses her Horde origin and her desertion from its army. Adora invites Huntara to the rebellion; she reluctantly agrees and takes the trio to their destination in the Crimson Waste: Mara's ship.

Discussion

The seemingly romantic (oddly rendered as "friends" despite earlier depictions of romantic couples in the series) exchange between Hordak and Entrapta attracts some attention. For one, it offers some sympathetic view of Hordak--though only some, as he remains a conqueror even if given something like a motivation and something like a love interest. (Earlier comments about Richard in Galavant come to mind as a parallel.) For another, it rings of commonly-understood tropes of courtly love; Hordak makes awkwardly formal declarations on Entrapta's behalf (including an overt challenge to any who would speak ill of her) after she gives him her token (note the purple jewel in his collar, not unlike a tag on a pet's collar, visually). In Malory and in other sources, even antagonistic knights tend to act in such ways. ("Tend" being key; there are many, many exceptions--but the same is true even of the "noble" Round Table knights, such as Gawain.) And while the idea of worthy adversaries is hardly unique to the medieval, the combination of the token amid an armoring scene with the declamation on Hordak's part mark the exchange as a refiguring of medieval/ist tropes, grounding the series just a bit more in the medieval.