She-Ra and the Princesses of Power Rewatch 4.12, "Destiny, Part 1"

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Near-misses punctuate the penultimate episode of the season.

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4.12, "Destiny, Part 1"

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

Synopsis

It's shocking, truly.
Image taken from the episode, used for commentary.

The robot Emily cavorts in Bright Moon's gardens while Scorpia looks on and Shadow Weaver disapproves. Scorpia asks Shadow Weaver about her situation, meeting with annoyance before Glimmer returns, averring her need for Scorpia's aid, asking her to connect to the Black Garnet. The request startles, but Glimmer presses ahead with her plan amid news of Double Trouble's escape.

On Beast Island, Entrapta conducts Adora, Bow, Swift Wind, and Micah to the center of the island. She notes Glimmer's absence, and she exults in the nature of Beast Island. Bow tries to persuade Entrapta to return to Bright Moon with them; Entrapta indicates her knowledge of the Heart of Etheria and rushes off to demonstrate it.

In the Fright Zone, Catra attends to her morning toilet. She is interrupted by Lonnie, Rogelio, and Kyle; she receives their report well, and their comments about Scorpia's abandonment less so. Catra rages against Lonnie, Kyle interceding, and the three being dismissed. Double Trouble makes an appearance, reporting on the princess's movements and the vulnerability of Bright Moon.

That does look about like it.
Image taken from the episode, used for commentary.

In Bright Moon, Shadow Weaver argues against Glimmer's plan with Scorpia. She presses too far, though, and Glimmer moves her aside in high dudgeon.

Catra watches Horde troops strike out, and Hordak confronts her. He sees the value of her plan, however, and delights in it, commending her for her efforts.

On Beast Island, Entrapta shows off her findings in the central facility, whence the signal proceeds. The facility contains substantial information, including about the Heart of Etheria weapon project and the princesses' entanglement in it. Too, She-Ra's sword is not a control mechanism for the weapon, but for the wielder. Adora panics at the revelation, and Bow points to some small hope.

Glimmer and Scorpia confer about their respective situations. Entrapta has reservations about the plan, but Glimmer is able to connect with her and persuade her to assist.

Adora's group makes to return to Bright Moon. There is difficulty in their egress; they are attacked, and Entrapta resists departing in favor of staying with the machines she loves, but is persuaded at length by the prospect of inspecting Mara's ship.

Oh, this bodes ill.
Image taken from the episode, used for commentary.

Double Trouble infiltrates Hordak's sanctum, leading him to the idea that Catra has betrayed him, rather than Entrapta. Hordak moves in wrath against Catra.

Adora and her group arrive at Mara's ship, with Entrapta and Micah both disbelieving. Double Trouble signals Glimmer, and she and Scorpia leave for the Fright Zone as it empties of troops--and even in the moment that Adora and her group return home. Shadow Weaver tells them of her departure, and Hordak attacks Catra for her perfidy.

Discussion

With matters hastening towards completion in the present episode, little if anything new comes to attention in terms of how the series integrates medieval/ist tropes into itself. Interestingly, however, it makes pointed comments about inevitability and destiny; namely, She-Ra is intended to serve as the focus of a weapon she is used to control, rather than over which she has control. It is possible to read into the comments some reflection on militarized cultures such as the traditional concept of the medieval European, with its focus on chivalric deeds of martial prowess, as well as on the military-fetishizing culture contemporary to the series's development and release, with its increasingly militarized police forces and excessive valorization of those who are or have been in uniform. In both cases, fighting seems not to be a choice but an expectation, one imposed upon people; in both cases, fighting is presented as a primary good, if not the only good, with an avoidance of conflict seen as undesirable. And while it is the case that some fights need to be fought because some adversaries or antagonists will not listen to sweet reason, making violence the first recourse has detrimental effects on which the present series, in its present season, and a bit in its present episode, only lightly touches.

Unlike many, it questions the value of fighting, even though it hinges on a violence that seems entirely appropriate and necessary. And how much of it, ultimately, stems from one person, insecure in himself and his masculinity, trying to impress another who is not?