#spop shadow weaver | Explore Tumblr Posts and Blogs

that-ari-blogger · 18 days

Text

Spiraling Upwards (The Price Of Power)

Repetition is the bread and butter of She-Ra and the Princesses of Power. The series is about cycles of abuse and trauma, and the tragedy inherent in that. It's about breaking out of those rythms, and to do that, it needs to establish what is holding its characters back.

But, showing the same thing over and over again is boring. It's stale, and overplayed, and stale, and overplayed, and stale. See what I mean?

Season three of the series shakes things up. It is a masterclass in twisting a formula to its breaking point, and that starts with The Price Of Power.

Let me explain.

SPOILERS AHEAD: (She Ra and the Princesses of Power)

The title of this episode has so many meanings that it's impressive. The price of power is what it says on the tin, but it could relate to almost any character in this.

Shadow Weaver finally has her villainy catching up to her (side note, the animation of SW's magic side effect, which I will be referring to as "death juice", is stellar), and it is sapping her life. Catra is realising that her security wasn't as solid as she thought. Adora is making a Faustian bargain with her abuser. Even Angella is weighing up decisions about her family and her kingdom.

Angella's compete lack of willingness to let Adora near the source of her trauma sets her up as an actual maternal figure for Adora, rather than the simple source of authority that she has been up until this point. Remember this, it will come up later on in the season.

That reframes the conflict between Angella and Shadow Weaver's conflict, turning it into mother vs mother, and their ideologies come into conflict. Altruism vs selfishness. And, with that in mind, I'd like to do a shot breakdown of that scene.

The principle I will be using here is screen presence. Typically (I am using the word "typically" here because this isn't a rule, its a generalisation. There are exceptions), the person who takes up the most of the screen has the most control in the scene. This stems from a few places, but mostly it's just that humans are hardwired to associate "big" with "powerful", so the person who is the largest in your perspective has the most power.

Stable, wide shot. Nothing is really happening yet, Shadow Weaver is learning her surroundings and how trapped she is. She is small, and crouched, and boxed in by that barrier and forcefield. Simple stuff.

This shot is diagonal, bending backwards so that the audience can look over Shadow Weaver's shoulder at Angella. The two are roughly equal in screen presence, so the angle sells the power dynamic, mostly. It is a bit up in the air at this point, the audience isn't sure which way this interaction will go.

"This is a prison?" "Why does everyone keep...? Of course this is a prison."

Look who's the largest now. Shadow Weaver looks down on Angella, as she finds a crack in her psyche, and the queen reacts predictably. Now Shadow Weaver has a weakness she can exploit, and she takes control.

We are closer to Shadow Weaver than either Angella or Castaspella, reflecting the immediate change in dynamic. Now Angella and her sister-in-law vie with each other for control, disorganised against a monolithic force.

These two are powerless against her. She frames them in the smallest possible space, her very presence confining them and removing their agency.

This should be Castaspella taking control. She accuses Shadow Weaver of something concrete, but Shadow Weaver takes that away. The camera draws in, removing Castaspella from the frame, literally siphoning off her control of the scene.

This scene wasn't the point of this post, but I felt it needed a little more time, as it shows just who Shadow Weaver is. She is a parasite, who feeds on other people's trauma and wounds. She leads with the fact that she has hurt this woman's daughter, then plays on her deceased brother, then turns that same blade into Castaspella.

It is also worth noting that this is Shadow Weaver at her worst. She has been given a chance to try something new, to gain empathy and healing from people who would probably give it to her if she was honest with them. But Shadow Weaver is two things: cruel, and ambitious. She is awful to the people she needs, in order to get to the person she wants.

That person is Adora, of course. This season shakes things up by changing the trajectory of the arcs. Instead of Catra falling further and further, with Adora managing to climb out of her own trauma, it's the reverse. At least until the end.

So, Adora begins in a good place, and Catra begins at rock bottom. Adora has a support network, and feels in control of her own life, but Catra wakes up in a jail cell, reliving her recent punishment at the hands of Hordack.

This is also the season in which ideologies get challenged most overtly. Starting with Glimmer and Bow.

Bow believes that good people do good things and bad people do bad things. Which is a neat sentiment and I kind of agree. The problem, is that he has associated "bad people" with "the horde", and has rationalised Adora as different because of She-Ra. To his credit, when he is confronted about this, he rethinks things. Bow is a simple character, and he needs to be to contrast with the rest of the cast.

Glimmer has that black and pink morality that I mentioned in my post on Rolling With It. She believes in a very distinct idea of good and evil that doesn't really match up with the rest of the series. She skirts the edge of being an anti-hero at times, which is a phenomenal choice for a story about war. Most obviously:

"Listen up, lady. After all your kidnapping and mind-wiping, I am just looking for a reason to serve up a little payback. So, if you do anything to hurt Adora..."

So, at this point, Glimmer thinks Shadow Weaver is working for the Horde, which would make her a prisoner of war. I'll let you decide what this means.

Adora believes in redemption, and this is where things get funky, because Adora has done the same thing as her friends. She has associated morality with allegiance, and this is a false positive, mostly.

I want to stress that the Horde destroys environments, levels settlements, and definitely kills civilians off camera, amongst other things. I am adamantly not trying to both-sides this conflict and I don't want any of that nonsense in the replies to my posts. What I am saying is that switching sides without changing behaviours doesn't immediately make someone a good person.

Shadow Weaver switches sides to the princess allegiance, but then routinely pressures the protagonists to corrupt themselves and actively get themselves killed. Shadow Weaver does not get redeemed, she gets a sea change.

It is also notable off hand that Adora thinks she has switched side, therefore her own redemption is finished and she has fully healed. But Shadow Weaver still moves her like a puppet on a string.

That is core to Adora's arc in this season and the series, the idea of personal agency vs the influence of others. Adora received a similar change in circumstances when she discovered she was She-Ra, so she thinks that Shadow Weaver will change as well.

What Adora is missing is the balance. Yes, her circumstances helped her, but she made a choice to be better. She was given the information about the Horde's evil, and made an informed decision to become a hero. Later on in the series, this will come up again with the Old Ones and their weapon, and again, Adora will make a decision to do what is right, not what her side thinks.

This is, however, more complicated, because the question of redemption is more complicated than a Tumblr post can properly address. I can try, but I recommend literally any philosopher ever to philosophise. So here goes my attempt.

Anyone can be redeemed, but "can" is the operative word there, not "will". Redemption is an informed choice to be better, and in my most humble of opinion, the truly evil people are the ones who refuse it. I think that She-Ra as a whole agrees with this premise.

This episode sets up a ton of thematic ideas in direct opposition to each other, telegraphing to the audience that the season will go into these in detail, but also that the season will be about dissecting preconceptions.

Most notably, the third season of She-Ra will discuss Adora's idea of redemption becoming more nuanced, as Shadow Weaver actively disproves her premise, and she has to rethink things.

Which brings me to Catra, who is on the receiving end of all of these themes in quick succession throughout the season. For the moment, however, she is confronted with two. Connection, and preconception. Catra wakes up from a nightmare, in a cell. She believes that having friends will only cause her irreparable pain, and as a person who craves safety and emotional security, that isn't a risk worth taking.

Then Scorpia and Entrapta actively try to rescue her from death and succeed. It is imperative to understand that this catches Catra by surprise. She is used to that conditional acceptance that was Shadow Weaver's style, and has internalised Adora's departure to match those behaviours. Hordack hasn't helped.

But here she is, at her lowest so far, and Scorpia and Entrapta stick their necks out for her, and it pays off. This is the power of friendship crystalised in its most pure and realistic form.

Season three centres around Catra almost achieving her own healing, and she does it on her own terms, accompanied by Scorpia, the embodiment of unconditional kindness. In essence, her spiral downwards has been reversed.

Redemption is weaved throughout Catra's entire journey, and while it isn't explicit in this episode, it is still an important element to bring up, because Catra is an explicit link to Shadow Weaver here, as well as Adora.

Shadow Weaver is given the chance for redemption, and intentionally refuses it. Catra is being given a similar opportunity to get away from the place that is directly causing her villainy, and improves, mostly.

It doesn't succeed, though, does it? Neither spiral completes. Catra almost heals, but comes crashing down, and Adora nearly succumbs to nihilism, but manages to claw her way out at the last moment. They try to break the mould and fail, but they rupture the neatness of this tragedy in the act, and if it can be torn, it can be broken.

FINAL THOUGHTS

Ok, here we go. Season three is my favourite season of She-Ra, so this is going to be a fun set of posts to make, because I have a lot of things to say.

This season fully eschews simplicity and revolves around having as many moving parts as possible. Everyone gets an arc, everyone gets a different thing that they are dealing with. Some stories don't even collide directly, but have massive impacts on each other.

This season shows that the story can be subverted while characters try and fail to do so. It's possible, but they can't do it without each other.

There's a storm coming, there's nuance in the air, and the winds are starting to change.

Next week, I will be looking at Huntara. The episode, not the person. I mean, kind of the person, but in an analytical sense. That got weird. Stick around for more analysis of this series if that interests you.

Previous - Next

23 notes · View notes